Advocating an 'audible design' approach to film sound practice.

What is it about?

This essay aims to shift the focus of film sound design away from the sonic and toward the audible. It invites practitioners to design from the inside out, creatively engaging with how characters hear and listen to their world. Working through contemporary philosophers such as Deleuze, Bergson and Heidegger, it offers an epistemology of audibility that engages with the overlaps of object-events, sonic-events and audible-events.

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Why is it important?

Sound practice is often regarded in its object relations, in reduced listening, in "sounds." But cinema is existential and experiential, not referential or objective. We need to refocus on what makes sound so vital: the fact that we hear. And what we hear are hearings of time. Therefore, we should not design to understand, but to fragment understanding, opening to the possibilities of new creativity and new understandings.

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