Students of perception have long puzzled over a range of cases in which perception seems to tell us distinct, and in some sense conflicting, things about the world. In the cases at issue, the perceptual system is capable of responding to a single stimulus — say, as manifested in the ways in which subjects sort that stimulus — in different ways. This paper is about these puzzling cases, and about how they should be characterized and accounted for within a general (...) theory of perception. After rehearsing the sort of case at issue (§1), I’ll examine critically some of the strategies by which philosophers and perceptual psychologists have attempted to account for them (§2). Finally, I’ll present an alternative computational account of the puzzle cases, argue that this view is superior to its competitors, and examine some of its implications (§3). (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)

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)

The phenomenal character of perceptual experience involves the representation of colour, shape and motion. Does it also involve the representation of high-level categories? Is the recognition of a tomato as a tomato contained within perceptual phenomenality? Proponents of a conservative view of the reach of phenomenal content say ’No’, whereas those who take a liberal view of perceptual phenomenality say ’Yes’. I clarify the debate between conservatives and liberals, and argue in favour of the liberal view that high-level content can (...) directly inform the phenomenal character of perception. (shrink)

Color provides an instance of a general puzzle about how to reconcile the picture of the world given to us by our ordinary experience with the picture of the world given to us by our best theoretical accounts. The Red and the Real offers a new approach to such longstanding philosophical puzzles about what colors are and how they fit into nature. It is responsive to a broad range of constraints --- both the ordinary constraints of color experience and the (...) more theoretical constraints of color science, psychology, semantics, and ontology. (shrink)

If two subjects have phenomenally identical experiences, there is an important sense in which the way the world appears to them is precisely the same. But how are we to understand this notion of 'ways of appearing'? Most philosophers who have acknowledged the existence of phenomenal content have held that the way something appears is simply a matter of the properties something appears to have. On this view, the way something appears is simply the way something appears to be . (...) This identification supports a Russellian theory of phenomenal content, according to which phenomenal content is exhausted by facts about what specific properties are represented by an experience. The present paper motivates and develops an alternative Fregean theory of phenomenal colour content. According to Fregean theories, the phenomenal content that is shared by any two phenomenally identical experiences is a matter of how the world is represented, and need not involve sameness in what is represented. It is argued that ways of appearing are modes of presentations of external properties and objects, and a detailed theory is presented about the nature of the modes of presentation involved in colour experience. (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)

I address three interrelated issues concerning the contents of experiences. First, I address the preliminary issue of what it means to say that experiences have contents. Then I address the issue of why we should believe that experiences have contents. Finally, I address the issue of what the contents of experiences are.

Perceptions "present" objects as red, as round, etc.-- in general as possessing some property. This is the "perceptual content" of the title, And the article attempts to answer the following question: what is a materialistically adequate basis for assigning content to what are, after all, neurophysiological states of biological organisms? The thesis is that a state is a perception that presents its object as "F" if the "biological function" of the state is to detect the presence of objects that are (...) "F". The theory contrasts with causal/informational theories, and with internalist theories, for example those which assign content on the basis of introspected feel. Its advantages are that it permits perceptual error while at the same time allowing content to be expressed in terms of external properties. The argument of the paper is illustrated throughout by examples from biology and computational psychology. (shrink)

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)

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.

Frank Jackson champions the cause of conceptual analysis as central to philosophical inquiry. In recent years conceptual analysis has been undervalued and widely misunderstood, suggests Jackson. He argues that such analysis is mistakenly clouded in mystery, preventing a whole range of important questions from being productively addressed. He anchors his argument in discussions of specific philosophical issues, starting with the metaphysical doctrine of physicalism and moving on, via free will, meaning, personal identity, motion, and change, to ethics and the philosophy (...) of color. In this way the book not only offers a methodological program for philosophy, but also casts new light on some much-debated problems and their interrelations. (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)

In the Garden of Eden, we had unmediated contact with the world. We were directly acquainted with objects in the world and with their properties. Objects were simply presented to us without causal mediation, and properties were revealed to us in their true intrinsic glory.

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)