To me the most interesting part of the text was the assertion that live coding is a more traditionally inclined musical performance mode than EDM/DJ-ing. I agree with the assessment that watching an artist write out lines of code on the screen is similar to watching a guitarists fingers glide on the fretboard or a pianists hands flourishing over the keys. A counter could be raised that the act of coding music is not as intuitively recognized as using traditional instruments. However, one must consider that novel instruments are always enigmatic when they’re introduced. In fact even instruments with long legacies like accordions, oboes, even pianos have mechanisms that are not understood by the lay person. So in a similar line of argument, one must treat the live coding GUI with similar grace. However, the author’s comparison of live coding to Derek Bailey’s improvisation on a physical instrument is a little misleading. Even though Live Coding environments are traditionally very experimental and pliable, it’s difficult to achieve true ‘freedom’ of expression. For example, Derek Bailey can very well start punching his guitar strings or cut them with a wire cutter to add unorthodox elements to his performance. But for in a live coding environment, there are still rules that have to be followed, functionality that is allowed and syntax that needs to be respected. In fact at one point the author says “live coding is, in other respects, not the “free” improvisation” referring to live coders “respecting the beat” or in other words following musical conventions. Still, I really enjoyed how the author takes the reader on this thoughtful investigation on how to exactly categorize live coding in the larger musical world and how big name artists fit into the world of live coding.
What I loved about this reading the most is Kurokawa’s approach to presenting his art. His content is very cohesive and well researched in all his projects but he curates his own pieces in a way that just looking at the artwork is an experience itself. He says he does not have synesthesia himself but he creates experiences keeping the principle in mind. He focuses on the implicit interactions that occur during an experience; the eyes seeing the beat of the music, the body feeling the vibrations of the light and the ears associating visuals with the sounds. I would imagine he would be really hard to work with for curators because he has such a strong vision for how his artwork is meant to be shown. But at the same time, I love his intentionality and direction. I really admire how he’s able to take the chaotic-ness of nature and our environment, and express it in its full abrasive glory while using simple interactions to immerse the audience in his world.