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Color Constancy

Vision Research 51:674-700 (2011)

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  1. Burge on Perception and Sensation.Lauren Olin - 2016 - Synthese 193 (5):1479-1508.
    In Origins of Objectivity Burge advances a theory of perception according to which perceptions are, themselves, objective representations. The possession of veridicality conditions by perceptual states—roughly, non-propositional analogues of truth-conditions—is central to Burge’s account of how perceptual states differ, empirically and metaphysically, from sensory states. Despite an impressive examination of the relevant empirical literatures, I argue here that Burge has not succeeded in securing a distinction between perception and “mere” sensation.
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  • Rethinking Naive Realism.Ori Beck - 2019 - Philosophical Studies 176 (3):607-633.
    Perceptions are externally-directed—they present us with a mind-independent reality, and thus contribute to our abilities to think about this reality, and to know what is objectively the case. But perceptions are also internally-dependent—their phenomenologies depend on the neuro-computational properties of the subject. A good theory of perception must account for both these facts. But naive realism has been criticized for failing to accommodate internal-dependence. This paper evaluates and responds to this criticism. It first argues that a certain version of naive (...)
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  • The Constancy of Colored After-Images.Semir Zeki, Samuel Cheadle, Joshua Pepper & Dimitris Mylonas - 2017 - Frontiers in Human Neuroscience 11.
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  • Perceptual Constancy and the Dimensions of Perceptual Experience.John O’Dea - forthcoming - Phenomenology and the Cognitive Sciences:1-14.
    Perceptual constancy, often defined as the perception of stable features under changing conditions, goes hand in hand with variation in how things look. A white wall in the orange afternoon sun still looks white, though its whiteness looks different compared with the same wall in the noon sun. Historically, this variation has often been explained in terms of our experience of “merely sensory” or subjective properties – an approach at odds with the fact that the variation does track objective features (...)
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  • The Paradox of Colour Constancy: Plotting the Lower Borders of Perception.Will Davies - forthcoming - Noûs.
    This paper resolves a paradox concerning colour constancy. On the one hand, our intuitive, pre-theoretical concept holds that colour constancy involves invariance in the perceived colours of surfaces under changes in illumination. On the other, there is a robust scientific consensus that colour constancy can persist in cerebral achromatopsia, a profound impairment in the ability to perceive colours. The first stage of the solution advocates pluralism about our colour constancy capacities. The second details the close relationship between colour constancy and (...)
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  • The Science of Color and Color Vision.Alex Byrne & David R. Hilbert - 2021 - In Fiona Macpherson & Derek Brown (eds.), Routledge Handbook of the Philosophy of Colour. London: Routledge.
    A survey of color science and color vision.
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  • Misconceptions About Colour Categories.Christoph Witzel - 2019 - Review of Philosophy and Psychology 10 (3):499-540.
    The origin of colour categories and their relationship to colour perception have been the prime example for testing the influence of language on perception and thought and more generally for investigating the biological, ecological and cultural determination of human cognition. These themes are central to a broad range of disciplines, including vision research, neuroscience, cognitive psychology, developmental science, cultural anthropology, linguistics, computer science, and philosophy. Unfortunately, though, it has been tacitly taken for granted that the conceptual assumptions and methodological practices (...)
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  • Parallel Adaptation to Spatially Distinct Distortions.Yannick Sauer, Siegfried Wahl & Katharina Rifai - 2020 - Frontiers in Psychology 11.
    Optical distortions as a visual disturbance are inherent in many optical devices such as spectacles or virtual reality headsets. In such devices, distortions vary spatially across the visual field. In progressive addition lenses, for example, the left and right regions of the lens skew the peripheral parts of the wearers visual field in opposing directions. The human visual system adapts to homogeneous distortions and the respective aftereffects are transferred to non-retinotopic locations. This study investigates simultaneous adaptation to two opposing distortions (...)
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  • Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings.Matthew Pelowski, Andrea Graser, Eva Specker, Michael Forster, Josefine von Hinüber & Helmut Leder - 2019 - Frontiers in Psychology 10.
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  • A Unified Cognitive Model of Visual Filling-In Based on an Emergic Network Architecture.David Pierre Leibovitz - 2013 - Dissertation, Carleton University
    The Emergic Cognitive Model (ECM) is a unified computational model of visual filling-in based on the Emergic Network architecture. The Emergic Network was designed to help realize systems undergoing continuous change. In this thesis, eight different filling-in phenomena are demonstrated under a regime of continuous eye movement (and under static eye conditions as well). -/- ECM indirectly demonstrates the power of unification inherent with Emergic Networks when cognition is decomposed according to finer-grained functions supporting change. These can interact to raise (...)
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  • An Ecumenical Response to Color Contrast Cases.Pendaran Roberts - 2017 - Synthese 194 (5).
    Intrapersonal variation due to color contrast effects has been used to argue against the following intuitive propositions about the colors: No object can be more than one determinable or determinate color of the same grade all over at the same time ; external objects are actually colored ; and the colors of objects are mind-independent. In this article, I provide a defense of Incompatibility, Realism, and Objectivism from intrapersonal variation arguments that rely on color contrast effects. I provide a novel, (...)
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  • ‘The Most Beautiful Blue’: Painting, Science, and the Perception of Coloured Shadows.Paul Smith - 2018 - British Journal of Aesthetics 58 (4):401-421.
    This article examines first of all how painters’ ability to perceive transient coloured shadows was both facilitated, and impoverished, by scientific theories of their causes. It then investigates how developing techniques of viewing the scene through a frame or half-closed eyes allowed artists to apprehend these elusive phenomena in something approaching their full richness.
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