When Words are not Enough: Creative Responses to Grief (Quickthorn)

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ChatGPT is fibbing when it says it determines “the most likely or probable completion based on the context and previous information in the sequence”, suggesting the program understands the meaning of its words in the full sense a human being does. Few people would suggest that ChatGPT, or enhanced versions of it, can have such understanding. But that scepticism is usually based on the details of how the program works: essentially, that it is a plagiarist (plagiarism being a model of the failure of understanding). That is certainly good ground for scepticism. Jane Harris is a psychotherapist and bereavement specialist with over 30 years of experience in the NHS and private practice. She is also a grief educator, supervisor and public speaker​, regularly appearing in podcasts and radio. useful things they found on their own bereavement journey. Eleven years on they have discovered how grief is almost by definition a creative process, one of making things anew With a foreword by Dr Kathryn Mannix, author of With the End in Mind and Listen. ‘This is a book about sorrow, yet it is brimming with hope. This is a book about loss, but it overflows with love and generosity. The community of bereaved people is as diverse as humanity itself, and this book is a gathering of their wisdom, guided and curated by the creative talents and parental grief of Jane Harris and Jimmy Edmonds.‘ If a regular photo is made in the fraction of a second, an anthotype will need an exposure time of days, even weeks. If a photographic print has the potential to last forever and will more often than not outlive its subject, an anthotype will fade in a matter of months.

Jane Harris is a psychotherapist and bereavement specialist. Jimmy Edmonds is a photographer and documentary film editor with over 100 credits on TV productions including the BAFTA winning Chosen for Channel 4. Together they run Active Grief Retreats as The Good Grief Project. This is their first book, exploring active and creative responses to grief and how they can help you to survive. Released as a single on 3 December 2001, "Words Are Not Enough" / "I Know Him So Well" charted at number five in the United Kingdom and number 21 in Ireland in December 2001 and was the group's last single to be released before their Boxing Day split later the same month. An animated music video was made for "Words Are Not Enough". Gary Andrews’ doodles are a daily account of his family’s life now, even as his dead wife often appears to give him her blessing. But that is still not enough for the kind of human understanding I have been speaking of. A robot — I mean a stilted, mechanical automaton of hard metal and plastic — may be able to mow your lawn and clean your house, but it cannot luxuriate in the aroma of a freshly mowed lawn or appreciate the beauty of the garden it tends. As it washes your clothes and irons them it does not know the significance clothes have either as ornamentation or as modesty or as protection. It does not shiver in the cold or feel ashamed or embarrassed at being exposed in public, or enjoy the sensation of velvet or wool. It may be built to imitate some of the environmental movements humans typically display in response to cold or danger like moving away and seeking out heat or safety, but it does not do so because it is afraid or anxious. And if it does not do these things, it is not because it is brave or spartan. Eurochart Hot 100 Singles" (PDF). Music & Media. Vol.19, no.52. 22 December 2002. p.23 . Retrieved 8 March 2020.Words Are Not Enough / I Know Him So Well (UK cassette single sleeve). Steps. Jive Records, Ebul Records. 2001. 9201454. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link)

To all this it can, of course, simply be said that, if I am right, then AI researchers should just start attaching computers to bodies that are alike ours in these respects, who will look and sound like us, feel like us to the touch, be virtually indistinguishable from us (like the replicants of Ridley Scott’s Bladerunner or the “synths” in the British television series Humans). We can put the computer inside the heads of these bodies. Some important differences will remain, I believe. But I am happy to agree that at some point these beings may well be capable of the sort of thought and understanding I have been calling human. They will become an “ I” to a “ Thou” with one another, and perhaps with us. (Let’s hope they will be our fellows and not, as some fear, a Cain to our Abel.) Steven Hales raises the question whether, with the advent of what we might call the triumph of the machines at the tasks of civilisation, humanity might sink into stupidity, relying on machines to do and think everything for us. Why would anyone want to “bother to go through the effort of writing, painting, composing, learning languages, or really much of anything when an AI can just do it for us faster and better?” He rightly says that most people will still want to put themselves to the test, do things for themselves. And he even more rightly says that there are some things computers cannot do for us: It didn’t take long for the situation to escalate into a full-on battle of the wills. My dad was determined to get an apology out of me, and I was just as determined not to say a word I didn’t mean. I’m guessing my father peered into my future that night and envisioned years of teen delinquency. For sure he was embarrassed that I— the supposedly perfect little preacher’s daughter— had stolen from his own church members. Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved 22 November 2018.

New Releases – For Week Starting December 3, 2001: Singles" (PDF). Music Week. 1 December 2001. p.23 . Retrieved 21 August 2021. Possibly our favourite chapter in the book is ‘Out of Time’ in which Jimmy describes an early project involving the production of anthotypes, photographic images produced by laying a transparent material over paper coated with vegetable dye. As there’s no way to ’fix’ such an image, the project became a way of exploring our sense of being in time while Josh is now out of time. When Words are Not Enough explores the many ways that bereaved families find to express their loss. The authors’ son was killed in a traffic accident in 2011. Ten years on they reflect on their journey and how they have used their creativity to survive their grief and maintain an on-going relationship with their son Josh. The Irish Charts – Search Results – Words Are Not Enough". Irish Singles Chart. Retrieved 22 November 2018.

In the event of this coming to pass, it might seem petty to squabble over who has won the argument about AI. These beings would be artificial and they would have understanding in the sense I have stipulated, so in one sense I could hardly deny AI would be vindicated. But on the other hand, if they are really to have the kind of human thought and understanding I have spoken of, then the kind of easy, rapid, calculative facility typical of AI would be compromised. Non-embodied machines never get bored by their tedious and repetitive tasks. But a human being is too intelligent for that: we get distracted, drifting off into reveries about love, poetry, philosophy, football and so on — topics which, on the face of it, are not amenable to being broken down into a series of “stupid” mechanisable steps. Throughout history people have needed to talk about their grief, but much in contemporary society tells us that grief is a depressing, morbid subject. When Words Are Not Enough is a necessary counterweight to those who would have us hide grief away. In both word and image, all the stories told here , from visual story tellers who reimagine their loved ones depicted in their own lives now, to artists who have taken their children’s artworks as a basis for their own creations, to those who have found peace in their music and their poetry, to some who relish the challenge of diving into cold waters as a way of connecting with their children. All are very different and uniquely creative responses to trauma following the death of a loved one and testament to the value of a shared and more openly expressed grief. We are invited to be like the first son. We are invited to be like the tax collectors and the prostitutes. But we cannot do this if we keep our faith lives tethered to abstractions. If we live a Christianity of the mind without also living one of the flesh. After all, it is with our bodies that we experience pain, anger, terror, and joy. It’s my chest that hurts when I mourn. It’s my face that burns when I’m angry. It’s my whole body that warms with pleasure when I’m happy. Our faith is meant to be embodied. To be incarnate. To be organic. To be active. In the realm of God, words— even the most beautiful words— are not enough.

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Through this book, the authors show us that that grief, by its very nature, is a creative process. It shows us ways we can survive the very worst of things and how we can foster an on-going relationship with those who’ve died. It teaches us that to create, doodle, run, swim… to do anything and EVERYTHING creative can and should be part of the process. But, most importantly, (and not just for the bereaved) it tells us to keep talking and saying their name. Throughout history people have needed to talk about their grief, but much in contemporarysociety tells us that grief is a depressing, morbid subject.‘ When Words Are Not Enough’is a necessary counterweight to those who would have us hide grief away. In both word and image, all the stories told here , from visual story tellers who reimagine their loved ones depicted in their own lives now, to artists who have taken their children’s artworks as a basis for their own creations, to those who have found peace in their music and their poetry, to some who relish the challenge of diving into cold waters as a way of connecting with their children. All are very different and uniquely creative responses to trauma following the death of a loved one and testament to the value of a shared and more openly expressed grief. These are all very different and uniquely creative responses to trauma following the death of a loved one. Together they illustrate how creativity can shape a future where those who have died still play a part, even while physically absent. This is a normal and restorative aspect of the grieving process. Out of time