The article presents a reconstruction of the sound chronotope of the Uktus microdistrict (Yekaterinburg) through the prism of hauntology, the concept of the paradoxical existence of “ghosts” of the past (in the terminology of J. Derrida, M. Fischer). Based on the analysis of archival sources, the author traces the transformation of the acoustic landscape of Uktus from the 1920s to the 2020s, introducing the term “hauntological sound”. The latter is defined as an acoustic phenomenon that has lost its materiality, but persists in collective memory, archives, and cultural practices as a trigger for acoustic nostalgia. It is demonstrated that the sound chronotope is not a passive acoustic background, but a dynamic archive of collective memory and hopes. Using the example of Uktus, it is shown how the technogenic romanticism of the 1920s is transformed into nostalgia for the irretrievable, and the analysis of acoustic losses becomes the basis for the revitalization of urban identity. During the reconstruction, three key stages of the Uktus sound evolution are presented. Turning to the local archival press, the author demonstrates how the aviation hub was born in the early 1920s, characterized by the poetization of man-made noises and the displacement of bioacoustic sounds. It is illustrated as in the 1950s and 60s. Ural aviation is flourishing, accompanied by the development and consolidation of the anthropogenic mode of sonority, organically complementing the man-made sound environment and reflecting the socialization of space, becoming a place of public dialogue, professional reflection, and one of the centers of the cultural life of the city. In the context of hauntology, the fading of the Uktus aviation identity in the 1980s and 2020s is considered, when, with significant urban transformations, there is first a gradual loss of the sounds characterizing the aviation Uktus, and then the disappearance of its material witness — the terminal building. It is concluded that the modern sound content of the Uktus unifies its acoustic identity, erasing the historical specifics of the place (the hum of engines, the noise of passenger and military vessels, the negotiations of air traffic controllers), and the sound chronotope, which previously had a sacred meaning for listeners, gradually turns into a profane one, characterized by a routine sound environment (construction noise, the rumble of highways). The author comes to the following conclusions: the hauntological sounds of the area become tools of memory, triggers for acoustic nostalgia and reconstruction of lost layers of urban identity; to improve listening practices, it is necessary to record ghost sounds, apply digital methods of acoustic archeology and integrate hauntological sounds into the museum space in order to preserve the acoustic heritage as part of the cultural code of the area.

urban acoustics; sound chronotope; reconstruction of sound chronotope; hauntology; hauntological sound; acoustic identity; Uktus; Yekaterinburg; Uktus airport; collective memory; acoustic nostalgia; triggers of acoustic nostalgia

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