This paper covered varied insights into topics including: what “live” means in a live performance; the role of the performer and the laptop plays in a set; and what is improvisation like in a live coding performance, etc. One part that really attracts me is the 5th chapter, in which the author tried to interprete the computer-based improvisation act with the old school free improvisation which is deeply rooted in the history of jazz. Jazz developed its own methods for unplanned performance, shaped by shared history and physical instruments. When transferred to a digital system, these methods must be adjusted for tasks such as bringing uncertainty with the random functions, or play with different parameters to create unpredictable sound effects.

The chapter also brings up the idea of the computer as a partner rather than just a tool. In many jazz settings, each musician has a voice in the group’s shared sound. The author proposes that a laptop or other digital device can also “respond” in real time, acting like an extra player. This suggests that computer-based improvisation is not strictly about striking keyboards or entering code—it can be performers manipulating external devices to adjust codes on the computers in the NIME field. This reminds me of a possible application: control the patterns based on EEG from both the performers and the audiences, so that everyone can engage in and create something based on their continuous brain pulses which reflect their feelings on the performance seems to be interesting.