[I like the idea of generative game/installation music as my next career. -egg]

We can often seem deaf to game audio in the same way we’re blind to animation. Maybe it’s because the best examples of both are so natural and chameleonic that they blend into a game’s broader objectives. Maybe it has to be Halo ostentatious or Amon Tobin trendy just to prick up our ears; or make the screen flash pretty colours. Or maybe Brian Eno has to be involved, as we’ll come to in a minute.Yet Weir’s work is fascinating, and goes some way beyond the more conventional fields of ‘horizontal re-sequencing’ shuffling pre-recorded segments of music and ‘vertical re-orchestration’ more complex dynamic mixes. It blurs the line not just between games and the real world – much of his work at sound design agency Earcom is generative soundscapes for shops, banks and hotels – but between melodies and chaos. What’s more, it invites games to become more than the linear B-movies imported from outgoing consoles, delivering something worthy of its ambition. He is currently an audio director at Microsoft.

via The Suite Science: Paul Weir Talks Generative Music | Rock, Paper, Shotgun.