ABSTRACT
In the Life of Lines Ingold develops a philosophical and ecological anthropology that is at once expansive, integrative, and inclusive. His poetic narrative interlaces bodies, minds, landscapes, topographies, and perceptions in a correspondence of lines. This chapter argues that 'music offers a particularly clear example of invariance in the perceived identity of material under transposition and other kinds of transformation' by adopting Gibsonian approach. From the point of view of classical acoustics, sound can be heard and not music. From the pint of view of a Gibsonian perspective music can be heard and not sound. Like colour, pitch has been spectralised, arrayed on the equipotential plane of the stave. Music is in black-on-white. With the sound taken out of it, the musical line suffers the same fate as the drawn or painted line once the colour is drained out.
