La doppia natura dei suicidi del canto XIII dell’Inferno: un parallelismo con la dualità onda-particella nella fisica quantistica

The hybrid nature of the human–plant suicidal souls explored through the character of Pier delle Vigne in Inferno XIII exhibits unique characteristics in the Comedy’s first cantica. For centuries the Wood of the Suicides has demanded the attention of readers and scholars alike and yet the interplay and structure of their coexisting identities remain subject to lively debate. As an analytical tool, Dante’s encounter with Pier delle Vigne is compared to the wave–particle duality of light, a peculiar phenomenon of quantum physics. Indeed just as the suicides are at once true human and true plant, light behaves simultaneously as wave and particle depending on the experiment performed. The two complementary descriptions of light are mirrored in the duality of Pier delle Vigne, allowing a schematic restating of the canto emphasizing the multisensory interaction between Dante and the sinner. The hybrid nature of the damned soul thus becomes an expression of the contrasting judgments of Dante–theologian and Dante–poet on this character. Furthermore, the analogy shows how the anonymous suicide from Florence introduced at the end of the canto embodies the ambivalent perspective of Dante on the city of Florence itself.

Embodiment and Multisensory Perception of Synchronicity: Biological Features Modulate Visual and Tactile Multisensory Interaction in Simultaneity Judgements

The concept of embodiment has been used in multiple scenarios, but in cognitive neuroscience it normally refers to the comprehension of the role of one’s own body in the cognition of everyday situations and the processes involved in that perception. Multisensory research is gradually embracing the concept of embodiment, but the focus has mostly been concentrated upon audiovisual integration. In two experiments, we evaluated how the likelihood of a perceived stimulus to be embodied modulates visuotactile interaction in a Simultaneity Judgement task. Experiment 1 compared the perception of two visual stimuli with and without biological attributes (hands and geometrical shapes) moving towards each other, while tactile stimuli were provided on the palm of the participants’ hand. Participants judged whether the meeting point of two periodically-moving visual stimuli was synchronous with the tactile stimulation in their own hands. Results showed that in the hand condition, the Point of Subjective Simultaneity (PSS) was significantly more distant to real synchrony (60 ms after the Stimulus Onset Asynchrony, SOA) than in the geometrical shape condition (45 ms after SOA). In experiment 2, we further explored the impact of biological attributes by comparing performance on two visual biological stimuli (hands and ears), that also vary in their motor and visuotactile properties. Results showed that the PSS was equally distant to real synchrony in both the hands and ears conditions. Overall, findings suggest that embodied visual biological stimuli may modulate visual and tactile multisensory interaction in simultaneity judgements.

A Multisensory Approach to Rock Art: Exploring Tactile and Visual Dimensions in the Southern Scandinavian Rock Art Tradition

This paper discusses rock art in southern Scandinavia as a multisensory format, where both sight and touch would have contributed to the comprehension of the images. From a structural semiotic point of view, we suggest that rock art can be construed as an organised set of features, such as visual and tactile elements, organised into heterogeneous unities with dynamic relations between elements that can change over time with respect to how they are experienced. We argue that in order to understand the rock art medium, it is crucial to take into consideration the multisensory interaction between the perceiver and the qualities of the rock art surface. The reason for including tactile elements in our interpretation of the conception of rock art is the way it was created: by hands interacting with tools and rock surfaces, as well as the spontaneous human tendency to explore the physical world through touch. One can identify key features in the images that would arguably facilitate tactile recognition, as well as be better explained from a multisensorial perspective. This includes the position of the images on horizontal outcrops, the moderate size of the images, the application of an orthographic perspective, the use of ‘tactile markers’ (ie crucial features having a strategic function for understanding images by touch), and the occurrence of incomplete images. A multisensorial perspective on rock art furthermore has semiotic implications. Incomplete images, for example, can be understood as indexical stand-ins for the whole imagined picture, ie as iconic indices. A multisensorial approach to Scandinavian rock art thus allows for new explanations for certain design choices, as well as a new understanding of how the images could relay meaning to a perceiver.

Synch-Graph: Multisensory Emotion Recognition Through Neural Synchrony via Graph Convolutional Networks

Human emotions are essentially multisensory, where emotional states are conveyed through multiple modalities such as facial expression, body language, and non-verbal and verbal signals. Therefore having multimodal or multisensory learning is crucial for recognising emotions and interpreting social signals. Existing multisensory emotion recognition approaches focus on extracting features on each modality, while ignoring the importance of constant interaction and co-learning between modalities. In this paper, we present a novel bio-inspired approach based on neural synchrony in audio-visual multisensory integration in the brain, named Synch-Graph. We model multisensory interaction using spiking neural networks (SNN) and explore the use of Graph Convolutional Networks (GCN) to represent and learn neural synchrony patterns. We hypothesise that modelling interactions between modalities will improve the accuracy of emotion recognition. We have evaluated Synch-Graph on two state-of-the-art datasets and achieved an overall accuracy of 98.3% and 96.82%, which are significantly higher than the existing techniques.

Other Sensory Responses and Multisensory Interactions

This chapter discusses olfactory and visceral responses as well as the MEG/EEG signature of multisensory interaction. Olfactory stimuli can be embedded in a continuous humified airflow where the stimuli are presented at intervals of tens of seconds to avoid short-term habituation. Visceral stimulation typically requires purpose-built stimulating electrodes for direct access to the viscera. Studies of multisensory interaction are necessary because our everyday experiences involve inputs from multiple senses, the temporal coincidence of which allows the brain to construct representations of unique objects or events. Detection and correct interpretation of the nonlinear multisensory interactions call for careful considerations of both the sites of interaction and the changes in the amplitudes of evoked responses and spontaneous activity.