Abstract: The nature of the colors—what they are like, whether they are instantiated by objects or are projected by our minds, whether their nature is revealed to us in color perception, and whether there could be alien colors (e.g. reddish-green)—has been one of the central topics in philosophy for centuries. This entry focuses on the contemporary philosophical debate about the nature of the colors

Abstract: The primary issues concern whether objects have colours, and what sorts of properties the colours are. Some philosophers hold that nothing is coloured, others that colour are powers to affect perceivers, and others that colours are physical properties

Abstract: The primary issues concern whether objects have colours, and what sorts of properties the colours are. Some philosophers hold that nothing is coloured, others that colour are powers to affect perceivers, and others that colours are physical properties

Abstract: A neighbor who strikes it rich evokes both admiration and envy, and a similar mix of emotions must be aroused in many neighborhoods of cognitive science when the residents look at the results of research in color perception. It provides what is probably the most widely acknowledged success story of any domain of scientific psychology: the success, against all expectation, of the opponent process theory of color perception. Initially proposed by a Ewald Hering, a nineteenth century physiologist, it drew its inspiration from the existence of opposing muscle groups. Hering thought that analogous opposing processes could explain some aspects of color perception, but the resulting theory was more complicated and less intuitive than that proposed by the great Hermann von Helmholtz. Helmholtz carried his day, but in the long run Hering turned out to be right

Abstract: One of the most salient facts about our experience of the world is that objects appear to have colors. This feature of our experience is both striking and pervasive. Indeed, representations of colors of objects are among the most notable deliverances of the visual modality, which is perhaps our most important source of information about the world. For this reason, among others, questions about the nature of color have crucial significance for a variety of philosophical subjects including perception, ontology, epistemology, semantics, and philosophy of mind. But the nature of color is a fascinating philosophical topic in its own right, and there has been a significant increase in the philosophical attention paid to this matter in recent years. In this essay I'll survey some of the main views about the nature of color in the contemporary literature and attempt to lay out some of the arguments that have been used to support or reject various of these accounts

Abstract: Color relationalism is the view that colors are constituted in terms of relations to perceiving subjects. Among its explanatory virtues, relation- alism provides a satisfying treatment of cases of perceptual variation. But it can seem that relationalists lack resources for saying that a representa- tion of x’s color is erroneous. Surely, though, a theory of color that makes errors of color perception impossible cannot be correct. In this paper I’ll argue that, initial appearances notwithstanding, relationalism contains the resources to account for errors of color perception. I’ll conclude that worries about making room for error are worries the relationalist can meet

Abstract:   In this paper I propose and defend an account of color that I call color functionalism. I argue that functionalism is a non-traditional species of primary quality theory, and that it accommodates our intuitions about color and the facts of color science better than more widely discussed alternatives

Abstract: 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

Abstract: Are colors relational or non-relational properties of their bearers? Is red a property that is instantiated by all and only the objects with a certain intrinsic (/non-relational) nature? Or does an object with a particular intrinsic (/non-relational) nature count as red only in virtue of standing in certain relations - for example, only when it looks a certain way to a certain perceiver, or only in certain circumstances of observation? In this paper I shall argue for the view that color properties are relational (henceforth, relationalism), and against the view that colors are not relational (henceforth, anti- or non-relationalism)

Abstract: Although philosophers have puzzled about color for millennia, the recent explosion in philosophical interest in the topic can largely be traced to C. L. Hardin’s widely-read and deservedly-praised Color for Philosophers: Unweaving the Rainbow [Hardin, 1988]. While Hardin has had no more than the usual, limited success in convincing other philosophers to adopt the substance of his views, he has been quite influential about a point of philosophical methodology: he has convinced many that responsible philosophical work on color simply must make contact with the vast body of empirical color science, and thereby has effected an enormous (and to my mind, extremely salutary) change in the terms of recent philosophical discussion of color.¹ Indeed, writers have been so eager to take Hardin’s lesson on board that one is hard-pressed to find a recent philosophical book on color that does not acknowledge it, crediting Hardin by name

Abstract: If you trained someone to emit a particular sound at the sight of something red, another at the sight of something yellow, and so on for other colors, still he would not yet be describing objects by their colors. Though he might be a help to us in giving a description. A description is a representation of a distribution in a space (in that of time, for instance)

Abstract: The world as perceived by human beings is full of colour. The world as described by physical scientists is composed of colourless particles and fields. Philosophical theories of colour since the scientific revolution have been primarily driven by a desire to harmonize these two apparently conflicting pictures of the world. Any adequate theory of colour has to be consistent with the characteristics of colour as perceived without contradicting the deliverances of the physical sciences. Given this conception of the aim of a theory of colour, there are three possibilities for resolving the apparent conflict between the scientific and perceptual facts. The first possibility is to deny that physical objects have colours. Theories of this kind admit that objects appear coloured but maintain that these appearances are misleading. The conflict is resolved by removing colour from the external world. Second, it might be that colour is a relational property. For an object to possess a particular colour it must be related in the right way to a perceiver. One common version of this view analyzes colour as a disposition to cause particular kinds of perceptual experiences in a human being. Since the physical sciences deal only with the intrinsic properties of physical objects and their relations to other physical objects and not their relations to perceiving subjects, the possibility of conflict is removed. A third possible response to the conflict is to maintain that colour really is a property of external objects and that the conflict is merely apparent. Some theories of this form maintain that colour is identical to a physical property of objects. Others maintain that colour is a property that physical objects possess over and above all their physical

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properties. Philosophical discussions of colour typically take the form of either elaborating on one of these three possibilities or attempting to show more generally that one of these three types of responses is to be preferred to the others..

Abstract: Revelation, the thesis that the full intrinsic nature of colors is revealed to us by color experiences, is false in Byrne & Hilbert's (B&H's) view, but in an interesting and nonobvious way. I show what would make Revelation true, given B&H's account of colors, and then show why that situation fails to obtain, and why that is interesting

Abstract: Most objectivist and dispositionalist theories of color have tried to resolve the challenge raised by color variations by drawing a distinction between real and apparent colors. This paper considers such a strategy to be fundamentally erroneous. The high degree of variability of colors constitutes a crucial feature of colors and color perception; it cannot be avoided without leaving aside the real nature of color. The objectivist theory of color defended in this paper holds that objects have locally many different objective colors. Most color variations are then real and result from the extreme richness of color properties.

Abstract: The relations among consciousness, brain, behavior, and scientific explanation are explored in the domain of color perception. Current scientific knowledge about color similarity, color composition, dimensional structure, unique colors, and color categories is used to assess Locke

Abstract: An overview of the main positions on color forthcoming in the Oxford Companion to Consciousness

Abstract: Taking the real Newtonian colour circle – and not the one Palmer depicts as Newton's – we don't have to wait 300 years for Palmer to say no to the Lockean aperçu about the inverted spectrum. One of the aims of this historical detour is to show that one's commitment about the “topology” of the colour space greatly affects Palmer's argument