
Recently, I watched a documentary on YouTube about the Moulin Rouge in Paris, the home of the can-can.
YouTube, being YouTube, thinks if you watch one video on any subject, they need to cram your feed with other videos on exactly the same topic for the next few weeks.
So I’ve seen more than my fair share of videos of people dancing the can-can in my YouTube feed lately.
However, it struck me that my brief foray into this uniquely Parisian dance might serve as a metaphor for our interactions with the tech world today…a world that’s higher on AI than the average French poet of the 1920s would have been on Absinthe and Gauloises.
Let me say, I’m not completely anti-tech. Microsoft Excel has been my constant companion through most of my working life. Although I’m just old enough to have kept a set of accounts on an entirely manual accounting system right at the start of my career, modern accounting software does a great job of keeping things simple and efficient.
However I firmly believe, notwithstanding the hype that’s generated about the sector, that tech is already at, if not beyond, the point of diminishing returns (individual organisations may, of course, deliver real value, even while the average return for the sector as a whole is at, or below, zero).
I wouldn’t want to go back to manual bookkeeping, but it’s also true that you can spend £100,000 on an accounting system with very little functionality beyond what you get, in pure accounting terms, from a £20 per month accounting system. They both produce perfectly acceptable balance sheets.
So, as more and more money is poured into AI-powered tech, I feel a shark may have been jumped.
With art, the whole is more than the sum of its parts
What I love about art is that you can’t approach it as if it was an engineering problem.
If your BMW stops working, you take it to a mechanic who diagnoses the problem through a process of elimination, before repairing or replacing the part that caused the problem.
This is a reductive process. The mechanic starts from a set of known factors and breaks the big picture problem of green smoke pouring out the back of the car, say, down into smaller and smaller elements to solve the problem.
However technically difficult it might be, after the mechanic has identified all the parts of the engine which work exactly as intended, through an entirely logical, reductive process, they must be left with whichever component caused the problem. Then all they need to do is fix or replace that and the BMW is back in the known condition they defined at the outset – stopping the green smoke coming out the back of the car.
Art works the other way round.
Artists start with small units of something – a brushstroke on a piece of canvas, an interesting bar or two of a melody, an idea for a movie – and build up to the big picture in the process of creating a finished work that amounts to more than the sum of its individual parts.
A painting by Picasso is more than a series of individual brushstrokes. Yes, the brushstrokes are part of the story, but that’s not all there is to a Picasso. There’s so much more beyond the purely mechanical process of applying paint on canvas.
Now, when I make statements like this, I usually get people telling me that sometimes art is terrible and sometimes engineers create something entirely new and end up sending astronauts to the moon.
Both of those observations are true, of course. But, outside NASA, not many engineers are trying to send people to the moon, whereas every artist is at least trying to create something more than the sum of the parts.
The Moulin Rouge
The Moulin Rouge has been a prominent feature of Parisian nightlife since the late 1800s. Over the years, it has hosted a wide variety of performances but, for many people, The Moulin Rouge is very much associated with the can-can.
Fun fact: dancers at the Moulin Rouge must be very tall – 5′ 9″ for women and 6′ 1″ for men, according to the Moulin Rouge website. This surprised me because every dancer I’ve ever met, male or female, has been about 5′ 2″.
At 6′ 5″, if I ever think of shifting into a dance career, at least now I know where to look for a job.
Of course, an AI-powered dancer hiring system would know that the average dancer is 5′ 2″ and would spend its time looking for people who were around 5′ 2″, while screening out candidates over 5′ 4″ as being too far from the average they’re looking for.
But there’s a reason your brain probably doesn’t hold the name of too many ultra-famous dance venues or ultra-famous dances. Put most people on the spot, and the can-can at the Moulin Rouge is probably the example that most often comes to mind.
AI might work after a fashion if you want bland, average, me-too results produced cheaply. It’s like a Third World backstreet sweatshop producing knock-off designer handbags to be sold out the back of an old Transit van in a pub car park. If it’s cheap enough, and mimics the original well enough to look like the real product on a quick glance, some people will buy one.
Although if the limit of your ambition is bland, me-too, copycat results, you might want to start wondering about whether that’s likely to be a good thing for the long-term success of your business.
Technology is poor at spotting excellence because it doesn’t fit neatly into a programmer’s “laboratory model” of how the world ought to work.
By definition, excellence means doing something most people can’t do or won’t do. If you truly want to be the best, a “me-too” average isn’t nearly good enough.
AI loves an average, though. The entire sector works on the basis of trying to spot what average looks like and then replicating that.
Although, if AI is only shooting for the average, that means there are a huge number of potential solutions above that 50% average line. That’s the territory where excellence lives.
In case you think I’m being harsh, try applying for a job online. Automated screening systems are designed to surface bland, tick-box conformity for shortlisting and send “Dear John” letters to the really good people who don’t tick all the boxes for some third-rate, average-seeking, pattern-matching algorithm.
The role of tech in recruitment, as far as I can see, has been to dilute the average quality of shortlisted candidates, because the really good ones, by definition, don’t look like the average candidates the algorithm is designed to find. So they never get invited to interview.
Getting in the reps
My experience is that accountants who have done manual bookkeeping at some point in their career tend to be vastly better accountants than those who have only ever learned which buttons to push on a computerised accounting system. (Exceptions apply in both directions, of course.)
That’s because doing a set of accounts manually gives you a feel for how accounts really work because you’re always posting the double entry at the same time. So you’re putting in the reps and really getting to grips with how a set of accounts really works.
With computerised systems, you often only post one side of the entry and the other side magically posts itself within the software.
For as long as it works, that’s fine. However, a few years ago I worked with an excellent colleague who, I was astounded to learn one day, didn’t know how to correct an error in the system (which just needed a simple journal, for any accountants reading this).
This person was incredibly hardworking and efficient, and did a great job…unless something went wrong, when they didn’t understand double-entry bookkeeping well enough to correct the error. They were fantastic at “working the system”, but very poor at understanding what was really going on when they pressed the buttons on their screen.
Something similar, although vastly more glamourous, I’ll grant you, happens at the Moulin Rouge.
Dancers don’t just rock up 10 minutes before a show, pop on their costumes and go out on stage.
No, they’ve been at dance classes since they were 5 years old, training hard, building up the muscle memory, finding better and better ways to express the music through their movements.
Before they get good enough to even audition for the Moulin Rouge, those dancers have practiced the same moves 1000s of times until they’re perfect.
AI, on the other hand, doesn’t do the reps. And its proselytisers would have you believe that the reps are unnecessary on your path to excellence (that’s excellence in AI terms, so average to the rest of us, of course). After all, why would you need to put in the reps when you’ve got a magic box of tech tricks to do that for you?
But in any field of human endeavour, the reps are what separate the excellent from the average.
Nowadays, I can glance at a set of accounts and know exactly the story they tell without even having to fire up Excel. I couldn’t do that at the start of my career 30 years ago, but I can do it today because I’ve had 30 years of practice.
Similarly, a skilled technician can tell you what’s wrong with your car just by listening to the engine for a moment and a skilled plumber knows what’s broken in your central heating system just by tapping a pipe.
I could go on, but you get the point – getting in the reps matters if you want to be the best at anything.
If, at this point, you think you’re prepared to settle for delivering a bland average result, ask yourself how sound a business strategy that’s likely to be when everyone who buys the same piece of software can get exactly the same result as you.
If you like that, you’ll like this
The tech world loves a bit of pattern matching. A common example is the “if you like that, you’ll like this” recommendations on just about every streaming service, ecommerce site, and travel website. Those recommendations are based on aggregating buying data from thousands of other people who bought what you just bought, and identifying what they bought next.
The theory is that if enough other people bought Product B immediately after buying Product A, then you probably will too. It’s not completely crazy as a concept, but equally just because someone else bought a copy of “War and Peace” and then bought a fishing rod, it doesn’t mean that’s necessarily what I want. Yet fishing rods will appear in my “people who bought that also bought this” recommendations.
There are some benefits, though. For example, it means that because I watched one video about the Moulin Rouge on their platform, my YouTube feed has been full of people dancing the can-can, to varying levels of ability, over the last couple of weeks.
I learned three main things from watching a selection of them:
1 – It ain’t just the moves
People can copy the moves…at least up to a point – there are little “cheats” that less skilled dancers deploy when dancing the can-can which most people in the audience wouldn’t notice.
However, the routine isn’t a state secret. You can go to the Moulin Rouge, watch a performance, write down the moves the dancers make, and try to replicate them with a group of 11 year-olds in a church hall if you want.
Most 11 year-old dancers have probably been dancing for 5 or 6 years and can, at least up to a point, replicate the moves.
I don’t mean this disrespectfully in any way. If you’re a kid getting your reps in for an audition at the Moulin Rouge 10 years from now, that’s absolutely fine (see above).
But, again respectfully, thousands of people a year are probably not coughing up £100s a ticket to watch that performance.
Yet the Moulin Rouge has no problem filling all their seats twice a day, with people spending £100s or £1000s to be there.
How can that be? After all, whether they’re performed by professional dancers at the Moulin Rouge or a group of youngsters in a church hall, they’re the same moves. So, presumably, the ticket price for those events should be the same, right?
Well, AI would say yes. But no human would, because we’re able to factor in things other than just the moves.
It’s too irrational for AI to deal with, but getting on an aeroplane, being in Paris, attending a show at a world-famous venue, seeing the best professional dancers in the world, and a whole host of other factors go into a decision which – irrationally to AI, but perfectly rationally to actual humans – make “essentially the same thing” worth either £0 or £1000s, depending on the context.
2 – The end result isn’t just the moves
Again, being respectful to young dancers getting in the reps, the tricky thing in copying a dance like the can-can is that the moves aren’t the moves.
Or at least, the moves alone are not the whole story. They’re just part of it.
Even something really simple like an instruction to “shake your pleated skirt as you move across the dance floor”.
Watch a professional Moulin Rouge dancer do that, then check out some of the other videos online. They are not remotely the same thing – the professionals have an effortless grace and style in even the simplest things that most people who just copy the moves can’t come close to.
And that’s also because of the reps. I don’t know for sure because, despite being tall enough for a job at the Moulin Rouge, I’ve never actually worked there as a dancer. But I’m prepared to bet that newly-hired dancers spend hours in classes working on the subtleties of how to shake those red, white, and blue pleated skirts. They’re not just set loose to work it out for themselves in the course of a performance.
Of course, that’s just a few seconds of each routine. The professionals do the same with every other aspect of their performance too. Yes, they’re incredibly talented dancers, but before joining the Moulin Rouge, they’ve been getting in the reps for 20 years or more.
In the hands of a skilled professional – whether that’s a Moulin Rouge dancer, an accountant, a garage mechanic or a plumber – the end result is always more than just the moves.
All AI can tell you is the moves.
3 – It’s not just you
I sometimes talk about my “law of exponential complexity”. Put simply, it means when you introduce another person, another piece of machinery, or another business process into an existing operation, the relationship between those elements is an exponential one, not a linear one.
If you currently employ 10 people and hire someone else, you haven’t increased the complexity in your operations by a linear 10%. You’ve probably increased it by 20%, 50%, 100% or more, depending on who they are and what they do in your business.
Tech can’t understand that because it only thinks in discrete units and has to assume there are no externalities or complexities, otherwise its entirely logical decision-making process could never reach a conclusion.
Sadly, in today’s world, we are drowning in complexities and externalities. Very few daily activities for the average human take place in completely closed systems, where we can pretend the real world operates like the inside of a hermetically-sealed laboratory environment to all intents and purposes.
There’s a sliding scale, of course, but the times you even get close to the “laboratory conditions” where tech alone might have all, or most, of the answers is probably less than 10% of the average person’s life.
We live in a profoundly irrational world. But tech can only operate rationally. So it misses all the important stuff.
One reason it’s challenging to be a dancer at the Moulin Rouge is that you can’t just think about yourself.
A performance is about the interplay between you and dozens of other people on stage. All sorts of things can happen – serendipitous moments of joy and calamitous moments of disaster – but you need to keep going regardless and adjust what you’re doing on the fly to fit those new circumstances.
Which, if you believe my law of exponential complexity, is going to happen relatively often. Putting 40 dancers on stage at any one time – even hugely skilled, well trained professionals – introduces 100s of extra ways a performance can go horribly wrong compared to just a single dancer replicating the component parts of the dance as a solo dancer.
The real skill of a professional dancer is in how they work with the bits that go wrong to make sure most people wouldn’t notice. You need bags of talent, and you need to have spent years learning your craft and putting in the reps, to be able to deliver excellence on the fly in any profession.
To AI, 40 dancers is just 40 x 1 dancer.
To anyone who knows anything about the real world, that’s not how the maths works at all.
An inability to think in complexity with multiple externalities and ever-changing variables is beyond the capability of tech today, and probably in my lifetime (if it ever does).
It’ll get a lot better
When I write articles like this, tech bros and tech gals give me two sorts of feedback.
The less talented ones tell me that 40 dancers really is just 40 x 1 dancer because they are incapable of thinking widely enough about the problem. They might be great at coding in the lab, but they don’t understand the real world in the slightest.
Those folks think the irrational world of reality, full of complexity and unpredictable externalities, should operate exactly like the hermetically-sealed laboratory environments in which they’re comfortable. There is zero evidence that’s likely to happen any time soon, but the tech bros and tech gals have to keep up the pretence that it does, otherwise their tech has no value.
More talented tech bros and tech gals tell me that, whilst they can understand – if not entirely agree with – my perspective today, tech will rapidly improve to the point where all my objections will be nullified.
While I agree the tech will probably improve, I suspect what’s really going to happen is that we’ll move from the equivalent of a troupe of 11 year-olds dancing the can-can to the equivalent of a troupe of 13 year-olds instead.
Ultimately the elements which lend themselves to a purely logical thinking process will be improved. But in an irrational world full of unpredictable externalities, even a “new, improved” version of that magnitude is not all that much closer to a good answer outside a tech company’s laboratory environment.
Respectfully to the young dancers involved, you’re unlikely to spend any more money to see 13 year-olds perform the can-can in a village hall than you would have spent to see the same dance performed by a group of 11 year-olds, even though the older dancers will have had more practice and are likely to be slightly better.
Yet you’ll still spend £1000s to see pretty much the same moves (subject to the caveats above) at the Moulin Rouge.
I…am…a…human
I can live with tech being tech. But when tech pretends to be human it’s about as cringy as listening to your grandmother recount the highs and lows of her love life at a family funeral.
A lot of AI reminds me of my days in the call centre world, when overseas call centres tried to sell into the UK by giving people who clearly weren’t native English speakers names like Dave or Jane and briefing them on the plotlines of Coronation Street and Eastenders so that “Dave” or “Jane”, 8 or 9 time zones away, could make customers think they were speaking to a fellow Brit.
The reality is these people were from entirely different cultural backgrounds where just knowing some facts about TV soap operas they’d never watched wasn’t nearly deep enough as a cultural back-story to fool the customers. The words, the script, the fake names, and the daily briefings on the plotline of Coro did not make overseas call centre operators seem remotely convincing as “Dave from Preston”.
That’s not to be disrespectful to the people concerned. They were just doing the job they were asked to do, to the best of their abilities.
Their employers, however, made the same mistake AI bros and gals make today.
They assumed that facts alone – the words which comprise 7% of the communication – were all their staff needed to appear British. The 93% of other, harder to find, culturally-specific stuff was, they believed, irrelevant.
It’s no wonder most people weren’t fooled – yet that’s pretty much what AI does.
And it’s quite sinister when you think about it.
People using overseas call centres in this way essentially started every new customer relationship based on a lie, just like the chatty chat-bots with names like Susan, who claim to be helping you with your customer service issues.
In reality, “Susan” is just some tech bro’s robot fantasy woman, only capable of operating logically based on whatever programme that tech bro installed in her memory.
I don’t find that “impressive technology”. I find that deeply disturbing on a psychological level.
It’s one thing to be upfront about the fact that you fired all your staff and you’re operating a purely AI-powered business. At least then I can click the back button on my browser immediately and go and buy somewhere else.
But if the first couple of interactions are semi-human…which isn’t all that hard to do as it’s usually only as you go deeper into a conversation with a chat-bot that they get found out…and you’ve made me waste a minute or two of my time before being able to click exit and go and buy somewhere else.
Now I’m likely to resent your business a lot more than if I’d just been told upfront that nobody at that business was serious about helping me solve my customer service problem and had palmed me off to an AI-powered version of “Dave from Preston” instead.
Contrast that with the can-can.
The can-can is 100% human. Humanity courses through the veins of the dancers…the successors of the Parisian working-class women of the 1800s who developed early versions of the can-can to let off steam after a hard week working long hours as a seamstress or a scullery-maid.
That’s why the can-can delivers joy in a way tech never will.
Of course, I get it to some extent. In my line of work, completing a purely logical exercise to get a set of figures to balance back to the number they should balance back to does bring a fleeting moment of quiet satisfaction.
As does completing a crossword, a sudoku puzzle, or writing a computer programme that makes a robot raise its “eyelid” to allow a camera to record the scene in front of it, I’m sure.
There’s intellectual satisfaction, of course, but that’s not nearly the same emotion as joy.
Satisfaction can come from logic. Joy can only come from humanity.
And if you run a business, ask yourself this: would you prefer your customers to be satisfied with your business or joyful about it?
If you want to run a truly exceptional business, you need a lot more of the latter than the former.
AI solves the wrong problem
To the extent that AI solves any problems at all – and I’m currently sceptical on that point, because all I’ve seen AI do so far is make everything worse – it solves the wrong problem.
It’s like the old saying about climbing the ladder perfectly, only to find out it was leaning against the wrong tree.
In the end, AI might work well in areas similar to PC-based computerised accounting systems in the 1990s. As long as there is no discretion involved – debits are always on the left and credits are always on the right – for low level functional tasks, maybe it has a role.
Maybe even in some data analysis tasks because AI can operate as an interface to save people having to learn how to programme complex data analysis software.
But most of the value in the world these days is in the intangible, not in the tangible.
AI handles intangibles really poorly…and is likely to continue doing so for the indefinite future because the real world is not as logical as tech bros would like to believe it is.
If you doubt me, think about the car you drive, the house you live in, and whether or not you’d pay £1000s to see a group of amateurs dance the can-can. Those are all entirely irrational decisions which we post-rationalise with a veneer of objectivity.
Most buying decisions are made emotionally, and post-rationalised logically. AI can perhaps pick up the post-rationalised logic, but it has no idea what the real decision was because that’s buried in a stack of mostly subconscious emotions on the buyer’s side of the transaction, and therefore invisible.
Trying to build a high-performing business has a lot more in common with putting on a performance at the Moulin Rouge than with managing digital 1s and 0s in a hermetically-sealed software laboratory.
I’ve certainly never yet seen a successful business which stays at the top of their game by doing exactly the same as everyone else. But that’s the path we’re on with AI, and tech solutions more generally.
Even when AI works well – which is a tiny fraction of the times it’s more evangelical promoters would have us believe – all it does is increase the pace at which the world is becoming commoditised in everything we do.
The Arts world knows there is very little mileage in trying to recreate a Moulin Rouge cabaret somewhere else and expect people to pay anywhere close to what they pay for the same show at the Moulin Rouge.
So they set out to do something entirely different. There is no significant value in copycat stage shows, which is why, in the Arts, the whole is more than the sum of the parts.
With tech it’s the other way round.
Over the last few years at least two major Twitter clones have popped up which look, feel and operate almost identically to Twitter.
Copying tech is really simple. Coding can never bring differentiation – or if it does, it doesn’t confer an advantage for long because it’s relatively simple to write alternative software to do much the same thing.
On the other hand, nobody is going to beat the Moulin Rouge at putting on performances of the can-can any time soon.
If you’re serious about building a high-performing business, ignore the tech bros and tech gals.
Rather than putting AI in charge of all your business decisions, go and watch a performance at the Moulin Rouge instead.
Watch closely and you’ll learn what it really takes to run a high-performing business.
If you’re interested in the documentary that was responsible for the YouTube algorithm sending millions of can-can videos into my feed, you can find that here.
And if probably goes without saying by this point, but I haven’t used AI to help write this article. I’d rather risk being terrible by my own hand than churn out bland me-too average filler with the help of AI.








