In “The Location Problem for Color Subjectivism,” Peter Ross argues against what he calls subjectivism — the view that “colors are not describable in physical terms, ... [but are] mental processes or events of visual states” (2),¹ and in favor of physicalism — a view according to which colors are “physical properties of physical objects, such as reflectance properties” (10). He rejects an argument that has been offered in support of subjectivism, and argues that, since no form of subjectivism is (...) able to account for our perception of color, we are better off adopting physicalism. (shrink)

Many philosophers doubt that one can provide any successful explanation of sensory qualities - of how things look, feel, or seem to a perceiving subject. To provide such an explanation, one would need to explain qualitative facts in non-qualitative terms. Attempts to construct such explanations have seemed, in principle, doomed. Austen Clark examines the strategy used in psychophysics, psychometrics, and sensory neurophysiology to explain qualitative facts. He argues that this strategy could succeed: its structure is sound, and it can answer (...) the various philosophical objections lodged against it. On this basis Professor Clark presents an analysis of senosry qualities that offers the possibility of explaining at least some qualia, and he sketches how this scheme might eventually reduce to neurophysiology. If he is correct, we are not doomed to an eternity of mere acquaintance with our qualia. (shrink)

Reading these essays has shown me a great deal, both about the substantive issues I have dealt with and about how to do philosophy. On the former front, they show that I have missed some points and overstated others, and sometimes just been unable to penetrate the fog. On the latter front, they show how hard it is to write philosophy that works--and this is the point that stands out for me as I reflect on these rich and varied essays. (...) Philosophical books and articles routinely fail to achieve their manifest goal of persuading their intended audiences of their main points. Does this make philosophy any worse off than other writing endeavors? Most published novels are failures of one sort or another, and the press has reported a recent study (whose methodology I wonder about) that concludes that the median number of readers of any paper published in a psychology journal is zero. But it seems to me that philosophy displays a particularly feckless record, with such a huge gap between authorial pretense and effect achieved that it is perhaps more comic than pathetic. In one weak moment I found myself thinking that perhaps some of our French colleagues have the right idea: deliberate obscurantism and the striking of stylized poses--since the goal of persuading by clear, precise analysis and argument is so manifestly beyond us. But that worldly weariness passed, I'm happy to say, and my cock-eyed American optimism returned. My ambition continues to be to change people's minds, and not just to win people over to my way of doing philosophy, as Bo Dahlbom suggests. But I admit that it is harder than I had thought. It's hard enough to get a good idea, but sometimes it's even harder, apparently, to get others to see what the idea is, and why it's good. (shrink)

This expanded edition of C L Hardin's ground-breaking work on colour features a new chapter, 'Further Thoughts: 1993', in which the author revisits the dispute ...

Drawing on work in psychophysics, psychometrics, and sensory neurophysiology, Clark analyzes the character and defends the integrity of psychophysical explanations of qualitative facts, arguing that the structure of such explanations is sound and potentially successful.