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Chapitre D'ouvrage Année : 2020

How does the dark sound?

Résumé

Research on dark landscapes insists mostly on the sense of sight, as dark is primarily a seeable quality that comes as necessarily related to light. Nevertheless, in which ways darkness plays a role when it comes to the sonic apprehension of place, representations and experiences? This paper considers dark soundscapes, through filmic representation, firstly, by focusing on how sonic atmospheres of dark moments are staged in fiction. In so doing, it points out that darkness appears to be sounded by using some sonic effects such as desynchronization, ubiquity, reverb and clarity. The recurrent use of these effects shows that, beyond being staging techniques, they come along shared representations of how dark urban place might sound. Secondly, the chapter criticizes these ways of sounding dark urban landscapes in fiction, by analyzing a set of recordings and interviews that were made in dark urban settings. They show how a dense understanding of dark soundscapes contributes to widening one of urban atmospheres as synesthetic processes. In conclusion, this chapter contributes to showing that visual and sonic dark landscapes share more than visual and sonic landscapes in light, as they both built on co-extensive temporal and pragmatic processes.
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Dates et versions

halshs-03139600 , version 1 (12-02-2021)

Identifiants

  • HAL Id : halshs-03139600 , version 1

Citer

Damien Masson. How does the dark sound?. Dunn, Nick; Edensor, Tim. Rethinking Darkness: Cultures, Histories, Practices, Routledge, 2020, 97803672011159. ⟨halshs-03139600⟩
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