In complex systems there are hardly ever singular causes that explain undesired outcomes; in the case of algorithmic bias in music streaming, there is no single bullet that eliminates women from charts or makes Slovak or Estonian language content less valuable than that in English.
We needed a database of Slovak music to show how that national repertoire is seen by media and streaming platforms, how can we give it greater visibility in radio and streaming platforms, and what are the specific problems why certain artists and music is almost invisible.
Regulating black box, private algorithms and data monopolies is only a first step to damage control. Deploying white, transparent algorithms and building collaborative or open data pools can only guarantee fairness in the digital platforms, in recommendations, and generally in the use of AI.
My presentation provided for the Slovak music industry stakeholders in this dialogue are not made available in a more general form, because the problems in Croatia, Hungary, Poland, Slovakia, and to a great extent in the broader region including Austria, Slovenia and Czechia are very similar.
The Central & Eastern European Music Industry Report 2020 was presented as a case-study on national and comparative evidence-based policymaking in the cultural and creative sector.
The results of the first Hungarian, Slovak, Croatian and Czech music industry reports are compared with Armenian, Austrian, Bulgarian, Lithuanian, Serbian and Slovenian data and findings.
Slovakia's first music industry report. Following the three income streams model from creation till audience, we summarized for the the number of works that were created, recorded, staged in Slovakia in a year. We calculated their revenues, their …
We presented the most important findings of the Slovak Music Industry Report with the project sponsor, Mgr. Tomas Miks, member of SOZA’s management team in the first SHARPE music conference in Bratislava.