This paper argues that phenomenal or internal metrical spaces are redundant posits. It is shown that we need not posit an internal space-time frame, as the physical space-time suffices to explain geometrical perception, memory and planning. More than the internal space-time frame, the idea of a phenomenal colour space has lent credibility to the idea of internal spaces. It is argued that there is no phenomenal colour space that underlies the various psychophysical colour spaces; it is parasitic upon physical and (...) psychophysical colour spaces. The argumentation is further extended to other sensory spaces and generalised quality spaces. (shrink)

: According to a consensus of psycho-physiological and philosophical theories, color sensations (or qualia) are generated in a cerebral "space" fed from photon-photoreceptor interaction (producing "metamers") in the retina of the eye. The resulting "space" has three dimensions: hue (or chroma), saturation (or "purity"), and brightness (lightness, value or intensity) and (in some versions) is further structured by primitive or landmark "colors"—usually four, or six (when white and black are added to red, yellow, green and blue). It has also been (...) proposed that there are eleven semantic universals—labeling the previous six plus the "intermediaries" of orange, pink, brown, purple, and gray. There are many versions of this consensus, but they all aim to provide ontological, epistemological and semantic blueprints for the brute fact of the reality of color ordained by Nature (evolution). In contrast to this consensus, we have argued that "seeing color" is not a matter of light waves impacting on our eyes, producing sensations to be categorized and labeled in the "color space" in the brain. While electrochemical events may unproblematically be regarded as the causal precondition for seeing color, the reception of sensations in "the color space" as semantically labeled natural categories, kinds, or information, is a "just so" story: it is Wittgenstein's beetle in a box. In contrast we consider that the authority of this consensus might better be regarded not as the result of the truth-tracking of nature, but as the sociohistorical outcome of philosophical presuppositions, scientific theories, experimental practices, technological apparatus, and their feed forward into the lifeworld. The question we shall therefore explore is whether, or to what extent, we ourselves are changed, as the conditions of production of color science change. Thus we are doing a kind of anthropology at two levels: of color science itself (and its effect on our own lifeworld), and of those studied by the "anthropology of color". As befits this stance we are agnostic about the theoretical entities of color science (cf. van Fraassen 2001), and within this new context, we propose to cross-cut object-and-subject, organism-and-environment (the bedrock of color science) in socio-historical ways. Our approach is in part inspired by, but not the same as, that of Gibson, in that we wish to pursue the notion of "social affordances" (Burmudez 1995). We suggest that color has become a naturalization through science-based technologies, which, through praxes and materializations, have become the perceptual and cultural entities that structure experience and understanding in the lifeworld. It is this naturalization that we shall refer to and characterize as "the historically inflected exosomatic organ". Consequently we shall explore the historical ontology of "color" without assuming an underlying biological constant (Dupré 2001). In part 1 we show the flimsiness of the evidence for the three dimensions of color, borrowed from physics, and fine-tuned to a "standard observer" (a "spectral creature" with a phenomenal "color space"). In part 2 we address the structuring of hue through the development of color circles and color spaces. This is followed by a review of the evidence for unique hues. Again the evidence is shown to be flimsy. We then show that an isolated domain of color is a particular kind of model, not a "natural given". In part 3, after reviewing what is referred to as "the isomorphy thesis," we discuss the exemplary case study of Berlin and Kay (1969). This illustrates the pull of stadial models presupposed by their evolutionary theory of color language. The Berlin and Kay paradigm proposes that American English color terms are incorrigible and can provide the universal metalanguage. We conclude by presenting an alternative account, namely that we ourselves are changed as the conditions of production of color science change. We argue that it is better to regard "seeing-color" as a historically inflected exosomatic organ that provides social affordances for those trained to grasp them. (shrink)

There exist two widely used notions concerning the structure of phenomenal color space. The first is the notion of unique/binary hue structure, which maintains that there are four unique hues from which all other hues are composed. The second notion is the similarity structure of hues, which describes the interrelations between the hues and hence does not divide hues into two types as the first notion does. Philosophers have considered the existence of the unique/binary hue structure to be empirically and (...) phenomenally well-grounded, and the structure has been considered to be primary because this can account for the similarity structure. Consequently, the unique/binary hue structure has played a central role in color philosophy. This calls for the assessment of the justification for its existence carried out in this paper. It is concluded that, despite the prevalent view among philosophers, none of their reasons for endorsing the existence of the unique/binary hue structure are justified. Since the notion of the unique/binary hue structure appears intuitively plausible for many, however, a sketch explaining this intuition is outlined at the end. (shrink)

Color qualia inversion scenarios have played a key role in various philosophical debates. Most notably perhaps, they have figured in skeptical arguments for the fundamental unknowability of other persons’ color experiences. For these arguments to succeed, it must be assumed that a person's having inverted color qualia may go forever unnoticed. This assumption is now generally deemed to be implausible. The present paper defines a variant of color qualia inversion—termed ‘‘color qualia compression’’—and argues that the possibility of undetectable color qualia (...) compression is immune to the objections that have been levelled against color qualia inversion arguments, and that color qualia compression scenarios support full-blown skepticism regarding other people's color experiences. (shrink)