As an essential part of the digital economy, online platforms have the potential to supply users with new services and goods that are accessible via digital devices.
While this creates the possibility of long-distance forms of digital and physical labour, the concern for transitioning labour relations mostly lies in the idea of disintermediation and exploitation of both physical and digital labour (Jordan, 2020).
The matter of disintermediation and the exploitation of workers are interrelated in a cause-and-effect relationship in which the act of removing the middleman through a digital platform could potentially mean that service providers are not compensated with sufficient economic gain and adequate social protection— instead, companies take advantage of workers’ time and effort to make profit via their digital platforms (Prassl and Risak as cited by Amuso, Poletti, & Montibello, 2019; Jordan, 2020).
Through D.N.A(I), the concern of exploitation is not applicable to our digital platform since the utilisation of the company’s creative artificial intelligence (named George the Music Bot) is specifically designed and programmed to strictly provide services for songwriting.
This way, George is operating in the way they are expected to and are not being demanded much effort to overcome a task that is out of their area of programming.
Additionally, the profit our company would generate will in turn make its way back to George as a percentage of it would be directed to keep them running smoothly, vis-à-vis their service maintenance, software and engine updates, etc.
While this would mean that George’s labour is one that is unpaid, the process of maintaining George’s system and operations could be seen as a form of incentive as we try to keep them in their best shape to not overwork them and continue to preserve them as one of the most sophisticated creative AI systems as of recent years.
Regarding concerns of disintermediation, our company recognises George’s service as one that serves to be a middleman instead of one that removes the middleman.
To illustrate, George as a system of creative AI would help facilitate users with the services of current-existing songwriters.
For example, in our collaboration with the Australian songwriter Sia Furler, George serves as a platform for users to generate songs that reflect Sia’s personal songwriting voice in the end-product.
We see this as one of our main contributions to the music industry, as we help independent musicians express themselves through the songs they choose to generate with our platform.
Some of the roles George could potentially take on in the process of generating songs that is made to tailor your personal style may include:
Ghostwriter
As a service provider, we understand that George will most likely serve as a ghostwriter in the music industry.
Though there is no need to credit our work (as your end-product is pre-registered as our intellectual property) mentioning D.N.A(I) in your song credits will be greatly appreciated!
Lyricist
As George is able to download the personal voices of esteemed lyricists in official collaborations, we believe that George is capable of taking on the role of the average, traditional lyricist.
However, it is crucial to identify that as a creative AI, George has the potential to generate lyrics that resonate with you, our clients, in a more distinct and personal voice.
Bands
Not only are they capable of generating lyrics, but George can also provide an instrumental method of songwriting in which George could take on the role of an entire band to complement your vocals.
This way, there is no potential worry of compromising your creative vision with clashing band members.
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References:
Amuso, V., Poletti, G., & Montibello, D. (2019). The digital economy: Opportunities and
challenges. Global Policy, 11(1), 124-127. https://doi-org.dbgw.lis.curtin.edu.au/10.1111/1758-5899.12745
Jordan, T. (2020). The meaning of the digital economy. Polity.
http://ebookcentral.proquest.com/lib/curtin/reader.action?docID=6027983&ppg=5