Pub Date : 2020-10-27DOI: 10.4324/9780429259654-15
Damien Masson
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. The interest in the question of darkness contributes to extending research on space and places by opening it to the theme of cosmic rhythms and their effects on the social world. Many of the social science works on night and darkness have shown how night, as a particular time of social activities, and darkness, as a specific quality of the ordinary luminous environment, configure specific ordinary and professional practices and policies (Fiori, 2000; Dunn, 2019; Ebbensgaard, 2019a; Gwiazdzinski, 2019); concern different groups (Wilkinson and Wilkinson, 2018); and refer to specific representations, values and imaginations (Koslofsky, 2011; Edensor, 2017a). In this sense, these works show that considering space and places in a situation of darkness does not amount to setting up a negative mirror of the situation of light, as does the “day for night” – or “American night” in French (a filmmaking process to make sequences filmed in daylight appear as if they are shot at night by the use of a material, or post-processed color, mostly blue filter). In doing so, through their interest in understanding the relationships that articulate place and darkness, these works unfold the lived worlds to highlight a blind zone of most urban research, as well as research on place which, without saying, is research applied to clarity. And these studies show the importance of understanding the reconstruction of a standardized universe based on clarity, the richness of alternative experiences and the diversification of the sensory world it proposes. Moreover, among the small existing body of work on darkness, most of these insist on the sense of sight, as dark is primarily a seeable quality that comes as necessarily related to light
对黑暗景观的研究大多坚持视觉，因为黑暗主要是一种可见的品质，必然与光有关。然而，当涉及到对地点、表征和体验的声音理解时，黑暗在哪些方面发挥了作用?本文通过电影表现来考虑黑暗声景，首先，关注黑暗时刻的声音氛围是如何在小说中上演的。在这样做时，它指出，黑暗似乎是通过使用一些声音效果，如不同步，无处不在，混响和清晰。这些效果的反复使用表明，除了作为舞台技术之外，它们还共同代表了黑暗的城市环境。其次，这一章通过分析一系列在黑暗城市环境中拍摄的录音和采访，批判了小说中这些听起来黑暗城市景观的方式。他们展示了对黑暗音景的深入理解如何有助于扩大城市氛围作为一种联觉过程。总之，本章有助于展示视觉和听觉黑暗景观比视觉和听觉光明景观共享更多，因为它们都建立在共同扩展的时间和实用过程之上。对黑暗问题的兴趣通过将其开放到宇宙节奏及其对社会世界的影响的主题，有助于扩展对空间和地点的研究。许多关于夜晚和黑暗的社会科学著作表明，夜晚作为社会活动的特定时间，而黑暗作为普通发光环境的特定质量，如何配置特定的普通和专业实践和政策(Fiori, 2000;邓恩,2019;Ebbensgaard, 2019;Gwiazdzinski, 2019);关注不同群体(Wilkinson and Wilkinson, 2018);并参考具体的表征、价值观和想象(Koslofsky, 2011;Edensor, 2017)。从这个意义上说，这些作品表明，在黑暗的情况下考虑空间和场所并不等于为光明的情况设置一个消极的镜子，就像“白天为夜晚”或法语中的“美国夜晚”(一种电影制作过程，通过使用材料或后期处理的颜色，主要是蓝色滤光片，使白天拍摄的镜头看起来像是在晚上拍摄的)。在这样做的过程中，通过他们对理解表达场所和黑暗的关系的兴趣，这些作品展现了生活世界，突出了大多数城市研究的盲区，以及对场所的研究，不用说，是应用于清晰度的研究。这些研究表明，理解基于清晰度、可选择体验的丰富性和它所提出的感官世界的多样化的标准化宇宙的重建的重要性。此外，在现有的少数关于黑暗的作品中，大多数都坚持视觉，因为黑暗主要是一种可见的品质，与光有必然的联系。然而，当涉及到视觉以外的其他感官时，黑暗在哪些方面发挥了作用?例如，人们可以很容易地想象从草上散发出的新鲜露水的气味，这是一种可以与黎明联系起来的感觉。这个例子从许多其他情况中随机挑选出来，说明了宇宙节奏如何不仅配置了一个可见的发光环境，还配置了一套完整的感官现象、想象和用途，对这些现象的理解完成了对地点与社会关系的理解。在这一章中，我将集中讨论对地点的声音理解，并从听觉的角度审视黑暗中的哪些表征和体验。
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