We need to stop worrying and trust our robot researchers

The work of Francis Crick and James Watson gives us a vision of what's to come.

It’s now 60 years since the publication of the structure of DNA. As we celebrate the past, the work of Francis Crick and James Watson also gives us a vision of what’s to come. Their paper was not subjected to peer review, today’s gold standard for the validation of scientific research. Instead, it was discussed briefly over a lunch at the Athenaeum Club. In an editorial celebrating the anniversary, the journal Nature, which originally published the research, points out that this is “unthinkable now”.

However, peer review has always been somewhat patchy and it is becoming ever more difficult. This is the age of “big data”, in which scientists make their claims based on analysis of enormous amounts of information, often carried out by custom-written software. The peer review process, done on an unpaid, voluntary basis in researchers’ spare time, doesn’t have the capacity to go through all the data-analysis techniques. Reviewers have to rely on their intuition.

There are many instances of this leading science up the garden path but recently we were treated to a spectacular example in economics. In 2010, Harvard professors published what quickly became one of the most cited papers of the year. Simply put, it said that if your gross public debt is more than 90 per cent of your national income, you are going to struggle to achieve any economic growth.

Dozens of newspapers quoted the research, the Republican Party built its budget proposal on it and no small number of national leaders used it to justify their preferred policies. Which makes it all the more depressing that it has been unmasked as completely wrong.

The problem lay in poor data-handling. The researchers left out certain data points, gave questionable weight to parts of the data set and – most shocking of all – made a mistake in the programming of their Excel spreadsheet.

The Harvard paper was not peer-reviewed before publication. It was only when the researchers shared software and raw data with peers sceptical of the research that the errors came to light.

The era of big data in science will stand or fall on such openness and collaboration. It used to be that collaboration arose from the need to create data. Crick and Watson collaborated with Maurice Wilkins to gather the data they needed – from Rosalind Franklin’s desk drawer, without her knowledge or permission. That was what gave them their pivotal insight. However, as Mark R Abbott of Oregon State University puts it, “We are no longer data-limited but insight-limited.”

Gaining insights from the data flood will require a different kind of science from Crick’s and Watson’s and it may turn out to be one to which computers and laboratorybased robots are better suited than human beings. In another 60 years, we may well be looking back at an era when silicon scientists made the most significant discoveries.

A robot working in a lab at Aberystwyth University made the first useful computergenerated scientific contribution in 2009, in the field of yeast genomics. It came up with a hypothesis, performed experiments and reached a conclusion, then had its work published in the journal Science. Since then, computers have made further inroads. So far, most (not all) have been checked by human beings but that won’t be possible for long. Eventually, we’ll be taking their insights on trust and intuition stretched almost to breaking point – just as we did with Crick and Watson.

President Obama inspects a robot built in Virginia. Photograph: Getty Images.

Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

Alan Schulz
Show Hide image

An Amazonian tribe is challenging scientific assumptions about our musical preferences

The Tsimane’ – a population of people in a rural village in Bolivia – are overturning scientists' understanding of why humans prefer consonant sounds over dissonant ones.

It was 29 May 1913. Hoards of Parisians packed out the newly-opened Théâtre des Champs-Élysées. Messrs Proust, Picasso and Debussy were in attendance. Billed for the evening was the premiere of Le Sacre du PrintempsThe Rite of Spring, a ballet and orchestral work debuted by Russian composer Igor Stravinsky.

The attention and conjecture focused on the theatre that day meant expectations were high. However, within moments of the piece beginning, all preconceived notions held by the audience were shattered, as what was unfolding in front of them was a musical tragedy unlike anything they had ever witnessed.

A bassoon hummed into the ether before ballet dancers stomped on stage; the music, unpredictable with its experimental edge, drove forth the onstage narrative of a young girl whose selection during a pagan ritual saw her sacrificially dance towards death. Stravinsky’s composition and the ensemble of the night caused the room to descend from laughter and disruption to chaos and uproar.

The employment of dissonance – sharp, unstable chords – largely contributed to the audience’s disturbed reaction. Dissonant chords create a tension, one which seeks to be resolved by transitioning to a consonant chord – for example an octave or perfect fifth. These musical intervals sound far calmer than the chords which riveted the audience of The Rite of Spring.

Dissonant and consonant intervals find themselves as binary opposites; the frequencies at which notes played together vibrate determine whether an interval is consonant or dissonant. Consonant intervals have simple mathematical relationships between them, but greater digression from that simplicity makes an interval increasingly dissonant.

It’s long been believed  both experimentally and anecdotally – that the preference among Westerners for consonant chords highlights a universal, perhaps biologically-rooted, leaning among all humans towards consonant sounds. If you were present at the introduction of Stravinsky’s The Rite of Spring on that night of furore in Paris, you’d find it hard to disagree.

There is, however, a growing movement against this consensus. Ethnomusicologists and composers alike argue that favouring consonance may just be a phenomenon that has evolved from Western musical culture. And following the visit of a group of researchers to a remote Amazonian society, these claims could well be grounded in scientific evidence.

Led by Josh McDermott, an MIT researcher who studies how people hear, the group travelled to a village in the Amazon rainforest called Santa Maria. It’s populated by the Tsimane’ – a group of native Amazonians whose rural abode is inaccessible by road and foot, and can be reached only by canoe. There are no televisions in Santa Maria and its inhabitants have little access to radio, meaning exposure to Western cultural influences is minimal.

The researchers were curious to see how the Tsimane’ would respond to music, in order to determine whether they too had a preference for consonant sounds over dissonant ones. To everyone’s surprise, the Tsimane’ showed no preference for consonance; the two different sounds, to the Tsimane’ at least, were equally pleasant.

Detailing their research in a paper published by Nature, the group explains how the Tsimane’ people’s indifference to dissonance is a product of their distance from Western culture and music, removing any purported notion that humans are hard-wired to praise perfect fifths and fourths.

McDermott tells me that the Western preference for consonance may just be based on familiarity. “The music we hear typically has more consonant chords than dissonant chords, and we may like what we are most exposed to,” he says. “Another possibility is that we are conditioned by all the instances in which we hear consonant and dissonant chords when something good or bad is happening, for example in films and on TV. Music is so ubiquitous in modern entertainment that I think this could be a huge effect. But it could also be mere exposure.”

To fully gauge the Tsimane’ responses to the music, 64 participants, listening via headphones, were asked to rate the pleasantness of chords composed of synthetic tones, and chords composed of recorded notes sung by a vocalist. At a later date, another 50 took part in the experiment. They had their responses compared to Bolivian residents in a town called San Borja, the capital city La Paz, and residents in the United States – locations selected based on their varying exposures to Western music.

What made the Tsimane’ particularly interesting to McDermott and his group was the absence of harmony, polyphony and group performances in their music. It was something the researchers initially thought may prevent an aesthetic response from forming, but the worry was quickly diminished given the Tsimane’ participants’ measure of pleasantness on the four-point scale they were provided.

Unsurprisingly, the US residents showed a strong preference for consonance – an expected preference given the overrunning of Western music with consonant chords. Meanwhile, the San Borja and La Paz residents demonstrated inclinations towards consonant sounds similar to the US residents. The implication of these results – that consonance preferences are absent in cultures “sufficiently isolated” from Western music – are huge. We most probably aren’t as polarised by consonance and dissonance as we assume; cultural prevalence is far more likely to have shaped the consonant-dominant sounds of Western music.

McDermott raised the question about why Western music may feature certain intervals over others to begin with:

“One possibility is that biology and physics conspire to make conventionally consonant and dissonant chords easy to distinguish, and so that distinction becomes a natural one on which to set up an aesthetic contrast even if the preference is not obligatory. We have a little evidence for this in that the Tsimane' could discriminate harmonic from inharmonic frequencies, which we believe form the basis of the Western consonance/dissonance distinction, even though they did not prefer harmonic to inharmonic frequencies.”

There has been some criticism of this. Speaking to The Atlantic, Daniel Bowling from the University of Vienna said:

“The claim that the human perception of tonal beauty is free from biological constraint on the basis of a lack of full-blown Western consonance preferences in one Amazonian tribe is misleading.”

Though the results from the Amazonian tribe demonstrate a complete refutation of previous assumptions, people's musical preferences from other cultures and places will need to be analysed to cement the idea.

With research beginning to expand beyond WEIRD people – those from a Western, Educated, Industrialised, Rich and Democratic background – the tastes in music of people the world over may continue to surprise, just as the Tsimane’ did.

The Rite of Spring, which was met with ridiculing reviews has now been canonised and is considered to be one of the most important pieces of music of the twentieth century. A Tsimane’ crowd on that tender night a century ago in Paris may have responded with instant praise and elation. With further research, the imagined Bolivian adoration of a Russian composer’s piece in the French city of love may prove music to be the universal language after all.