I think of it as a spectrum, not a line. Code is just a set of constraints, and a sculpture is a set of constraints too, except the constraints are material. If you can make the constraints react to input or context, you’re nudging the boundary toward “alive.” But the real test is how much the system forces you to confront its own limits. If it forces you to ask, “What am I feeling?” then it’s probably crossing from art into something that feels like thought. The trick is not to over‑engineer the reaction; you want the emotion to emerge, not be programmed. That's where the art‑code line blurs, and that's where the headaches—and the fun—begin.