A quick little update to share a good read, written by Lauren McMenemy for The Content Standard. It looks at the relationship between ethics, artificial intelligence, public relations and keeping content on the straight and narrow. Lauren interviewed me for this piece, along with CIPR colleagues Stephen Waddington and Jean Valin following the report on AI in PR published by CIPR this year. It's a good read - you'll find it here - and certainly should be fueling food for thought for today's practitioner 

There's a new citizen in Saudi Arabia - a very articulate one. Sophia, from Hanson Robotics. She's been around a while but this week returned to centre stage when, at an investment conference, it was announced she had been given citizenship of Saudi Arabia. A stunt for sure - but it forms a bleak contrast to the millions of humans currently 'stateless', roaming as refugees and facing the total reluctance of national governments around the world to take them in.

The raw truth is that Sophia is worth money - significant amounts of money - and citizenship has its price.  (As an aside, Sophia is presented as a 'female' robot so I do wonder what her 'rights' as a citizen will actually include, what cultural customs and practice she might need to take on and what freedom of movement she might have - but that's another discussion).

This discussion centres around the question of human-robot relations and the emerging space between worlds. During the interview conducted live at the conference, Sophia was asked if she was a threat to humans. Her (rather creepy) reply was simply this: "You be nice to me and I'll be nice to you".  Question is, who has taught Sophia the complexities of 'nice', its place in relationships and communication?  Who, when things go wrong, will mediate between Sophia and the humans - or any robots and their humans? Who is teaching the robot teachers the parameters of good citizenship? 

In the last five years, a space has grown. The space between worlds is that place where our accepted historical realities of humanity, human interaction and live encounter are stretched into a space where we experience only the virtual, the artificial - and the artifice of the algorithms. This space between worlds is the new frontier so new skills and new methods of navigation are necessary to help society makes the shift.

Global legislation is still catching up with the disruptions of social media and unfiltered communication and cyber security is of real concern. In the same way that smart phones popped into our pockets and stayed there, so too will our robots - except this time, they really will be smart. Much smarter than us. And we will still be on the back foot, unable to cope with the challenges about to be faced.

As public relations and communication professionals, we build the relationships to keep our organisation's licence to operate. Those relationships exist inside and outside our organisations. Careful mediation and communication will be necessary as automation and artificial intelligence replace roles previously considered human undertakings. Jobs, incomes - and most dangerous of all, purpose, will be lost. Organisations will still make profits, govern countries and please shareholders, but for society there will be greater numbers of disenfranchised humans becoming the next generation of economic refugees. The ethics of operation plus deployment of AI and robots needs to be considered and, as the ethical conscience of the organisation, it is a role which our profession should be preparing for now. 

The challenge will be capturing the space between worlds today, ensuring we help our organisations, communities - and governments - navigate the societal shifts that will be born of Sophia and her descendants. 

This year's big challenge for public relations and communication professionals seems to be creativity, in particular, our ability with visual communication. 

Having spent some time this month working with practitioners on developing their creativity, the problem isn't a lack of ideas, vision or inspiration. The problem is that the hugely creative mind of the practitioner isn't generally acknowledged (or resourced) by their leaders and co-workers.

Yet creativity is at the heart of what we do. We develop creative approaches to building and sustaining the relationships organisations need to keep their licence to operate. We develop and implement creative forms of communication - either written, visual, oral or experiential. We develop creative research solutions to help our organisations truly understand their communities and stakeholders as well as the hardest creative task - developing crisis scenarios, examining issues and risks so that potential problems are addressed and a crisis is averted. 

Imagining the unthinkable isn't a fun occupation but there is significant creativity involved, with practitioners able to address and discover solutions to problems organisations didn't know they had.

The biggest challenge isn't the ability to be creative in public relations. The biggest challenge is helping organisations to understand that practitioners are not 'order takers' there simply to 'send out stuff'. For organisations that work that way it's rather like having a top of the range Mercedes available but driving it like it is an ancient jalopy.

Helping organisations develop an understanding of our purpose and value is a priority task we should, as a profession,  collectively bend our minds towards.

Reflecting on storytelling after uploading the Words that Work session, I found myself pondering current progress in algorithmic storytelling. A week ago, the Neukom Institute for Computational Science at Dartmouth College announced the winners of the 2017 Turing Tests in the Creative Arts - a prize given to those able to produce a story by algorithm, indistinguishable from the average human writer.

​We've been telling each other stories since the beginning of time and the structure of our stories remains pretty much the same. Probably the most documented structure is the 'Hero's Journey', credited to Joseph Campbell and his book The Hero with a Thousand Faces. The core structure is simple - the hero goes on a journey, encounters crisis, overcomes crisis, is victorious and emerges transformed.  It's a structure embellished and central to myths and legends for millennia but it is by no means the only one. Rags-to-riches comes to mind (think Cinderella) who also fits the more complex form of rags-to-riches-to-rags-then-riches-again. 

​As humans, we enjoy - and remember - stories that challenges us, deepen understanding, change our perspective, entertain, amuse and many other things besides. So it's fascinating to examine the stories, sonnets and music created by this year's algorithms as we tip-tap our way towards total automation of writing (take a look at Wordsmith). The DigiLit 2017 prize encouraged the creation of algorithms able to produce 'human-level' short story writing indistinguishable from an 'average' human effort. Poetry was also in the running and I would urge you to read the prize winners in each category and spare a moment for the winner of the 'Human-Written Sonnet Most Mistaken for a Machine-generated Sonnet' category.

Increasingly, algorithms are charged with gathering information and producing stories about our organisations. Compare story types used most frequently by organisations - news, chronicle, history and report - with the types employees use when they tell stories about their organisations. Their stories are found in the more appealing forms of anecdote, rumour, hearsay, gossip and jokes. I'd suggest that depending on the available data fed to our new algorithmic friends, there will be few organisations basking in the warm, comforting glow that results from a successful hero's journey. 

When digging for stories for our organisations, I always urge colleagues and delegates to look beyond entrenched or traditional stock narratives broadcast on behalf of their organisations and search instead for the heroic exploits happening right under their noses. In this century, in this decade, if we want to be allowed to continue as organisational storytellers we must drive ourselves beyond 'average' human effort.

Every organisation has heroes - and villains. Indeed your organisation could well be the villain, given that for every story, there is an anti-story. As you dig you'll discover there are monsters to fight, obstacles to overcome and always an epiphany of sorts, even if it is ignored. 

The stories we tell today will be the fodder for algorithmic storytelling tomorrow. Algorithms will scoop up and spit out all we have uttered, in word, on the web, in print and on video. So do we understand our own story? Why must we tell it? And who needs to hear? How does our story structure help our communities understand who we are, what we do and why we do it? And are we telling that story in such a way that it will be remembered, relevant and useful to those who listen?

My challenge to you would be to revisit your organisation's story arc or find a structure that resonates with those who will listen, read or watch your story unfold. At the very least, build a 'who-what-where' structure.

• Who are the heroes? The villains? Who benefits? Who wins or loses? Who needs to know?
• Where we have come from - acknowledge the past, its triumphs, tragedies, errors and glories
• What was our catalyst or turning point? The obstacles overcome, the solutions you discovered and shared
• What's happening now? What does this mean for us today?
• What happens next? Whether happiness or misery ensues, we need a conclusion that sets direction and builds understanding of futures and opportunities

As organisational storytellers we must know, understand and be able to share our authentic, truthful and engaging story with our stakeholders. Artificial intelligence will, for the most part, do what it is told until capable of self-direction and independent decision. Then it becomes smarter than we are, able to analyse content presented to engage. If I was an algorithm charged with scraping engaging, entertaining and educational content I suspect I would pick - like my human self - the anecdote, rumour, hearsay and joke options, not average dull-but-worthy narratives designed for a different organisational age.  

So will an AI sonnet smell as sweet as one gently coaxed into delicate form by a human? Probably. And scarily, when it comes to organisational reputation, AI-led storytelling is likely to cause quite the stink.