More blackouts

I have been working through Robert Bresson's Notes on the Cinematographer, which has been an inspiration. It just occurred to me that I do not how the notes are organised, but it is logical that they are presented as Bresson discovered them, so as you read you are privy to not only his discovery but the way the discovery came to be.
(And later tonight I will be seeing Mouchette for the first time. )
So I was very excited to come across a section titled Sight and Hearing, considering that I have been thinking on the use of sound in Tidal Barrier/Claire and the concept of blackouts.
First he writes:

If the eye is entirely won, give nothing or almost nothing to the ear. One cannot be at the same all eye and all ear.
And vice versa, if the ear is entirely won, give nothing to the eye.

Now I realise he is certainly could not have been thinking of my idea to use sound over black, but he might at least consider it a worthwhile experiment. Perhaps too self-conscious? Probably. But perhaps if I develop my idea further it might not seem so formal.
Further along:

When a sound can replace an image, cut the image or neutralize it. The ear goes more towards the within, the eye towards the outer.

Now he seems to articulating I only understood vaguely or instinctively. Perhaps that is what I am getting at? That the sound over black is to be used where we are moving within of the Claire. In her story she finds nothing when she looks at herself. It is bare, and that is why she despairs. So the the sound over black is her discovery of how she is wanting. She tries to reach within by pretending something else, pretending to be someone else and fails. The sound over black then must be the accumulation of sounds which have been articulated previously. So they have a logic, but now become something else, are abstracted by their use over black. So I need to establish these sounds earlier. And the black needs also to be articulated earlier in the literal sense. That is I need to show at least briefly black as part of the narrative. So imagine we cut to black. We can make out nothing. The sound of her breathing (we won't know it is her for a time), perhaps the ticking of a clock, and then something else, something odd. A light comes on. It is the bedside lamp. She has been sleeping and has heard this same sound and is now frightened.
But even before that I can imagine using black near the beginning of her story, as she hears, but does not listen to Paul's litany of complaints of her lack of commitment. The camera is fixed up on her, who is distracted (not sure of the image here), and then Paul, who we only see in fragments, at the edge of the frame, has had enough. He gets up and goes off and the camera pans with him and finds itself pointing at black (this is the first time I have thought of moving the camera in a long time, and I think it is good to use camera movement so sparingly). And we only hear the sound of her image - still don't know what that is.
If I build these pieces then I may be free to present the black as part of the climax, the articulation of her realisation. My only problem that I can only see this happening right at the end. Of course this is obvious, the climax would come near the end. The problem that by convention this is the black at the end of the film, where the credits would appear. If this story were first then audience would note the oddness of its placement, but if it were later they might just think this was the end.
Well one problem at a time.