In this text, the author discusses the impact and role of the notation in live coding. It was interesting to read about different literature in music and computer science intertwined with the history of live coding. One of the parts that was most interesting to me was that different live coding platforms have their own perspective on live performance. The author compares using a different live coding language to switching between different natural languages, and that it can change how we shape our thoughts as coders. When I used Sonic Pi for the Research Project, I felt a similar transition in ways of writing the codes compared to TidalCycles. In Sonic Pi, you need to run the whole program again when you change the code, while you can choose to run a block of code in TidalCycles. Due to this difference in its system, I got the impression that I need to think from a broader perspective when using Sonic Pi, considering the big picture as I start a performance. I wonder if it would be also a different experience when I try another live coding platform. Another part I found interesting is how the author connects pattern-based music representations to computer algorithms and to textile weaving and braiding. Here, the author refers to another article by composer Laurie Spiegel, whose writing we read previously in class, about categories of pattern manipulation in computer music. I think it is really interesting that some of these pattern manipulation techniques can be directly mapped to basic computer operations such as bit shifting (‘<<’ and ‘>>’) to rotation.