
I occasionally have people stop by my social channels who tell me they disagree with my views on AI.
(Quick summary: I hate it. The people who stop by my socials to tell me I shouldn’t all appear to be on heavy medication of some sort.)
One of my objections to the technology (I have many others) is its widespread copying of other people’s intellectual property. Progress, my social stalkers say, has always been built on the achievements of people who came before us.
Which is absolutely true, of course. Except nobody stole Pythagoras’s idea and only told you that the square of the hypotenuse is equal to the sum of the squares on the other two sides if you paid their tech platform $200 per month.
Also, there’s a big difference between copying someone else’s idea wholescale to monetise it and using an idea as inspiration for something else – which is pretty much how people have “stood on the shoulders of giants” in past generations.
Every physicist inventing something today builds on Newton’s Laws of Motion. None of them are going on Twitter claiming they have just discovered that objects remain at rest unless an external force is applied to them, which is essentially what AI does when it “discovers” things flesh-and-blood human beings have known for millennia.
This came to the fore for me recently when AI music started to become a thing.
I’m a big music fan, and my deep scepticism about AI meant this was hard to view as a positive development.
But…the red pill addicts on Twitter say…throughout musical history composers have “borrowed” from what went before them.
Again, at a very superficial level, that’s true.
There are 8 notes in a musical scale. Millions of people have played an A-sharp before I ever did. None of them “owned” A-sharp, though, and I’m not claiming to have invented something new when I play that note.
I just press the key one semitone up from A natural, and there it is. A-sharp.
The notes in a musical scale are not a secret. They’ve been public knowledge for centuries. So using them to make a piece of music is nothing like the sort of plagiarism AI gets up to.
The key to being a successful composer is not in knowing that A-sharp exists. It’s in knowing how to use that in a particular context where that makes an emotional impact on the listener in some way.
There is maths involved
Of course, again at a very superficial level, there’s maths involved in music.
There are 8 notes in an octave.
There are 4 beats to the bar. At least most of the time.
There are 88 keys on a grand piano.
There are even mathematical ways to describe chord progressions like I – V – vi – IV. (Now that might look like letters not numbers, but that’s because musicians use Roman numerals to describe chord progressions. They’re still numbers.)
And sometimes there are some very neat mathematical things going on in a musical context. The introduction to Stevie Wonder’s “Superstition”, for example, is based on filling in every note in a bar of music piece by piece, with different instruments until every note has some instrument playing something on it. (Linked below if you want to check that out for yourself.)
None of that means music is all about maths.
Maths is involved in the same way as me keeping my eye on the numbers on my car’s speedometer means maths is all I need to know to drive from London to Glasgow.
AI folk would have us believe that everything is about maths, because everything in their lives is about maths. But I’ve yet to come across anyone who enjoys music because of the maths involved.
Sure, sometimes there are neat things going on which can be described in mathematical terms, but that doesn’t make a song special. I can assure you Stevie Wonder didn’t get out a setsquare and a slide rule to write the intro for “Superstition” even if the results of that process can be expressed mathematically.
But there’s a disconnect here for tech folk. They think because you can describe something in mathematical terms the maths is all that matters.
Worse than that, they think replicating, for example, a I – V – vi – IV chord progression on their laptop makes them a composer. Little kids who’ve been learning the piano for a relatively short amount of time know how to do that. It’s nothing special. But little kids are generally less delusional than people who write AI software.
The question is, once you know about a I – V – vi – IV chord progression, what do you do with it, so that that it moves the listener emotionally, because that’s what good music does.
Despite what tech folk think, only an infinitesimally small proportion of the population listens to music to enjoy the mathematics in it. Outside the tech industry, and a few secure institutions, very few people get that excited about maths. All the benefits of listening to music…every tiny little bit of it…comes from the emotions they create in the listener, not in the mathematics deployed by the composer.
Yet tech folk think that just because they can use technology to replicate infinite variations of I – V – vi – IV chord progressions, on the receiving end that will move people emotionally in the same way as a human composer might. After all, a piece of music is just I – V – vi – IV, right?
Unless you work in tech, you’ll likely see that argument as complete bunk.
But songwriters have taken that chord progression and turned it into a variety of very different emotional experiences for listeners.
The same maths are deployed in, for example, “All Of Me” by John Legend, “Another Girl, Another Planet” by The Only Ones, and “Despacito” by Luis Fonsi, featuring Daddy Yankee and Justin Bieber. That’s a pretty wide selection of different emotional responses from the same maths.
So maths alone isn’t what music is about. Although some maths is peripherally involved, music isn’t maths. Music is something else entirely.
And that’s true of most situations where you are trying to move a human to action in some way. Maybe you’re a songwriter trying to make someone happy…or sad. Maybe you’re a marketer trying to get people to see your product as aspirational. Maybe you’ve just noticed someone across a crowded bar that you’d like to get to know better.
Maths is not the most important element of any of those situations, although some part of all of them could be expressed in mathematical terms, even if that’s just the 20 steps between you and the person you’d like to get to know better.
“Not maths” is more efficient than maths
This might seem like an odd thing for an accountant to say, but even in accounting the numbers are of limited importance.
They’re necessary, to a level, of course. But numbers are the by-product of decisions made elsewhere. If you want your numbers to be different, you have to change the decisions made elsewhere. Working on the numbers themselves won’t change them – they are just the surface-level encapsulation of the results from all those upstream decisions made by other people.
And most of the time, you need to translate numbers back into emotions before people pay much attention to them.
“You’ve made 9 sales this month” is factual information and interesting up to a point.
“Make just one more sale and you’ll double your commission rate” is received entirely differently by the person you’re talking to, even if we’re still talking about the same 9 sales.
That’s why maths alone is poor at moving emotions. It might be factually accurate, but it’s usually seen as grey, beige, and/or dull on the receiving end.
So it’s something of a mystery to me why tech cos are trying to take something like music – which, by its very definition, is trying to move people emotionally – and then engineer all the emotion out of it.
They do that mostly because they’re emotionally-bereft sociopaths, of course, but also because they need to convert emotion into maths before they can get a robot to “write” music for them.
While it’s a close run thing, a computer has even less emotional capability than the average person working for a big tech company. But computers are very good at maths. So the only way a computer can “write” music is if the inputs are expressed in entirely mathematical terms.
This means computers are always less efficient than humans because a decision a human can make in a fraction of a nano-second (“Oh, I love this song!”) is replaced with thousands of API calls while some AI bot tries to cross-reference your Spotify playlist, YouTube views and Google searches with listening stats for both you and everyone else in the world to identify that, of all the songs in the world, you’re a statistical outlier in terms of the number of times you’ve listened to this particular one and the enthusiasm you clearly feel for listening to it.
Just think about that last paragraph for a moment.
Odds are high that there’s a piece of music that makes you go “Oh, I love this song!” whenever it comes on the radio or TV.
Odds are also high the second part of that paragraph left you a bit cold with, at most, a tiny element of “that sounds pretty clever” lurking around.
But set the instant “Oh, I love that song!” reaction against the $1000 in compute which takes a couple of minutes to come through and you’ll see that the emotions are vastly faster and vastly less expensive than getting to the same result via maths alone.
Replication
Once you’ve expressed music in maths, it becomes fairly easy to replicate, though. So there’s a particular breed of tech-obsessed person who thinks that’s a great idea because they can now replicate that song a bazillion times and monetise the outputs.
Except that’s not really the case. Because now you have musical notes without emotion and frankly nobody much cares about that.
John Legend’s “All Of Me” didn’t sell an estimated 12 million copies around the world because people loved the maths which underly the chord progression he used. It sold 12 million copies because it moved people emotionally.
“Despacito” didn’t sell 13 million copies because of maths. It’s because the song moved people emotionally too…but in an entirely different way to the way John Legend did it, even though Luis Fonsi (and co-writers Erika Ender, Daddy Yankee, and Justin Bieber, in varying combinations) were using the same maths.
And just to prove the point, “Another Girl, Another Planet” by The Only Ones, despite being critically acclaimed as one of the finest rock songs every recorded (an acclamation I’d fully agree with – I love that song), never even made the UK Top 40.
If maths alone could explain music, that would be impossible. Yet it’s the truth.
So, if maths alone can’t predict people’s emotional reactions – and certainly can’t predict whether they buy either 13 million copies of a record, or, essentially, zero copies – why do we think maths alone can be successful in any other field where human emotions matter?
Know, like and trust
Sticking purely to business here, as my experience of chatting up random strangers at bars is neither extensive enough nor successful enough to yield many helpful examples, if you’ve ever tried to sell anything to anyone, you’ll be familiar with the expression “know, like and trust”.
In essence, if you want someone to buy from you, they need to know who you are, like dealing with you, and trust you to do what you say you’ll do, without ripping them off.
No matter how you dress it up, in every sales relationship that’s what goes on. And pretty much all of the elements of “know, like, and trust” are emotionally-based.
The “know” element isn’t entirely emotionally-based because, for example, you might need to run a series of ads to make sure enough people know you in the first place.
But even how you do that has a big impact. Most people ignore most of the ads they see in a given day, and can’t even recall seeing them, if asked.
So the “know” bit is slightly more maths-based than the other elements. Unless you’ve put enough ads in enough places for long enough for people to notice them and register who you are, random strangers won’t know you exist, so you fall at the first hurdle.
But even here, it’s a lot more expensive to get people to know you through the use of beige, insipid AI copy and AI-generated visuals. That always blends into the background. Make an emotional impact and people will get to “know you” much faster because they’ll be more likely to pay attention.
So probably half the “know” and all the “like and trust” is entirely about emotions. There’s no maths in sight.
Even if you’re tracking metrics along the way, your prospect isn’t. Very few people outside the tech industry calibrate whether they trust someone or not with the aid of a spreadsheet – you either trust someone or you don’t, and much of the reasoning behind whether you do or not is entirely subconscious.
If you ask them, people often can’t explain why they trust someone or not. The wise ones don’t ignore any little twinges of concern in a business situation – if you think someone’s a bit dodgy, usually they are, even if you can’t quite put your finger on why you think that way.
So, although tech folk wish it were different, most humans are not governed entirely by the laws of mathematics. Maths has very little impact on a decision to, for example, know, like, and trust someone.
Insufficient and inefficient
Given that maths is insufficient for moving humans emotionally, let’s also consider how inefficient maths is in this context.
Tech folk trying to use AI software to connect emotionally with someone, to the extent that it’s possible at all (spoiler: it isn’t) don’t pause to consider how inefficient maths is at doing this.
With pretty much zero effort on my part, I can decide in a fraction of a second if I’m prepared to trust someone.
To use maths to come to the same conclusion – if indeed it did, which is unlikely enough in itself – we’re using up API calls, AI tokens, cloud computing resources, internet bandwith, a gazillion gigawatts of electricity, and goodness knows what else.
All to try (and usually fail) to replicate a decision I’d have taken entirely inside my head, with no external resources, in a nanosecond.
Technology is, by definition, highly inefficient at making decisions based on emotions – or in reacting to humans who are seeing the world through an emotional lens – because the tech folk who programmed them, and the computers who are making the API calls and doing all the calculations, are incapable of connecting with humans on that level.
You might not think that’s too much of a problem.
Apart from the fact that, for example, most buying decisions are made emotionally first and then post-justified with logic. That’s true of every important decision you’ve ever made in your life too. The emotions come first, then the logic.
AI software, and tech more generally, can only deal with logic. So that means AI software turns up only after the battle has been won or lost.
Except it has no way of knowing that yet, because it can’t calibrate emotions. So it deploys all those AI calls and all those computing resource to fight a battle that’s entirely pointless and unnecessary.
Will that AI tool claim all the credit for that sale? Probably, even though it didn’t make the sale – its customer’s emotions did. People will hail that as a success for their AI sales tool and conveniently ignore all the times that resources were wasted in the vain pursuit of an adverse decision that had already been made before the AI tool showed up.
AI tools might well have a helpful role to play in entirely logical activities, devoid of human emotion. But, outside writing code, that describes pretty much none of the decisions the average human makes every day.
Sure, if you ask them, they’ll probably give you seemingly logical reasons for their decisions. But it would be a real mistake to think that was what was really going on.
Maths alone is insufficient to describe, much less predict, human decisions.
And even where maths can be of some help, a human can do in a nanosecond something that takes $1000s of IT resources.
So it’s not only insufficient. It’s inefficient too.








