Reading about “the instrumental impulse” in this paper reminded me of the psychological concept of Perceptual Narrowing—a cognitive phenomenon where, for efficiency, humans develop schemas that help make fast decisions, but in doing so, lose access to a broader range of possibilities. When I was studying about surrealism, surrealists believed one way to return to authenticity was through Automatism—letting the mind wander freely, uncensored. This mirrors the spirit of improvisation, where intuition precedes logic and the unknown is welcomed. I believe this can be applied to live-coding, or, in broader concept, improvisation becomes a tool not just for performance, but for rediscovering what expression and creativity can mean beyond established norms.

I was especially moved by the author’s framing of the computer as a romantic, expressive instrument—not just a cold rational machine. Just like traditional instruments, laptops in live coding are personalized by each performer’s unique techniques and approaches. In this way, every computer becomes a partner, emotionally bonded with the artist. This echoes how traditional musicians develop intimate relationships with their instruments, shaping their identity over time.

Lastly, I found the contrast between live coding and tools like Ableton or Radial insightful. While those tools prioritize accessibility and user-friendly design, live coding embraces the rawness of syntax and structural logic. From my perspective, neither is better or worse—just different in intention. Live coding reflects the artists’ passion for exploring the pure beauty of machine, representing a more experimental, deeply embodied relationship with technology—one that reimagines both the machine and the human in the act of creation.