Kammer 2

AI DISCOURSE #4: POP CULTURE

LECTURE BY LIZ PELLY – STREAMING SERVICES: THE CONSEQUENCES OF PERSONALIZATION ON MUSIC / PANEL WITH PETER KIRN, LIZ PELLY, VILLE HAIMALA (AMNESIA SCANNER), MODERATION: CAROLINE BUSTA // IN ENGLISH, FREE ENTRY

panel

Over the past 20 years, technological development has led to a radical reorganization of the music industry. In particular, the advances in deep learning, along with the ability to control the selection of songs using algorithms, or to have a track composed by machines, raise fundamental questions about identity, authorship, and creativity. What is actually an author today? Is it even possible to distinguish between music as a social force produced by humans and its algorithmically generated „opposite“?


On June 15 at 4 pm:

Lecture: LIZ PELLY – Streaming Services: The Consequences Of Personalization On Music

As today’s streaming services seek to maximize profits and perfect their seamless, ‘frictionless’ products, what’s most devalued is music itself. On Spotify, a key tool in the service’s pursuit of efficiency is algorithmic, personalized playlists. In this context, the mechanisms of personalization ought to be interrogated, especially as data-driven advertising strategies increasingly shape behavioral manipulation. The result: a platform that claims to be neutral repeatedly incentivizes certain types of music, and types of interactions with music, that benefit its bottom line. Streaming is changing everything from the social economy of music to what songs sound like.


Afterwards panel with: PETER KIRN, LIZ PELLY, VILLE HAIMALA

Moderation: CAROLINE BUSTA

When Spotify was founded in 2006, it aimed to solve the problem of online music distribution, remunerating artists for plays. Thirteen years on, it is a massive data node that is having a profound effect on how artist and audiences connect. As this panel follows a talk by Liz Pelly, special focus will be given to the terms of autonomy in cultural production today. It will consider both the role that so-called indie culture has played as a validator for Big Tech’s advances and also how actual independence might be defined at this juncture —and at what cost it can be claimed.

The panel will also explore how this new age of anonymous producers, taste by algorithmic selection, and artists-as-meme is informing what and how musicians create; and how artists such as Amnesia Scanner, for instance, by embracing these phenomena and likewise obfuscating their personal identities, have reclaimed private creative space in the face of pervasive contemporary pressure to always and in all aspects of life put one's personal self on stage.

Finally, there is the question of what systems of music production, reception, circulation, and remuneration we actually want.

This panel brings together three figures working in different capacities within the current music industry:

The New York musician and music journalist Liz Pelly, who has written extensively on Spotify and what, in a time of music streaming platforms, we might take the term "independent music" to be.

Musician, Composer, Journalist Peter Kirn, who in 2005 founded Create Digital Music (https://cdm.link), an online magazine for creative technology in the music sector.

Amnesia Scanner's Ville Haimala, an artist and music producer has also collaborated with artists such as FKA Twigs, Holly Herndon, and Anne Imhof.

Caroline Busta is the founder of the tech-critical media outlet (https://newmodels.io) and former editor-in-chief of Texte zur Kunst.


Part of the festival “Politik der Algorithmen – Kunst, Leben, Künstliche Intelligenz” from June 11 to 16, 2019


In cooperation with

Z COMMON GROUND, Studiobühne der Theaterwissenschaft München
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Funded by

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Presented by

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