Space and Tune

When you enter the room, everyone seems to be together, allows us to delude ourselves that it would listen to symphony. "Of course, it could be said for listening to thread is sequential way over time, while the eye includes sites at once. In fact, it takes time to see a new scene, though mostly not known. This is an urgent feeling that we are aware of everything in the room immediately and directly, it is certainly our strangest "visual" illusion.

Music, too, immerses us seemingly stable worlds! How can this be done when there is so little of each present moment and will try to explain this: (1) that hearing music is like a view of the landscape and (2) that when we hear good music mind responds very Equally so we, when we see things. "And that no mistake: I say" good "music! This little theory is not designed to work on each bag of musical tricks meaning, but only for those certain types of music, cultural times and places, and focus on the approval.

(Edward Fredkin, I proposed the theory that listening to music can bring a birth-order map mechanism in the brain. When I mentioned the music puzzle repetitiousness be compared to the way rodents explore new position: first to go way low, then back home. I do have a few times, then even a little further. digressions little effort, but often return to base. both humans and mice to explore new territory, making mental maps, as they fear loss. Music can illustrate this process, and even the exercise of these is part of the mind.)

To see the problem in a slightly different way, consider the cinema. Contrast and clumsy novice patched and placed rolls of film with our transport to other worlds, so artfully composed that our world seems tacky and inappropriate. What "hides the seams, so that great films much smaller than the sum of its parts-see is not so simple sequence of scenes and what makes us feel that we are here and the part where we actually build on our chairs, not to obtain an individual predicted structure of predetermined fate and will have this idea a little more, try to explain why so much good music from more than a sequence of notes.

His eyes are always sudden flashing different film images of our minds, but not all saccadic activity leads to any change or sense of movement in the world, Every thing cool reposes in "the spot"! What are these objects to stay, even though both paintings hop bird, what makes us such a congenital Copernicans; first to propose this as the illusion of vision, then in music.

At the answer can be found deep way of thinking is itself. In his speech an illusion to believe that anyone is fooled. "I know that these lines are equal," I said, "but see my bent." What is the difference in me, and I? We all believe that somewhere in each person, Struts single, central self: one and indivisible. (And secretly hope it will be indestructible.)

I believe instead that in the mind of every work of many different factors. (The idea of agents [Minski 1977? 1980? 1980b], came from my work with Seymour Papert.) All you really need to know about agents is as follows: each player knows what will happen with the other, but some of what happens to the rest . It means a lot to say, "Eloise knows X", if not more to say, mind-factors that were uninvolved with X. thinking is mind-agents cooperate, the heart of thinking is fruitful break issues in different sections and pages to agents, who handle it better. (The most important factors are those that these challenges to be factors that reflect what each person knows what he or she knows. These factors will be powerless, to not know what we know.)

The division of labor is to "see", which will be assumed that a memory-agent called Feature-Finder sends messages (some of the features seen on the retina) to another agent-scene analyst. Scene-Analyzer draws conclusions from the reports it receives and sends its own, in turn, to other parts of-mind. For example, Feature-Finder finds and tell some scraps from the edges and textures; Tu scene analyst notes and says that could go a little shape.

Maybe these numbers are glimpses of the actual table leg. But they know what is for agents at this level; Stage-analyst does not know of any such specific things. The only thing we can do something with this program is to host the shape of other entities that specialize in recognizing the specific case. Special matters, such as tables, words, or dogs should be involved with memory and learning, at least one representative for each type of things that the mind has learned to recognize. Therefore, we hope that this message gets List-Maker, a special agent to confirm evidence that the table is in the field of vision. After several of these phases, the descendants of the report reach Space-structuring agent, who tries to tell the real things in real space.

Now you can see why the concept seems so simple: while the message of the scene-Analyzer-Maker in the table are based on evidence that the Grand-Finder provided a report is not to say that feature-finder did it or how he did. Partially it's because they will have a phase-analyzer too long to explain it all. In any case, the recipient can not use any information, because they are not engineers or psychologists, but only a few specialized neural networks.

Only during the last century painters have learned a few tricks and techniques for the simulation of reality. (This has been informed, is now often choose different targets. The Space-Builder, as a normal person does not know anything about how the vision, or prospect, foveae, or blind spots. We're just finding out what things in school: millennia of themselves never led to the suspicion, but to meditation, transcendental or secular. Mind held secrets, not to good of stinginess or shame, but simply because they do not know.

Messages in this mode to go different ways. Any movement of the eyes or the head or body-Finder is a Grand reopen these movements into the muscle-response factors in the transfer of messages Scene-Analyzer sent when more information is needed to resolve ambiguities. Scene-Analyzer is a response to reports of "high". For example, the Space-Builder can be asked, "is that table?" Table-Maker, who answered to himself, "Maybe, but that there should be other-foot," it asks scene-analyzer, and the analyzer-scenes work to open my eyes and down and look left. The tents are not self-understanding: the Scene-Analyzer response to other requests. It should be one cause of this network.

When we look, we never worry that reason disappeared-question, which is not a "discharge occurred." The reason is that space-structuring to remember all the answers to the questions and never change any of these responses, and without reason; Moving eyes and raise our heads, there is no reason to conjure on the grounds that under the current spatial model of the room. In the framework document for the systems [Minski 1974] says more about these concepts. We have only these few details.

Now back to our illusions. While large-Finder is not immediate, it is very, very quickly and very same pattern matcher. Whether Scene-Analyzer asks Feature-Finder response to strike the eye, only a tenth of a second (or less if you file buffers). Speed is more than Space-Builder can often tell the same through its own high-speed memory model, on what was seen. I argue that all this is another root of our illusion of speed:

If it appears that the answer will come as soon as they asked questions, which seems to have been there all the time.

The illusion is reinforced by other means "expectation", or "default. "These players know a good way to bluff is! Woke up from only a few indications that the table is in view on the table-maker supply space-Builder with fictitious details about some" standard "list, while employees learn more about real! Informed that one, Space-Builder to proceed quickly and plan ahead, taking risks, but ready to make corrections later. This only works, of course, if the originals are good, and rightly so-that is to do with intelligence.

With regard to the "awareness" about how all these things do is simply not room for it. Space-Builder is very distant and different, to understand how feature-finder is the task of assembling the eye. One part of the mind that is almost unknown in any other. (This is why we have psychologists, we think we know what is happening in our mind, because these substances are so easy to "fail" - but in fact we are almost always wrong about these things.) Of course, each participant must knows which of its employees can do, but on how this information is not, or used in such small minds in our minds.

How do both music and vision to build what in our minds? Eye movements show the actual items, musical items Phrases us. We room with bodily movements; Much of our music show music "part." Walking and move us from room to room, so the transition between musical sections. Regarding if the perspective is a recapitulation of the music, so our time, certain points to confirm or change the perception of all.

Hearing the theme is like to see something in the room, or part of the movement is like a room, and the whole sonata is like a whole building. I mean to say that music benefits from things that instead of the builder. (This is very naive comparison of sound and place.) I have to say that composers stimulation in accordance with the recruitment of the same type of inter-agent coordinations that vision is used to manufacture the illusion of a stable world, with different factors of course. I think the same applies when writing or speaking, many of these items or feeling-a sense of meaning, if any.