Everyone has been passing around the Magic iPod this month. First Deep Blue beat Kasparov, then AlphaGo beat Lee Se-dol, and now we have Magic iPod taking down Girl Talk.
When you read stories about how artists come up with mashups (finding works with compatible BPM and keys, among other things), or how the Swedish pop factory mad scientists like Max Martin conjure pop hits, it seems inevitable that in our lifetime we'll have algorithms creating real pop hits.
How such work is received by a human audience is about more than its intrinsic qualities, however. In an objective competition like a game of Go, or when considering a mashup which is simply the synthesis of existing creative works, I suspect humans will be comfortable with acknowledging the achievements of an algorithm.
With original creative works, however, like music, novels, movies, I suspect humans will recoil from even intrinsically appealing creation if it was written by a computer program. Call it some variant of the uncanny valley effect.
We have a romantic attachment to human creation, and it may take a generation of people passing on before we overcome that cultural aversion. When a waiter places a beautiful dish in front of you at a restaurant, we like to imagine that a chef toiled over the plate in the kitchen, conjuring that beautiful, delicious entree from raw ingredients, fire, and ingenuity. When we read an engrossing novel, we picture a tortured writer banging on an old typewriter in a cabin by the sea, stopping from time to time to put out a cigarette and gaze out the window at the ocean waves trying to claw up the gentle slope of the beach.
When Beyonce drops Lemonade or any one of her jaw dropping awards show performances on an unprepared world, I like to believe the work was birthed from what is surely a vagina with mystic powers, belonging as it does to our modern icon of feminism and black empowerment.
It's not quite as appealing if the truth was that an algorithm finished processing in some computer lab somewhere. A progress bar on a monitor finally reaches 100%, and a file is deposited into a directory.
That's why if humans ever comes up with algorithms that are capable of creating popular works of culture, it's financially wise for the creators to claim the credit themselves, at least until many years of critical and popular embrace have accumulated. Then, and only then, spring the truth on the world.
We live in a Skinner box, and it was of our own making.