This article explores the similarities and differences between live coding and traditional music performances. The focus is on how bodily movements are expressed and whether pre-reflective processes may be activated during a live coding performance. While reports from practitioners vary on percepts of embodiment, the community is missing a theoretical background that reflects on practice. Understanding pre-reflective processes in live coding can benefit performance practices and tool development. As a live coder, I reflect on personal experiences and explore what I call ‘interactivity variations’, a term to denote different gestural manners of interactions during a performance. I observe patterns of embodiment among various live coders who use diverse performance systems from online videos. Out of 11 examples of performance systems, two cases demonstrate interactivity variations that can activate pre-reflective processes while another exploits direct manipulation. I present some implications for the patterns of bodily movement during a live coding performance and discuss how descriptive and prescriptive notation can be important and potentially influence our sensorimotor network. The article contributes a first account of a sensorimotor theory on live coding performances, reflecting on practice and embodied music cognition by presenting an aesthetic analysis of 11 online video examples.

本文探讨了现场编码和传统音乐表演之间的异同。重点是如何表达身体动作以及在现场编码表演期间是否可以激活预反射过程。虽然从业者的报告对体现的看法各不相同，但社区缺乏反映实践的理论背景。了解实时编码中的预反思过程可以有益于性能实践和工具开发。作为一名现场编码员，我反思个人经历并探索我所说的“交互变化”，该术语表示表演期间交互的不同手势方式。我观察到各种现场编码员的体现模式，他们使用在线视频中的不同表演系统。在 11 个性能系统示例中，有两个案例展示了可以激活预反射过程的交互性变化，而另一个案例则利用了直接操纵。我提出了现场编码表演期间身体运动模式的一些含义，并讨论了描述性和规范性符号如何重要并可能影响我们的感觉运动网络。本文首次阐述了现场编码表演的感觉运动理论，通过对 11 个在线视频示例进行美学分析，反思了实践和具体的音乐认知。