# Unnamed Document  ## Metadata - Author: [[readwise.io]] - Full Title: Unnamed Document - Category: #articles - Summary: insert summary - My notes: - Summary: The article discusses how we complete hidden parts of objects in both vision and sound using mental imagery. In vision, we can imagine an object's missing parts while seeing its visible parts, whereas in sound, we imagine masked sounds based on what we hear. This process of amodal completion helps us perceive a whole object or sound, even when some parts are not directly sensed. - URL: https://readwise.io/reader/document_raw_content/219316030 ## LLM Chats ## NotebookLM ## LLM Audio ## Highlights > Additionally, unlike both Nanay and Kind, I will not assume that my conclusions on vision apply to other modalities, as I will explicitly discuss the case of audition. ([View Highlight](https://read.readwise.io/read/01j8hhrg9byvgxv9tatgxs50mk)) - Note: Does Nanay 'assume' this? As far as I can tell, he just refers to another paper by Sorenson, one which is not mentioned in this paper > , we need to be able to make an interaction between this object and the real spatial surroundings where we want the object to be placed. For instance, if the imaginary object is a painting and we want to hang it on a wall, we need to be able to move the painting mentally until we find the right location on the real wall. Furthermore, we should see both objects, the imaginary painting and the real wall, in the foreground. That is, if one of them is seen in the background and, thus, looks blurry, we cannot make the right interaction between the two objects so that we can properly fulfill the task of assessing where the painting should be hung on the wall. Seeing both objects in the foreground is a necessary condition for the perceiver to make them interact as they need to see them in high resolution and in greater details in order to correctly perform the task. > The same happens in perception when someone moves a painting on a wall and ask where the painting should be hung: to properly perform the task, we need to see both (the part of the wall where the painting should be hung and the frame of the painting) in the foreground. Should one of them be in the background, we could not perform the task with the right precision. ([View Highlight](https://read.readwise.io/read/01j8hhzm3bsby3m99p63akx12f)) - Note: this is really longwinded for an analysis paper > Firstly, the fact that what is in the foreground is seen in high resolution, with a higher level of detail and clarity, while what is in the background is seen in low resolution—sharper and more detailed compared to high-resolution counterparts—depends on the role of consciousness. T ([View Highlight](https://read.readwise.io/read/01j8hj1dxg0tqedsx89hsd47fh)) - Note: this is speculative, arguably, it assumes an overly pictorial idea about visual perception > s by virtue of the perceptual Gestalt principle of figure-ground segregation that one can determine what belongs in the background and what belongs in the foreground. T ([View Highlight](https://read.readwise.io/read/01j8hj34x1wwjx6tea4q3nmf0p)) - Note: this is sloppy. It sounds as if the perceiver (or perhaps a subsystem of the perceiver) is applying the 'gestalt principle' > helps the eye differentiate ([View Highlight](https://read.readwise.io/read/01j8hj5cqpydben34jhv47pdh2)) - Note: now the eye is applying the principle? > Environmental sounds are usually distinguished from speech sounds, which are what human beings utter and that are characterized by having linguistic meaning, and musical sounds, which are what musical compositions are made. ([View Highlight](https://read.readwise.io/read/01j8hj7m6s8gwvrt9g9q2k94yc)) - Note: ?? Usually distinguished by who? This comment also seems irrelevant > I imagine the ringing of a bell interacting with the siren wail, it seems that these two sounds (the real one and the imagery one) ([View Highlight](https://read.readwise.io/read/01j8hjb2bp2gxs2rdswz3qhcck)) - Note: I have no idea what is meant by interaction between two sounds, imaginary or real > eview Only Manuscripts submitted to Analysis Page 6 of 8 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 see the interaction between two co-present objects (or parts of them) as being in the foreground (this is necessary in order to perform the task of correctly locating the painting on the wall). In the case of audition, instead, when I hear a siren wail and, while I am hearing it, I imagine the ringing of a bell interacting with the siren wail, it seems that these two sounds (the real one and the imagery one) cannot be both in the foreground so that we can make them interact. For instance, I may want to make them interact to evaluate which of the two sounds lasts longer. In order to do that, they should be both in the foreground so as to allow me to correctly evaluate their duration. We can be surrounded by many simultaneous sounds, but we are able to hear only a single sound in high-resolution, namely, the one that goes to the foreground. Even though many sounds can populate the soundscape, the latter is filled up completely with a sole sound in the foreground, while all other sounds, if any, go to the background. I cannot make two simultaneous sounds interact with each other—as it happens in the case of two co-present visual objects—because I cannot hear them both in high resolution. On the contrary, in order for us to make the two sounds interact with each other, they need to occur consecutively, that is, they need to take place one after the other ([View Highlight](https://read.readwise.io/read/01j8hjcp15bthtztse9dddve9q)) - Note: I have no idea what is meant by interaction between two sounds, imaginary or real > Moreover, since amodal completion relies on mental imagery—which is a form of figure-ground segregation occurring independently of the subject's intentions—listeners cannot help but perceive the sound as ([View Highlight](https://read.readwise.io/read/01j8hjerh8wje42xstx9arm710)) - Note: now intentions are coming in. this is just baffling.