They present a fascinating exploration of liveness in electronic music by contrasting the diametrically opposed performance philosophies of stadium DJ Deadmau5 and free improvisational guitarist Derek Bailey. By placing the highly predictable and playback based spectacles of Deadmau5 at one end of a continuum and the spontaneous real time composition of Bailey at the other, the authors effectively carve out a distinct theoretical space for the practice of live coding. This persuasively argues that, contrary to popular assumptions about laptop musicians merely pressing play live coding actually aligns much closer to traditional instrumental improvisation. By actively exposing the compositional labor through projected code and treating software as a fluid, real-time medium, live coders reclaim the laptop not just as a studio tool for reproduction but as a genuine musical instrument capable of spontaneous, unscripted expression.