Wisdom Of The Week

In his book Images of Organization, Gareth Morgan describes the way businesses are seen in terms of different metaphors, among them the organization as machine, an idea that forms the basis for Taylorism.

We can find similar examples in computing. For Larry Lessig, the accidental homophony between “code” as the text of a computer program and “code” as the text of statutory law becomes the fulcrum on which his argument that code is an instrument of social control balances.

Each generation, we reset a belief that we’ve reached the end of this chain of metaphors, even though history always proves us wrong precisely because there’s always another technology or trend offering a fresh metaphor. Indeed, an exceptionalism that favors the present is one of the ways that science has become theology.

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Once you start looking at them closely, every algorithm betrays the myth of unitary simplicity and computational purity. You may remember the Netflix Prize, a million dollar competition to build a better collaborative filtering algorithm for film recommendations. In 2009, the company closed the book on the prize, adding a faux-machined “completed” stamp to its website.

But as it turns out, that method didn’t really improve Netflix’s performance very much. The company ended up downplaying the ratings and instead using something different to manage viewer preferences: very specific genres like “Emotional Hindi-Language Movies for Hopeless Romantics.” Netflix calls them “altgenres.”

While researching an in-depth analysis of altgenres published a year ago at The Atlantic, Alexis Madrigal scraped the Netflix site, downloading all 76,000+ micro-genres using not an algorithm but a hackneyed, long-running screen-scraping apparatus. After acquiring the data, Madrigal and I organized and analyzed it (by hand), and I built a generator that allowed our readers to fashion their own altgenres based on different grammars (like “Deep Sea Forbidden Love Mockumentaries” or “Coming-of-Age Violent Westerns Set in Europe About Cats”).

Netflix VP Todd Yellin explained to Madrigal why the process of generating altgenres is no less manual than our own process of reverse engineering them. Netflix trains people to watch films, and those viewers laboriously tag the films with lots of metadata, including ratings of factors like sexually suggestive content or plot closure. These tailored altgenres are then presented to Netflix customers based on their prior viewing habits.

Despite the initial promise of the Netflix Prize and the lurid appeal of a “million dollar algorithm,” Netflix operates by methods that look more like the Chinese manufacturing processes Michael Wolf’s photographs document. Yes, there’s a computer program matching viewing habits to a database of film properties. But the overall work of the Netflix recommendation system is distributed amongst so many different systems, actors, and processes that only a zealot would call the end result an algorithm.

- Ian Bogost, TheCathedral of Computation