One reason philosophers have addressed the metaphysics of color is its apparent relevance to the sciences concerned with color phenomena. In the light of such thinking, this paper examines a pairing of views that has received much attention: color physicalism and externalism about the content of perceptual experience. It is argued that the latter is a dubious conception of the workings of our perceptual systems. Together with flawed appeals to the empirical literature, it has led some philosophers to grant color (...) physicalism a scientific legitimacy it does not merit. This discussion provides a useful entry into broader points pertaining to debates about color realism and the relationship between philosophical theories of color and the relevant empirical literatures. A sketch of a novel form of color realism is offered, as is an example that fills in some details of that sketch. (shrink)

This paper resolves a paradox concerning colour constancy. On the one hand, our intuitive, pre-theoretical concept holds that colour constancy involves invariance in the perceived colours of surfaces under changes in illumination. On the other, there is a robust scientific consensus that colour constancy can persist in cerebral achromatopsia, a profound impairment in the ability to perceive colours. The first stage of the solution advocates pluralism about our colour constancy capacities. The second details the close relationship between colour constancy and (...) contrast. The third argues that achromatopsics retain a basic type of colour constancy associated with invariants in contrast processing. The fourth suggests that one person-level, conscious upshot of such processing is the visual awareness of chromatic contrasts ‘at’ the edges of surfaces, implicating the ‘colour for form’ perceptual function. This primitive type of constancy sheds new light on our most basic perceptual capacities, which mark the lower borders of representational mind. (shrink)

It is a familiar experience to perceive a material object as maintaining a stable shape even though it projects differently shaped images on our retina as we move with respect to it, or as maintaining a stable color throughout changes in the way the object is illuminated. We also perceive sounds as maintaining constant timbre and loudness when the context and the spatial relations between us and the sound source change over time. But where does this perceptual invariance ‘come from’? (...) What is it about our perceptual systems that makes them able to ‘transform’ incoming unstable and fluctuating sensory inputs into generally stable and coherent conscious experiences? And what exactly do we experience as invariant in cases like those described above? There are two main approaches to the Problem of Perceptual Invariance: the Local-Inferential approach and the Global-Structural approach. Although both approaches include an account of the sub-personal perceptual mechanisms ‘stabilizing’ variant and invariant components in incoming sensory stimulation and a proposal regarding the phenomenology of perceptual invariance, in this paper I argue that the latter provides a better solution to the problem overall. (shrink)

The world shows some degree of invariance, and we perceive this invariance despite a lot of variation generated locally by our movements, changes in illumination, and the way in which our sense organs react to stimulation. Generally, philosophy and psychology each explain our perception of invariance through the notion of ‘perceptual constancy’. According to the traditional definition, perceptual constancies are capacities to perceive the objective (i.e., perceiver- and context-independent) local properties of external objects despite variation in the stimulation of sensory (...) organs. In this paper, we argue that the traditional understanding of perceptual constancy should be expanded to include a broader range of phenomena connected to the perception of invariance. Our argument starts from an odd activity: pole balancing. Balancing a pole-shaped object (e.g., a broomstick) on the palm of your hand in order to maintain it in an upright position requires (multimodal) perception and continuous tracking (within a certain range) of a particular kind of global invariant feature in the world. By examining this activity and its connection to the notion of perceptual constancy as it is traditionally understood, we propose an alternative account with the goal of clarifying the relationship between the alleged mechanisms underlying constancy and the philosophical implications of the phenomenon. (shrink)

The subject of the present thesis is the phenomenon of simultaneous colour contrast: As is well known, the perceived colour of a given light stimulus depends almost as strongly on the stimulation of neighbouring regions of the visual field as on the local stimulus itself. Thus, the perceived colour of a target stimulus can be manipulated either by changing the colour co-ordinates of the target itself, or, alternatively, by changing the colour co-ordinates of the surround. Classical models of simultaneous contrast (...) are based on the implicit assumption that the changes in perceived colour brought about by these two kinds of manipulation are basically of the same kind, and thus may compensate each other. This ‘compensation assumption’ is equivalent to the widespread assumption that the space of perceived colours is three-dimensional. In principle, though, the well-established facts of trichromatic theory are compatible with a dimensionality of the space of perceived colours higher than three (namely three times the number of differently coloured regions in the visual field). One of the central results of the present investigations is that the compensation assumption seems to be unwarranted in the case of simple centre-surround stimuli. This instilled the expectation that classical methods for measuring simultaneous contrast effects, such as grey settings and asymmetric colour matching, may sometimes be inappropriate, and thus yield misleading results. In further experiments it is shown that this is indeed the case when uniformly coloured surrounds are used. In the case of variegated surrounds, however, matters appear to be much less complicated. This difference seems to be due to impressions of perceptual transparency being evoked by uniform surrounds, but not by variegated ones. (shrink)