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The mechanical vibrations we shape and apprehend as artistic sound lend themselves to potentially infinite kinds of notation. Systems devised to plot, store, and recreate sonic events are more or less context-bound: western classical scores consolidated by centuries of academic practice presume set instrumental and interpretive parameters, while open processes integral to recent electronics and digital techniques require very different compositional and notational approaches. Yet despite the conjoined cognitive and technological evolution associated with the latter practices, our sense of rhythm and scale remains anchored in corporeal morphologies and dynamics, in psychophysiological projections of effort and intentionality into the most ostensibly abstract domains. However strange they may seem, creative acts can only be grasped, thus notated, via our inevitably anthropomorphising sensibility. This presentation emphasises the need to build embodied experience - notably gesture and touch - into new notational strategies.