The silence is greatest when we can hear very distant sounds in a very large space“. Silence is when the buzzing of a fly on the windowpane fills the whole room with sound and the ticking of a clock smashes time into fragments. But, through absence, it focuses increased attention on the senses and materials present”, while film theorist Bela Balazs asks himself: “How do we perceive silence? By hearing nothing? That is a mere negative” his explanations call upon the spatial language of silence: “ We feel the silence when we can hear the most distant sound or the slightest rustle near us. Architect Jonathan Hill finds the springs of such shifts of perceiving channels in the imbedded absence through which silence operates: “Silence is immaterial visually and aurally. In both moments it is also remarkable to note the perceptual regimes called upon by the stalker: seeing, feeling. The awareness of this silence defining the border between spaces and signalling the arrivals verifies the view that “the experience of silence is essentially a space experience”. Both spaces, the Zone and the Room, contain a promise and an aspiration that has taken the protagonists on tedious journeys over great distances. You’ll see!” Stalker to his two companions, when entering the Zone, in Stalker 0:37:49 “How quiet it is! Do you feel it?” Stalker to his two companions, at the threshold of the Room, in Stalker (part 3) 0:21:28īoth of the two instances when Stalker says “How quiet it is!” happen at the border between two spatial realms: the entrance to the Zone and, respectively, the threshold to the Room. ( EXCERPTS from the thesis chapter “Architectural Phenomenography through Andrei Tarkovsky’s films”) “How quiet it is! This is the quietest place in the world.
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