Synesthesia is very commonly seen in contemporary art and I think it plays an even bigger role in the context of live coding. In the narrative of the artist-musician/musician artist, being able to interact with one form of sense as an artist and another as a musician becomes particularly potent when the tools themselves facilitate this blend. 

Abstract motifs in music and visuals and especially the idea of counterpoint in visuals as well as musically is something that I would look into as a tool for expression, as artists sought a universal language beyond representation. Just as musical counterpoint involves the interplay of independent melodic lines, visual counterpoint can be looked at through the juxtaposition and interaction of distinct visual elements like colour, form, or rhythm within a composition like Hans Richter’s work. 

Programming personality that moved into music. This is something we see greatly in the live coding community, again going back to Orca and Devine Lu Linvega from earlier in the semester, we see a lot of individuals being really good programmers and creating tools that help them bring musical ideas and motifs they inherit. The ability as a programmer to be able to wield coding languages as instruments for their artistic voice have made these individuals really good musicians/performers too. So in a sense in the scope of live coding, it goes beyond just touching on the two disciplines but for one ability to really be able to nourish the other.

In the very wide scope of topics that the article covers, art as an expression and art as a tool for fun is explored. Like in Fiorucci Made Me Hardcore (1999) there is one section where the dance looks entirely performative, while this may be besides the point. I think its very cool to see the performative side of the English club scene, in the same way as there are youtube tutorials on how to dance at a rave.