在音乐人工智能的实践中,“人文主义”与“机文主义”的争论一直存在。拉图尔的对称性原则强调将人类主体和非人类客体放置在同等的地位,音乐人工智能的研究者也逐渐认识到,人与机器并非简单的主客体关系。传统音乐美学用“自律-他律”的二元关系来界定音乐人工智能的算法,本研究提倡采用连续统概念“人文-机文”来分析不同的音乐人工智能从业者秉持的哲学观念。研究采用参与式观察和深度访谈,以中央音乐学院音乐人工智能与音乐信息科技系为依托,调查了音乐人工智能从业者的研究立场及其转变过程。从业者对人工智能的术语及称谓变化,以及是否意识到用户自适应的问题,是ANT理论影响音乐人工智能的两个关键节点,对应了巴黎学派所提出的“转义”和“拟客体”概念。这表明拉图尔的对称性原则具有落地音乐人工智能语境的方法论潜力。

The longstanding debate between “humanism” and “computationalism” persists in the field of music AI.Latour's Principle of Symmetry,which advocates placing human subjects and non-human objects on an equal footing,has led researchers to recognize that the human-machine relationship transcends a simple subject-object dichotomy.While traditional musical aesthetics often employs the dualistic framework of “autonomy-heteronomy” to conceptualize algorithms in music AI,this study adopts a “humanism-computationalism” continuum as an analytical lens to examine the philosophical stances of different practitioners.Through participatory observation and in-depth interviews conducted in the Department of AI Music and Music Information Technology at the Central Conservatory of Music,this research investigates the positionality of music AI practitioners and its transformation over time.The study identifies two critical points at which Actor-Network Theory (ANT) manifests its interpretation power in music AI: changes in the terminology used by practitioners to describe AI,and their awareness of user adaptivity.These points align with the concepts of “translation” and “quasi-object” proposed by the Paris School,indicating that Latour’s Principle of Symmetry holds methodological potential within the realm of music AI.