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“Now that he’d remembered what he meant to tell her, he seemed to lose interest. She didn’t have to see his face to know this. It was in the air. It was in the pause that trailed from his remark of eight, ten, twelve seconds ago” (1). Lauren Hartke, Don DeLillo’s protagonist in The Body Artist (1), does not have to look at her husband to feel him drifting away. Words and pauses between them carry a wealth of information about the speakers’ intentions and emotions. Words, however, cannot only be heard but also can be seen being signed in sign language. How does the brain go about extracting identity and emotional cues from sentences when they arrive via different senses? Are they duly processed in their corresponding sensory cortices: the speaking speaker’s identity and emotional tone in the auditory cortex and the signing speaker’s identity and emotional tone in the visual cortex? Alternately, do they converge rapidly into one common brain area, irrespective of whether the conversation is heard or seen? If the latter is the case, where would that area be? Deaf signers can communicate through the visual channel with a dexterity that matches spoken communication between two speakers. This capacity gives one a rare opportunity to explore fundamental questions on how different parts of the brain go about dividing their labor. Now, in PNAS, Benetti et al. (2) bring important insights into this matter. For many decades, it has been thought that a fundamental principle of brain organization is the division of that labor between separate sensory systems (e.g., visual, auditory, tactile). Consequently, experience-dependent changes were thought to occur almost exclusively within the bounds of this division: Visual training would cause changes in the visual cortex, and so on (e.g., ref. 3). Against this view, the past …

Whether the hearing brain hears it or the deaf brain sees it, it’s just the same