Perceptual filling-in (radio) - necessary compensation

  Filling-in is the task of the listener - part of the ear-to-brain mechanism. See - Listening - how people listen
  Filling-in is the compensation that the listener makes for what radio has filtered out in its representation of the extra-radio world.
  Your brain hears things that your ears did not. In "Music Matters", David Elliott writes, 'we don't hear music as it is, we hear it as we are'.
  In the Lifeworld, and as audiences of fictional and documentary works (cinema, radio, print etc.), we constantly fill in extras - what is blurred, indistinct, and what objects are masked by others. For example, sound events mask other sound events.
  FILM: For the film sound and visual tracks, we fill-in what is 'off ' (offscreen as opposed to onscreen). That is, out of the visual field or frame, and out of the sound track 'frame'.
  VISUAL ART: We also fill-in for paintings, for what is outside the frame.
  FOR ALL FICTION WORKS AND FOR THE LIFEWORLD: We use all of our five senses to do filling-in. This is an inescapable aspect of sensory experience. Perceptual filling-in is necessary compensation.
  See Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 6. Radio drama's frame & 7. Sound 'in' and 'out'
  See SOUND CENTRE - FIXED SOUND CENTRE - the centre of the sound picture remains fixed in the same place + MOVING SOUND CENTRE - 'we go with'
  See Point of listening = POL
  PERCEPTUAL FILLING-IN - consciousness studies, arguments mainly from visual illusions, as the blind spot in our eyes.
  Thompson, Evan, Noë, Alva and Pessoa, Luiz, "Finding Out About Filling In: A Guide to Perceptual Completion for Visual Science and the Philosophy of Perception" at
  Kulvicki , John, "Any Way You Slice It: The Viewpoint Independence of Pictorial Content" at

 Beck, Alan, 2000, 'Cognitive mapping and radio drama', Consciousness and the Arts and Literature, Volume 1 Number 2, July 2000

See Cognitive Mapping and Radio Drama by Alan Beck - monograph

also at

I recognise the radio equivalent of invariants - elements perceptually invariant even under transformation. These crucially affect radio drama's limited vocabulary in the non-verbal domains and they are the means for generating expectations and my filling-in of missing information. Of course, when used creatively, invariants (in the play excerpt, the STORM SOUNDS and TOM-TOMS) offer the radio director many opportunities. This is just one particular approach to the relatively limited stock of radio drama's FXs (sound effects). Filling-in is the compensation that the listener makes for what radio has filtered out in its representation of the extra-radio world.







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