A few weeks ago, after the first preview of my play about artificial intelligence in San Francisco, I found myself talking to Edward (not his real name), an agreeable programmer with a ponytail who didn’t make much eye contact but was eager to discuss the performance and the tech world more broadly. “Have you heard of Iain Banks’s The Culture”? Edward asked. I hadn’t. The Culture, I would later learn, is a sci-fi series about a far-future, post-scarcity utopia run by godlike AIs, where death, suffering, and even traditional economics are obsolete.

I could see why Edward was interested in the play. The AI community, to which he belongs, is driven by these kinds of future visions: utopian, quasi-divine abundance and control over nature — regardless of whether that outcome is wanted, or whether we will destroy ourselves trying to bring it about. Already, their capital, San Francisco, is marked by this worldview. The technology that’s generated in “SF” is itself the product of a rationalist eschatology that sees the human as a “bootstrapping” mechanism (in the words of Elon Musk) for higher forms of life and intelligence.

Beneath this apparent rationalism lurks a profoundly religious sensibility that seeks to reconfigure the human past the point of recognisability, all in service of generating a sort of machine-angel synthesis. SF, then, isn’t just a place. It’s a theological state of mind.

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