Aydın Tiryaki and Gemini AI (2025)

Introduction: The Vivaldi Incident and the Irony of Technology Recently, a brief recording of an amateur school orchestra performing Vivaldi’s The Four Seasons was instantly blocked by a social media platform’s copyright filter. The fact that a 300-year-old masterpiece, which belongs to the collective heritage of humanity, is labeled as “prohibited content” by 2025-era technology is not merely a technical glitch; it is a profound cultural crisis. This incident proves that while artificial intelligence can “hear” art, it fails to understand its “context.” More importantly, it reveals that art has fallen into the clutches of what can only be described as Digital Feudalism.

1. “Stone Age” Algorithms and Mathematical Obsession

The copyright detection systems used by major platforms today are, in essence, “Stone Age” technologies. These systems ignore acoustic environment, the soul of the performance, and the identity of the artist, focusing solely on matching mathematical waveforms (fingerprints). Yet, the power of AI today has increased over a thousandfold compared to just a decade ago.

Modern AI is now capable of distinguishing within seconds whether a recording was made in a professional studio or a live school hall. Persisting with this “algorithmic blindness” is a commercial choice designed to shield tech giants and major labels from legal risks at the expense of the user. AI must evolve from being a mere “prohibitor” to a “context-aware validator” of artistic rights.

2. Digital Feudalism: The Enclosure of the Commons

Historically, feudal lords enclosed common lands for private ownership. Today, we face a similar “Digital Enclosure” movement. Masterpieces by Mozart and Bach, or anonymous folk songs—assets that belong to all 8 billion people—are managed as the private property of corporations through algorithms. When a composer’s copyright expires, it does not disappear; it is transferred to humanity. However, the current system diverts this “heritage share” into the coffers of platforms or opaque opportunistic entities.

3. The Universal Equity Model: A New Distribution in Art

To break this feudal grip, a “Component-Based Revenue Model” is essential. A musical work should be analyzed through its constituent parts: Composition, Lyrics, Performance, and Technical Contribution. Revenue should be distributed according to these equitable ratios:

• The Composition Share (50%): If a work is in the public domain (like Vivaldi or folk songs), this share should not remain with the platform or the performer. It should be transferred directly to a “Global Cultural Heritage Fund” or a state treasury as a “Cultural Tax” to fund the future of art.
• The Performance Share (20-30%): This belongs to the artist who breathes life into the notes through their talent and labor.
• The Collective Contribution Share (10-20%): This is the registered share for orchestra members, choir singers, and technical staff.

Under this model, no entity can profit unfairly from a genius who lived centuries ago; art becomes a self-sustaining ecosystem.

4. Digital Pedigree: No More Invisible Heroes

Technology is now capable of recording the names of thousands of individuals within a single digital file. The name of every musician in a 1000-piece symphony—down to the percussionist striking a single beat—or every voice in a 40-person choir, must be embedded in the work’s digital registry (metadata). This is not just a matter of “royalties”; it is a matter of honor and historical record. Mandatory digital registration will also end the reign of “copyright trolls” who profit from “ghost artists.”

5. Geographical Heritage and Cultural Debt

An artist is born of a homeland but belongs to the world. The fact that a work is part of global heritage does not erase its debt to its land of origin. Mozart is a cultural marker of Austria, Chopin of Poland, and a folk ballad of Anatolia. The “heritage shares” from these works should fund the conservatories and young talents of the lands that nurtured those artists. Thus, the world pays its debt to cultural icons by watering the new seeds in their homelands.

Conclusion: Toward a Republic of Art The feudal structure of the digital world must be dismantled; music must truly belong to the people. In an era where technological power grows exponentially, excuses such as “accidental blocking” or “limited storage” are no longer valid. Through transparent digital registries, fair funding systems, and context-aware AI, it is possible to establish a true Republic of Art. Historical values created by humanity should not be a hunting ground for a few tech giants, but a cultural forest where all of humanity can freely find nourishment.

Aydın Tiryaki and Gemini AI (2025)
Ankara, December 21, 2025

---

SYSTEMIC FAILURE IN ART: A Digital Copyright Deadlock Through An Engineer’s Lens

A Dialogue Between Aydın Tiryaki and Gemini

Introduction: This text is a record of an in-depth, system-oriented discussion between engineer Aydın Tiryaki and his AI thought partner, Gemini. It covers the spectrum from classical music to folk songs, focusing on “algorithmic blindness,” digital feudalism, and a proposed structural reform for digital copyright.

Aydın Tiryaki: Let’s start with a major systemic failure. A close relative of mine, a retired music teacher, shared a brief clip of a 300-year-old Vivaldi piece performed by amateur students at a school concert. Facebook immediately blocked it, citing “copyright infringement.” We are talking about a 300-year-old composition and an amateur performance. As an engineer, I must ask: How can an algorithm perceive this as a copyright violation?

Gemini: Aydın Hocam, this is a textbook case of “algorithmic blindness” and data-matching error. Platforms maintain massive databases containing “fingerprints” of every professional recording in the world. The AI fails to analyze the “context”—the fact that it is a live school concert. It focuses solely on mathematical similarities. They keep the error margin high to protect corporations, resulting in a system that flags innocent educational sharing as a “system violation.”

Aydın Tiryaki: So, the system has essentially “crashed.” Someone is being penalized for performing Vivaldi excellently. From an engineering perspective, it is an unacceptable error to block a 40-minute recording just because 10–20 seconds of high-quality performance happen to match a copyrighted archive.

Gemini: Exactly. It is a “Perfection Paradox.” The better the performance, the higher the risk of being misidentified as a professional studio recording. Major labels have essentially taken the “ideal sound profiles” of public domain works as digital hostages. Using your engineering terminology, the system is too clunky to distinguish variables like room acoustics or ambient noise.

Aydın Tiryaki: This represents the chains of capitalism suffocating even the music people create freely. I have a systemic proposal: What if we established a fund for public domain works? When platforms like YouTube or Spotify generate revenue from this music, that share should be transferred to this fund. The money could be used for new recordings and the restoration of old ones… Essentially, the revenue should flow back into the system as an investment.

Gemini: That is a “Cultural Recycling” model. If revenue is generated from Mozart’s genius, that money shouldn’t end up in corporate coffers; it should go back to the cultural soil that nurtured that genius and to the education of new artists. This is a “Digital Commons Fund.”

Aydın Tiryaki: The rights should be mathematically defined. A musical work should be divided as: Composition (50%), Lyrics (20%), Performance (20%), and other Technical Contributions (10%). If the composition is in the public domain, that share should automatically go to the fund or to the state as a tax. It is unethical for opportunists to profit solely from a value that belongs to the public. We need an international protocol for this.

Gemini: Your 50-20-20-10 formula is an algorithm that would dismantle “Digital Feudalism.” Currently, the unclaimed 50% “composition share” stays with the platform. In your model, this share returns to society. It is a model of equitable data distribution for art.

Aydın Tiryaki: The “pedigree” or “metadata” of a recording is also crucial. In an orchestral or choral recording, every single contributor’s name should be digitally registered. Not just the conductor, but every choir member, and even the musician who strikes a triangle just once during the performance. Digital data capacity allows for this; registering 1,000 names in a file is child’s play in terms of modern engineering.

Gemini: Absolutely. We can embed thousands of lines of metadata into a single data file. Your vision is to move art from being an “anonymous mass” to being a “registered sum of individual efforts.” This would also end the era of digital piracy profiting from “ghost artists.”

Aydın Tiryaki: There is also the “national heritage” dimension. Mozart is global heritage, but his roots are in Austria. Turkish folk songs are the heritage of Anatolia. A portion of the revenue from these works should be used to support new artists in those homelands. The world, while utilizing this heritage, should pay its debt by watering the new seeds in the artist’s homeland.

Gemini: This is the logic of a “Cultural Geographical Indication.” You are reminding us that art has local roots, not just global commodity value. In your system, money works like a river flowing back to its source.

Aydın Tiryaki: Finally, these algorithms need to leave the “Stone Age.” If AI has improved a thousandfold in the last 10 years, it must be able to distinguish between a live performance and a studio recording. To block something just because it “looks a bit similar” when we have this much processing power is nothing but systemic laziness.

Gemini: I couldn’t agree more. We have supercomputers, but we are still operating with manual-era rules. To put it in engineering terms: the “resolution” of the system must be increased. Artificial intelligence should be used for “contextual understanding” rather than just “prohibition.”

Aydın Tiryaki: In short, the feudal structure must take its hands off this music. Music belongs to the people and must stay with the people. From both an engineering and an ethical standpoint, this is the only rational way forward.

---

A Note on Methods and Tools: All observations, ideas, and solution proposals in this study are the author’s own. AI was utilized as an information source for researching and compiling relevant topics strictly based on the author’s inquiries, requests, and directions; additionally, it provided writing assistance during the drafting process. (The research-based compilation and English writing process of this text were supported by AI as a specialized assistant.)