"Artists and music journalists have been coining genres for decades, based on sounds shared between artists. This new era for genre is derived from listener data and labelled by engineers who, Seaver says, never expected to become authorities on the matter. This speaks to the contradiction at the heart of Computing Taste: it’s both easier and harder to pinpoint a person’s music taste than you might expect. It all depends on what you think taste is. Spotify can tell us how many times we loop a favorite song, make reasonable assumptions about the genres that speak to us, and deduce from GPS data what we might want to hear in the gym as opposed to the office. But Seaver stresses that a key anthropological question remains unwrapped: why do people love the songs that they do?"

Katie Hawthorne | Guardian

"Recommendations now 'drive close to half of all users’ streams', according to Spotify’s co-president Gustav Söderström. In Computing Taste, an ethnography of the data scientists and product managers working in 'the world of music recommendation', Seaver gives an account of the way this sort of technology operates. The job of his interviewees, who tend to work for private companies hired by streaming services, is to help their clients 'answer an apparently simple question: what’s next?'"

London Review of Books

"The central premise uniting these theories is that we can’t really tell an algorithm who we are; we have to show it. Platforms used to offer recommendations based on clear user inputs (consider that Netflix used to ask you to rate a movie out of five stars); now things have gotten murkier as our behavior is tracked and collated in complex, opaque ways. Consumers have learned to adjust their actions to get the content they want, according to Nick Seaver, an anthropology professor at Tufts University and the author of Computing Taste: Algorithms and the Makers of Music Recommendation. 'You were much more in control of how you represented yourself under those [earlier] systems,' Seaver told me. Now our behavior—even the embarrassing kind—generates our unique media world."

Atlantic

"Computing Taste is a valuable resource for scholars in music and anthropology at a time of increasing need of interdisciplinary dialogue between information technology and the humanities at large."

Notes

"A useful deep dive into precisely how these systems are built, the people who build them, their goals and aspirations, and much more."

Bill Marx | Arts Fuse

"Computing Taste: Algorithms and the Makers of Music Recommendation is a pleasure to read. It is well-written, with nice turns of phrase. I commend it to anyone interested in how media works in the 21st century."

Metascience

"Streaming music services are the norm today, but people don't often think about how they work or how they recommend the next song. Seaver peeks behind the musical curtain in this book about the humans behind the algorithms. . . . Music lovers and those who like books about artificial intelligence will enjoy Seaver's deep dive into the culture, data, and science of music recommendation systems. Computing Taste offers insight into algorithmic music recommendations that's entertaining and easily digestible."

Natalie Browning | Library Journal

"I would recommend this book if you identify with the following phrase, which is taken from Seaver’s interview with one music company engineer: ‘I’m plagued by the idea that there’s something I haven’t heard yet.’ Music nerds will especially appreciate that Seaver proposes definitions for topics that are hard to describe, like taste and genre. They will enjoy identifying their habits in Chapter 3, ‘What are Listeners Like?’ and learning how music engineers define obscure subgenres like ‘shiver pop.’ . . . The peeks into these veiled companies are almost reminiscent of spy novels. If you’re interested in start-up culture and liked The Social Network, there’s something for you in this book. Throughout Computing Taste, Seaver comments on the balancing act between artificial intelligence and human expertise. He says the title ‘is meant to index that tension’—to probe how technological systems can coexist with something as personal as music taste."

Hope Karnopp | Daily Cardinal

"The gap between technology and culture might not be as wide as we think, says Seaver in his analysis of how music recommender systems are produced. . . . You’ll come away from Computing Taste realizing that algorithms aren’t the enemy, ready to think again.“

Engineering and Technology

“Seaver’s nimble account of how contemporary music recommendation systems are conceived and crafted takes readers beyond easy oppositions of humans and algorithms to explore the captivating dynamics of taste and technics, hearing and computing, guidance and coercion.”

Natasha Dow Schüll, author of "Addiction by Design: Machine Gambling in Las Vegas"

“Computing Taste tells a fresh story in the increasingly crowded scholarship on artificial intelligence and culture. It will be immensely useful for those outside of computer science and engineering who want to understand how people think and work in the AI industry.”

Jonathan Sterne, author of "Diminished Faculties," "MP3," and "The Audible Past"

"Seaver’s exquisite and essential book brings us into an expert community aspiring to find the delicate balance between caring for and controlling the sprawling phenomenon of taste. The ethnographically engaging Computing Taste offers a complex rendering of the makers of music recommendation systems who believe that algorithms can predict and shape musical taste while also wrestling with the reductive absurdity of such a claim. Seaver’s theoretical creativity both pushes critical studies of technology in new directions and makes this book a joy to read.”

Lisa Messeri, author of "Placing Outer Space: An Earthly Ethnography of Other Worlds"

“Who are the programmers writing the music recommendation recipes that structure so many of our auditory habits in these digital days? How do these new taste makers script listeners into the musical multiverses their algorithms create? Seaver brilliantly tunes us to the cadences of these people’s works and lives, decoding the mix of cosmologies, capital, and computation that channel how and what we hear today.”

Stefan Helmreich, author "Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond"

“Perhaps there’s no accounting for taste, but as Seaver demonstrates in Computing Taste, his resonant and resourceful ethnography of music recommendation algorithms, musical taste can indeed be counted and coded. By listening to the sociotechnical dynamics of that translation process—the means by which aesthetic, subjective, social, and situational choices are transcribed into human-orchestrated algorithms—Seaver helps us appreciate not only the myriad harmonic parts that music and machines play in our personal and social lives, but also the many modes and contexts in which we listen.”

Shannon Mattern, author of "A City Is Not a Computer: Other Urban Intelligences"