Music Gesture can be thought of as being made up of dynamic, multi-sensorial lines. From this, the author draws from Ingold’s “correspondence of lines” as a conception of music and a transformative compositional process, informing gestural line expressions and the development of notation systems for the body. The author outlines the technology he has developed for two compositions, involving a video scoring methodology and software that enables interactive video gestural sampling in a collaborative art music context. The author also engages with Ingold’s concept of the “mesh,” as lines that overflow, and imagines how the mesh could be perceived through sensory modalities. This discourse of lines is contextualized through examples of absurdist instrumental pieces and corporeally based music.