On the logic of sound and the senses
I am not interested in writing about the deafening kind of noise that causes irreversible damage to the human ear. Nor in the wide range of sounds that you can hear outdoors, like the roar of surf, birdsong, or wind. What interests me far more is that elusive category in-between. Ranked highest among the sounds I find most unpleasant are: compulsive and demonstrative finger-cracking in libraries, and the high-pitched squeal of feedback from PA systems. Others can be driven insane by a dripping faucet, or even a ticking alarm clock, elevator music or in-store Muzak — noise that we have to hear whether we want to or not. My neighbor owns an admittedly quite attractive hunting dog that is genetically hard-wired to bark incessantly, or so she tells me. Why she has to keep this dog in the middle of a city is beyond me, but that’s beside the point here.
If you think you fall into the category of noise-sensitive people, you are in good company. It is known, for example, that Proust’s smoke-filled study, which doubled up as a bedroom, was completely soundproofed with cork. Hypersensitivity to noise doesn’t automatically qualify you to write masterpieces. But the renowned Frenchman knew how to tap his remarkably acute perception to be extraordinarily, even enviably prolific. Noise, in his opinion, was a kind of assassination of the senses. However, his labored breathing was beyond his control. Luckily, it was so loud that it not only drowned out the sound of his quill, but also the construction work being carried out on a bathroom a story above him.
More… “The Art of Noises”