People often compare music to writing mathematical sentences, as both can convey a story of their own. Therefore, I think that it seems natural for sound and composition to represent both abstract and physical aspects of the world. Live coding, combined with visual elements, enhances this representation by engaging multiple senses, creating a richer, more immersive context for the audience. This multisensory experience aligns with Kurokawa’s central concept of “synaesthesia and the deconstruction of nature.” I believe that activating multiple senses simultaneously during a performance not only deepens the audience’s engagement but also highlights the intricate relationship between sound and visual representation. Similar to the way sound waves and color frequencies correspond, the synaesthesis theory leads me to wonder: if sound can be associated with specific colors, can colors, in turn, evoke specific sounds?

Furthermore, it is through the visual representation of sound that deeper meaning emerges. By transforming the auditory into the visual, the performance gains an additional layer of interpretation, embodying what Kurokawa refers to as the “decoding of nature.” This seamless fusion of “graphic analyses and re-syntheses” introduces a poetic quality to the performance, where sound and visuals breathe life into the piece. As a result, the work takes on the fluid, organic qualities of nature, embracing both its structure and its inherent noise and randomness.