An Empirical Analysis of AI Slop in Music Streaming
AI垃圾音乐在流媒体中的实证分析
Stanley Wu, Josephine Passananti, Viresh Mittal, Wenxin Ding, Haitao Zheng, Ben Y. Zhao
AI总结 研究AI音乐在流媒体平台上的泛滥现象,通过分析Spotify数据和自建AI歌曲发布实验,发现93%的AI音乐播放量极低,且分发平台政策执行不力,检测方法不准确,预测若不采取措施将形成自我维持的灰色产业。
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生成式AI模型降低了内容创作的门槛,使得任何用户都能轻松创建专业外观的图像、文本和音乐。这催生了一个围绕“AI垃圾”创作的新兴家庭手工业——大量平庸内容被生产以牟利,通常通过冒充人类创作或涉及自动化脚本和虚假消费的骗局。虽然AI垃圾产业与“传统”电子邮件垃圾网络之间存在明显的相似之处,但现在判断AI垃圾生成能否发展成类似的自我维持产业可能还为时过早。在本文中,我们特别关注音乐产业,并探讨问题:我们能否阻止AI音乐垃圾发展成一个自我维持的影子产业?为了回答这个问题,我们描述了当前AI音乐垃圾的状态,及其从生成、分发到用户在流媒体平台上消费的管道。通过检查Spotify上的增长和参与度,我们确认AI音乐表现出AI垃圾特征:绝大多数(93%)的AI音乐几乎没有听众播放,也很少被推荐。AI音乐家“广撒网”,跨多种流派发布大量音乐,希望能产生热门。我们还通过11家独立音乐发行商生成并发布我们自己的AI曲目到流媒体平台,探索AI垃圾管道。我们发现发行商对AI音乐的政策不一致且大多未执行,使得发布大量生产的AI歌曲异常容易。最后,我们考虑AI音乐检测,发现当前方法缺乏准确性或鲁棒性。随着生成成本降低,我们认为除非音乐产业采取具体措施,否则音乐中的垃圾生成将变得自我维持。我们基于发现考虑并讨论潜在的缓解方法。
Generative AI models lower the bar for content creation, making it easy for any user to create professional-looking images, text and music with minimal effort. This has enabled a new cottage industry around creation of "AI slop" mass quantities of mediocre content produced to generate revenue, often through misrepresentation as human-authored content, or scams involving automated scripts and fake consumption. While there are obvious parallels between the AI-slop industry and "traditional" email spam networks, it might be too early to determine if AI slop generation can grow into a similar self-sustaining industry. In this paper, we look specifically at the music industry, and explore the question: Can we prevent AI music slop from growing into a self-sustaining shadow industry? To answer this question, we characterize the current state of AI slop in music, and its pipeline from generation, distribution, and consumption by users on streaming platforms. By examining growth and engagement on Spotify, we confirm that AI music exhibits AI slop characteristics: the overwhelming majority (93%) of AI music receive few, if any listener plays, and are rarely recommended. AI musicians "spray and pray," releasing large volumes of music across multiple genres in hopes of generating a hit. We also explore the AI slop pipeline by generating and publishing our own AI tracks onto streaming through 11 indie music distributors. We find distributors have inconsistent and largely unenforced policies on AI music, making it surprisingly easy to publish mass produced AI songs. Finally, we consider AI music detection, and find that current methods lack accuracy or robustness. As generation costs decrease, we believe slop generation in music will become self-sustainable, unless concrete steps are taken by the music industry. We consider and discuss potential mitigation methods based on our findings.