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Trading Faures: Virtual Musicians and Machine Ethics

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Trading Faures: Virtual Musicians and Machine Ethics 7UDGLQJ)DXUHV9LUWXDO0XVLFLDQVDQG0DFKLQH(WKLFV 1LFN&ROOLQV Leonardo Music Journal, Volume 21, 2011, pp. 35-40 (Article) 3XEOLVKHGE\7KH0,73UHVV For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v021/21.collins01.html Access provided by Durham University (6 Apr 2016 08:35 GMT) Trading Faures: Virtual Musicians and Machine Ethics a b s t r a c t Nick Collins Increased maturity in modeling human musicianship leads to many interesting artistic achieve- ments and challenges. This article takes the opportunity to reflect on future situations in which virtual musicians are traded like baseball cards, associated content-creator and autonomous musical agent rights, and the musical and moral conundrums that may result. Although many scenarios usical life may become very strange in- • Market forces promoting cer- presented here may seem far- M fetched with respect to the cur- deed as computer modelers continue to improve their vir- tain kinds of robot (for ex- tual emulations of human musicianship. Imagine the ability ample, highly compliant ones, rent level of artificial intelligence, it remains prudent and artisti- to share not only music but musicians, in a world of canned over more socially empowered cally stimulating to consider musical personalities, artist avatars and jobbing musical robots machines). them. Accepting basic human [1]. To paraphrase Aubrey de Grey [2], we might claim that curiosity and research teleol- there is a musician alive now whose commissioned simulacrum As the mention of debates about ogy, it is salutary to consider the more distant consequences will run millions of years in the future. Allowing for strong the immorality of computer games of our actions with respect to artificial intelligence (AI) scenarios [3], at some point, the might suggest, concerns over the in- aesthetics and ethics. systems may be autonomous enough to demand their own fluence of particular material and bank accounts, book their own gigs, chase or lead new musical censorship meant to control such trends, set their own riders. materials has recurred throughout Much of this discourse may appear only an artificially in- recorded history (substitute videos, movies, books, plays, tri- telligent construction, a fanciful pipe organ dream. In one tones and philosophical oratory for computer games, etc.). line of argumentation, interactive music systems are but pro- Employment issues caused by technology recall the social up- grammers anticipating the likely decision options in real-time heaval of the Industrial Revolution, or more specifically for performance, and the machines do not themselves hold sub- rebellious literary robota, Karel Cˇ apek’s 1921 play “Rossum’s stantial independent musical insight. Yet machine musician- Universal Robots,” in which the “slave-worker” word robot was ship continues to advance, and machine learning techniques coined [7]. These themes are very familiar from science fic- may undermine many sureties here [4]. Overlapping general tion, and in turn Isaac Asimov’s laws of robotics have become a AI research, improvements in computer vision, speech rec- starting point for much academic discourse on machine ethics. ognition, humanoid embodiment and other aspects of social Most existing ethical debate in music technology centers on integration for machines can only complement the work of intellectual property issues [8], although employment issues computer music researchers acting to stretch our expectations have also arisen as recording technology has developed [9]. of musical autonomous systems. No musical robot has yet killed a human being, accidentally Anticipating such trends has an ethical dimension; the or otherwise. It will inevitably happen at some stage, whether young field of machine ethics (also sometimes termed robo- through an AI’s pure enthusiasm to play a distant and difficult ethics) considers such matters as the ethical consequences of note in defiance of the human body’s limits under Fitt’s law, access to convincing virtual simulations, and inchoate robot or as an aesthetic consequence of some future danger music rights [5]. For example, in a 2008 paper, Blay Whitby [6] con- movement led by robotic practitioners. In counterpoint, we siders such issues as: should not deny positives to new AI systems too, such as edu- cational and therapeutic applications, alongside new musical • The danger of antisocial tendencies developing through possibilities. Musical agents may support practice in social ex- private abuse of robotic assistants, a debate parallel to con- change within the “safe” domain of music. Systems may act as cerns over violent depictions in computer games intelligent tutors, to the extent of becoming musical familiars • The resources invested in complex robots (lost to other that grow up with their human companions. Undoubtedly, projects, wasted by mistreatment) musical AI has consequences throughout online and offline • The need for careful vetting of robots working with vulner- social activity. able people (such as the trend towards robotic caregivers The legal status of artificial intelligences will be negotiated for the elderly) in alliance with shifts in the capabilities and prominence of AI in society. Real-world cases are already arising in virtual prop- erty associated with virtual worlds with exchange mechanisms to real currencies [10]. Software agents are already used exten- sively in finance, and the act of delegating decision-making to Nick Collins (composer), University of Sussex, Department of Informatics, University of Sussex, Falmer, Brighton, BN1 9QJ, U.K. E-mail: <[email protected]>. such an entity raises more problems the more independence See <mitpressjournals.org/toc/lmj/-/21> for supplemental files (such as audio and video) the agent takes on [11]. It is likely that legal issues around related to this issue of LMJ and accompanying CD. such systems will arise only gradually, with the continuing de- ©2011 ISAST LEONARDO MUSIC JOURNAL, Vol. 21, pp. 35–39, 2011 35 lay to really profound AI systems. Wood- software has also racked up massive sales, row Barfield outlines three cases fore- especially in Japan. In Hatsune Miku’s glimpsing growing independence of case, we might ponder how to apportion automata: “the current status quo of credit between the original voice artist, property, the status of an indentured Saki Fujita, the anime designer Kei, the servant, and status and associated rights promoting company Crypton Future Me- of personhood” [12]. Agents may even- dia and the legions of fans who create tually act as free individuals, or at least content such as songs and videos [15]. in some commercial cases as employees, The fan mania surrounding these “idoru” where presently they tend to be treated [16] can be clearly seen in footage of a as tools (with the programmer totally 3D animation show in 2010: Canned accountable). Perhaps some interesting animations hold the crowd entirely in precedent cases will arise in the field of their sway, and inhuman effects, such as musical AI in due course. appearance and dissolution, only add to In preparing this article, I approached the theater of the show [17]. a number of robot-musician builders, This sort of tireless virtual musician interactive system designers and com- is becoming a staple of music technol- posers to solicit opinions. Most were ogy development, with the synthesis of conservative in their estimation of the the singing voice now a realistic com- strong AI scenario. Nevertheless, they mercial target. Many of the longer-term Fig. 1. Kei (anime artist), image of Hatsune often alluded to the inspirational role of implications were discussed with the Miku. (© crypton Future Media, Inc. Used robot musicians, and in this spirit I pro- first commercial releases of the Voca- by permission. sourced from <www.crypton. pose that thought experiments based loid technology in 2003, such as both co.jp/mp/pages/prod/vocaloid/cv01_us. jsp>.) around far distant musical personalities officially and unofficially creating vocal may enrich dialogue and adventure. So fonts based on famous singers, mixing let us not try to suppress all fantasy but and matching singer simulations across take a healthy attitude honoring human historical periods and incorporating vo- international jurisdictions, and in many curiosity. cal synthesis as but one element within a cases cartoon characters have better legal In reality, we already see phenomena complete algorithmic music system [18]. protection than people [22]. including intensive algorithmic model- No major international pop singer has In an interesting artistic response to ing of musical styles, autonomous musi- yet licensed his or her voice for Vocaloid, the issues of simulation, The Formant cal systems circulated by email as software although it is just a matter of time un- Brothers’ work Le Tombeau de Freddie patches, machine-listening analysis of au- til such a singer in early or late career (2009) virtuosically synthesizes a Freddie dio recordings for expressive attributes, makes this move (while this might seem Mercury-esque voice, which is made to and virtual anime pop stars. After first more likely to be in late career, an open sing “L’Internationale.” In the accompa- discussing past and contemporary prec- source early-career release might act as nying text manifesto, they characterize edents, we will extend our remit to more a fantastic promotional tool and get the this type of artwork as exploring “spec- speculative cases in the domain of science “original” lots of gigs). The reaction of ters without the dead,” providing the fiction and futurology, which may even- one of the artists who provided the first Japanese neologism roku-gaku (a deri- tually pose the real ethical conundrums wave of Vocaloid voices, Miriam Stockley, vation of “recorded music”). Masahiro and provide artistic game-changers. is highly interesting in the context of an Miwa clarified that the duo has had no ethical discussion of such technology: contact with Mercury’s estate but consid- ered their work fair comment: Virtual Musicians “At first I was quite horrified by the idea,” already exist Ms.
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