With more than 40 composers’ works represented, plus videos, listening posts and other supplementary materials, Drawing Towards Sound investigates the past, present and future of graphic scores. Mounted at London’s Greenwich University, the exhibition is a rich and polyphonic show, deserving of a leisurely amount of time to take it all in. “I wanted,” curator David Ryan told me, “to get across a sense of density.” In certain scores that density is made particularly manifest. Some of Anton Lukoszevieze’s undated Untitled Photo-Drawings are so dense with lines and markings as to come across like a thicket of barbed wire or the CPU-busting Black Midi scores of teenage YouTube jockeys. Jennifer Walshe’s The Total Mountain (2015) frenetically mixes up operatically sung Twitter posts with YouTube clips and Wikipedia entries, mimicking the disorienting hyperactivity of online experience. Elsewhere technology makes its presence felt in more oblique and indirect ways.