The reading highlights the common nature between Live Coding and other art forms citing structure, rhythmic patterns, and sequence as key aspects. Initially, I held the assumption that music created through live coding might be overly repetitive or adhere to a rigid, machine-like formula. However, I’ve come to realize that the randomness introduced by computers can open up new possibilities and territories, particularly when used deliberately by the performer. Given that both repetition and chaos are essential elements in composition, Live Coding could serve as an ideal medium for achieving a harmonious balance between these two aspects.
The author also explores Live Coding as a practice resistant to hierarchical control, suggesting that it cannot be easily owned by established practitioners or institutions. Reflecting on this, I wonder if the independent nature of this movement could lead to excessive decentralization, making it challenging to keep track of its development. The proliferation of many similar live coding tools, each developing independently, may result in a situation where artists might not unify their power but instead fragment into individual parts. I believe a centralized platform offers advantages, providing a concise and focused space for artists and consumers to connect easily.