The ‘Voice AI Covers’ are reinterpretations of songs that borrow the voice of a singer to overlay it on existing tracks. With the rise of artificial intelligence capable of generating content, new forms of production have emerged within internet cultures. This practice of voice appropriation has become very popular among fans of various artists, allowing them to obtain personalized tracks. These covers are imbued with a strange ambiance, as if the voices come from another realm—a mystical digital space. The voices become ghostly stereotypes of the originals, immersing us in a world suspended between the virtual and the real. The emotions that emerge likely stem from the strangeness of this perfection of error, the glitches of the algorithm that waver like a voice on the verge of derailment.
For this residency, Zoé Febvre–Utrilla wishes to collaborate with AI by exploring the practices of Voice AI Covers and their limitations. Her project consists first of researching existing productions and their circulation, followed by an experimentation phase using different types of AI to create varied samples. By playing with the glitches and errors of AI, she aims to produce samples with unique sound qualities. These samples would then be shared on a collaborative drive where everyone could download, modify, and contribute to a community repertoire, inspired by exchanges within fandoms. This platform would also serve as a space for collective reflection on the creative possibilities offered by AI, ultimately leading to the production of a musical piece utilizing these samples.
Zoé Febvre–Utrilla is an experimental music artist. With a degree in Art from ENSAD – Nancy in 2020, she has developed her work around a range of media, from video to sound, visual and plastic installations. By appropriating the codes of pop and underground cultures, she questions the emotional and identity-based relationship we have with them. In her musical project, Dolores, she hijacks the use of effects pedals to turn them into an instrument that modifies her creations, both in a live process and in composition. She also feeds her sound productions with numerous musical samples, which ties in with her questions about the appropriation of cultures.
Residency in the framework of tekhnē, funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.