Theunis, I wasn’t addressing drudgery, but the quality of a type design.
By artificially removing the type designer’s exercise of taste in determining spacing, design veers towards impoverished me-too sequel, proscribing emergent qualities. That’s how algorithms create bubbles to trap people in cultural stasis.
Artificial means fake, dontcha know. What’s intelligent about that?
On the subject of drudgery, I suspect many type designers might actually enjoy putting on some favorite tunes and playing with the lovely glyphs they’ve drawn, getting to know the relationships between them all a little more profoundly, exercising one’s judgement, thereby keeping one’s good taste in shape (fitness!) and up to date.
As well as drudgery, kerning might also be considered meaningful human activity, after Morris, or Gandhi’s spinning. Type drawing is craft.
It’s important to develop new techology in a humanistic manner. For algorithms, that means treating them as tools to enhance the user’s abilities, not bypass and atrophy them. Therefore, the interface is critical. The worst situation is offering no control of the settings (preferences). Even when those are editable, so often the user just sticks with the default. Worse, many agencies and design firms change the default kerning settings in InDesign etc. to “Optical”, a dodgy proposition which can go spectacularly wrong.
But all this is theory; let’s see some typography.