This article disentangles the experience of creation from its representational function. How can we understand creative acts, such as musical performance, not as objects of interpretation but as open-ended experiences that allow the unknown to emerge?

Creation is often framed teleologically, as a means to an end. This perspective risks reducing the creative act to its external effects, overlooking the lived intensity and internal logic of the process itself.

The challenge is to think of creation not in terms of outcome or representation, but as a mode of engagement that resists finality, that interrupts linear causality and that sustains itself in its own unfolding.

Such a disruption of the experience of creation does not imply disorder or breakdown, but rather a suspension of the logic that binds making to meaning, act to object, gesture to message.

PLAYING-FOR: THE RELATIONAL FIELD BETWEEN CREATION AND LISTENING

Seppe Gebruers