Genius is truly a rare thing to find in the real world. The word gets bandied about quite a bit, but when you ask people if they’ve ever met a true genius the answer usually gets down to “really smart” and “genius” being worlds apart.
One thing you can count on, when that rare designation is used in marketing efforts the ensuing experience will almost certainly not bring “genius” to mind in any consumer.
Yet BusinessWeek is already doing so in its assessment of iTunes Genius;
Commentary: Apple’s Blueprint for Genius
Can we really blame mainstream users for thinking iTunes Genius is even remotely smart, not mention functioning at the “genius” level?
With Apple, its assault on the word “genius” began with the Genius Bar where we Mac/iPhone/iPod users could go with our questions in the local MacStore. My first encounter with Apple “genius” involved my iPhone, which foiled every “genius” at the Genius Bar that day. Imagine; it turns out that not one of them is actually a “genius“. Go figure!
The person who ultimately solved the problem for me during a late-night Tech Support telephone session admitted that the MacOS programming, on this score at least, was rather feeble. Running “fsck -fx” on my MacBook’s root directory took care of the inability to sync my calendars between my MacBook Entourage and my iPhone. Apparently, the collective “genius” at the Genius Bar missed their classes on Unix.
Enter the “Genius Sidebar” in iTunes, so far clearly able to recommend “Jackson Five” songs when you are playing “Beat It“. But don’t expect anything much more imaginative than that.
Recommendation of this simplicity was surpassed in the Web1.0 days and even earlier, the likes of MovieCritic.com (powered by LikeMinds) being among the best of the latter day content recommendation engines that asked for nothing in return but increased breadth on content appraisal so it could extend that ability to even more segments of rather markedly fickle content taste.
AMG recently purchased MoodLogic, a company that had an extensive collection of user data regarding their music, including some with lexical anchors for mood and ambience, among other interestingly unique musical dimensions like tonality and valence. So, going back to even 2005 it was already possible to generate playlists with mood inputs from the user, like “…give me an 8 song playlist starting out mellow, followed by jazzy country rock, then ending with 2 different torch vocal songs…”
And even that wasn’t “genius“. But it was clever as all get out. Ultimately, we were constrained by the inability to extend the limited lexical anchors to their logical synonyms, finding that something was lost going to that level of what we thought of as having fairly close lexical dissimilarity.
Extending the reach of similarity modeling was the real champion here. Looking past the classic data inputs (explicit via ratings and implicit via eCommerce transactions) wasn’t “genius” either, but it was utterly faithful to the successful mathematical modeler’s mantra, “…using data you do have to model data you don’t have…”
Where are such applications today?
LikeMinds is buried deep inside IBM’s WebSphere Portal Server, MoodLogic had its demise announced in 2008 by AMG in favor of its own “digital music recommender“, and NetPerceptions had its lunch eaten by Amazon by 2001. The rest seem to have either died or were subsumed into one platform or another to work “under the covers“.
So, where are the architects that accomplished this? Largely pushed aside by platform work, allowing applications as lame as Apple’s Genius to take center stage as Web2.0’s true “genius“.
I, for one, must protest.
Apple has changed the computing world in many wonderful ways over the years. Hardware, software, and even platform work with the likes of iTunes and iPhone prove their “genius” in this arena. But it is a mistake for any media outlet to assign them the de facto role as “knowledge management” leaders simply because they own the world’s most popular and successful music sales platform. That is just one more stake in the heart of those who seek to serve the consumer content they want, not sell them something they can be convinced to buy.
Perhaps the most compelling downstream benefit of such an effort is the wholesale lopping off of the long tail instead of the current craze to “promote” it via association! James Surowieck, of The New Yorker and “The Wisdom of Crowds” fame, in his article “In defence of Holywood“, posed the possibility of one day understanding how to know what it is that separates what people want from what is generally thought to be what they want.
In defence of Hollywood…
Enter the optimistic hope of making content production more efficient without crushing any creative spirit behind the entire process, a heady proposition to be sure. Yet why not? In few creative ventures will the honest artist be able to convince us that their artistic satisfaction isn’t irrevocably conjoined with its positive reception by some segment of humanity. Considering the production of art as purely altruistic strikes me as naive as seeing popularity as synonyous with excellence.
Why wouldn’t being in touch with what people want help an artist hone the edge of their own creative presentations? Where does it say that an author, screenwriter, or sculptor can’t realize how to help the rest of us see the world in new ways by being in better touch with what any of us want/like/enjoy? These blades always cut at least two ways, but it seems that the prime mission of generating revenue dulls an application’s “headspace” for any components with less than short-term (nee; instant) payoffs.
In many ways, if what the world sees of the state of recommendation engines today comes from Apple and its iTunes Genius Sidebar, they either weren’t awake to see how much better we were at this game back in 1999 or they just weren’t online yet. However, you can rest assured that the world is still very much in touch with the fact that most of the content-producers of the world haven’t got a clue what kind of content any of us will want next.
When iTunes Genius can recommend songs to you that reflect your mood, not merely mimicking a past playlist that “…seemed to have what I wanted at the time…“, you’ll know you are getting close to being good at recommending content. Not great, mind you, nor deserving of the “genius” moniker yet, but useful to the consumer to be sure.
Most recommendation engines are great at recreating the past without having learned a thing about what will go together for essentially the same sorts of taste-based reasons in the future. As usual, the ease of interpolation has won out over the predictive efficacy of the far more difficult extrapolation. Even worse is that the promise of data mining loses more ground to the ostensible and curiously “never-to-be-questioned“ efficiencies inherent to scaled computational fences.
So, recommendation engines of the world, now that you can scale does that mean your Boolean inference is going to meet Web2.0 consumers’ expectations for dynamic new-content aggregation and presentation?
Don’t feel compelled to answer, since the consumers are already registering their opinion with a big “yawn”.
TV