> Listeners want definitive form most of the time, but what about "music for airports" or for elevators, Sure that's a thing. Waaay back I built a system to

> Listeners want definitive form most of the time, but what about "music for airports" or for elevators, Sure that's a thing. Waaay back I built a system to go in Harrods department store and in other supermarkets, basically SBCs of similar grunt to Raspberry Pi's now, running Csound. I made generative scores to create sound effects and ambient music all day long. That company, The Sound Agency, is still going AFAIK. > And what about creators / composers? Did they show any interest at the time? Well of course. But here's where I have to bite my lip, because to be honest they don't always.. well artists. Eno obviously gets it. Guy coined the "Generative music" thing in so many ways... but Eno actually releases recordings. He selects the good stuff and puts it out as definitive form. I've always argued that's a different art form from what we were doing in the Shoreditch arts hacker scene back in 2005-2012. We were releasing stuff as code, so songs and albums in Supercollider or Pure Data - very much inspired by the German demo scene where it was common to release music as a .exe and each time you run it you get something a little different.