Culture and Politics of Machine Learning in NIME: A Preliminary Qualitative Inquiry

For several years, the various practices around ML techniques have been increasingly present and diversified. However, the literature associated with these techniques rarely reveals the cultural and political sides of these practices. In order to explore how practitioners in the NIME community engage with ML techniques, we conducted interviews with seven researchers in the NIME community and analysed them through a thematic analysis. Firstly, we propose findings at the level of the individual, resisting technological determinism and redefining sense making in interactive ML. Secondly, we propose findings at the level of the community, revealing mitigated adoption with respect to ML. This paper aims to provide the community with some reflections on the use of ML in order to initiate a discussion about cultural, political and ethical issues surrounding these techniques as their use grows within the community.

[1]  The Gender Gap and the Computer Music Narrative - On the Under- Representation ofWomen at Computer Music Conferences , 2021, array. the journal of the ICMA.

[2]  William Agnew,et al.  The Values Encoded in Machine Learning Research , 2021, FAccT.

[3]  Koray Tahiroğlu,et al.  AI-terity 2.0: An Autonomous NIME Featuring GANSpaceSynth Deep Learning Model , 2021, NIME.

[4]  Raul Masu,et al.  NIME and the Environment: Toward a More Sustainable NIME Practice , 2021, NIME.

[5]  Jon Gillick,et al.  What to Play and How to Play it: Guiding Generative Music Models with Multiple Demonstrations , 2021, NIME.

[6]  Charles Patrick Martin,et al.  A Laptop Ensemble Performance System using Recurrent Neural Networks , 2020, NIME.

[7]  Baptiste Caramiaux,et al.  Artificial Intelligence in Music and Performance: A Subjective Art-Research Inquiry , 2020, Handbook of Artificial Intelligence for Music.

[8]  Andrew P. McPherson,et al.  A NIME Of The Times: Developing an Outward-Looking Political Agenda For This Community , 2020, NIME.

[9]  Shakir Mohamed,et al.  Decolonial AI: Decolonial Theory as Sociotechnical Foresight in Artificial Intelligence , 2020, Philosophy & Technology.

[10]  Adnan Marquez-Borbon,et al.  Addressing NIME's Prevailing Sociotechnical, Political, and Epistemological Exigencies , 2020, Computer Music Journal.

[11]  Rebecca Fiebrink,et al.  Reflections on Eight Years of Instrument Creation with Machine Learning , 2020, NIME.

[12]  Atau Tanaka,et al.  Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments , 2020, Organised Sound.

[13]  S. Merz Race after technology. Abolitionist tools for the new Jim Code , 2020, Ethnic and Racial Studies.

[14]  Alexandre Lacoste,et al.  Quantifying the Carbon Emissions of Machine Learning , 2019, ArXiv.

[15]  Sarah Fdili Alaoui,et al.  Making an Interactive Dance Piece: Tensions in Integrating Technology in Art , 2019, Conference on Designing Interactive Systems.

[16]  Os Keyes,et al.  Human-Computer Insurrection: Notes on an Anarchist HCI , 2019, CHI.

[17]  Anna Xambó,et al.  Who Are the Women Authors in NIME?-Improving Gender Balance in NIME Research , 2018, NIME.

[18]  Tom Feltwell,et al.  "Grand Visions" for Post-Capitalist Human-Computer Interaction , 2018, CHI Extended Abstracts.

[19]  Safiya Noble,et al.  Algorithms of Oppression , 2018 .

[20]  Fabio Morreale,et al.  Design for longevity: ongoing use of instruments from nime 2010-14 , 2017, NIME.

[21]  Ali Momeni,et al.  Ml.lib: robust, cross-platform, open-source machine learning for max and pure data , 2015, NIME.

[22]  Shaowen Bardzell,et al.  Feminist HCI: taking stock and outlining an agenda for design , 2010, CHI.

[23]  P. Janata,et al.  Embodied music cognition and mediation technology , 2009 .

[24]  V. Braun,et al.  Using thematic analysis in psychology , 2006 .

[25]  Georg Essl,et al.  On gender in new music interface technology , 2003, Organised Sound.

[26]  Richard E. Boyatzis,et al.  Transforming Qualitative Information: Thematic Analysis and Code Development , 1998 .

[27]  Geoffrey E. Hinton,et al.  Glove-TalkII: an adaptive gesture-to-formant interface , 1995, CHI '95.

[28]  D. Ihde Technology and the lifeworld : from garden to earth , 1991 .

[29]  B. Latour Technology is Society Made Durable , 1990 .

[30]  Anil Çamci,et al.  Latent Drummer: A New Abstraction for Modular Sequencers , 2022, NIME.

[31]  J. Jaimovich,et al.  Being (A)part of NIME: Embracing Latin American Perspectives , 2022, NIME.

[32]  Andrew Mcpherson,et al.  Quantitative evaluation of aspects of embodiment in new digital musical instruments , 2022, NIME.

[33]  A. Jensenius,et al.  CAVI: A Coadaptive Audiovisual Instrument-Composition , 2022, NIME.

[34]  Bob L. Sturm,et al.  De-centering the West: East Asian Philosophies and the Ethics of Applying Artificial Intelligence to Music , 2021, ISMIR.

[35]  Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity , 2021 .

[36]  Christodoulos Benetatos,et al.  BachDuet: A Deep Learning System for Human-Machine Counterpoint Improvisation , 2020, NIME.

[37]  Jim Tørresen,et al.  Parameterized Melody Generation with Autoencoders and Temporally-Consistent Noise , 2019, NIME.

[38]  Charles Patrick Martin,et al.  A Physical Intelligent Instrument using Recurrent Neural Networks , 2019, NIME.

[39]  Joseph A. Paradiso,et al.  The gesture recognition toolkit , 2014, J. Mach. Learn. Res..

[40]  Paul Dourish,et al.  Where the action is , 2001 .

[41]  David Wessel,et al.  Real-Time Neural Network Processing of Gestural and Acoustic Signals , 1991, ICMC.