Synesthesia, sensory-motor contingency, and semantic emulation: how swimming style-color synesthesia challenges the traditional view of synesthesia

Neural Kinesthetic Contribution to Motor Imagery of Body Parts: Tongue, Hands, and Feet

Motor imagery (MI) is assimilated to a perception-action process, which is mentally represented. Although several models suggest that MI, and its equivalent motor execution, engage very similar brain areas, the mechanisms underlying MI and their associated components are still under investigation today. Using 22 Ag/AgCl EEG electrodes, 19 healthy participants (nine males and 10 females) with an average age of 25.8 years old (sd = 3.5 years) were required to imagine moving several parts of their body (i.e., first-person perspective) one by one: left and right hand, tongue, and feet. Network connectivity analysis based on graph theory, together with a correlational analysis, were performed on the data. The findings suggest evidence for motor and somesthetic neural synchronization and underline the role of the parietofrontal network for the tongue imagery task only. At both unilateral and bilateral cortical levels, only the tongue imagery task appears to be associated with motor and somatosensory representations, that is, kinesthetic representations, which might contribute to verbal actions. As such, the present findings suggest the idea that imagined tongue movements, involving segmentary kinesthetic actions, could be the prerequisite of language.

Language evolution: examining the link between cross-modality and aggression through the lens of disorders

We demonstrate how two linguistic phenomena, figurative language (implicating cross-modality) and derogatory language (implicating aggression), both demand a precise degree of (dis)inhibition in the same cortico-subcortical brain circuits, in particular cortico-striatal networks, whose connectivity has been significantly enhanced in recent evolution. We examine four cognitive disorders/conditions that exhibit abnormal patterns of (dis)inhibition in these networks: schizophrenia (SZ), autism spectrum disorder (ASD), synaesthesia and Tourette's syndrome (TS), with the goal of understanding why the two phenomena altered reactive aggression and altered cross-modality cluster together in these disorders. Our proposal is that enhanced cross-modality (necessary to support language, in particular metaphoricity) was a result, partly a side-effect, of self-domestication (SD). SD targeted the taming of reactive aggression, but reactive impulses are controlled by the same cortico-subcortical networks that are implicated in cross-modality. We further add that this biological process of SD did not act alone, but was engaged in an intense feedback loop with the cultural emergence of early forms of language/grammar, whose high degree of raw metaphoricity and verbal aggression also contributed to increased brain connectivity and cortical control. Consequently, in conjunction with linguistic expressions serving as approximations/'fossils' of the earliest stages of language, these cognitive disorders/conditions serve as confident proxies of brain changes in language evolution, helping us reconstruct certain crucial aspects of early prehistoric languages and cognition, as well as shed new light on the nature of the disorders. This article is part of the theme issue 'Reconstructing prehistoric languages'.

THE NEUROPHENOMENOLOGY OF OUT-OF-BODY EXPERIENCES INDUCED BY HYPNOTIC SUGGESTIONS

Inducing out-of-body experiences in hypnosis (H-OBEs) offers an almost unique opportunity to investigate them under controlled conditions. OBEs were induced as an imaginative task in a resting condition (I-OBE) or in hypnosis (H-OBE) in a group of 15 high hypnotizable subjects. A 32-channel EEG was recorded, and the spectral power and imaginary coherence of each frequency band and each couple of electrodes were calculated. At the end of each session, the Phenomenology of Consciousness Inventory (PCI) was administered to assess the phenomenological aspects of the subjects' experience. Significantly higher scores in the altered state, positive affect altered experience, and attention subdimensions of the PCI were reported in H-OBE than in I-OBE, which were associated with a significant decrease of power in beta and gamma band activity in right parieto-temporal derivations. These results suggest that the H-OBE may offer a useful experimental model of spontaneous OBEs.

Naturally Biased Associations Between Music and Poetry

The study analyzes the existence of naturally biased associations in the general population between a series of musical selections and a series of quatrains. Differently from other studies in the field, the association is tested between complex stimuli involving literary texts, which increases the load of the semantic factors. The stimuli were eight quatrains taken from the same poem and eight musical clips taken from a classical musical version of the poem. The experiment was conducted in two phases. First, the participants were asked to rate 10 couples of opposite adjectives on a continuous bipolar scale when reading a quatrain or when listening to a musical clip; then they were asked to associate a given clip directly with the quatrains in decreasing order. The results showed the existence of significant associations between the semantics of the quatrains and the musical selections. They also confirmed the correspondences experienced by the composer when writing the musical version of the poem. Connotative dimensions such as rough or smooth, distressing or serene, turbid or clear, and gloomy or bright, characterizing both the semantic and the auditory stimuli, may have played a role in the associations. The results also shed light on the accomplishment of the two diverse methodologies adopted in the two different phases of the test. Finally, the role of specific musical components and their combinations is likely to have played an important role in the associations, an aspect that shall be addressed in further studies.

The Tactile Dimensions of Abstract Paintings: A Cross-Modal Study

In our research, we tested for the existence of cross-modal visual and tactile associations in the experience of abstract art. Specifically, we measured the association of 60 abstract paintings with four couples of antonyms related to texture, such as warm or cold, smooth or rough, lightweight or heavy, soft or hard, investigating if the different modality of presentation on a computer screen (color versions: natural colors, inverted colors, black and white) gave rise to different associations relative to the four couples of opponent qualities. Second, we tested whether there might be differences between the ratings of the paintings when they were presented as images on a computer screen versus in real life at the museum. The results confirmed that associations between visual and tactile experience with such complex stimuli exist. In the case of the couple warm or cold, a significant inversion of associated qualities occurs when the images are presented in inverted colors as opposed to natural colors; furthermore, when presented in black and white, warm evaluations are "cooled down," but cold evaluations remain the same. The degree of smoothness could be considered not associated with the color versions. When seen in black and white, both the mean softness and the mean lightweight-ness of the paintings were reduced; however, in the last case, this effect was more evident for the most lightweight pictures. There is only a slight difference between the two presentations of the paintings as images presented on a computer screen and seen in real life, relative to the warm or cold and soft or hard dimensions. Of the four opponent qualities, the three pairs warm or cold, lightweight or heavy, and soft or hard showed the most interesting results in relation to the cross-modal associations.

Are synesthetes exceptional beyond their synesthetic associations? A systematic comparison of creativity, personality, cognition, and mental imagery in synesthetes and controls

Synesthesia has historically been linked with enhanced creativity, but this had never been demonstrated in a systematically recruited sample. The current study offers a broad examination of creativity, personality, cognition, and mental imagery in a small sample of systematically recruited synesthetes and controls (n = 65). Synesthetes scored higher on some measures of creativity, personality traits of absorption and openness, and cognitive abilities of verbal comprehension and mental imagery. The differences were smaller than those reported in the literature, indicating that previous studies may have overestimated group differences, perhaps due to biased recruitment procedures. Nonetheless, most of our results replicated literature findings, yielding two possibilities: (1) our study was influenced by similar biases, or (2) differences between synesthetes and controls, though modest, are robust across recruitment methods. The covariance among our measures warrants interpretation of these differences as a pattern of associations with synesthesia, leaving open the possibility that this pattern could be explained by differences on a single measured trait, or even a hidden, untested trait. More generally, this study highlights the difficulty of comparing groups of people in psychology, not to mention neuropsychology and neuroimaging studies. The requirements discussed here – systematic recruitment procedures, large battery of tests, and large cohorts – are best fulfilled through collaborative efforts and cumulative science.

Cross-modal associations between materic painting and classical Spanish music

The study analyses the existence of cross-modal associations in the general population between a series of paintings and a series of clips of classical (guitar) music. Because of the complexity of the stimuli, the study differs from previous analyses conducted on the association between visual and auditory stimuli, which predominantly analyzed single tones and colors by means of psychophysical methods and forced choice responses. More recently, the relation between music and shape has been analyzed in terms of music visualization, or relatively to the role played by emotion in the association, and free response paradigms have also been accepted. In our study, in order to investigate what attributes may be responsible for the phenomenon of the association between visual and auditory stimuli, the clip/painting association was tested in two experiments: the first used the semantic differential on a unidimensional rating scale of adjectives; the second employed a specific methodology based on subjective perceptual judgments in first person account. Because of the complexity of the stimuli, it was decided to have the maximum possible uniformity of style, composition and musical color. The results show that multisensory features expressed by adjectives such as "quick," "agitated," and "strong," and their antonyms "slow," "calm," and "weak" characterized both the visual and auditory stimuli, and that they may have had a role in the associations. The results also suggest that the main perceptual features responsible for the clip/painting associations were hue, lightness, timbre, and musical tempo. Contrary to what was expected, the musical mode usually related to feelings of happiness (major mode), or to feelings of sadness (minor mode), and spatial orientation (vertical and horizontal) did not play a significant role in the association. The consistency of the associations was shown when evaluated on the whole sample, and after considering the different backgrounds and expertise of the subjects. No substantial difference was found between expert and non-expert subjects. The methods used in the experiment (semantic differential and subjective judgements in first person account) corroborated the interpretation of the results as associations due to patterns of qualitative similarity present in stimuli of different sensory modalities and experienced as such by the subjects. The main result of the study consists in showing the existence of cross-modal associations between highly complex stimuli; furthermore, the second experiment employed a specific methodology based on subjective perceptual judgments.

It does belong together: cross-modal correspondences influence cross-modal integration during perceptual learning

Experiencing a stimulus in one sensory modality is often associated with an experience in another sensory modality. For instance, seeing a lemon might produce a sensation of sourness. This might indicate some kind of cross-modal correspondence between vision and gustation. The aim of the current study was to explore whether such cross-modal correspondences influence cross-modal integration during perceptual learning. To that end, we conducted two experiments. Using a speeded classification task, Experiment 1 established a cross-modal correspondence between visual lightness and the frequency of an auditory tone. Using a short-term priming procedure, Experiment 2 showed that manipulation of such cross-modal correspondences led to the creation of a crossmodal unit regardless of the nature of the correspondence (i.e., congruent, Experiment 2a or incongruent, Experiment 2b). However, a comparison of priming effects sizes suggested that cross-modal correspondences modulate cross-modal integration during learning, leading to new learned units that have different stability over time. We discuss the implications of our results for the relation between cross-modal correspondence and perceptual learning in the context of a Bayesian explanation of cross-modal correspondences.

Color synesthesia. Insight into perception, emotion, and consciousness

Purpose of review

Synesthesia is an extraordinary perceptual phenomenon, in which individuals experience unusual percepts elicited by the activation of an unrelated sensory modality or by a cognitive process. Emotional reactions are commonly associated. The condition prompted philosophical debates on the nature of perception and impacted the course of art history. It recently generated a considerable interest among neuroscientists, but its clinical significance apparently remains underevaluated. This review focuses on the recent studies regarding variants of color synesthesia, the commonest form of the condition.

Recent findings

Synesthesia is commonly classified as developmental and acquired. Developmental forms predispose to changes in primary sensory processing and cognitive functions, usually with better performances in certain aspects and worse in others, and to heightened creativity. Acquired forms of synesthesia commonly arise from drug ingestion or neurological disorders, including thalamic lesions and sensory deprivation (e.g., blindness). Cerebral exploration using structural and functional imaging has demonstrated distinct patterns in cortical activation and brain connectivity for controls and synesthetes. Artworks of affected painters are most illustrative of the nature of synesthetic experiences.

Summary

Results of the recent investigations on synesthesia offered a remarkable insight into the mechanisms of perception, emotion and consciousness, and deserve attention both from neuroscientists and from clinicians.

Rethinking the senses and their interactions: the case for sensory pluralism

I argue for sensory pluralism. This is the view that there are many forms of sensory interaction and unity, and no single category that classifies them all. In other words, sensory interactions do not form a single natural kind. This view suggests that how we classify sensory systems (and the experiences they generate) partly depends on our explanatory purposes. I begin with a detailed discussion of the issue as it arises for our understanding of thermal perception, followed by a general account and defense of sensory pluralism.

Semantic mechanisms may be responsible for developing synesthesia

Currently, little is known about how synesthesia develops and which aspects of synesthesia can be acquired through a learning process. We review the increasing evidence for the role of semantic representations in the induction of synesthesia, and argue for the thesis that synesthetic abilities are developed and modified by semantic mechanisms. That is, in certain people semantic mechanisms associate concepts with perception-like experiences-and this association occurs in an extraordinary way. This phenomenon can be referred to as "higher" synesthesia or ideasthesia. The present analysis suggests that synesthesia develops during childhood and is being enriched further throughout the synesthetes' lifetime; for example, the already existing concurrents may be adopted by novel inducers or new concurrents may be formed. For a deeper understanding of the origin and nature of synesthesia we propose to focus future research on two aspects: (i) the similarities between synesthesia and ordinary phenomenal experiences based on concepts; and (ii) the tight entanglement of perception, cognition and the conceptualization of the world. Importantly, an explanation of how biological systems get to generate experiences, synesthetic or not, may have to involve an explanation of how semantic networks are formed in general and what their role is in the ability to be aware of the surrounding world.

The role of conceptual knowledge in understanding synaesthesia: Evaluating contemporary findings from a "hub-and-spokes" perspective

Synesthesia is a phenomenon in which stimulation in one sensory modality triggers involuntary experiences typically not associated with that stimulation. Inducing stimuli (inducers) and synesthetic experiences (concurrents) may occur within the same modality (e.g., seeing colors while reading achromatic text) or span across different modalities (e.g., tasting flavors while listening to music). Although there has been considerable progress over the last decade in understanding the cognitive and neural mechanisms of synesthesia, the focus of current neurocognitive models of synesthesia does not encompass many crucial psychophysical characteristics documented in behavioral research. Prominent theories of the neurophysiological basis of synesthesia construe it as a perceptual phenomenon and hence focus primarily on the modality-specific brain regions for perception. Many behavioral studies, however, suggest an essential role for conceptual-level information in synesthesia. For example, there is evidence that synesthetic experience arises subsequent to identification of an inducing stimulus, differs substantially from real perceptual events, can be akin to perceptual memory, and is susceptible to lexical/semantic contexts. These data suggest that neural mechanisms lying beyond the realm of the perceptual cortex (especially the visual system), such as regions subserving conceptual knowledge, may play pivotal roles in the neural architecture of synesthesia. Here we discuss the significance of non-perceptual mechanisms that call for a re-evaluation of the emphasis on synesthesia as a perceptual phenomenon. We also review recent studies which hint that some aspects of synesthesia resemble our general conceptual knowledge for object attributes, at both psychophysical and neural levels. We then present a conceptual-mediation model of synesthesia in which the inducer and concurrent are linked within a conceptual-level representation. This “inducer-to-concurrent” nexus is maintained within a supramodal “hub,” while the subjective (bodily) experience of its resultant concurrent (e.g., a color) may then require activation of “spokes” in the perception-related cortices. This hypothesized “hub-and-spoke” structure would engage a distributed network of cortical regions and may account for the full breadth of this intriguing phenomenon.

A predictive processing theory of sensorimotor contingencies: Explaining the puzzle of perceptual presence and its absence in synesthesia

Normal perception involves experiencing objects within perceptual scenes as real, as existing in the world. This property of "perceptual presence" has motivated "sensorimotor theories" which understand perception to involve the mastery of sensorimotor contingencies. However, the mechanistic basis of sensorimotor contingencies and their mastery has remained unclear. Sensorimotor theory also struggles to explain instances of perception, such as synesthesia, that appear to lack perceptual presence and for which relevant sensorimotor contingencies are difficult to identify. On alternative "predictive processing" theories, perceptual content emerges from probabilistic inference on the external causes of sensory signals, however, this view has addressed neither the problem of perceptual presence nor synesthesia. Here, I describe a theory of predictive perception of sensorimotor contingencies which (1) accounts for perceptual presence in normal perception, as well as its absence in synesthesia, and (2) operationalizes the notion of sensorimotor contingencies and their mastery. The core idea is that generative models underlying perception incorporate explicitly counterfactual elements related to how sensory inputs would change on the basis of a broad repertoire of possible actions, even if those actions are not performed. These "counterfactually-rich" generative models encode sensorimotor contingencies related to repertoires of sensorimotor dependencies, with counterfactual richness determining the degree of perceptual presence associated with a stimulus. While the generative models underlying normal perception are typically counterfactually rich (reflecting a large repertoire of possible sensorimotor dependencies), those underlying synesthetic concurrents are hypothesized to be counterfactually poor. In addition to accounting for the phenomenology of synesthesia, the theory naturally accommodates phenomenological differences between a range of experiential states including dreaming, hallucination, and the like. It may also lead to a new view of the (in)determinacy of normal perception.

Mirror-touch and ticker tape experiences in synesthesia

A fundamental question in the field of synesthesia is whether it is associated with other cognitive phenomena. The current study examined synesthesia's connections with phenomenal traits of mirror-touch and ticker tape experiences, as well as the representation of the three phenomena in the population, across gender and domain of work/study. Mirror-touch is the automatic, involuntary experience of tactile sensation on one's own body when others are being touched. For example, seeing another person's arm being stroked can evoke physical touch sensation on one's own arm. Ticker tape is the automatic visualization of spoken words or thoughts, such as a teleprompter. For example, when spoken to, a ticker taper might see mentally the spoken words displayed in front of his face or as coming out of the speaker's mouth. To explore synesthesia's associations with these phenomena, a diverse group (n = 3743) was systematically recruited from eight universities and one public museum in France to complete an online screening. Of the 1017 eligible respondents, synesthetes (across all subtypes) reported higher rates of mirror-touch and ticker tape than non-synesthetes, suggesting that synesthesia is associated with these phenomenal traits. However, effect sizes were small and we could not rule out that response bias influenced these associations. Mirror-touch and ticker tape were independent. No differences were found across gender or domain of work and study in prevalence of synesthesia, mirror-touch or ticker tape. The prevalence of ticker tape, unknown so far, was estimated at about 7%, an intermediate rate between estimates of grapheme-color (2-4%) and sequence-space synesthesia (9-14%). Within synesthesia, grapheme-personification, also called ordinal-linguistic personification (OLP) was the most common subtype and was estimated around 12%. Co-occurences of the different types of synesthesia were higher than chance, though at the level of small effect sizes.