Mike Turner was looking for something to read. It was 1999 and his band, Our Lady Peace, were on an American tour in support of their third album, Happiness…Is Not A Fish You Can Catch. Riding long hours on a bus in between gigs can be tedious. So one day the guitarist stepped into a bookstore and found something that caught his eye.
The Age Of Spiritual Machines was written by Ray Kurzweil, an eccentric inventor, among other things, who firmly believes that death can be overcome once humanity fully merges with technology. Not an original idea by any means but few have taken the time to conceptualize such a radical line of thought outside the fantasy world of science fiction. Diagnosed with type 2 diabetes at age 35, there’s no question such a depressing diagnosis would profoundly motivate an already highly driven philosopher and computer scientist with considerable wealth to prolong his life by any means necessary.
As he read, Turner became mesmerized by Kurzweil’s often far-out ideas (“I picked it up, read it and went mental,” he told Chart Attack in 2000) and as soon as he finished the book, the lead guitarist passed it on to the band’s singer Raine Maida. He had the same reaction.
Despite the fact they had just made their third album, even before Turner bought The Age Of Spiritual Machines, the songwriting process for the next collection of songs had already begun.
“It ended up being a concept record,” bassist Duncan Coutts told the Pop Matters website in 2010, “but it certainly didn’t start that way.”
Just over a year after the release of Happiness…Is Not A Fish You Can Catch, Our Lady Peace unveiled Spiritual Machines. Hoping to get Kurzweil’s blessing for the project during its difficult production (the drummer got mugged while walking his dog and some of his parts had to be played by Pearl Jam’s Matt Cameron), not only was the author thrilled about the album, he also volunteered his services to help participate in the recording. He even gave the band one of his specially designed keyboards, the Kurzweil 350, which was implemented constantly.
Officially, Kurzweil appears on six tracks spread out throughout the record. With the exception of his voice buried so deep during an instrumental break on the single In Repair it’s basically indecipherable, the author is more clearly heard reading mostly word-for-word quotations from his book in brief snippets all set to moody electronic music and tucked away between proper songs.
But 12 minutes and 7 seconds after the final song, The Wonderful Future, concludes on track fifteen, there’s a seventh appearance, one of the weirdest mystery tracks of all time.
On page 37 of The Age Of Spiritual Machines, Kurzweil engages in a conversation with an unknown person about the future. Ten pages later, there’s another dialogue. These exchanges continue on at various points throughout the book, usually at the end of a subsequent chapter. Starting with Chapter 10, we jump ten years into the future, and then another ten years in 11 until the final engagement seven decades later in 12. We begin in 1999 and ultimately conclude a full century later.
It isn’t until the very beginning of Chapter 7 that we even learn this mysterious person’s name.
“I’M MOLLY.”
Molly is not real. She’s a fictional character Kurzweil created in order to fantasize about communicating with an immortal cybernetic being in his idealized future. He gives her a back story. She’s married with children but there’s complications. (Her husband, an inventor, uses virtual reality to cheat on her and see other women naked without their knowledge.) She’s an overachieving intellectual/artist who lets the author know how many of his theories and predictions, organized by decade, prove correct which feels more than a little self-serving. (And contrary to his later assertion that 86% of his guesses came true, he got a lot of shit wrong. His math is clearly off.)
Unlike most of the spoken word segments on Our Lady Peace’s Spiritual Machines which are all under a minute each, this unlisted piece buried at the end of track 15 goes on for roughly three and a half minutes.
What ensues, following the introduction of some simple, ongoing, echoey piano playing and what sounds like electronic reproductions of whales moaning, is a peculiar, somewhat awkward and cheesy imaginary conversation between Kurzweil and Molly. In fact, the track is appropriately entitled R.K. and Molly.
Before each line of dialogue, Kurzweil calls out the name of the communicator about to speak which is heard at a lower decibel. He plays himself, of course. And he plays Molly but with his voice artificially raised to a helium-like pitch. Put simply, it doesn’t sound right. She doesn’t sound hot.
Divided up into three separate speaking segments, with that mood music playing on uninterrupted during the slight silences, the first segment involves snippets taken from pages 235 and 241 of Chapter 12 entitled 2099. Instead of starting right from the beginning of what is the longest conversation from the book, he picks it up for the hidden track nine lines into it, jumping right back into his odd flirtation with a made-up android:
“Ray: Anyway, you do look amazing.
Molly: YOU SAY THAT EVERY TIME WE MEET.
Ray: I mean you look twenty again, only more beautiful than at the start of the book.
Molly: I KNEW THAT’S HOW YOU’D WANT ME.” (p. 235)
“Ray: Okay, you were an attractive woman when I first met you. And you still project yourself as a beautiful young woman. At least when I’m with you.
Molly: THANKS.
Ray: …are you saying that you’re a machine now?
Molly: A MACHINE? THAT’S REALLY NOT FOR ME TO SAY. IT’S LIKE ASKING ME IF I’M BRILLIANT OR INSPIRING.
Ray: I guess the word machine in 2099 doesn’t have quite the same connotations that it has here in 1999.
Molly: THAT’S HARD FOR ME TO RECALL NOW.” (p.241)
After a five-second break, with the piano and fake whale noises still going strong, the conversation continues as Molly talks about her kids and a project she’s working on. At the tail end of page 238 in the book, Kurzweil asks her “what else” is she up to as they catch up after a long break from communicating. She responds, “JUST FINISHING UP THIS SYMPHONY.”
He asks, “Is this a new interest?” Her response begins the second portion of R.K. and Molly on the Spiritual Machines CD and can be found at the start of page 239:
“Molly: I’M REALLY JUST DABBLING, BUT CREATING MUSIC IS A GREAT WAY FOR ME TO STAY CLOSE WITH JEREMY AND EMILY.
Ray: Creating music sounds like a good thing to do with your kids, even if they are almost ninety years old. So, can I hear it?
Molly: WELL, I’M AFRAID YOU WOULDN’T UNDERSTAND IT.
Ray: So it requires enhancement to understand?
Molly: YES, MOST ART DOES. FOR STARTERS, THIS SYMPHONY IS IN FREQUENCIES THAT A MOSH CAN’T HEAR, AND HAS MUCH TOO FAST A TEMPO. AND IT USES MUSICAL STRUCTURES THAT A MOSH COULD NEVER FOLLOW.
Ray: Can’t you create art for nonaugmented humans? I mean there’s still a lot of depth possible. Consider Beethoven–he wrote almost two centuries ago, and we still find his music exhilarating.
Molly: YES, THERE’S A GENRE OF MUSIC–ALL THE ARTS ACTUALLY–WHERE WE CREATE MUSIC AND ART THAT A MOSH IS CAPABLE OF UNDERSTANDING.
Ray: And then you play MOSH music for MOSHs?
Molly: NOW THERE’S AN INTERESTING IDEA. I SUPPOSE WE COULD TRY THAT, ALTHOUGH MOSHs ARE NOT THAT EASY TO FIND ANYMORE. IT’S REALLY NOT NECESSARY, THOUGH. WE CAN CERTAINLY UNDERSTAND WHAT A MOSH IS CAPABLE OF UNDERSTANDING. THE POINT, THOUGH, IS TO USE THE MOSH LIMITATIONS AS AN ADDED CONSTRAINT.
Ray: Sort of like composing new music for old instruments.
Molly: YEAH, NEW MUSIC FOR OLD MINDS.” (p. 239)
What in the hell is a MOSH? It’s an acronym Kurzweil made up to differentiate generic human beings from their technologically enhanced successors. As explained to him by the imaginary Molly on page 237, it stands for Mostly Original Substrate Humans. On page 306 of The Age Of Spiritual Machines, Kurzweil himself defines it thusly:
“In the last half of the twenty-first century, a human being still using native carbon-based neurons and unenhanced by neural implants is referred to as a MOSH. In 2099, Molly refers to the author as being a MOSH.”
A few seconds later, we come to the last segment. You’ll find the portion with Molly on page 252 which ends Chapter 12. The last section where Kurzweil loses contact with her is actually the opening lines of Epilogue: The Rest Of The Universe Revisited found on page 253:
“Ray: Maybe we should kiss goodbye?
Molly: JUST A KISS?
Ray: We’ll leave it at that for this book. I’ll reconsider the ending for the movie…
Molly: HERE’S MY KISS….NOW REMEMBER, I’M READY TO DO ANYTHING OR BE ANYTHING YOU WANT OR NEED.
Ray: I’ll keep that in mind.
Molly: …THAT’S WHERE YOU’LL FIND ME.
Ray: Too bad I have to wait a century to meet you.
Molly: OR TO BE ME.
Ray: Yes, that too.” (p.252)
“Ray: Actually, Molly, there are a few other questions that have occurred to me. What were those limitations that you referred to? What did you say you were anxious about? What are you afraid of? Do you feel pain? What about babies and children? Molly?…” (p.253)
The unorthodox backing track eventually grinds to a halt and slowly fades out as the CD shuts off.
The full final conversation between Kurzweil and his imaginary cybernetic plaything in Chapter 12 of The Age Of Spiritual Machines goes on for 18 pages, 19 if you count the start of the Epilogue. In some of the portions excised for the mystery track, Molly throws out random quotes from famous figures, there’s a brief discussion about government intrusions into privacy, human rights applying to humanoids, quantum computing, virtual food in place of the real thing, imagining your own body and bringing it to life, and of course, Kurzweil constantly hitting on a married robot. (In real life, he too is married with 2 kids.)
R.K. and Molly is also heard, but not in its complete form, on the credited enhanced portion of Spiritual Machines, a rare acknowledgement of a CD Extra on a Sony Records release. (In most cases, this is normally not indicated on the outside packaging.)
When you put the CD in the CD-ROM drive of your computer, the track starts playing as you watch a crude animation set in a hospital. At any time while R.K. and Molly plays, you can click that snail in the upper right hand corner which takes you to another screen. (If you let the animation play out, you’re taken there automatically.) It’s here you’re encouraged to create a login name in order to visit an Our Lady Peace “secret site”. (Unfortunately, it doesn’t exist anymore (it was discontinued by 2003) but cached portions have survived.)
Six years later, Our Lady Peace released their first compilation of hits entitled A Decade. The two popular singles from Spiritual Machines appear midway through the CD.
Before In Repair begins at the 15-second mark of track 10, against another sparse electronic mood arrangement, Kurzweil makes the following prediction:
“The year is 2029. The machines will convince us that they are conscious, that they have their own agenda where they have our respect. They’ll embody human qualities. They’ll claim to be human. And we’ll believe them.”
This quick clip, entitled R.K. 2029, is also from Spiritual Machines and unlike its secret placement on A Decade, it’s properly credited and given its own track number separate from In Repair on the earlier album. As before, it’s sequenced right before the song begins.
None of these specific lines appear in The Age Of Spiritual Machines, but similar sentiments are expressed in much longer form on page 153 in the following paragraph. The heart of the book’s premise, which feels heavily influenced by Blade Runner, is found in these words:
“Just being–experiencing, being conscious–is spiritual, and reflects the essence of spirituality. Machines, derived from human thinking and surpassing humans in their capacity for experience, will claim to be conscious, and thus to be spiritual. They will believe that they are conscious. They will believe that they have spiritual experiences. They will be convinced that these experiences are meaningful. And given the historical inclination of the human race to anthropomorphize the phenomena we encounter, and the persuasiveness of the machines, we’re likely to believe them when they tell us this.”
Just like the rebellious replicants who easily pass for human unless you test them for emotion.
A more succinct assertion awaits on page 280 of the Timeline section. At the very end of the summarized 2029 predictions, Kurzweil writes:
“Machines claim to be conscious. These claims are largely accepted.”
Right at the start of track 11, we don’t hear Life right away. Instead, with Turner gently noodling in the background, Kurzweil returns. Using another fictional character to illustrate the conviction of his basic theory that cybernetic humans are simply superior versions to their mortal predecessors, he presents the following scenario in 19 seconds:
“Have we lost Jack somewhere along the line? Jack’s friends think not. Jack claims to be the same old guy, just newer. His vision, memory and reasoning ability have all been improved. But it’s still Jack.”
In Chapter 3, Of Minds And Machines, Kurzweil introduces a hypothetical situation involving the made-up example of the aforementioned Jack beginning on page 52. Near the start of paragraph three, he writes:
“Our friend Jack (circa some time in the twenty-first century) has been complaining of difficulty with his hearing. A diagnostic test indicates he needs more than a conventional hearing aid, so he gets a choclear implant…This routine surgical procedure is successful, and Jack is pleased with his improved hearing.
Is he still the same Jack?
Well, sure he is. People have cochlear implants circa 1999. We still regard them as the same person.”
After opting for “newly introduced image-processing implants”, having already acquired “permanently implanted retinal-imaging displays in his corneas to view virtual reality”, near the bottom of page 52, Kurzweil writes:
“Jack notices that his memory is not what it was, as he struggles to recall names, the names of earlier events, and so on. So he’s back for memory implants. These are amazing–memories that have grown fuzzy with time are now as clear as if they had just happened.” Even the bad ones.
“Still the same Jack?” Kurzweil asks at the top of page 53. He eventually answers, “yes, it’s still the same guy.”
And then, in paragraph four on that same page, you’ll read a slightly different version of what Kurzweil recites uncredited on A Decade. The first two lines of the mystery track are exactly the same. But starting with the third line, there are slight changes. (I’ve highlighted them in bold.)
“Jack also claims that he’s the same old guy, just newer. His hearing, vision, memory and reasoning ability have all improved, but it’s still the same Jack.”
In the book, following this passage, Kurzweil goes on and on about Jack, his enhancement possibilities and the constant questioning about whether “new Jack” can still creditably be seen as the “old Jack” despite seeing dramatic physical improvements that aren’t human, for another two pages in that chapter.
On page 126 of Chapter 6, Building New Brains…, he brings up Jack again, summarizing the ethical dilemma of whether a person who downloads themselves, or rather, gets “scanned” into a new and improved cybernetic body can still be the same human being they once were:
“Subjectively, the question is more subtle and profound. Is this the same consciousness as the person we just scanned?”
Kurzweil gives a conflicting answer:
“If he–Jack–is still around, he will convincingly claim to represent the continuity of his consciousness. He may not be satisfied to let his mental clone carry on in his stead.”
R.K. Jack is an uncredited, exclusive outtake since it did not appear on Spiritual Machines.
More than two decades after being wowed by Kurzweil’s thought provoking, yet now somewhat discredited and often overly rosy “futurism”, Our Lady Peace revisited the subject for an unexpected sequel.
In 2022, the band released Spiritual Machines 2 and launched an unusual tour to promote it. Once again, Kurzweil provided voiceover narrations, this time bragging about his supposedly accurate predictions from the previous century (something he also does in The Age Of Spiritual Machines when referring to the first book he wrote, The Age Of Intelligent Machines). He even offers new ones. Everything is properly listed and in the right order.
Mike Turner, the founding guitarist responsible for initiating the original project and who left the band after their 2002 American breakthrough Gravity, was brought back just to help spearhead the follow-up.
Molly, the fake humanoid Kurzweil lusted after in print and on record almost a quarter century ago, doesn’t appear on Spiritual Machines 2 but was brought back to life for The Wonderful Future Theatrical Experience, Our Lady Peace’s tour in support of the album, which also featured her creator in holographic form.
Five years after her first appearance in The Age Of Spiritual Machines, Molly was also revived in Kurzweil’s 2004 book, The Singularity Is Near. 15 years after their last fake conversation, not only does he talk to her from the year 2104, bizarrely he also converses with her 2004 version at the same time. In fact, the two Mollies talk to each other.
Although, there is an extensive conversation about the supposed future of virtual sex (which hasn’t really exploded yet, ahem), I’m happy to report Kurzweil no longer has a raging boner for Molly. It’s true what they say. We really do slow down when we’re older.
Molly, on the other hand…
Dennis Earl
Hamilton, Ontario, Canada
Friday, September 1, 2023
2:56 a.m.
The History Of The Mystery Track – Our Lady Peace, Ray Kurzweil & Molly
Mike Turner was looking for something to read. It was 1999 and his band, Our Lady Peace, were on an American tour in support of their third album, Happiness…Is Not A Fish You Can Catch. Riding long hours on a bus in between gigs can be tedious. So one day the guitarist stepped into a bookstore and found something that caught his eye.
The Age Of Spiritual Machines was written by Ray Kurzweil, an eccentric inventor, among other things, who firmly believes that death can be overcome once humanity fully merges with technology. Not an original idea by any means but few have taken the time to conceptualize such a radical line of thought outside the fantasy world of science fiction. Diagnosed with type 2 diabetes at age 35, there’s no question such a depressing diagnosis would profoundly motivate an already highly driven philosopher and computer scientist with considerable wealth to prolong his life by any means necessary.
As he read, Turner became mesmerized by Kurzweil’s often far-out ideas (“I picked it up, read it and went mental,” he told Chart Attack in 2000) and as soon as he finished the book, the lead guitarist passed it on to the band’s singer Raine Maida. He had the same reaction.
Despite the fact they had just made their third album, even before Turner bought The Age Of Spiritual Machines, the songwriting process for the next collection of songs had already begun.
“It ended up being a concept record,” bassist Duncan Coutts told the Pop Matters website in 2010, “but it certainly didn’t start that way.”
Just over a year after the release of Happiness…Is Not A Fish You Can Catch, Our Lady Peace unveiled Spiritual Machines. Hoping to get Kurzweil’s blessing for the project during its difficult production (the drummer got mugged while walking his dog and some of his parts had to be played by Pearl Jam’s Matt Cameron), not only was the author thrilled about the album, he also volunteered his services to help participate in the recording. He even gave the band one of his specially designed keyboards, the Kurzweil 350, which was implemented constantly.
Officially, Kurzweil appears on six tracks spread out throughout the record. With the exception of his voice buried so deep during an instrumental break on the single In Repair it’s basically indecipherable, the author is more clearly heard reading mostly word-for-word quotations from his book in brief snippets all set to moody electronic music and tucked away between proper songs.
But 12 minutes and 7 seconds after the final song, The Wonderful Future, concludes on track fifteen, there’s a seventh appearance, one of the weirdest mystery tracks of all time.
On page 37 of The Age Of Spiritual Machines, Kurzweil engages in a conversation with an unknown person about the future. Ten pages later, there’s another dialogue. These exchanges continue on at various points throughout the book, usually at the end of a subsequent chapter. Starting with Chapter 10, we jump ten years into the future, and then another ten years in 11 until the final engagement seven decades later in 12. We begin in 1999 and ultimately conclude a full century later.
It isn’t until the very beginning of Chapter 7 that we even learn this mysterious person’s name.
“I’M MOLLY.”
Molly is not real. She’s a fictional character Kurzweil created in order to fantasize about communicating with an immortal cybernetic being in his idealized future. He gives her a back story. She’s married with children but there’s complications. (Her husband, an inventor, uses virtual reality to cheat on her and see other women naked without their knowledge.) She’s an overachieving intellectual/artist who lets the author know how many of his theories and predictions, organized by decade, prove correct which feels more than a little self-serving. (And contrary to his later assertion that 86% of his guesses came true, he got a lot of shit wrong. His math is clearly off.)
Unlike most of the spoken word segments on Our Lady Peace’s Spiritual Machines which are all under a minute each, this unlisted piece buried at the end of track 15 goes on for roughly three and a half minutes.
What ensues, following the introduction of some simple, ongoing, echoey piano playing and what sounds like electronic reproductions of whales moaning, is a peculiar, somewhat awkward and cheesy imaginary conversation between Kurzweil and Molly. In fact, the track is appropriately entitled R.K. and Molly.
Before each line of dialogue, Kurzweil calls out the name of the communicator about to speak which is heard at a lower decibel. He plays himself, of course. And he plays Molly but with his voice artificially raised to a helium-like pitch. Put simply, it doesn’t sound right. She doesn’t sound hot.
Divided up into three separate speaking segments, with that mood music playing on uninterrupted during the slight silences, the first segment involves snippets taken from pages 235 and 241 of Chapter 12 entitled 2099. Instead of starting right from the beginning of what is the longest conversation from the book, he picks it up for the hidden track nine lines into it, jumping right back into his odd flirtation with a made-up android:
“Ray: Anyway, you do look amazing.
Molly: YOU SAY THAT EVERY TIME WE MEET.
Ray: I mean you look twenty again, only more beautiful than at the start of the book.
Molly: I KNEW THAT’S HOW YOU’D WANT ME.” (p. 235)
“Ray: Okay, you were an attractive woman when I first met you. And you still project yourself as a beautiful young woman. At least when I’m with you.
Molly: THANKS.
Ray: …are you saying that you’re a machine now?
Molly: A MACHINE? THAT’S REALLY NOT FOR ME TO SAY. IT’S LIKE ASKING ME IF I’M BRILLIANT OR INSPIRING.
Ray: I guess the word machine in 2099 doesn’t have quite the same connotations that it has here in 1999.
Molly: THAT’S HARD FOR ME TO RECALL NOW.” (p.241)
After a five-second break, with the piano and fake whale noises still going strong, the conversation continues as Molly talks about her kids and a project she’s working on. At the tail end of page 238 in the book, Kurzweil asks her “what else” is she up to as they catch up after a long break from communicating. She responds, “JUST FINISHING UP THIS SYMPHONY.”
He asks, “Is this a new interest?” Her response begins the second portion of R.K. and Molly on the Spiritual Machines CD and can be found at the start of page 239:
“Molly: I’M REALLY JUST DABBLING, BUT CREATING MUSIC IS A GREAT WAY FOR ME TO STAY CLOSE WITH JEREMY AND EMILY.
Ray: Creating music sounds like a good thing to do with your kids, even if they are almost ninety years old. So, can I hear it?
Molly: WELL, I’M AFRAID YOU WOULDN’T UNDERSTAND IT.
Ray: So it requires enhancement to understand?
Molly: YES, MOST ART DOES. FOR STARTERS, THIS SYMPHONY IS IN FREQUENCIES THAT A MOSH CAN’T HEAR, AND HAS MUCH TOO FAST A TEMPO. AND IT USES MUSICAL STRUCTURES THAT A MOSH COULD NEVER FOLLOW.
Ray: Can’t you create art for nonaugmented humans? I mean there’s still a lot of depth possible. Consider Beethoven–he wrote almost two centuries ago, and we still find his music exhilarating.
Molly: YES, THERE’S A GENRE OF MUSIC–ALL THE ARTS ACTUALLY–WHERE WE CREATE MUSIC AND ART THAT A MOSH IS CAPABLE OF UNDERSTANDING.
Ray: And then you play MOSH music for MOSHs?
Molly: NOW THERE’S AN INTERESTING IDEA. I SUPPOSE WE COULD TRY THAT, ALTHOUGH MOSHs ARE NOT THAT EASY TO FIND ANYMORE. IT’S REALLY NOT NECESSARY, THOUGH. WE CAN CERTAINLY UNDERSTAND WHAT A MOSH IS CAPABLE OF UNDERSTANDING. THE POINT, THOUGH, IS TO USE THE MOSH LIMITATIONS AS AN ADDED CONSTRAINT.
Ray: Sort of like composing new music for old instruments.
Molly: YEAH, NEW MUSIC FOR OLD MINDS.” (p. 239)
What in the hell is a MOSH? It’s an acronym Kurzweil made up to differentiate generic human beings from their technologically enhanced successors. As explained to him by the imaginary Molly on page 237, it stands for Mostly Original Substrate Humans. On page 306 of The Age Of Spiritual Machines, Kurzweil himself defines it thusly:
“In the last half of the twenty-first century, a human being still using native carbon-based neurons and unenhanced by neural implants is referred to as a MOSH. In 2099, Molly refers to the author as being a MOSH.”
A few seconds later, we come to the last segment. You’ll find the portion with Molly on page 252 which ends Chapter 12. The last section where Kurzweil loses contact with her is actually the opening lines of Epilogue: The Rest Of The Universe Revisited found on page 253:
“Ray: Maybe we should kiss goodbye?
Molly: JUST A KISS?
Ray: We’ll leave it at that for this book. I’ll reconsider the ending for the movie…
Molly: HERE’S MY KISS….NOW REMEMBER, I’M READY TO DO ANYTHING OR BE ANYTHING YOU WANT OR NEED.
Ray: I’ll keep that in mind.
Molly: …THAT’S WHERE YOU’LL FIND ME.
Ray: Too bad I have to wait a century to meet you.
Molly: OR TO BE ME.
Ray: Yes, that too.” (p.252)
“Ray: Actually, Molly, there are a few other questions that have occurred to me. What were those limitations that you referred to? What did you say you were anxious about? What are you afraid of? Do you feel pain? What about babies and children? Molly?…” (p.253)
The unorthodox backing track eventually grinds to a halt and slowly fades out as the CD shuts off.
The full final conversation between Kurzweil and his imaginary cybernetic plaything in Chapter 12 of The Age Of Spiritual Machines goes on for 18 pages, 19 if you count the start of the Epilogue. In some of the portions excised for the mystery track, Molly throws out random quotes from famous figures, there’s a brief discussion about government intrusions into privacy, human rights applying to humanoids, quantum computing, virtual food in place of the real thing, imagining your own body and bringing it to life, and of course, Kurzweil constantly hitting on a married robot. (In real life, he too is married with 2 kids.)
R.K. and Molly is also heard, but not in its complete form, on the credited enhanced portion of Spiritual Machines, a rare acknowledgement of a CD Extra on a Sony Records release. (In most cases, this is normally not indicated on the outside packaging.)
When you put the CD in the CD-ROM drive of your computer, the track starts playing as you watch a crude animation set in a hospital. At any time while R.K. and Molly plays, you can click that snail in the upper right hand corner which takes you to another screen. (If you let the animation play out, you’re taken there automatically.) It’s here you’re encouraged to create a login name in order to visit an Our Lady Peace “secret site”. (Unfortunately, it doesn’t exist anymore (it was discontinued by 2003) but cached portions have survived.)
Six years later, Our Lady Peace released their first compilation of hits entitled A Decade. The two popular singles from Spiritual Machines appear midway through the CD.
Before In Repair begins at the 15-second mark of track 10, against another sparse electronic mood arrangement, Kurzweil makes the following prediction:
“The year is 2029. The machines will convince us that they are conscious, that they have their own agenda where they have our respect. They’ll embody human qualities. They’ll claim to be human. And we’ll believe them.”
This quick clip, entitled R.K. 2029, is also from Spiritual Machines and unlike its secret placement on A Decade, it’s properly credited and given its own track number separate from In Repair on the earlier album. As before, it’s sequenced right before the song begins.
None of these specific lines appear in The Age Of Spiritual Machines, but similar sentiments are expressed in much longer form on page 153 in the following paragraph. The heart of the book’s premise, which feels heavily influenced by Blade Runner, is found in these words:
“Just being–experiencing, being conscious–is spiritual, and reflects the essence of spirituality. Machines, derived from human thinking and surpassing humans in their capacity for experience, will claim to be conscious, and thus to be spiritual. They will believe that they are conscious. They will believe that they have spiritual experiences. They will be convinced that these experiences are meaningful. And given the historical inclination of the human race to anthropomorphize the phenomena we encounter, and the persuasiveness of the machines, we’re likely to believe them when they tell us this.”
Just like the rebellious replicants who easily pass for human unless you test them for emotion.
A more succinct assertion awaits on page 280 of the Timeline section. At the very end of the summarized 2029 predictions, Kurzweil writes:
“Machines claim to be conscious. These claims are largely accepted.”
Right at the start of track 11, we don’t hear Life right away. Instead, with Turner gently noodling in the background, Kurzweil returns. Using another fictional character to illustrate the conviction of his basic theory that cybernetic humans are simply superior versions to their mortal predecessors, he presents the following scenario in 19 seconds:
“Have we lost Jack somewhere along the line? Jack’s friends think not. Jack claims to be the same old guy, just newer. His vision, memory and reasoning ability have all been improved. But it’s still Jack.”
In Chapter 3, Of Minds And Machines, Kurzweil introduces a hypothetical situation involving the made-up example of the aforementioned Jack beginning on page 52. Near the start of paragraph three, he writes:
“Our friend Jack (circa some time in the twenty-first century) has been complaining of difficulty with his hearing. A diagnostic test indicates he needs more than a conventional hearing aid, so he gets a choclear implant…This routine surgical procedure is successful, and Jack is pleased with his improved hearing.
Is he still the same Jack?
Well, sure he is. People have cochlear implants circa 1999. We still regard them as the same person.”
After opting for “newly introduced image-processing implants”, having already acquired “permanently implanted retinal-imaging displays in his corneas to view virtual reality”, near the bottom of page 52, Kurzweil writes:
“Jack notices that his memory is not what it was, as he struggles to recall names, the names of earlier events, and so on. So he’s back for memory implants. These are amazing–memories that have grown fuzzy with time are now as clear as if they had just happened.” Even the bad ones.
“Still the same Jack?” Kurzweil asks at the top of page 53. He eventually answers, “yes, it’s still the same guy.”
And then, in paragraph four on that same page, you’ll read a slightly different version of what Kurzweil recites uncredited on A Decade. The first two lines of the mystery track are exactly the same. But starting with the third line, there are slight changes. (I’ve highlighted them in bold.)
“Jack also claims that he’s the same old guy, just newer. His hearing, vision, memory and reasoning ability have all improved, but it’s still the same Jack.”
In the book, following this passage, Kurzweil goes on and on about Jack, his enhancement possibilities and the constant questioning about whether “new Jack” can still creditably be seen as the “old Jack” despite seeing dramatic physical improvements that aren’t human, for another two pages in that chapter.
On page 126 of Chapter 6, Building New Brains…, he brings up Jack again, summarizing the ethical dilemma of whether a person who downloads themselves, or rather, gets “scanned” into a new and improved cybernetic body can still be the same human being they once were:
“Subjectively, the question is more subtle and profound. Is this the same consciousness as the person we just scanned?”
Kurzweil gives a conflicting answer:
“If he–Jack–is still around, he will convincingly claim to represent the continuity of his consciousness. He may not be satisfied to let his mental clone carry on in his stead.”
R.K. Jack is an uncredited, exclusive outtake since it did not appear on Spiritual Machines.
More than two decades after being wowed by Kurzweil’s thought provoking, yet now somewhat discredited and often overly rosy “futurism”, Our Lady Peace revisited the subject for an unexpected sequel.
In 2022, the band released Spiritual Machines 2 and launched an unusual tour to promote it. Once again, Kurzweil provided voiceover narrations, this time bragging about his supposedly accurate predictions from the previous century (something he also does in The Age Of Spiritual Machines when referring to the first book he wrote, The Age Of Intelligent Machines). He even offers new ones. Everything is properly listed and in the right order.
Mike Turner, the founding guitarist responsible for initiating the original project and who left the band after their 2002 American breakthrough Gravity, was brought back just to help spearhead the follow-up.
Molly, the fake humanoid Kurzweil lusted after in print and on record almost a quarter century ago, doesn’t appear on Spiritual Machines 2 but was brought back to life for The Wonderful Future Theatrical Experience, Our Lady Peace’s tour in support of the album, which also featured her creator in holographic form.
Five years after her first appearance in The Age Of Spiritual Machines, Molly was also revived in Kurzweil’s 2004 book, The Singularity Is Near. 15 years after their last fake conversation, not only does he talk to her from the year 2104, bizarrely he also converses with her 2004 version at the same time. In fact, the two Mollies talk to each other.
Although, there is an extensive conversation about the supposed future of virtual sex (which hasn’t really exploded yet, ahem), I’m happy to report Kurzweil no longer has a raging boner for Molly. It’s true what they say. We really do slow down when we’re older.
Molly, on the other hand…
Dennis Earl
Hamilton, Ontario, Canada
Friday, September 1, 2023
2:56 a.m.