I attempted a transcription of the beginning of Andrew Hill's solo on "Dusk" from the album of the same name. It looks a bit ridiculous on the page, but that was part of the experiment. I wish I had time for more ... maybe another time.

When Max/MSP crashed in the middle of her rendition of Meredith Monk’s Scared Song, Pamela Z let out a weoarrrhhhoooooo-that-never-happens! She went on to explain that live electronics are a bit like aviation: things tend only to go wrong during take-off and landing. Not this time. Watching live performers deal with the unexpected thing-gone-wrong in real time can be excruciating or electrifying. But the feeling in this moment wasn’t actually that different from what we were experiencing just a few moments earlier. Throughout her performance Pamela Z slyly moves in and out of her own character so fluidly that watching her restart her software didn’t outside the realm of “the performance”. I had seen Pamela Z live one other time, in Harvard’s Paine Hall a few years ago. Her performance on that occasion as well as this one—the closing slot of the 2018 “Resonant Bodies” Festival at Roulette Intermedium—felt to me like they were designed to demonstrate the breadth of her musical expression. ​