I am quite interested in the way in which the author of this chapter breaks down the different types of liveness of Live Coding. For instance, (a) the liveness of machines and technology to provide real time feedback to the performer’s  input or (b)  the liveness of the performer as they engage with the code and produce new iterations of pregrammed ideas. This chapter, and lessons from this course, have corrected a misconception I had about live coding in the beginning. I believed live coding was only the moments where code was produced completely from scratch. In particular, this reading explains pregramming and juxtaposes it to the existing algorithms within the software that we use to perform. Beyond the performer building functions, there are already algorithms in place to run Tidal Cycles and Hydra, and I imagine, algorithms in place to be able to read these algorithms. Perhaps this is more visible for Mercury, the live coding software I researched for my first project. This coding space was constructed in Max, making the different levels of notation and liveness within them easier to grasp for me.  Then, even if Live Coding looks like calling functions or do blocks, it is still very much Live Coding. What interests me here is how this element of liveness is also a creative decision. That is to say, as live coders, we do not only write music and visuals, we decide how our piece and performance will engage with liveness. Perhaps the liveness lies in Nick’s Rap performance, or in Jun’s incredibly fast typing… at the end of the day, it is also in the hands of the artist. Furthermore, the author brings up horizons of these liveneses. Predictive coding or composed improvisation amongst the used terms. I look forward to seeing the future of creative coding! Especially now that we are (undoubtedly) part of this amazing community <3