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 paper seeks to explore the way Giovanni Pico della Mirandola treated the Orphics and the Pythagoreans in his Conclusiones nongentae, his early and most ambitious work, so that he formulates his own philosophy. I do not intend to present and analyze the sum of Pico’s references to Orphics and Pythagoreans, since such an attempt is beyond the scope of this paper. Rather, I aim to highlight certain Pico’s aphorisms that allow readers to understand and evaluate his syncretic method and (...) his goals. In addition, I attempt to trace Pico’s sources and evaluate his proper knowledge, understanding and treatment of the Orphics and the Pythagoreans. Pico resorts to the Orphics and the Pythagoreans because he wants to give a practical and applied dimension to his philosophy. He attempted the revival of the original wisdom that underlies the traditions he combined. He was not a fan of the Aristotelian θεωρίης ἢνεκεν. Philosophy does not aim at proper knowledge, but is the key for the manipulation of the cosmos, physically and metaphysically speaking. Pico probably thinks of himself as the modern Orpheus: he does not intend to reveal the paths which cross the sensible and the intelligible, but he aspires to tread them. (shrink)