These volumes will serve as useful resources for anyone interested in philosophy of color perception or color science.

Tyler Burge presents an original study of the most primitive ways in which individuals represent the physical world. By reflecting on the science of perception and related psychological and biological sciences, he gives an account of constitutive conditions for perceiving the physical world, and thus aims to locate origins of representational mind.

What colour does a white wall look in the pinkish light of the late afternoon? Philosophers disagree: they hold variously that it looks pink, white, both, and no colour at all. A new approach is offered. After reviewing the dispute, a reinterpretation of perceptual constancy is offered. In accordance with this reinterpretation, it is argued that perceptual features such as color must always be predicated of perceptual objects. Thus, it might be that in pinkish light, the wall looks white and (...) the light looks pink. The paper concludes by discussing some criteria for object identification in perceptual states. (shrink)

The Problem of Perception offers two arguments against direct realism--one concerning illusion, and one concerning hallucination--that no current theory of ...

This textbook on vision reflects the integrated computational approach of modern research scientists, combining psychological, computational and neuroscientific perspectives.

For a stable visual world, the colours of objects should appear the same under different lights. This property of colour constancy has been assumed to be fundamental to vision, and many experimental attempts have been made to quantify it. I contend here, however, that the usual methods of measurement are either too coarse or concentrate not on colour constancy itself, but on other, complementary aspects of scene perception. Whether colour constancy exists other than in nominal terms remains unclear.

The target article is an attempt to make some progress on the problem of color realism. Are objects colored? And what is the nature of the color properties? We defend the view that physical objects (for instance, tomatoes, radishes, and rubies) are colored, and that colors are physical properties, specifically types of reflectance. This is probably a minority opinion, at least among color scientists. Textbooks frequently claim that physical objects are not colored, and that the colors are "subjective" or "in (...) the mind." The article has two other purposes: first, to introduce an interdisciplinary audience to some distinctively philosophical tools that are useful in tackling the problem of color realism and, second, to clarify the various positions and central arguments in the debate. (shrink)

There is nothing in this World constant but Inconstancy. [Swift 1711: 258] In this paper I argue that two standard characterizations of colour constancy are inadequate to the phenomenon. This inadequacy matters, since, I contend, philosophical appeals to colour constancy as a way of motivating illumination-independent conceptions of colour turn crucially on the shortcomings of these characterizations. After critically reviewing the standard characterizations, I provide a novel counterfactualist understanding of colour constancy, argue that it avoids difficulties of its traditional rivals, (...) and defend it from objections. Finally, I show why, on this improved understanding, colour constancy does not have the philosophical consequences that have been claimed for it in the literature. (shrink)

Representationalism, the view that phenomenal character supervenes on intentional content, has attracted a wide following in recent years. Most representationalists have also endorsed what I call 'standard Russellianism'. According to standard Russellianism, phenomenal content is Russellian in nature, and the properties represented by perceptual experiences are mind-independent physical properties. I argue that standard Russellianism conflicts with the everyday experience of colour constancy. Due to colour constancy, standard Russellianism is unable to simultaneously give a proper account of the phenomenal content of (...) colour experience and do justice to its phenomenology. (shrink)

This article proposes an account of color constancy based on an examination of the relevant scientific literature. Differences in experimental settings and task instructions that lead to variation in subject performance are given particular attention. Based on the evidence discussed, the core of the proposal made is that there are two different forms of color constancy, one phenomenal and the other projective. This follows the hypothesis of Reeves et al. (Perception & Psychophysics 70:219–228, 2008). Unlike Reeves et al. (Perception & (...) Psychophysics 70:219–228, 2008), it is argued that projective color constancy is crucially dependent upon phenomenal color constancy and certain aspects of scene perception. Additionally, it is hypothesized that capacities that support projective color constancy have an important role to play in facilitating our ability to quickly recognize scenes with diagnostic chromatic properties independently of assignments of colors to object surfaces. (shrink)

Colour has often been supposed to be a subjective property, a property to be analysed orretly in terms of the phenomenological aspects of human expereince. In contrast with subjectivism, an objectivist analysis of color takes color to be a property objects possess in themselves, independently of the character of human perceptual expereince. David Hilbert defends a form of objectivism that identifies color with a physical property of surfaces - their spectral reflectance. This analysis of color is shown to provide a (...) more adequate account of the features of human color vision than its subjectivist rivals. The author's account of colro also recognises that the human perceptual system provides a limited and idiosyncratic picture of the world. These limitations are shown to be consistent with a realist account of colour and to provide the necessary tools for giving an analysis of common sense knowledge of color phenomena. (shrink)

This chapter reconsiders the notion of perceptual constancy from the ground up. It distinguishes the phenomenology of perceptual constancy and stability from a functional characterization of perception as aiming at full constancy. Drawing on this distinction, we can attend to the phenomenology of constancy itself, and ask to what extent human perceivers attain constancy, as usually defined. Within this phenomenology, I distinguish phenomenal presentations of spatial features and color properties from categorizations, conceptualizations, and judgments that underlie verbal or other responses (...) to those presentations. Although phenomenal presentation and categorization commonly co-occur, they are distinct aspects of experience. After reviewing several standard descriptions of constancy, I present laboratory findings and my own phenomenological descriptions by way of confirming that, although perception "tends toward" constancy, human perceivers do not usually attain full constancy for either spatial or chromatic properties (as many investigators acknowledge). For spatial perception, I find that the phenomenology has been systematically misdescribed, and I offer a more adequate description of the phenomenology of everyday spatial perception. However, my greatest quarrel with previous theory concerns the functional aim of the constancies. I argue not only that perception does not achieve full constancy but that we should not characterize it as aiming for full constancy. Rather, perception seeks a stability of representation suitable for guiding our actions and which can also, as needed, enable us to classify and re-identify objects by phenomenally presented properties such as shape, size, or color. Further, I argue that theorists should not confuse these classifications with the qualitative character of phenomenal experience. My arguments underscore the need to distinguish phenomenal representation (better, "presentation") from conceptual categorization, and to distinguish perceptual presentations from subsequent processes that are involved in responding to them. (shrink)

Philosophers have long sought to explain perceptual constancy—the fact that objects appear to remain the same color, size and shape despite changes in the illumination condition, perspective and the relative distance—in terms of a mechanism that actively categorizes variable stimuli under the same pre-formed conceptual categories. Contemporary representationalists, on the other hand, explain perceptual constancy in terms of a modular mechanism that automatically discounts variation in the visual field to represent the stable properties of objects. In this paper I argue (...) that while the former view is unmotivated by empirical evidence, the later fails to account for inter- and intra-personal variability, the influence of expectations on constancy, and the systematic and normal failures of color constancy. A Bayesian approach that builds on the representational tradition in psychology solves both problems. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

We can start with a definition. “[C]olour constancy is the constancy of the perceived colours of surfaces under changes in the intensity and spectral composition of the illumination.” (Foster et al. 1997) Given the definition we can now ask a question: Does human color vision exhibit color constancy?1 The answer to the question depends in part on how we interpret it. If the question is understood as asking whether human color vision displays constancy for every possible scene across every possible (...) illumination then the answer is no.2 If the question is understood as asking whether human color vision displays some degree of constancy for some scenes across some range of illuminants then the answer is yes. The more interesting questions involve characterizing the degree of constancy human vision displays, the types of scenes and ranges of illuminants for which approximate constancy can be achieved and the.. (shrink)

Observers matched patches (simulated Munsell papers) in two simultaneously presented computer-controlled displays, a standard array presented under 6500-K illumination and a test array under 4000 or 10,000 K. Adaptation to the test illuminants was limited. The adjusted patch was surrounded by a single color (annulus display) or by many colors (Mondrian display). Observers either matched hue and saturation or made surface-color (paper) matches in which the subject was asked to make the test patch look as if it were cut from (...) the same piece of paper as the standard patch. For two of the three subjects, the paper matches were approximately color constant. The hue- saturation matches showed little color constancy. Moreover, the illumination difference between the two displays was always visible. Our data show that simultaneous mechanisms alone (e.g., simultaneous color contrast) alter hues and saturations too little to produce hue constancy. (shrink)