Abstract: When we open our eyes, the world seems full of colored opaque objects, light sources, and transparent volumes. One historically popular view, _eliminativism_, is that the world is not in this respect as it appears to be: nothing has any color. Color _realism_, the denial of eliminativism, comes in three mutually exclusive varieties, which may be taken to exhaust the space of plausible realist theories. Acccording to _dispositionalism_, colors are _psychological_ dispositions: dispositions to produce certain kinds of visual experiences. According to both _primitivism_ and _physicalism_, colors are not psychological dispositions; they differ in that primitivism says that no reductive analysis of the colors is possible, whereas physicalism says that they are physical properties. This paper is a defense of physicalism about color

Abstract: Anything is similar to anything, provided the respects of similarity are allowed to be gerrymandered or gruesome, as Goodman observed.2 But similarity in non-gruesome or—as I shall say—genuine respects is much less ecumenical. Colors, it seems, provide a compelling illustration of the distinction as applied to similarities among properties.3 For instance, in innumerable gruesome respects, blue is more similar to yellow than to purple. But in a genuine respect, blue is more similar to purple than to yellow (genuinely more similar, as I shall sometimes put it)

Abstract: b>: there is no “mind-body problem”, or “hard problem of consciousness”; if there is a hard problem of something, it is the problem of reconciling the manifest and scientific images

Abstract: Anomaloscope An instrument used for detecting anomalies of color vision. The test subject adjusts the ratio of two monochromatic lights to form a match with a third monochromatic light. The most common form of this procedure involves a Rayleigh match: a match between a mixture of monochromatic green and red lights, and a monochromatic yellow light. Normal subjects will choose a matching ratio of red to green light that falls within a fairly narrow range of values. Subjects with anomalous color vision will choose a ratio of red to green that falls outside this range, and red-green dichromats will accept any ratio of red to green as forming a match

Abstract: There is nothing in this World constant but Inconstancy. [Swift 1711: 258] In this paper I argue that two standard characterizations of colour constancy are inadequate to the phenomenon. This inadequacy matters, since, I contend, philosophical appeals to colour constancy as a way of motivating illumination-independent conceptions of colour turn crucially on the shortcomings of these characterizations. After critically reviewing the standard characterizations, I provide a novel counterfactualist understanding of colour constancy, argue that it avoids difficulties of its traditional rivals, and defend it from objections. Finally, I show why, on this improved understanding, colour constancy does not have the philosophical consequences that have been claimed for it in the literature

Abstract: Although philosophers have puzzled about color for millennia, the recent explosion in philosophical interest in the topic can largely be traced to C. L. Hardin’s widely-read and deservedly-praised Color for Philosophers: Unweaving the Rainbow [Hardin, 1988]. While Hardin has had no more than the usual, limited success in convincing other philosophers to adopt the substance of his views, he has been quite influential about a point of philosophical methodology: he has convinced many that responsible philosophical work on color simply must make contact with the vast body of empirical color science, and thereby has effected an enormous (and to my mind, extremely salutary) change in the terms of recent philosophical discussion of color.¹ Indeed, writers have been so eager to take Hardin’s lesson on board that one is hard-pressed to find a recent philosophical book on color that does not acknowledge it, crediting Hardin by name

Abstract: Color has been studied for centuries, but has never been completely understood. Digital technology has recently sparked a burgeoning interdisciplinary interest in color. The fact that color is a quality of perception rather than a physical quality brings up a host of interesting questions of interest to both artists and scholars. This volume--the ninth in the Vancouver Studies in Cognitive Science series--brings together chapters by psychologists, philosophers, computer scientists, and artists to explore the nature of human color perception with the aim to further our understanding of color by encouraging interdisciplinary interaction

Abstract: The world as perceived by human beings is full of colour. The world as described by physical scientists is composed of colourless particles and fields. Philosophical theories of colour since the scientific revolution have been primarily driven by a desire to harmonize these two apparently conflicting pictures of the world. Any adequate theory of colour has to be consistent with the characteristics of colour as perceived without contradicting the deliverances of the physical sciences. Given this conception of the aim of a theory of colour, there are three possibilities for resolving the apparent conflict between the scientific and perceptual facts. The first possibility is to deny that physical objects have colours. Theories of this kind admit that objects appear coloured but maintain that these appearances are misleading. The conflict is resolved by removing colour from the external world. Second, it might be that colour is a relational property. For an object to possess a particular colour it must be related in the right way to a perceiver. One common version of this view analyzes colour as a disposition to cause particular kinds of perceptual experiences in a human being. Since the physical sciences deal only with the intrinsic properties of physical objects and their relations to other physical objects and not their relations to perceiving subjects, the possibility of conflict is removed. A third possible response to the conflict is to maintain that colour really is a property of external objects and that the conflict is merely apparent. Some theories of this form maintain that colour is identical to a physical property of objects. Others maintain that colour is a property that physical objects possess over and above all their physical

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properties. Philosophical discussions of colour typically take the form of either elaborating on one of these three possibilities or attempting to show more generally that one of these three types of responses is to be preferred to the others..

Abstract: In this paper I argue that all transparent objects are colorless. This thesis is important for at least three reasons. First, if transparent objects are colorless, there is no need to distinguish between colors which characterize three-dimensional bodies, like transparent colors, and colors which lie on the surface of objects. Second, traditional objections against color physicalism relying on transparent colors are rendered moot. Finally, an improved understanding of the relations between colors, light and transparency is provided.

Abstract:   Susan Hurley has attacked the ''Duplication Assumption'', the assumption thatcreatures with exactly the same internal states could function exactly alike inenvironments that are systematically distorted. She argues that the dynamicalinterdependence of action and perception is highly problematic for the DuplicationAssumption when it involves spatial states and capacities, whereas no such problemsarise when it involves color states and capacities. I will try to establish that theDuplication Assumption makes even less sense for lightness than for some ofthe spatial cases. This is due not only to motor factors, but to the basic physicalasymmetry between black and white. I then argue that the case can be extendedfrom lightness perception to hue perception. Overall, the aims of this paper are:(1) to extend Susan Hurley''s critique of the Duplication Assumption; (2) to argueagainst highly constrained versions of Inverted Spectrum arguments; (3) to proposea broader conception of the vehicle for color perception

Abstract: A chip looks true blue to John and greenish blue to Jane. On the face of it, at least one of the two perceivers has an inaccurate colour experience; for the chip cannot be both true blue and greenish blue. But John and Jane are “normal” perceivers, and there is no privileged class of normal perceivers (Block 1999). This is the puzzle of true blue (Tye

Abstract: A major part of the mind–body problem is to explain why a given set of physical processes should give rise to qualia of one sort rather than another. Colour hues are the usual example considered here, and there is a lively debate between, for example, Hardin, Levine, Jackson, Clark and Chalmers as to whether the results of colour vision science can provide convincing explanations of why colours actually look the way they do. This paper examines carefully the type of explanation that is needed here, and it is concluded that it does not have to be reductive to be effective. What needs to be explained more than anything is why inverted hue scenarios are more intuitive than other sensory inversions: and the issue of physicalism versus dualism is only of marginal relevance here.