Inspiração em branco

o problema da representação em IA musical entre a plataformização, o extrativismo e o trabalho fantasma

Abstract

This article investigates the algorithmic production of music under the industrial rule of corporate platformization — what the market commercializes as democratic innovation, but which operates as an algorithmic fortress (AIaaS, extractivist AI) — from a critical perspective that articulates three theoretical frameworks. First, Christopher W. White's musicological analysis demonstrates how the probabilistic logic of tokenization and the proximal bias render impossible the generation of music as an act of embodied intentionality, where listening becomes gesture and form becomes event — that which human listening recognizes as lived Gestalt, irreducible to statistical correlation. Second, Mark C. Marino's Critical Code Studies allow us to investigate generation architectures locked behind proprietary regimes of opacity, through an "archaeology of the unavailable." Finally, Giorgio Agamben's ontology of technique is articulated to demonstrate that the fulcral problem does not reside solely in the economy of data extraction, but in the ontological transformation of music from use (uti, practice embodied by a living being) to function (fungi, the autonomous operation of a device). Against this industrial logic, the text contrasts the model of distributed authorship — practiced in experimental contexts outside corporate logic, where the composer acts as an architect of possibilities — with the "deactivation of deactivation": the restoration of algorithmic technique to its dimension of ethos and form of life, refusing function in favor of use.