Conceptual primitives and semantic universals are the cornerstones of a semantic theory which Anna Wierzbicka has been developing for many years. Semantics: Primes and Universals is a major synthesis of her work, presenting a full and systematic exposition of that theory in a non-technical and readable way. It delineates a full set of universal concepts, as they have emerged from large-scale investigations across a wide range of languages undertaken by the author and her colleagues. On the basis of empirical cross-linguistic (...) studies it vindicates the old notion of the "psychic unity of mankind", while at the same time offering a framework for the rigorous description of different languages and cultures. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Edward Wilson Averill By the phrase 'anthropocentric account of color' I mean an account of color that makes an assumption of the following form: two ...

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

The hypothesis of the study was that the domains of color and form are structured into nonarbitrary, semantic categories which develop around perceptually salient “natural prototypes.” Categories which reflected such an organization (where the presumed natural prototypes were central tendencies of the categories) and categories which violated the organization (natural prototypes peripheral) were taught to a total of 162 members of a Stone Age culture which did not initially have hue or geometric-form concepts. In both domains, the presumed “natural” categories (...) were consistently easier to learn than the “distorted” categories. Even when not central, natural prototype stimuli tended to be more rapidly learned and more often chosen as the most typical example of the category than were other stimuli. Implications for general differences between natural categories and the artificial categories of concept formation research were discussed. (shrink)

The thesis is defended that the theories of causation, time and space, and levels of reality are mutually interrelated in such a way that the difficulties internal to theories of causation and to theories of space and time can be understood better, and perhaps dealt with, in the categorial context furnished by the theory of the levels of reality. The structural condition for this development to be possible is that the first two theories be opportunely generalized.

This chapter discusses the ordering of color percepts, and starts by presenting an overview of the critical issues surrounding the topic and by examining the relationship between stimuli and percepts. Certain types of variability were found by experimental psychology in the relationship between stimulus and response as a result of observation conditions. In the twentieth century, the view that the normal human color-vision system has a standard implementation and that all perceptual data are appropriately treated with normal statistical distribution methodology (...) became the standard paradigm. However, the idea that the large number of color percepts humans can experience must fit into some kind of ordering system is an old one, going as far back to Aristotle and his proposed color categories based on a scale of chromatic colors between white and black. The strengths and limitations of the more recently developed kinds of color order systems are also touched upon here. (shrink)

This chapter surveys a few of the so-called “easy” problems, as referred to by Chalmers, in understanding color perception. The obscurity of psycho-neural isomorphism is highlighted by the difficulties encountered in the domain of color, and while this theme has been discussed extensively, the discussion here at least provides an opportunity to review interesting facts and ideas about color vision. Trichromacy is considered first in this chapter, since it provides the most familiar example of physiological explanation in perception—an explanation generally (...) held to be straightforward, simple, and completely satisfactory. However, as is shown in the latter part of this chapter, the neural basis of trichromacy is not yet well understood. The prospects for physiological explanation of less elementary aspects of color vision are also discussed in broad terms, and the conclusions reached here are also discouraging for current theoretical perspectives. (shrink)

Ontological categories form a network of ties of dependence. In this regard, the richest source of distinctions consists in the medieval discussion on the divisions of being. After a preliminary examination of some of those divisions, the paper pays attention to Roman Ingarden’s criteria for classifying the various types of ontological dependence. The following are the main conclusions that can be drawn from this exercise. Ingarden suggests that (1) the most general principles framing the categories of particulars are based on (...) couples of mutually opposed principles; (2) the most general among these couples of principles appear to be based on three different types of modalities; (3) subsequent couples of opposed principles do not seem to require the introduction of further types of modalities, and (4) the overall typology shows that there are three spheres of being, respectively composed of ideal entities, real entities and intentional entities as contents of psychological acts. (shrink)

This commentary raises the possibility of recent discussion on the issue of basic color terms suffering from the "stimulus error," first described by the English psychologist E. B. Titchener. It refers to confusion of the psychological experience with the physical description of the stimulus. Such confusion is routine in everyday language in situations where private sensory experiences are involved that cannot be objectively described, but is harmful in fundamental discussions about experiences.

Existing research in color naming and categorization primarily reflects two opposing views: A Cultural Relativist view that posits color perception is greatly shaped by culturally specific language associations and perceptual learning, and a Universalist view that emphasizes panhuman shared color processing as the basis for color naming similarities within and across cultures. Recent empirical evidence finds color processing differs both within and across cultures. This divergent color processing raises new questions about the sources of previously observed cultural coherence and cross-cultural (...) universality. The present article evaluates the relevance of individual variation on the mainstream model of color naming. It also presents an alternate view that specifies how color naming and categorization is shaped by both panhuman cognitive universals and socio-cultural evolutionary processes. This alternative view, expressed, in part, using an Interpoint Distance Model of color categorization, is compatible with new empirical results showing divergent color processing within and across cultures. It suggests that universalities in color naming and categorization may naturally arise across cultures because color language and color categories primarily reflect culturally modal linguistic mappings, and categories are shaped by universal cognitive constructs and culturally salient features of color. Thus, a shared cultural representation of color based on widely shared cognitive dimensions may be the proper foundation for universalities of color naming and categorization. Across cultures this form of representation may result from convergent responses to similar pressures on color lexicon evolution. (shrink)