The article proposes a reading of Catherine Basset’s musical transcription of gamelan made in 2003. The description of the instruments, their arrangement and rules of composition allow us to look this writing as being a spatial performance. And it is by immersing oneself in Javanese philosophy and its treatment of time that this performance of writing can, in our view, be read as a cartography with depth describing a landscape and opening hypotheses when it comes to architecture. The codification of gamelan perhaps suggests, as soon as it is perceived, a space.