Socio-Philosophical Foundations of Research of Artificial Intelligence in Art (in the Context of Music)

Introduction. At present, the artificial intelligence (AI) technologies develop rapidly, and spread widely in diverse spheres of human activity. One of the spheres where AI is actively involved, is art in all the variety of its manifestations. The AI usage in art spawns not only new creative and technological opportunities, but also new social and cultural challenges, that require timely reflection from the point of view of social philosophy. The article aims to identify the foundations of the aforementioned reflection for the studies of AI in musical art.

Methodology and sources. The article uses general scientific methods of analysis and synthesis, methodology of interdisciplinary approach, and philosophical methodology in the domain of research of social practices, that define the usage of AI in musical art. Foreign (A.-M. Gioti, N. Hageback, D. Hedblom et al.) and domestic (M.C. Burtsev, R.I. Mamina,

E.V. Piraynen, A.V. Popova et al.) scientific research literature, and electronic resources dedicated to the AI and to the AI in musical art in particular, are used as sources.

Results and discussion. The author has considered the theoretical foundations of studies of AI at the present stage of its development. Philosophical foundations of research of AI in art were analyzed. The peculiarities of using the AI in musical art were discussed. Strategies for studying the specificity of using the AI in musical art were matched to the foundations of research of the AI in the domain of social philosophy.

Conclusion. When studying the usage of the AI in arts, the research strategies can be rooted in several key foundations in the domain of social philosophy. The relative importance of the aforementioned foundations can vary depending on details of specific theme. In case of musical art, at least three of these foundations can be identified. More specifically, they are defined by choosing a point of view on the social subjectness of AI, on the capability of AI to create objects of culture, on the importance of social and cultural context for the evaluation of perspectives and limits of AI usage scenarios. Criteria for the decision between the aforementioned strategies include answers to the following questions. Firstly, the question about the nature of motivation that guides subjects of creative activity. Secondly, the question about the paradigm in the domain of social philosophy that constitutes the basis of the research. Finally, the question about the worldview and values of social groups that are in the focus of research attention.

1. Hegel, G.W.F. (1990), Vorlesungen über Rechtsphilosophie, Transl. by Stolpner, B.G. and Levin, M.I., Mysl’, Moscow, USSR.

2. Burtsev, M.S., Bukhvalov, O.L., Vedyakhin, A.A. et al. (2021), Sil'nyi iskusstvennyi intellekt: na podstupakh k sverkhrazumu [Strong artificial intelligence: approaching the superintelligence], Intellektual’naya literatura, Moscow, RUS.

3. Hageback, N. and Hedblom, D. (2022), AI for Arts, CRC Press, Boca Raton, USA.

4. Wooldridge, M. (2021), A Brief History of Artificial Intelligence: What It Is, Where We Are, and Where We Are Going, Flatiron Books, NY, USA.

5. GOST R 59276–2020. Sistemy iskusstvennogo intellekta. Sposoby obespecheniya doveriya. Obshchie polozheniya [Artificial intelligence systems. Ways to ensure doveriya. General provisions], available at: https://gostassistent.ru/doc/ea6e0879-c26d-4eac-a4b4-9aad39b8e778 (accessed 20.05.2023), RUS.

6. Babcock, J. and Bali, R. (2021), Generative AI with Python and TensorFlow 2. Harness the power of generative models to create images, text, and music, Packt, Birmingham, Mumbai, UK.

7. Mamina, R.I. and Piraynen, E.V. (2023), “Emotional Artificial Intelligence as a Tool for HumanMachine Interaction”, DISCOURSE, vol. 9, no. 2, pp. 35–51. DOI: 10.32603/2412-8562-2023-9-2-35-51.

8. Morkhat, P.M. (2017), “Risks and threats associated with the use of artificial intelligence”, Agrarian and land law, no. 12 (156), pp. 60–65.

9. Zylinska, J. (2020), AI Art: Machine Visions and Warped Dreams, Open Humanities Press, London, UK.

10. Shkalenko, A.V. and Fadeeva, E.A. (2022), ”Impact of artificial intelligence on creative industries: trends and prospects”, J. of Volgograd State Univ. Economics, vol. 24, no. 3, pp 44–59. DOI: 10.15688/ek.jvolsu.2022.3.4

11. Komashko, M.N. (2022), ”The institution of authorship and artificial intelligence”, Works on intellectual property, vol. 42, no. 3, pp. 98–109. DOI: 10.17323/tis.2022.15939.

12. Elkina, V. (2017), “Artificial intelligence has learned to compose music, just like a human”, Rb.ru, 22.02.2017, available at: https://rb.ru/story/ai-composer/ (accessed 22.05.2023).

13. Perepelkina, O. (2021), “Neural sonata: how artificial intelligence generates music”, RBK Trendy, 23.07.2021, available at: https://trends.rbc.ru/trends/industry/5f84b49e9a794729fefb4c88 (accessed 22.05.2023).

14. MUSIIO By SoundCloud, available at: https://www.musiio.com/ (accessed 12.10.2023).

15. About Hello World, available at: https://www.helloworldalbum.net/ (accessed 12.10.2023).

16. AI Song Contest, available at: https://www.aisongcontest.com/ (accessed 12.10.2023).

17. YouCha, available at: https://you.com/ (accessed 12.10.2023).

18. Geroulanos, A. and Giannakopoulos, Th. (2023), “Emotion Recognition in Music Using Deep Neural Networks”, Advances in Speech and Music Technology: Computational Aspects and Applications, in Biswas, A. et al. (eds.), Springer Nature, Cham, CHE, pp. 193–213.

19. Hernandez-Olivan, C. and Beltrán, J. (2023), “Music Composition with Deep Learning: A Review”, Advances in Speech and Music Technology: Computational Aspects and Applications, in Biswas, A. et al. (eds.), Springer Nature, Cham, CHE, pp. 25–50.

20. Kirke, A. and Miranda, E.R. (2021), “Performance Creativity in Computer Systems for Expressive Performance of Music”, Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity, in Miranda, E.R. (ed.), Springer Nature, Cham, CHE, pp. 521–584.

21. Gioti, A.-M. (2021), “Artificial Intelligence for Music Composition”, Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity, in Miranda, E.R. (ed.), Springer Nature, Cham, CHE, pp. 53–73.

22. Маrkov, B.V. and Yarochkin, D.A. (2021), “Music against the challenges of digital society”, J. of Siberian Federal Univ. Humanities and Social Sciences, vol. 14, no. 6, pp. 810–821. DOI: 10.17516/19971370-0762.

23. Popova, A.V., Gorokhova, S.S., Aznagulova, G.M. and Abramova, M.G. (2020), “Concerning the Question of Determining the Role of Artificial Intellect in Music”, Music Scholarship, no. 2, pp. 7–17. DOI: 10.3377/2587-6341.2020.2.007-017.

24. Orekhov, A.M. (2007), “Social-philosophical sciences: for the statement of a question”, RUDN J. of Philosophy, no. 3, pp. 5–17.

25. Habermas, J. (2022), Theorie des kommunikativen Handelns, Transl. by Sudakov, A.K., Izd-vo “Ves' mir”, Moscow, RUS.

26. Crawford, T.H. (2015), “Bruno Latour: From the Non-Modern to the Posthuman”, The Palgrave Handbook of Posthumanism in Film and Television, in Hauskeller, M. et al. (eds.), Palgrave Macmillan, Basingstoke, NY, USA, pp. 37–44.

27. Boomy, available at: boomy.com (accessed 12.10.2023).

28. Johnson, A. (2023), “Spotify Removes ‘Tens of Thousands’ of AI-Generated Songs: Here’s Why”, Forbes, 09.05.2023, available at: https://www.forbes.com/sites/ariannajohnson/2023/05/09/spotify-removes-tens-of-thousands-of-ai-generated-songs-heres-why/?sh=34ac4f574f4a (accessed 12.10.2023).

29. Stable Audio, available at: https://www.stableaudio.com/ (accessed 12.10.2023).