Abstract

In Balcony in the Forest, Julien Gracq composes a soundscape in four dimensions: he establishes an undulating background by involving spatial events; he forms temporal figures by involving material affects—spatial events and material affects extracted from depths before being enveloped by a resonant place. Each of the four dimensions has a particular relationship to the sounds of power and the power of sound, and it is up to the reader to decide whether the soundscape composed in and by the writing makes this double...