Saturday, May 28, 2016

On the Perception of Unidentified Entities

We can identify things that we percieve.  This does not mean that we do not

percieve things that we can not identify.


If the input perturbation is too small, we can not hear, see etc., identify the entity.

For example, in an orchestra, it is impossible for every violin player in the violin

section to play exactly the same color, pitch namely the sound.  It is impossible

for us, the listener to hear each performer's different sound but instead we hear the

rich, deep sound of the violin section, rather than the week sound of a single violin.


We percieve the minute differences in the violin section as a feeling, a warmth,

richness and depth.  We percieve small changes that can not be identified not

cognitively but emotionally.


This may be the reason why small changes are frequently used in music performances.

The key here is to make the change, for ex. a temporary tempo change, in such a way

that it can barely be heard but can not be identified or noticed, though can be

percieved emotionally.


The entities that are unidentified include not only very small values but also

unmeasurable continuous quantities.  This varies from the perception of physical

values of heat, light etc. to the social values such as risk, friendness etc.


The languages include words such as hot, cold, very hot, bright etc. or dangerous,

true friend etc. words to describe these entities.  If paid attention one can notice

that these are all emotion related words or concepts.


The reason that an entity is unidentified may be related to the modality of the

perception.  We cannot identify quantitatively any visual input.  We cannot

identify something if it is the first time we see it.


Color, hue, brightness etc. light attributes are all unmeasurable continuous values.

It is impossible to identify them objectively.  We cannot remember a view if it

is not identified in the related semantical memory.  We can only recall that view

if we see it again.  Namely,  we can remember a view only if it is recorded as

part of an event in the episodic memory.


Aural modality has some similarities with visual modality.  Timbre, loudness,

tempo, etc. many parameters are continuous unidentifiable values, except pitch.

Instrumental music can mostly not go to episodic memory.  There is a window of

attention of the listener which slides through the music piece which builds a

balance of recalled elements and freshness.  The unity of the piece is achieved

through making small or unidentifiable changes of the initial material.  The

listener can percieve this emotionally rather than cognitively.


This is the reason that music expresses things that words cannot.  Music touches

the heart through feelings aroused by unidentified entities.