The article focuses on the aesthetic and epistemological analysis of a piece by the composer Sebastian Jatz, written exclusively with words, which tensioned, in 2011, the discourses and practices in the field of written music production of Chilean experimental music. The research examines the potency of the work's writing, constituted by a type of verbal notation that, by dismissing a descriptive functionality referred to sound materials, prescribes actions that state some conditions of possibility allowing us to think of a type of listening that could be deployed as a question about the contingency of the place of its realization. For this, a dialogue is articulated between music and philosophy, whose purpose is to question and invigorate those concepts, as well as the own ideas of the author of the piece regarding its multiple possibilities.