Abstract

Amidst the surge in AI-oriented commercial ventures, music is a site of intensive efforts to innovate. A number of companies are seeking to apply AI to music production and consumption, and amongst them several are seeking to reinvent the music listening experience as adaptive, interactive, functional and infinitely generative. These are bold objectives, having no clear roadmap for what designs, technologies and use cases, if any, will be successful. Thus each company relies on speculative product visions. Through four case studies of such companies, I consider how product visions must carefully provide a clear plan for developers and investors, whilst also remaining open to agile user-centred product development strategies, which I discuss in terms of the ‘blind search’ nature of innovation. I suggest that innovation in this area needs to be understood in terms of technological emergence, which is neither technologically determinist nor driven entirely by the visions of founders, but through a complex of interacting forces. I also consider, through these cases, how, through the accumulation of residual value, all such start-up work risks being exapted for more familiar extractive capitalist agendas under the general process that Doctorow calls “enshittification”. Lastly, I consider a number of other more specific ways in which these projects, if their growth is achieved, could influence music culture more broadly.