Abstract
ABSTRACTLive coding – creating live music by writing and executing computer code – problematises conceptions of improvisation. Live coding differs from improvisation on most acoustic and electroacoustic instruments in three ways: sensory feedback content is not systematically linked to human movement, sensory feedback is temporally disjunct from human movement, and decisions made while improvising are discrete rather than continuously negotiated. Phenomenological, neuroscientific, and psychological literatures are considered in light of the case of live coding to distinguish between what can be called propositional versus embodied improvisation. This distinction is relevant outside the context of musical performance and can guide future empirical work.
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