Suppose that you are at a live jazz show. The drummer begins a solo. You see the cymbal jolt and you hear the clang. But in addition seeing the cymbal jolt and hearing the clang, you are also aware that the jolt and the clang are part of the same event. Casey O’Callaghan (forthcoming) calls this awareness “intermodal feature binding awareness.” Psychologists have long assumed that multimodal perceptions such as this one are the result of a subpersonal feature binding mechanism (...) (see Vatakis and Spence, 2007, Kubovy and Schutz, 2010, Pourtois et al., 2000, and Navarra et al., 2012). I present new evidence against this. I argue that there is no automatic feature binding mechanism that couples features like the jolt and the clang together. Instead, when you experience the jolt and the clang as part of the same event, this is the result of an associative learning process. The cymbal’s jolt and the clang are best understood as a single learned perceptual unit, rather than as automatically bound. I outline the specific learning process in perception called “unitization,” whereby we come to “chunk” the world into multimodal units. Unitization has never before been applied to multimodal cases. Yet I argue that this learning process can do the same work that intermodal binding would do, and that this issue has important philosophical implications. Specifically, whether we take multimodal cases to involve a binding mechanism or an associative process will have impact on philosophical issues from Molyneux’s question to the question of how active or passive we consider perception to be. (shrink)

Following on from ecological theories of perception, such as the one proposed by [Gibson, J. J. . The senses considered as perceptual systems. Boston: Houghton Mifflin] this paper reviews the literature on the multisensory interactions underlying the perception of flavor in order to determine the extent to which it is really appropriate to consider flavor perception as a distinct perceptual system. We propose that the multisensory perception of flavor may be indicative of the fact (...) that the taxonomy currently used to define our senses is simply not appropriate. According to the view outlined here, the act of eating allows the different qualities of foodstuffs to be combined into unified percepts; and flavor can be used as a term to describe the combination of tastes, smells, trigeminal, and tactile sensations as well as the visual and auditory cues, that we perceive when tasting food. (shrink)

This chapter examines how our sense modalities interact in the perception of persistence. The chapter concentrates on two questions. The first concerns perceptual processing—do perceptual computations of object persistence ever integrate and compute over representations from more than one modality? It argues that this question should be answered affirmatively. The second question concerns perceptual experience—do experiences of object persistence ever exhibit a constitutively multisensory phenomenal character, or is the phenomenology of object persistence always uniquely associated with just one (...) modality? The chapter argues that the available evidence underdetermines the answer to this question, but suggests ways it might be empirically resolved. (shrink)

This is the editors' Introduction to a special issue of the journal, Multisensory Research. European philosophers of the modern period found multisensory perception to be impossible because they thought that perceptual ideas are defined by how they are experienced. Under this conception, the individual modalities are determinables of ideas—just as colour is a determinable that embraces red and blue, so also the visual is a determinable that embraces colour and (visually experienced) shape. Since no idea is experienced (...) as, for example, both visual and auditory, there can be no such thing as audiovisual perception. This conception of modality is not directly contested, but a variety of perceptual phenomena are listed that could raise interesting questions if treated as multimodal in origin. (shrink)

Object perception deploys a suite of perceptual capacities that constrains attention, guides reidentification, subserves recognition, and anchors demonstrative thought. Objects for perception—perceptual objects—are the targets of such capacities. Characterizing perceptual objects for multisensory perception faces two puzzles. First is the diversity of objects across sensory modalities. Second is the unity of multisensory perceptual objects. This paper resolves the puzzles. Objects for perception are structured mereologically complex individuals. Perceptual objects are items that bear perceptible features (...) and have perceptible parts arranged to form a unified whole. This circumscribes the targets of object perception where neutral talk concerning intentional objects and objects of perception cannot. Nonetheless, it is more permissive than identifying perceptual objects with material bodies, which excludes too much and leans too heavily on vision. The account thus is tailored to capture the role of objects in perception beyond vision: tactual, auditory, and olfactory objects are individuals with differing structures. Its flexibility also enables the account to accommodate shared objects for multisensory perception: multisensory perceptual objects are mereologically complex individuals with hybrid structure. For instance, one can bimodally perceive a common whole with parts accessible to one but not both modalities. Each sense provides a partial perspective on a complex whole that is perceptible through the coordinated use of multiple senses. Understanding perceptual objects as structured mereologically complex individuals thus provides a theoretically useful notion of an object for multisensory perception that resolves the puzzles of diversity and of unity. (shrink)

The idea that there are five senses dates back to Aristotle, who was one of the first philosophers to examine them systematically. Though it has become conventional wisdom, many scientists and philosophers would argue that this idea is outdated and inaccurate. Indeed, they have given many different answers to this question, ranging from just three (the number of different kinds of physical energy we can detect) to 33 or more senses. Perhaps surprisingly, the issue remains controversial, partly because it is (...) not clear exactly what should count as a ‘sense’. Should proprioception, balance and kinaesthesis, amongst others, be considered additional senses? And if so, how do we figure out how many senses we really have? -/- (Published in Turkish under the title ‘Çok Duyumlu Algi’). (shrink)

A visual analogue, two-route model of somatosensory processing is advanced in this commentary. Touch for perception is seen as separate from, although interconnected with, touch for action. Separate modules are additionally proposed for internal (body) and external (object-related) somatosensation. Here we ask whether dissociation (divide) guarantees better efficiency (impera) in terms of the heuristic model within the somatosensory modality and across modalities.

Nearly every theory of perception just focuses on one sense at a time; but most of the time we perceive using multiple senses. Casey O'Callaghan offers a revisionist multisensory philosophy of perception: he explores how our senses work together and influence each other, leading to surprising perceptual illusions and novel forms of experience.

My thesis is that perceptual awareness is richly multisensory. I argue for this conclusion on the grounds that certain forms of multisensory perceptual experience are incompatible with the claim that each aspect of a perceptual experience is associated with some specific sensory modality or another. First, I explicate what it is for some feature of a conscious perceptual episode to be modality specific. Then, I argue based on philosophical and experimental evidence that some novel intermodal features are perceptible (...) only through the coordinated use of multiple senses. I appeal to cases that involve consciously perceptible feature instances and feature types that could not be perceptually experienced through the use of individual sense modalities working on their own or simply in parallel and co-consciously. Finally, I offer an account of how to type perceptual experiences by modality that makes room for richly multisensory experiences. (shrink)

The first part of this survey article presented a cartography of some of the more extensively studied forms of multisensory processing. In this second part, I turn to examining some of the different possible ways in which the structure of conscious perceptual experience might also be characterized as multisensory. In addition, I discuss the significance of research on multisensory processing and multisensory consciousness for philosophical debates concerning the modularity of perception, cognitive penetration, and the individuation (...) of the senses. (shrink)

Human infants begin very early in life to take advantage of multisensory information by extracting the invariant amodal information that is conveyed redundantly by multiple senses. Here we addressed the question as to whether infants can bind multisensory moving stimuli, and whether this occurs even if the motion produced by the stimuli is only illusory. Three- to four-month-old infants were presented with two bimodal pairings: visuo-tactile and audio-visual. Visuo-tactile pairings consisted of apparently vertically moving bars (the Barber Pole (...) illusion) moving in either the same or opposite direction with a concurrent tactile stimulus consisting of strokes given on the infant’s back. Audio-visual pairings consisted of the Barber Pole illusion in its visual and auditory version, the latter giving the impression of a continuous rising or ascending pitch. We found that infants were able to discriminate congruently (same direction) vs. incongruently moving (opposite direction) pairs irrespective of modality (Experiment 1). Importantly, we also found that congruently moving visuo-tactile and audio-visual stimuli were preferred over incongruently moving bimodal stimuli (Experiment 2). Our findings suggest that very young infants are able to extract motion as amodal component and use it to match stimuli that only apparently move in the same direction. (shrink)

Cognitive scientists have long known that the modalities interact during perceptual processing. Cross-modal illusions like the ventriloquism effect show that the course of processing in one modality can alter the course of processing in another. But how do the modalities interact in the specific domain of object perception? This paper distinguishes and analyzes two kinds of multisensory interaction in object perception. First, the modalities may bind features to a single object or event. Second, the modalities may cooperate (...) when differentiating an object or event from its surroundings. I critically evaluate evidence for various forms of multisensory binding. I then consider the case for multisensory differentiation. I argue that existing evidence for multisensory differentiation is inconclusive. I highlight ways that the issue might be empirically resolved. (shrink)

Multisensory processing encompasses all of the various ways in which the presence of information in one sensory modality can adaptively influence the processing of information in a different modality. In Part I of this survey article, I begin by presenting a cartography of some of the more extensively investigated forms of multisensory processing, with a special focus on two distinct types of multisensory integration. I briefly discuss the conditions under which these different forms of multisensory processing (...) occur as well as their important perceptual consequences and interrelations. In Part II, I then turn to examining of some of the different possible ways in which the structure of conscious perceptual experience might also be characterized as multisensory. In addition, I discuss the significance of research on multisensory processing and multisensory consciousness for philosophical attempts to individuate the senses. (shrink)

According to the decomposition thesis, perceptual experiences resolve without remainder into their different modality-specific components. Contrary to this view, I argue that certain cases of multisensory integration give rise to experiences representing features of a novel type. Through the coordinated use of bodily awareness—understood here as encompassing both proprioception and kinaesthesis—and the exteroceptive sensory modalities, one becomes perceptually responsive to spatial features whose instances couldn’t be represented by any of the contributing modalities functioning in isolation. I develop an argument (...) for this conclusion focusing on two cases: 3D shape perception in haptic touch and experiencing an object’s egocentric location in crossmodally accessible, environmental space. (shrink)

Two cross-modal experiments provide partial support for O'Regan & Noë's (O&N's) claim that sensorimotor contingencies mediate perception. Differences in locating a target sound accompanied by a spatially disparate neutral light correlate with whether the two stimuli were perceived as spatially unified. This correlation suggests that internal representations are necessary for conscious perception, which may also mediate sensorimotor contingencies.

Is consciousness multisensory? Obviously it is multisensory in certain ways. Human beings typically possess the capacity to have experiences in at least the five familiar sensory modalities, and quite possibly in a number of other less commonly recognised modalities as well. But there are other respects in which it is far from obvious that consciousness is multisensory. This chapter is concerned with one such respect. Οur concern here is with whether consciousness contains experiences associated with distinct modalities (...) at the same time. We will describe those who endorse a positive answer to this question as endorsing a multisensory view (MSV) of the structure of consciousness, and those who endorse a negative answer to this question as having a unisensory view (USV) of the structure of consciousness. (shrink)

This chapter distinguishes between two kinds of ordinary multisensory experience that go beyond mere co-consciousness of features (e.g., the experience that results from concurrently hearing a sound in the hallway and seeing the cup on the table). In one case, a sensory experience in one modality creates a perceptual demonstrative to whose referent qualities are attributed in another sensory modality. For example, when you hear someone speak, auditory experience attributes audible qualities to a seen event, a person’s speaking motions. (...) The second kind of multisensory experience attributes features experienced in several sensory modalities to one and the same object via a process of amodal perceptual integration, i.e., integration that occurs separately from processing within the individual sensory modalities. Multisensory experiences arising from holding and seeing a tomato or from seeing the Indian curry boil and smelling it are examples of the second kind of multisensory experience. At the end of the chapter we look at synesthesia, a kind of atypical multisensory experience, and argue that one version of this phenomenon may be able to shed light on the neural mechanism underlying amodally integrated multisensory experience. (shrink)

This report highlights and explores five questions that arose from the multisensory integration workshop at the University of Toronto on May 9th and 10th, 2014: 1. What Is Multisensory Integration? 2. Do Multisensory Percepts Involve Emergent Features? 3. What Can Multisensory Processing Tell Us about Multisensory Awareness? 4. Is Language Processing a Special Kind of Multisensory Integration? 5. What Is the Purpose of Multisensory Integration?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: Do multisensory percepts involve emergent features?

The integration of multisensory information is an essential mechanism in perception and action control. Research in multisensory integration is concerned with how the information from the different sensory modalities, such as the senses of vision, hearing, smell, taste, touch, and proprioception, are integrated to a coherent representation of objects (for an overview, see e.g., Calvert, Spence and Stein, 2004). The combination of information from the different senses is central for action control. For instance, when you grasp for (...) a rubber duck, you can see its size, feel its compliance and hear the sound it produces. Moreover, identical physical properties of an object can be provided by different senses. You can both see and feel the size of the rubber duck. Even when you grasp for the rubber duck with a tool (e.g., with tongs), the information from the proximal hand, from the effective part of the distal tool and from the eyes are integrated in a manner to act successfully (for limitations of this integration see Sutter et al., 2013).Over the recent decade a surge of interest in multisensory integration and action control has been witnessed, especially in connection with the idea of a statistically optimized integration of multiple sensory sources. The human information processing system is assumed to adjust moment-by-moment the relative contribution of each sense’s estimate to a multisensory task. The sense’s contribution depends on its variance, so that the total varia... (shrink)

It is tempting to think that one’s perceptual evidence comprises just what issues from perceiving with each of the respective sensory modalities. However, empirical, rational, and phenomenological considerations show that one’s perceptual evidence can outstrip what one possesses due to perceiving with each separate sense. Some novel perceptual evidence stems from the coordinated use of multiple senses. This paper argues that some perceptual evidence in this respect is distinctively multisensory.

Visuo-motor adaptation to optical prisms displacing the visual scene (prism adaptation, PA) is a method used for investigating visuomotor plasticity in healthy individuals and, in clinical settings, for the rehabilitation of unilateral spatial neglect. In the standard paradigm, the adaptation phase involves repeated pointings to visual targets, while wearing optical prisms displacing the visual scene laterally. Here we explored differences in PA, and its aftereffects (AEs), as related to the sensory modality of the target. Visual, auditory, and multisensory - (...) audio-visual - targets in the adaptation phase were used, while participants wore prisms displacing the visual field rightwards by 10◦. Proprioceptive, visual, visual-proprioceptive, auditory-proprioceptive straight-ahead shifts were measured. Pointing to auditory and to audio-visual targets in the adaptation phase produces proprioceptive, visual-proprioceptive, and auditory-proprioceptive AEs, as the typical visual targets did. This finding reveals that cross-modal plasticity effects involve both the auditory and the visual modality, and their interactions (Experiment 1). Even a shortened PA phase, requiring only 24 pointings to visual and audio-visual targets (Experiment 2), is sufficient to bring about AEs, as compared to the standard 92-pointings procedure. Finally, pointings to auditory targets cause AEs, although PA with a reduced number of pointings (24) to auditory targets brings about smaller AEs, as compared to the 92-pointings procedure (Experiment 3). Together, results from the three experiments extend to the auditory modality the sensorimotor plasticity underlying the typical AEs produced by PA to visual targets. Importantly, PA to auditory targets appears characterized by less accurate pointings and error correction, suggesting that the auditory component of the PA process may be less central to the building up of the AEs, than the sensorimotor pointing activity per se. These findings highlight both the effectiveness of a reduced number of pointings for bringing about AEs, and the possibility of inducing PA with auditory targets, which may be used as a compensatory route in patients with visual deficits. (shrink)

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: What is multisensory integration?

This is an excerpt from a report on the workshop on multisensory integration at the University of Toronto, on May 9th and 10th, 2014, written by Kevin Connolly, Aaron Henry, Zoe Jenkin, and Andrew MacGregor, and available at: http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This excerpt explores the question: What can multisensory processing tell us about multisensory awareness?

The Bayesian model of multisensory cue integration proposed by Ernst and Banks provides an attractive model for understanding a way that our sensory systems may interact. Moreover, it has been suggested that the process of multisensory integration that it models underpins conscious experiences with multisensory representational contents merged across modalities. Should we therefore take empirical support for the Bayesian model as evidence of the multimodality of perception? Focusing on evidence of integration across vision and touch, I (...) argue that apparent support for the model does not warrant the rejection of the view that each of our conscious perceptual experiences is associated with one and only one sense modality. (shrink)

In the social world, multiple sensory channels are used concurrently to facilitate communication. Among human and nonhuman pri- mates, faces and voices are the primary means of transmitting social signals (Adolphs, 2003; Ghazanfar and Santos, 2004). Primates recognize the correspondence between species-specific facial and vocal expressions (Massaro, 1998; Ghazanfar and Logothetis, 2003; Izumi and Kojima, 2004), and these visual and auditory channels can be integrated into unified percepts to enhance detection and discrimination. Where and how such communication signals are integrated (...) at the neural level are poorly understood. In particular, it is unclear what role “unimodal” sensory areas, such as the auditory cortex, may play. We recorded local field potential activity, the signal that best correlates with human imaging and event-related potential signals, in both the core and lateral belt regions of the auditory cortex in awake behaving rhesus monkeys while they viewed vocalizing conspecifics. We demonstrate unequivocally that the primate auditory cortex integrates facial and vocal signals through enhancement and suppression of field potentials in both the core and lateral belt regions. The majority of these multisensory responses were specific to face/voice integration, and the lateral belt region shows a greater frequency of multisensory integration than the core region. These multisensory processes in the auditory cortex likely occur via recip- rocal interactions with the superior temporal sulcus. (shrink)

We study the claim that multisensory environments are useful for visual learning because nonvisual percepts can be processed to produce error signals that people can use to adapt their visual systems. This hypothesis is motivated by a Bayesian network framework. The framework is useful because it ties together three observations that have appeared in the literature: (a) signals from nonvisual modalities can “teach” the visual system; (b) signals from nonvisual modalities can facilitate learning in the visual system; and (c) (...) visual signals can become associated with (or be predicted by) signals from nonvisual modalities. Experimental data consistent with each of these observations are reviewed. (shrink)

This paper concerns epistemic developments in the field of sensory perception. I argue that Uexküll’s concept of the Umwelträume and certain principles of multisensory integration explain and describe in similar terms the manner in which different sensory modalities interact. Indeed, they both concern knowledge, describing in spatial terms how the mind makes itself up, makes up its objects, and how the objects, in turn, make up the mind. My intention is to set side by side these two trends (...) of thought in order to mutually explain them. I suggest that there is some sort of dialectic at work between the Umwelträume and multisensory integration: in the first case interaction between the senses results in the creation of high definition subjects, whereas in the latter the interaction of the senses results in high definition objects. (shrink)

How do people learn multisensory, or amodal, representations, and what consequences do these representations have for perceptual performance? We address this question by performing a rational analysis of the problem of learning multisensory representations. This analysis makes use of a Bayesian nonparametric model that acquires latent multisensory features that optimally explain the unisensory features arising in individual sensory modalities. The model qualitatively accounts for several important aspects of multisensory perception: (a) it integrates information from multiple (...) sensory sources in such a way that it leads to superior performances in, for example, categorization tasks; (b) its performances suggest that multisensory training leads to better learning than unisensory training, even when testing is conducted in unisensory conditions; (c) its multisensory representations are modality invariant; and (d) it predicts ‘‘missing” sensory representations in modalities when the input to those modalities is absent. Our rational analysis indicates that all of these aspects emerge as part of the optimal solution to the problem of learning to represent complex multisensory environments. (shrink)

The reach-to-grasp movement is ordinarily performed in everyday living activities and it represents a key behavior that allows humans to interact with their environment. Remarkably, it serves as an experimental test case for probing the multisensory architecture of goal-oriented actions. This review focuses on experimental evidence that enhances or modifies how we might conceptualize the “multisensory” substrates of prehension. We will review evidence suggesting that how reach-to-grasp movements are planned and executed is influenced by information coming from different (...) sensory modalities such as vision, proprioception, audition, taste, and olfaction. The review closes with some considerations about the predominant role of the multisensory constituents in shaping prehensile behavior and how this might be important for future research developments, especially in the rehabilitative domain. (shrink)

Psychophysics and neuroscience demonstrate that different sensory systems interact and influence each other. Perceiving involves extensive cooperation and coordination among systems associated with sight, hearing, touch, smell, and taste. Nonetheless, it remains unclear in what respects conscious perceptual awareness is multisensory. This paper distinguishes six differing varieties of multisensory awareness, explicates their consequences, and thereby elucidates the multisensory nature of perception. It argues on these grounds that perceptual awareness need not be exhausted by that which is (...) associated with each of the respective sensory modalities along with whatever accrues thanks to simple co-consciousness. (shrink)

People’s awareness of tactile stimuli has been investigated in far less detail than their awareness of stimuli in other sensory modalities. In an attempt to fill this gap, we provide an overview of studies that are pertinent to the topic of tactile consciousness. We discuss the results of research that has investigated phenomena such as “change blindness”, phantom limb sensations, and numerosity judgments in tactile perception, together with the results obtained from the study of patients affected by deficits that (...) can adversely affect tactile perception such as neglect, extinction, and numbsense. The similarities as well as some of the important differences that have emerged when visual and tactile conscious information processing have been compared using similar experimental procedures are highlighted. We suggest that conscious information processing in the tactile modality cannot be separated completely from the more general processing of spatial information in the brain. Finally, the importance of considering tactile consciousness within the larger framework of multisensory information processing is also discussed. (shrink)

Philosophy of perception is guilty of focusing on the perception of far space, neglecting the possibility that the perception of the space immediately surrounding the body, which is known as peripersonal space, displays different properties. Peripersonal space is the space in which the world is literally at hand for interaction. It is also the space in which the world can become threatening and dangerous, requiring protective behaviours. Recent research in cognitive neuroscience has yielded a vast array of (...) discoveries on the multisensory and sensorimotor specificities of the processing of peripersonal space. Yet very little has been done on their philosophical implications. Here I will raise the following question: in what manner does the visual experience of a big rock close to my foot differ from the visual experience of the moon in the sky? (shrink)

Atypical sensorimotor developmental trajectories greatly contribute to the profound heterogeneity that characterizes Autism Spectrum Disorders. Individuals with ASD manifest deviations in sensorimotor processing with early markers in the use of sensory information coming from both the external world and the body, as well as motor difficulties. The cascading effect of these impairments on the later development of higher-order abilities underlines the need for interventions that focus on the remediation of sensorimotor integration skills. One of the promising technologies for such stimulation (...) is Immersive Virtual Reality. In particular, head-mounted displays have unique features that fully immerse the user in virtual realities which disintegrate and otherwise manipulate multimodal information. The contribution of each individual sensory input and of multisensory integration to perception and motion can be evaluated and addressed according to a user’s clinical needs. HMDs can therefore be used to create virtual environments aimed at improving people’s sensorimotor functioning, with strong potential for individualization for users. Here we provide a narrative review of the sensorimotor atypicalities evidenced by children and adults with ASD, alongside some specific relevant features of IVR technology. We discuss how individuals with ASD may interact differently with IVR versus real environments on the basis of their specific atypical sensorimotor profiles and describe the unique potential of HMD-delivered immersive virtual environments to this end. (shrink)

Whether you are a sophisticated critic or an untrained spectator, when it comes to our experience of dance, we are generally able to appreciate the way a dancer’s bodily movements fit the music. Our experience of dance thus lends itself to a range of crossmodal judgments, that is, our perception of dance enables us to make claims that purport to be about how bodily movements which can be visually seen fit together with aspects of the music which can be (...) heard or felt. But we are not determined to perceive every case of fit unproblematically. That it is possible one may fail to initially perceive a fit that others claim ought to be viewable suggests that there is a normative dimension to this phenomenon. In this article, I argue that we can explain the source of this normativity with a multisensory account of dance. More specifically, I argue that dance is a novel feature type, a feature of perceptual experience that is essentially multimodal. The basic perception of dance, which grounds more sophisticated forms of judgment concerning crossmodal fit downstream, is the actualization of a unique multisensory capacity that non-inferentially tracks a real, fundamental connection between music and movement. (shrink)

Higher animals need to identify and track material objects because they depend on interactions with them for nutrition, reproduction, and social interaction. This paper investigates the perception of material objects. It argues, first, that material objects are tagged, in all five external senses, as bearers of the features detected by them. This happens through a perceptual process, here entitled Generalized Completion, which creates the appearance of objects that have properties that transcend the activation of sensory receptors. The paper shows, (...) secondly, that material objects are privileged subjects for perceived motion and interaction. That is, they are perceived as subjects for these properties while their parts seem to be subjects only derivatively. Material objects are the only perceptual subjects that are both multisensory and privileged. (shrink)