We investigated grapheme-colour synaesthesia and found that The induced colours led to perceptual grouping and pop-out, a number rendered invisible through 'crowding' or lateral masking can induce synaesthetic colours -- a form of blindsight -- and peripherally presented graphemes did not induce colours even when they were clearly visible. Taken collectively, these and other experiments prove conclusively that synaesthesia is a genuine perceptual phenomenon, not an effect based on memory associations from childhood or on vague metaphorical speech. We identify different (...) subtypes of number-colour synaesthesia and propose that they are caused by hyperconnectivity between colour and number areas at different stages in processing; lower synaesthetes may have cross-wiring within the fusiform gyrus whereas higher synaesthetes may have cross-activation in the angular gyrus. This hyperconnectivity might be caused by a genetic mutation that causes defective pruning of connections between brain maps. The mutation may further be expressed selectively in the fusiform or angular gyri, and this may explain the existence of different forms of synaesthesia. If expressed very diffusely, there may be extensive cross-wiring between brain regions that represent abstract concepts, which would explain the link between creativity, metaphor and synaesthesia. Also, hyperconnectivity between the sensory cortex and amygdala would explain the heightened aversion synaesthetes experience when seeing numbers printed in the 'wrong' colour. Lastly, kindling -- induced hyperconnectivity in the temporal lobes of temporal lobe epilepsy patients -- may explain the purported higher incidence of synaesthesia in these patients. We conclude with a synaesthesia-based theory of the evolution of language. Thus, our experiments on synaesthesia and our theoretical framework attempt to link several seemingly unrelated facts about the human mind. Far from being a mere curiosity, synaesthesia may provide a window into perception, thought and language. (shrink)

Presenting a landmark in linguistics and cognitive science, Ray Jackendoff proposes a new holistic theory of the relation between the sounds, structure, and meaning of language and their relation to mind and brain. Foundations of Language exhibits the most fundamental new thinking in linguistics since Noam Chomsky's Aspects of the Theory of Syntax in 1965—yet is readable, stylish, and accessible to a wide readership. Along the way it provides new insights on the evolution of language, thought, and communication.

Already hailed as a masterpiece, Foundations of Language offers a brilliant overhaul of the last thirty-five years of research in generative linguistics and related fields. "Few books really deserve the cliché 'this should be read by every researcher in the field'," writes Steven Pinker, author of The Language Instinct, "but Ray Jackendoff's Foundations of Language does." Foundations of Language offers a radically new understanding of how language, the brain, and perception intermesh. The book renews the promise of early generative linguistics: (...) that language can be a valuable entrée into understanding the human mind and brain. The approach is remarkably interdisciplinary. Behind its innovations is Jackendoff's fundamental proposal that the creativity of language derives from multiple parallel generative systems linked by interface components. This shift in basic architecture makes possible a radical reconception of mental grammar and how it is learned. As a consequence, Jackendoff is able to reintegrate linguistics with philosophy of mind, cognitive and developmental psychology, evolutionary biology, neuroscience, and computational linguistics. Among the major topics treated are language processing, the relation of language to perception, the innateness of language, and the evolution of the language capacity, as well as more standard issues in linguistic theory such as the roles of syntax and the lexicon. In addition, Jackendoff offers a sophisticated theory of semantics that incorporates insights from philosophy of language, logic and formal semantics, lexical semantics of various stripes, cognitive grammar, psycholinguistic and neurolinguistic approaches, and the author's own conceptual semantics. (shrink)

(1) The induced colours led to perceptual grouping and pop-out, (2) a grapheme rendered invisible through ‘crowding’ or lateral masking induced synaesthetic colours — a form of blindsight — and (3) peripherally presented graphemes did not induce colours even when they were clearly visible. Taken collectively, these and other experiments prove conclusively that synaesthesia is a genuine percep- tual phenomenon, not an effect based on memory associations from childhood or on vague metaphorical speech. We identify different subtypes of number–colour synaesthesia (...) and propose that they are caused by hyperconnectivity between col- our and number areas at different stages in processing; lower synaesthetes may have cross-wiring (or cross-activation) within the fusiform gyrus, whereas higher synaesthetes may have cross-activation in the angular gyrus. This hyperconnec- tivity might be caused by a genetic mutation that causes defective pruning of con- nections between brain maps. The mutation may further be expressed selectively (due to transcription factors) in the fusiform or angular gyri, and this may explain the existence of different forms of synaesthesia. If expressed very diffusely, there may be extensive cross-wiring between brain regions that represent abstract concepts, which would explain the link between creativity, metaphor and synaesthesia (and the higher incidence of synaesthesia among artists and poets). Also, hyperconnectivity between the sensory cortex and amygdala would explain the heightened aversion synaesthetes experience when seeing numbers printed in the ‘wrong’ colour. Lastly, kindling (induced hyperconnectivity in the temporal lobes of temporal lobe epilepsy [TLE] patients) may explain the purported higher incidence of synaesthesia in these patients. We conclude with a synaesthesia-based theory. (shrink)