A neighbor who strikes it rich evokes both admiration and envy, and a similar mix of emotions must be aroused in many neighborhoods of cognitive science when the residents look at the results of research in color perception. It provides what is probably the most widely acknowledged success story of any domain of scientific psychology: the success, against all expectation, of the opponent process theory of color perception. Initially proposed by a Ewald Hering, a nineteenth century (...) physiologist, it drew its inspiration from the existence of opposing muscle groups. Hering thought that analogous opposing processes could explain some aspects of color perception, but the resulting theory was more complicated and less intuitive than that proposed by the great Hermann von Helmholtz. Helmholtz carried his day, but in the long run Hering turned out to be right. (shrink)

Color is a central feature of social life, yet its value in sociological theory is ambiguous. This paper establishes an approach to a social theory of color by focusing on color perception. Using theories from materiality studies and cultural sociology, I argue that color perception is an unstable and contestable phenomenon shaped by social and material factors. My argument is empirically grounded in a case study of a blockbuster museum show called Gods in (...) class='Hi'>Color. The show toured 21 cities in Europe and North America from 2003 to 2015. Its centerpiece—brightly painted reconstructions of ancient Greek and Roman marble sculptures—triggered a vigorous debate about the limits of science in correcting historical optics. The case has broader implications for sociological theories of authenticity, materiality, and aesthetic knowledge. (shrink)

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. (shrink)

In the contemporary discussions concerning unconscious perception it is not uncommon to postulate that content and phenomenal character are ‘orthogonal’, i.e., there is no type of content which is essentially conscious, but instead, every representational content can be either conscious or not. Furthermore, this is not merely treated as a thesis justified by theoretical investigations, but as supported by empirical considerations concerning the actual functioning of the human cognition. In this paper, I address unconscious color perception and (...) argue for a negative thesis—that the main experimental paradigms used in studying unconscious color perception do not provide support for the position that conscious and unconscious color representations have the same type of content. More specifically, I claim that there is no significant support for the claim that unconscious vision categorically represents surface colors. (shrink)

Colour has often been supposed to be a subjective property, a property to be analysed orretly in terms of the phenomenological aspects of human expereince. In contrast with subjectivism, an objectivist analysis of color takes color to be a property objects possess in themselves, independently of the character of human perceptual expereince. David Hilbert defends a form of objectivism that identifies color with a physical property of surfaces - their spectral reflectance. This analysis of color is (...) shown to provide a more adequate account of the features of human color vision than its subjectivist rivals. The author's account of colro also recognises that the human perceptual system provides a limited and idiosyncratic picture of the world. These limitations are shown to be consistent with a realist account of colour and to provide the necessary tools for giving an analysis of common sense knowledge of color phenomena. (shrink)

Rationalizing the perceptual effects of spectral stimuli has been a major challenge in vision science for at least the last 200 years. Here we review evidence that this otherwise puzzling body of phenomenology is generated by an empirical strategy of perception in which the color an observer sees is entirely determined by the probability distribution of the possible sources of the stimulus. The rationale for this strategy in color vision, as in other visual perceptual domains, is the (...) inherent ambiguity of the real-world origins of any spectral stimulus. (shrink)

This paper develops Kendall Walton's account of pictorial experience. Walton argues that the key feature of that experience is that it is imaginatively-penetrated experience. I argue that this idea, as put forward by Walton, has various shortcomings. After discussing these limitations, I suggest, on the basis of a more general phenomenon of cognitive penetration, a refinement of Walton's account. I then show how the revised account explains various features of pictorial experience. Specifically, I show that, given the manner in which (...) imaginings influence perceptual experience, Walton can dispense with the thesis that pictorial experience is twofold. (shrink)

It seems intuitively obvious that metameric matching of color samples entails a loss of information. Metamers are distributions of wavelength and intensity (or “spectral energy distributions“) that perceivers cannot discriminate. Consider two color samples that are presented under ordinary white light and that appear to normal observers to be of the same color. It is well-established that such color samples can have quite different surface-reflective properties; e.g., two samples that appear to be the same shade of (...) green may in fact reflect strikingly different patterns of wavelengths within the visible spectrum (see Figure 1). In this case, sameness of appearance under similar conditions of illumination does not entail sameness of surface reflectance. Spectrophotometrically diverse materials appear the same. It would seem then that information has been lost, that the visual system has failed in its task of chromatic discrimination. (shrink)

Abstract: -/- We present a teaching activity, whose aim is to enhance students’ understanding of color perception by introducing them to intersubjective color variations among normal perceivers. The approach can be used in different disciplines, including biology, philosophy, psychology, physics, or statistics, for different purposes and with college students having various levels of sophistication and scientific training.

Byrne & Hilbert propose that color can be identified with explicit properties of physical surfaces. I argue that this claim must be qualified to take into account constraints needed to make recovery of surface color information possible. When these constraints are satisfied, then a biological visual system can establish a correspondence between perceived surface color and specific surface properties.

Are color categories the evolutionary product of their usefulness in communication, or is this an accidental benefit they give us? It is argued here that embodiment constraints on color categorization suggest that communication is an add-on at best. Thus, the Steels & Belpaeme (S&B) model may be important in explaining coordination, but only at the margin. Furthermore, the concentration on discrimination is questionable: coclassification is at least as important.

When an object looks red to an observer, the visual experience of the observer has two important features. The experience visually represents the object as having a property—being red. And the experience has a phenomenological character; that is, there is something that it is like to have an experience of seeing an object as red. Let qualia be the properties that give our sensory and perceptual experiences their phenomenological character. This essay takes up two related problem for a nonreductive account (...) of qualia. Some have argued that on such an account there is no room in a physicalist ontology for qualia. Section 1 shows how qualia might fit into a physicalist ontology. The second problem begins with the observation that there is a gap in scientific accounts of color experience; there is no explanation of why the features of the brain that determine our color experiences give those experiences their phenomenological character. Building on the results of Sect. 1, Sect. 2 develops an account of color perception that bridges this gap and shows how qualia give color perception its phenomenological character. To get a grip on the issues involved the paper begins by considering some aspects of a physicalist account of color. (shrink)

What knowledge of the colors does perception of the colors provide? My first aim in this essay is to characterize the way in which color experience seems to provide knowledge of colors. This in turn tells us something about what it takes for there to be colors. Color experience provides knowledge of the aspect of the world that is being acted on when we, or some external force, act on the color of an object and thus (...) make a difference to the experiences of people looking at it. It is in this sense that the nature of the colors is transparent to us. For there to be colors is for there to be the qualitative categorical properties that we encounter in perception, action on which affects the color experiences of observers. This line of thought contrasts with the idea that color experience reveals the colors to us, in the sense that it provides knowledge of a number of necessary truths about the colors. In a recent paper, Alex Byrne and David Hilbert provide a careful exposition and critique of this way of developing the idea of color experience as revelatory of the colors. In this paper my main aim is simply to contrast the idea that experience makes the colors transparent to us, with the idea that color experience provides us with knowledge of truths relating to the essences of the colors. (shrink)

I have two main goals in this paper. My first goal is to sketch a new view of color perception. The core of the view can be expressed in the following two theses: (i) the overarching function of color vision is to enable and enhance the manifestation of relevant (species-specific) competences and (ii) color experiences are correct when they result from processing that directly and non-accidentally subserves the manifestation of such competences. My second goal is to (...) show that the view can accommodate and account for a wide variety of color perceptual phenomena, including many problem cases. Importantly, the framework allows us to differentiate between two kinds of good cases of color perception: ideal cases where the demands of the relevant competences converge and non-ideal cases where the demands of the relevant competences diverge and clash. (shrink)

Grapheme-color synesthetes experience color, not physically present, when viewing symbols. Synesthetes cannot remember learning these associations. Must synesthetic percepts be formed during a sensitive period? Can they form later and be consistent? What determines their nature? We tested grapheme-color synesthete, MC2, before, during and after she studied Hindi abroad. We investigated whether novel graphemes elicited synesthetic percepts, changed with familiarity, and/or benefited from phonemic information. MC2 reported color percepts to novel Devanagari and Hebrew graphemes. MC2 monitored (...) these percepts over 6 months in a Hindi-speaking environment. MC2 and synesthete DN, reported synesthetic percepts for Armenian graphemes, or Cyrillic graphemes + phonemes over time. Synesthetes, not controls, reported color percepts for novel graphemes that gained consistency over time. Phonemic information did not enhance consistency. Thus, synesthetes can form and consolidate percepts to novel graphemes as adults. These percepts may depend on pre-existing grapheme-color relationships but they can flexibly shift with familiarity. (shrink)

The problem of explaining color perception has fascinated painters, philosophers and scientists throughout the history. In many cases, the ideas and discoveries about color perception in one of these categories influenced the others, thus resulting in one of the most remarkable cross-fertilization of human thought. At the end of the nineteenth century, two models stood out as the most convincing ones: Young-Helmholtz’s trichromacy on one side, and Hering’s opponency on the other side. The former was mainly (...) supported by painters and scientists, although with some noticeable exceptions as, e.g., Otto Runge, while the majority of philosophers supported the latter. These two apparently incompatible models were proven to be two complementary parts of the hugely complex chain of events which leads to human color perception. Recently, a rigorous mathematical theory able to incorporate both trichromacy and opponency has been developed thanks to the use of the language and tools of quantum information. In this paper, we discuss the placement of this model within the philosophical theories about color. (shrink)

This study investigated whether and how a person's varied series of lexical categories corresponding to different discriminatory characteristics of the same colors affect his or her perception of colors. In three experiments, Chinese participants were primed to categorize four graduated colors—specifically dark green, light green, light blue, and dark blue—into green and blue; light color and dark color; and dark green, light green, light blue, and dark blue. The participants were then required to complete a visual search (...) task. Reaction times in the visual search task indicated that different lateralized categorical perceptions of color corresponded to the various priming situations. These results suggest that all of the lexical categories corresponding to different discriminatory characteristics of the same colors can influence people's perceptions of colors and that color perceptions can be influenced differently by distinct types of lexical categories depending on the context. (shrink)

Mark Eli Kalderon presents an original study of perception, taking as its starting point a puzzle in Empedocles' theory of vision: if perception is a mode of material assimilation, how can we perceive colors at a distance? Kalderon argues that the theory of perception offered by Aristotle in answer to the puzzle is both attractive and defensible.

Color relationalism is the view that colors are constituted in terms of relations to perceiving subjects. Among its explanatory virtues, relation- alism provides a satisfying treatment of cases of perceptual variation. But it can seem that relationalists lack resources for saying that a representa- tion of x’s color is erroneous. Surely, though, a theory of color that makes errors of color perception impossible cannot be correct. In this paper I’ll argue that, initial appearances notwithstanding, relationalism (...) contains the resources to account for errors of color perception. I’ll conclude that worries about making room for error are worries the relationalist can meet. (shrink)

This chapter argues that babies between 6 months and 11 months have color perception without color concepts. It discusses perceptual categories, color constancy, and whether adults have conceptual color perception or both nonconceptual and conceptual color perception. The chapter argues that at least some perceptual representation is nonconceptual in both infants and adults, so even if some perception is conceptual, perception is not constitutively conceptual. The argument relies on an extended (...) example. Babies between the ages of 4–6 months and 11–12 months have near-adult level color discrimination—though perhaps without adult level color constancy—and have perceptual category representations. But they normally lack color cognition or color concepts (or even color proto-concepts), including the concept of color and the concepts of specific colors. The argument in this chapter depends on a three-way distinction among color category representations: (1) nonconceptual color category representations, which develop at 4–6 months of age; (2) color concepts, which develop starting around 11–12 months; and (3) linguistic color concepts, which develop starting around 3 years. The argument of this chapter will be used in Chapter 13 for phenomenally conscious color perception without access conscious color perception. (shrink)

Naturalistic experiments of color perception are critically evaluated. The review concludes that they fail to confirm a natural determination of color perception. Rather than demonstrating universal sensitivity to focal colors, the experiments actually yielded enormous cultural variation in response. This variation is interpreted as supporting a sociohistorical psychological explanation of color perception.

Steels & Belpaeme (S&B) ask how autonomous agents can derive perceptually grounded categories for successful communication, using color categorization as an example. Their comparison of nativism, empiricism, and culturalism, although interesting, does not include key biological and technological constraints for seeing color or learning color categories in realistic environments. Other neural models have successfully included these constraints.

Can psychology explain the qualitative content of experience? A persistent philosophical objection to that discipline is that it cannot. Qualitative states or ‘qualia’ are argued to have characteristics which cannot be explained in terms of their relationships to other psychological states, stimuli, and behavior. Since psychology is confined to descriptions of such relationships, it seems that psychology cannot explain qualia.A paradigm case of qualia is provided by simultaneous color contrast effects, in which (for example) a neutral grey patch is (...) made to look reddish by being enclosed in a green surround. If the qualia based objections are sound, psychology ought not to be able to explain simultaneous color contrast; but psychology at least seems to be able quite successfully to explain those effects. This paper analyzes the logic of psychological explanations of simultaneous color contrast effects, and the import of various qualia based objections to those explanations. I argue that the qualia objections do not demonstrate any explanatory inadequacy in existing psychological explanations of ‘looks’. Psychology succeeds in explaining at least some qualia. In a more positive vein, I argue that once the structure of such explanations is sufficiently understood, a place can be found for qualia within the emerging scientific account of color perception. The resulting account can deal with many of the traditional perplexities over qualia. (shrink)

An object or surface exhibits iridescence when it changes in color as its viewing or lighting angle changes. In this article, I explore the relations between enacted perception, color experience, and visual art through a recent case of iridescent painting. That is, by bringing painter Tiina Pyykkinen’s work with iridescent materials into dialogue with philosopher Alva Noë’s sensorimotor contingency theory of perception (SMC), I investigate the following questions: (a) How can SMC be employed to achieve a (...) better understanding of both creating and viewing iridescent paintings? and (b) What kinds of philosophical implications does the examination of these two issues have for SMC itself, and especially for its account of color perception? I argue that the allure and value of iridescent art consists not only in its ability to disrupt habitual sensorimotor know-how about color behavior but also in its capacity to foster deliberate examination of this experience in carefully curated settings. Indeed, as an exemplar of what Noë calls experientialist art, Pyykkinen’s paintings make us aware of ourselves as the kinds of perceivers we fundamentally are: embodied, enactive, skillful, and situated. At the same time, they urge us to reconsider some of SMC’s assumptions about color perception, particularly as these pertain to determinate colors and color-constancy, the learning of new sensorimotor color know-how, and the terminology used to conceptualize iridescence. (shrink)

Byrne & Hilbert conceive of color perception as the representation of a physical property “out there.” In our view, their approach does not only have various internal problems, but is also apt to becloud both the intricate and still poorly understood role that “ color ” plays within perceptual architecture, and the complex coupling to the “external world” of the perceptual system as an entirety. We propose an alternative perspective, which avoids B&H's misleading dichotomy between a purely (...) subjective and a realist conception of “ color.”. (shrink)

This study proposed a children’s digital art ability training system with artificial intelligence-assisted learning, which was designed to achieve the goal of improving children’s drawing ability. AI technology was introduced for outline recognition, hue color matching, and color ratio calculation to machine train students’ cognition of chromatics, and smart glasses were used to view actual augmented reality paintings to enhance the effectiveness of improving elementary school students’ imagination and painting performance through the diversified stimulation of colors. This study (...) adopted the quasi-experimental research method and designs the pre-test and post-test for different groups. The research subjects are the Grade 4 students of an elementary school in Taitung City, Taiwan. The test tools included an imagination test and an evaluation of painting performance ability. The test results of a total of 30 students before and after the experiment included the experimental group that received the children’s digital art ability training system with AI-assisted learning and 30 students in the control group that had not received the teaching were analyzed by covariance. These results were supplemented by the description and interpretation of student feedback, teachers’ reflection notes, and other qualitative data to understand the performance of the students in the experimental group in terms of imagination and painting performance. (shrink)

The natural sciences, born of philosophy, have always influenced philosophical debate. It is not surprising, then, that the books under review take at least part of their impulse from twentieth-century scientific work on color.

Joshua Gert presents an original account of color properties, and of our perception of them. He employs a general philosophical strategy - neo-pragmatism - which challenges an assumption made by virtually all other theories of color: he argues that colors are primitive properties of objects, irreducible to physical or dispositional properties.

Categories can affect our perception of the world, rendering between-category differences more salient than within-category ones. Across many studies, such categorical perception has been observed for the basic-level categories of one's native language. Other research points to categorical distinctions beyond the basic level, but it does not demonstrate CP for such distinctions. Here we provide such a demonstration. Specifically, we show CP in English speakers for the non-basic distinction between “warm” and “cool” colors, claimed to represent the earliest (...) stage of color lexicon evolution. Notably, the advantage for discriminating colors that straddle the warm–cool boundary was restricted to the right visual field—the same behavioral signature previously observed for basic-level categories. This pattern held in a replication experiment with increased power. Our findings show that categorical distinctions beyond the basic-level repertoire of one's native language are psychologically salient and may be spontaneously accessed during normal perceptual processing. (shrink)

Why do we draw the boundaries between “blue” and “green”, where we do? One proposed answer to this question is that we categorize color the way we do because we perceive color categorically. Starting in the 1950’s, the phenomenon of “categorical perception” (CP) encouraged such a response. CP refers to the fact that adjacent color patches are more easily discriminated when they straddle a category boundary than when they belong to the same category. In this paper, (...) I make three related claims. (1) Although what seems to guide discrimination performances seems to indeed be categorical information, the evidence in favor of the fact that categorical perception infl uences the way we perceive color is not convincing. (2) That CP offers a useful account of categorization is not obvious.While aiming at accounting for categorization, CP itself requires an account of categories. This being said, CP remains an interesting phenomenon. Why and how is our discrimination behavior linked to our categories? It is suggested that linguistic labels determine CP through a naming strategy to which participants resort while discriminating colors. This paper’s fi nal point is (3) that the naming strategy account is not enough. Beyond category labels, what seems to guide discrimination performance is category structure. (shrink)