Scientists are often bemused by the efforts of philosophers essaying a theory of colour: colour science sports a huge array of facts and theories, and it is unclear to its practitioners what philosophy can or is trying to contribute. Equally, philosophers tend to be puzzled about how they can fit colour science into their investigations without compromising their own disciplinary identity: philosophy is supposed to be an _a priori_ investigation; philosophers do not work in psychophysics labs – not in their (...) professional capacity, anyway. (shrink)

Unlike those with type 1 blindsight, people who have type 2 blindsight have some sort of consciousness of the stimuli in their blind field. What is the nature of that consciousness? Is it visual experience? I address these questions by considering whether we can establish the existence of any structural—necessary—features of visual experience. I argue that it is very difficult to establish the existence of any such features. In particular, I investigate whether it is possible to visually, or more generally (...) perceptually, experience form or movement at a distance from our body, without experiencing colour. The traditional answer, advocated by Aristotle, and some other philosophers, up to and including the present day, is that it is not and hence colour is a structural feature of visual experience. I argue that there is no good reason to think that this is impossible, and provide evidence from four cases—sensory substitution, achomatopsia, phantom contours and amodal completion—in favour of the idea that it is possible. If it is possible then one important reason for rejecting the idea that people with type 2 blindsight do not have visual experiences is undermined. I suggest further experiments that could be done to help settle the matter. (shrink)

I propose a counterexample to naturalistic representational theories of phenomenal character. The counterexample is generated by experiences of novel colours reported by Crane and Piantanida. I consider various replies that a representationalist might make, including whether novel colours could be possible colours of objects and whether one can account for novel colours as one would account for binary colours or colour mixtures. I argue that none of these strategies is successful and therefore that one cannot fully explain the nature of (...) the phenomenal character of perceptual experiences using a naturalistic conception of representation. (shrink)

In this paper I argue that color is a relational feature of the distal objects of perception, a way of appearing. I begin by outlining three constraints any theory of color should satisfy: physicalism about the non‐mental world, consistency with what is known from color science, and transparency about color experience. Traditional positions on the ontological status of color, such as physicalist reduction of color to spectral reflectance, subjectivism, dispositionalism, and primitivism, fail, I claim, to meet all three constraints. By (...) treating color as a relational property, a way of appearing, the three constraints can be met. However, serious problems for this view emerge when considering the relation between illusory color experiences and veridical color experiences. I do not propose a solution to these problems. (shrink)

In this paper I propose and defend an account of color that I call color functionalism. I argue that functionalism is a non-traditional species of primary quality theory, and that it accommodates our intuitions about color and the facts of color science better than more widely discussed alternatives.

We examine the pros and cons of color realism, exposing some desiderata on a theory of color: the theory should render colors as scientifically legitimate and correctly individuated, and it should explain how we have veridical color experiences. We then show that these desiderata can by met by treating colors as properties of the special sciences. According to our view, some of the major as properties of the special sciences. According to our view, some of the major disputes in the (...) literature about color -- anti-realism versus dispositionalism versus reductionism -- are not well-founded at this stage of scientific inquiry. Our account of color is designed to be of use in the sciences and as such is driven largely by considerations of what the various sciences need in order to proceed appropriately. We argue that a scientific theory of colors need not regard colors as anything more than high-level statistical constructs built out of correlations between color experiences and other phenomena. (shrink)

A traditional explanation that dates back to Aristotle is that we access color in one perceptual modality only, whereas shape we perceive via two different modalities: visual and tactile. Two independent modalities make possible a verification of our percepts which is not possible for qualities accessed in one modality only.

Colours are as objective as shapes. Representationalism about perceptual experiences – the view that perceptual experiences represent that things are thus and so, and that their doing so is at least part of what makes them the kinds of experiences they are – tells us this, and also how to defend the position against the most potent objection to it, the argument from the variability of colour vision.

Timbre is that property of a sound that distinguishes it other than pitch and loudness, for instance the distinctive sound quality of a violin or flute. While the term is obscure, the concept has played an important, implicit role in recent philosophy of sound. Philosophers have debated whether to identify sounds with properties of waves, events, or objects. Many of the intuitive considerations in this debate apply most clearly to timbre qualities. Two prominent forms of timbre physicalism have emerged: one (...) identifying timbre with the spectral composition of proximal waves; the second identifying timbre with the mechanical vibrations at a sound source. I demonstrate that the first possibility is conceptually unsatisfying, while the second fails to meet the standards of rigor established by the color physicalism literature. One response to these worries might be to adopt a more modest, non-reductive realism about timbre, such as the ecological view of J. J. Gibson. (shrink)

Color-vision defects constitute a spectrum of disorders with varying degrees and types of departure from normal human color vision. One form of color-vision defect is dichromacy; by mixing together only two lights, the dichromat can match any light, unlike normal trichromatic humans, who need to mix three. In a philosophical context, our titular question may be taken in two ways. First, it can be taken at face value as a question about visible properties of external objects, and second, it may (...) be interpreted as the more intangible question of “what it’s like” to be color-blind. (shrink)

Perception represents colours inexactly. This inexactness results from phenomenally manifest noise, and results in apparent violations of the transitivity of perceptual indiscriminability. Whether these violations are genuine depends on what is meant by 'transitivity of perceptual indiscriminability'.

An important challenge to color objectivists, who hold that statements concerning color are made true or false by objective facts, is the argument from interpersonal variation in where normal observers locate the unique hues. Recently, an attractive objectivist response to the argument has been proposed that draws on the semantics of gradable adjectives and which does not require defending the idea that there is a single correct location for each of the unique hues Noûs 50: 3–40),. In ), I argued (...) that the recent objectivist response doesn’t apply to comparative occurrences of color adjectives, so a revised, comparative, version of the argument from interpersonal variation remains a powerful objection to certain types of objectivism. In this paper, I address several unsatisfactory objectivist replies to the comparative version of the argument from interpersonal variation, and offer what I think is a more plausible objectivist reply to the comparative argument from interpersonal variation. (shrink)

Abstract: This article explains and motivates an account of one way in which we might have substantive a priori knowledge in one important class of domains: domains in which the central concepts are response-dependent. The central example will be our knowledge of the connection between something's being harmful and the fact that it is irrational for us to fail to be averse to that thing. The idea is that although the relevant responses (basic aversion in the case of harm, and (...) a kind of interpretive failure in the case of irrationality) are produced by independent psychological mechanisms, they have distal causes that turn out to be related in ways that—once language enters the picture—yield epistemically accessible necessary connections between the referents of their corresponding terms. (shrink)

Perceptual-role theories of mental qualities hold that we can discover the nature of a being’s mental qualities by investigating that being’s capacity to make perceptual discriminations. Many advocates of perceptual-role theories hold that the best explanation of these capacities is that mental quality spaces are homomorphic to the spaces of the physical properties that they help to discriminate. This paper disputes this thesis on largely empirical grounds, and offers an alternative. The alternative explains interesting patterns in our perception of color (...) differences and similarities across edges, emphasizing the importance of visual discontinuities. Further, it provides a simple explanation of the intransitivity of indiscriminability. The homomorphism thesis can explain this intransitivity only with the addition of an independently unsupported empirical hypothesis. Also, in contrast to the homomorphism thesis, the alternative view is perfectly consistent with empirical data that suggest that the visual system uses the dynamic allocation of a limited range of responses in order to discriminate a wider range of physical stimuli and that we are much better at detecting changes in relative luminance than changes in absolute luminance. Moreover, it does all this while using a more efficient strategy for encoding sensory information. (shrink)

Philosophers of art have advanced our understanding of the role of color in realistic representation in painting. This article addresses a new question about how color functions expressively in art. I sketch some ways to answer this question, using examples of paintings by Mark Rothko and light art installation works by James Turrell and Olafur Eliasson.

Michael Jacovides For Locke, the first step in inquiring into perception should be reflection: “What Perception is, every one will know better by reflecting on what he does himself, when he sees, hears, feels, etc. or thinks, than by any discourse of mine” (2.9.2). As a second step, I say, we may learn from reading him. Locke’s use of the term ‘perception’ is somewhat broad. At one point, he tells us that “having Ideas and Perception” are “the same thing” (2.1.9). (...) Elsewhere, he includes the perceiving the agreement of ideas and perceiving the meaning of signs among the varieties of perception (2.21.5). What I have to say will be about perception as psychologists classify it nowadays. I will first discuss sensation in general and then elucidate some of the subtleties of Locke’s account of the visual perception of shape. I’ll close with some remarks on Locke account of time perception. (shrink)

This dissertation defends the reliability of first-person methods for studying consciousness, and applies first-person experiments to two philosophical problems: the experience of size and of the self. In chapter 1, I discuss the motivations for taking a first-person approach to consciousness, the background assumptions of the dissertation and some methodological preliminaries. In chapter 2, I address the claim that phenomenal judgements are far less reliable than perceptual judgements (Schwitzgebel, 2011). I argue that the main errors and limitations in making phenomenal (...) judgements are due to domain-general factors, which are shared in the formation of perceptual judgements. Phenomenal judgements may still be statistically less reliable than perceptual judgements, though I provide reasons for thinking that Schwitzgebel (2011) overstates the case for statistical unreliability. I also provide criteria for distinguishing between reliable and unreliable phenomenal judgements, hence defending phenomenal judgements against general introspective scepticism. Having identified the main errors in making phenomenal judgements, in chapter 3, I discuss how first-person experiments can be used to control for these errors. I provide examples, and discuss how they overcome attentional and conceptual errors, minimise biases, and exhibit high intersubjective reliability. In chapter 4, I investigate size experience. I use first-person experiments and empirical findings to argue that distant things looking smaller cannot be explained as an awareness of instantiated objective properties (visual angle or retinal image size). I also discuss how an awareness of uninstantiated objective properties cannot adequately account for the phenomenal character of size experience. This provides support for a subjectivist account of variance in size experience. In chapter 5, I investigate the sense of self. I distinguish between a weak sense of self (for-me-ness) and a strong sense of self in which there is a polarity between subject and object. I use first-person experiments from Douglas Harding to demonstrate an explicit strong sense of self, specifically when I point at where others see my face. I also argue that this sense of self is not explained by inference, thoughts, feelings, imagination nor the viewpoint. Rather, it is part of the structure of experience that I seem to be looking from here. Even if there is a sense of self, there may be no self. The question of chapter 6 is whether there can be a direct experience of the self. I argue that to function as a bearer of experience the subject must be single and lack sensory qualities in itself. I use Harding’s first-person experiments to investigate the visual gap where I cannot see my head. I argue that it conforms to the above criteria, and hence is a candidate for being the subject. This finding, in conjunction with the fact that I seem to be looking from the same location, provides prima facie evidence for the reality of the subject. I hold then that contrary to Hume and most philosophers since, that there can be a direct self-experience, if one knows which direction to attend. (shrink)

It is often claimed, following Joseph Levine, that there is an ‘explanatory gap’ between ordinary physical facts and the way we perceive things, so that it is impossible to explain, among other things, why colours actually look the way they do. C.L. Hardin, by contrast, argues that there are sufficient asymmetries between colours to traverse this gap. This paper argues that the terms we use to characterize colours, such as ‘warm’ and ‘cool’, are not well understood, and that we need (...) to understand the neurological basis for such associations if we are even to understand what is fully meant by saying, for example, that red is a warm colour. This paper also speculates on how Hardin’s strategy can be generalized. A PowerPoint presentation that depicts inverted colour qualia is attached as an appendix. (shrink)

Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.

This dissertation explores issues in the philosophy of psychology and metaphysics through the lens of the emotion of disgust, and its corresponding property, disgustingness. The first chapter organizes an extremely large body of data about disgust, imposes two constraints any theory must meet, and offers a cognitive model of the mechanisms underlying the emotion. The second chapter explores the evolution of disgust, and argues for the Entanglement thesis: this uniquely human emotion was formed when two formerly distinct mechanisms, one dedicated (...) to monitoring food intake and protecting against poisons, the other dedicated to protecting against parasitic infection, where driven together until they became functionally integrated. The third chapter explores the sorts of acquisition mechanisms that could give rise to the patterns of individual and cultural level variation we find with disgust elicitors. It argues for the Empathic Acquisition thesis, which holds that one important route for the social acquisition and transmission of disgust elicitors is linked to empathic recognition of facial expressions of the emotion. The fourth chapter builds on the Entanglement thesis, and embeds the emotion of disgust in gene-culture coevolutionary theory and the tribal instincts hypothesis. The Co-opt thesis is defended, which maintains that disgust was co-opted to play an important role in our moral psychology, particularly in our cognition of social norms and ethnic boundary markers. In doing so, however, it brings to bear many features initially linked to poisons and parasites. This explains the puzzling and troublesome character of moral judgments linked to disgust. After shifting gears from psychology to metaphysics, the fifth chapter recasts the Humean tradition of projectivism in the terminology of cognitive science. Using examples such as disgust, I argue that a psychologized projectivism is able to make sense of the idea that some properties are projected onto the world, rather than found there to begin with. The final chapter criticizes three other accounts of the property of disgustingness, two inspired by functionalism in the philosophy of color, one inspired by fittingness accounts in metaethics. I argue that none provide nearly as satisfactory account of the property as the psychologized projectivism articulated previously. (shrink)

The nature of color is an open philosophical and scientific question. In this work I develop a physicalist relationist theory of color. So far, attempts to identify color as a physical property of objects have not been convincing because no physical property used by scientists seems to be well correlated with color sensations. I define a new physical property which I call transformance and show that transformance is 100% correlated with color sensations. Intuitively, transformance is a very general abstract physical (...) property that describes how a system transforms or modifies light or information that characterizes light. It turns out that transformance is a relational property of objects like velocity and weight. Transformance is related to surface reflectance as weight is related to mass. Transformance is a much better candidate to be color than surface reflectance because it is 100% correlated with color sensations, precisely models surround effects and fully explains all issues that relate to perceptual variation or the lack thereof. Several concrete examples are provided that show how the transformance of different systems should be modeled. After defining transformance, I defend the theory that color is transformance against possible objections while contrasting my theory with the theory that color is surface reflectance. I then discuss the relations between color and color sensation and the more general objections to any physicalist theory of color. The final part of the thesis deals with epistemological issues related to my theory of color including two apparent paradoxes that I believe every theory of color must answer: 1) How is it that human beings get along so well with an erroneous theory of color? 2) How can science, which is based on the common sense theory of color, conclude that the common sense theory is wrong? I show that my theory provides answers to these questions. (shrink)

The thesis is intended to contribute to the growing understanding of the indispensable role played by phenomenal consciousness in human cognition, and specifically in making our concepts of the external world available. The focus falls on so called observational concepts, a type of rudimentary, perceptually-based objective concepts in our repertoire — picking out manifest properties such as colors and shapes. A theory of such concepts gets provided, and, consequently, the exact role that perceptual consciousness plays in making concepts of this (...) sort available gets settled. In the first half of the thesis, observational concepts get construed as a special type of recognitional concepts. On an analogy with perceptual demonstratives, having such concepts would involve having non-trivial knowledge of their reference. The experiential basis of such concepts would, among other things, provide for such constitutive knowledge. The theoretical background relevant to the hypothesis gets provided in the first chapter. A defence of the hypothesis follows in the second. In the second half of the thesis, care is taken to distinguish among two ways in which the constitutive knowledge of the reference of an observational concept could be fleshed out. In the third chapter, perceptual experience is shown to provide the basis both for knowledge of observational properties by acquaintance, and for knowledge of the essence of such properties — provided that knowledge of essence gets construed in the right, modest way. It might be natural to take knowledge by acquaintance to be the sort relevant to observational concept possession, especially given that in the case of perceptual demonstratives this is the role likely played by experience. However, this initial impression proves to be mistaken. The constitutive knowledge of the referent of an observational concept turns out to consist in the capacity to determine a priori the essence of the respective property. To show this, an argument gets provided in the penultimate fourth chapter, based on the key role played by experiences of instances of observational properties in optimal viewing conditions in enabling the possession of the respective observational concept. (shrink)

I offer a novel defence of radically externalist theories of perception, via a strikingly spare and broadly physicalist metaphysics. The core, motivating claim is what I call a natural view of perception, according to which perception involves direct awareness of our environment, such that the phenomenology of experience consists of the worldly things perceived, as they appear to the perspective of the subject. To underpin this natural view, I propose a simple metaphysical picture of perception, which identifies the perceptual experience (...) with the relation of awareness holding between subject and object, a relation that can be described in familiar physical terms as a causal process involving the thing perceived and the perceiver. Distinctively, the simple metaphysical picture has no place for the notion of ‘experiences’ understood as distinctively ‘mental’ states or events internal or otherwise belonging to the subject. Although there is some limited precedent for the simple metaphysical picture of perception, I offer the first detailed argument for its role in underpinning the natural view. The thesis offers new and detailed arguments to show that the simple metaphysical picture can not only account for normal perceptual experiences, but can also accommodate and explain other forms of sensory experience that have widely been considered to undermine the natural view of perception. These ‘problem’ cases include perceptual illusion, hallucination, and the role of memory and beliefs in influencing how things appear perceptually. In all of these cases, the simple metaphysical picture accounts for the phenomenology of the experience purely in terms of awareness of worldly objects, albeit in some cases objects that are not currently present in the subject’s environment. The simple metaphysical picture thus promises to explain not just perceptual experience but phenomenal consciousness more generally. The natural view is explicitly a commitment of some varieties of naïve realism, but I argue that the two theses come apart. For one thing, the simple metaphysical picture offers a solution to hallucination and other ‘problem’ cases quite different to the solutions offered by naïve realists. However, the most striking and novel claim advanced here is that the natural view can be defended without a commitment to realism. In this regard, I cite evidence for the subject-relativity or experience-dependence of certain perceived qualities, notably colour, and show the simple metaphysical picture allows us to square this with the natural view that colours are ‘out there’ in the environment. I discuss the metaphysical implications of rejecting realism while adhering to the simple metaphysical picture, and outline a radical – and radically simple – metaphysics of the world in general that might preserve the natural view and accommodate the simple metaphysical picture of phenomenal consciousness more generally. This metaphysics takes the form of a process monism in which the governing metaphysical structuring principle is one of top-down determination, such that whole processes determine the nature of their constituent parts. (shrink)

In this paper I shall defend a projectivist view of sensory experience. The case I shall focus on is that of color experience. Projectivism has recently been criticized by some authors who claim that it is unintelligible, or at least implausible, and that it makes a severe category mistake. I shall argue that despite some prima facie impressions of implausibility, projectivism can be made intelligible, and plausible, if its details are spelled out in a reasonable way. In addition, projectivism is (...) ubiquitous in human psychology, and certain cases of projection are reasonably viewed as making a category mistake. Viewed from this perspective, sensory projection is just one instance of projectivism, brought about by low-level perceptual processing. Whether sensory projection is one that makes a category mistake is not obvious. However, even if it does, this is perfectly compatible with the evolutionary advantage of sensation and perception. (shrink)

The primary issues concern whether objects have colours, and what sorts of properties the colours are. Some philosophers hold that nothing is coloured, others that colour are powers to affect perceivers, and others that colours are physical properties.

This dissertation examines representationalism about sensory phenomenology—the claim that for a sensory experience to have a particular phenomenal character is a matter of it having a particular representational content. I focus on a particular issue that is central to representationalism: whether reductive versions of the theory should be internalist or externalist. My primary goals are to demonstrate that externalist representationalism fails to provide a reductive explanation for phenomenal qualities, and to present a reductive internalist version of representationalism that utilizes the (...) empirical framework of psychophysics and neuroscience to develop a philosophical theory of content. The bulk of the project is an attempt to provide the outlines of what such an empirically-based representationalist theory would look like. In chapter 2, I argue that reductive externalist representationalism fails because it is vulnerable to the problem of bad structural correlation: the mismatch between the structure of phenomenal qualities and the structure of physical properties “tracked” by our sensory systems with which phenomenal qualities are identified. In chapter 3, I develop the outlines of a reductive internalist version of representationalism that characterizes phenomenal qualities as modes of presentation of sensory representations that can be reductively characterized in terms of a location in a psychophysically-defined quality space, which can in turn be given a neurophysiological interpretation. In addition, I argue that the neural mechanisms responsible for the representation of spatial locations and visual objects serve a referential role in sensory psychosemantics that grounds the intentionality of sensory states. In chapter 5 I provide a detailed account of the representation of spatial locations in sensory experience, and in chapter 6 I examine the “binding problem”, demonstrating how object-based sensory representations function to demonstratively pick out sensory individuals without explicitly representing any of their features. I describe the resulting view as methodological representationalism: an attempt to demonstrate how a particular philosophical theory of sensory phenomenology can be integrated into the empirical framework of cognitive science, and thereby provide an explanatory psychosemantic framework for sensory phenomenology that is valuable to both philosophers and cognitive scientists. (shrink)

Some philosophers have regarded the connection between hues and certain arousal or affective qualities as so intimate as to make them inseparable, and this “necessary concomitance view” has been invoked to defend functionalism against arguments based on inverted spectra. Support for the necessary concomitance view has sometimes been thought to accrue from experiments in psychology. This paper examines three experiments, two of which apparently offer support for the view. It argues that careful consideration of these experiments undermines this appearance of (...) support. General lessons are drawn concerning the problem that individual differences present for functionalism, and the difficulty of supporting strong conclusions about concomitance by using the methods of experimental psychology. (shrink)

Our understanding of human visual perception generally rests on the assumption that conscious visual states represent the interaction of spatial structures in the environment and our nervous system. This assumption is questioned by circumstances where conscious visual states can be triggered by external stimulation which is not primarily spatially defined. This work discusses psychophysical experiments investigating flicker induced subjective experiences of colour and form. Using the presentation of spatially uniform flicker with a precise temporal resolution it is shown that subjective (...) experiences do not only depend on stimulation frequency, but also on stimulation phase. In addition, the occurrence of one subjective experience appears to be associated with the occurrence of others. The phenomenology of subjective colour and form is further explored and the physiological mechanisms underlying subjective colour are investigated using electroencephalography. While these data indicate that conscious visual experience may be evoked directly by particular variations in the flow of spatially unstructured light over time it may be assumed that the systems reponsible are essentially temporal in character and capable of representing a variety of visual forms and colours, coded in different frequencies or at different phases of the same processing rhythm. (shrink)