Questions about the ontology of color matter because colors matter. Colors are extremely pervasive and salient features of the world. Moreover, people care about the distribution of these features: they expend money and effort to paint their houses, cars, and other possessions, and their clear preference for polychromatic over monochromatic televisions and computer monitors have consigned monochromatic models to the status of rare antiques. The apparent ubiquity of colors and their importance to our lives makes them a ripe target for (...) ontological questions such as the following: " • What is the nature of colors? " • Are they, as they seem to be, properties of objects? (shrink)

Crispin Wright offers an original perspective on the place of “realism” in philosophical inquiry. He proposes a radically new framework for discussing the claims of the realists and the anti-realists. This framework rejects the classical “deflationary” conception of truth yet allows both disputants to respect the intuition that judgments, whose status they contest, are at least semantically fitted for truth and may often justifiably be regarded as true. In the course of his argument, Wright offers original critical discussions of many (...) central concerns of philosophers interested in realism, including the “deflationary” conception of truth, internal realist truth, scientific realism and the theoreticity of observation, and the role of moral states of affairs in explanations of moral beliefs. (shrink)

Breaking new ground in the debate about the relation of mind and body, David Armstrong's classic text - first published in 1968 - remains the most compelling and comprehensive statement of the view that the mind is material or physical. In the preface to this new edition, the author reflects on the book's impact and considers it in the light of subsequent developments. He also provides a bibliography of all the key writings to have appeared in the materialist debate.

Recasting important questions about truth and objectivity in new and helpful terms, his book will become a focus in the contemporary debates over realism, and ...

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

In 1995, in my book, Ten Problems of Consciousness, I proposed a version of the theory of phenomenal consciousness now known as representationalism. The present book, in part, consists of a further development of that theory along with replies to common objections. It is also concerned with two prominent challenges for any reductive theory of consciousness: the explanatory gap and the knowledge argument. In addition, it connects representationalism with two more general issues: the nature of color and the location of (...) the phylogenetic dividing line between those creatures that are phenomenally conscious and those that are not. (shrink)

Different explanations of color vision favor different philosophical positions: Computational vision is more compatible with objectivism (the color is in the object), psychophysics and neurophysiology with subjectivism (the color is in the head). Comparative research suggests that an explanation of color must be both experientialist (unlike objectivism) and ecological (unlike subjectivism). Computational vision's emphasis on optimally prespecified features of the environment (i.e., distal properties, independent of the sensory-motor capacities of the animal) is unsatisfactory. Conceiving of visual perception instead as the (...) visual guidance of activity in an environment that is determined largely by that very activity suggests new directions for research. (shrink)

This book maintains that our conception of consciousness and cognition begins with and depends upon a few fundamental errors. Thau elucidates these errors by discussing three important philosophical puzzles - Spectrum Inversion, Frege's Puzzle, and Black-and-White Mary - each of which concerns some aspect of either consciousness or cognition. He argues that it has gone unnoticed that each of these puzzles presents the very same problem and, in bringing this commonality to light, the errors in our natural conception of consciousness (...) and cognition are also reviewed. (shrink)

This paper is a discussion of Michael Thau's interesting critique in Chapter 2 of Consciousness and Cognition, Oxford: Oxford University Press, 2002, of the common view that beliefs are internal states.

Michael Thau’s book challenges much of current orthodox theory about consciousness and cognition. It is an enormously stimulating tour de force. I highly recommend it.

It is plausible to think that some animals perceive the world as coloreddifferently from the way humans perceive it. I argue that the best way ofaccommodating this fact is to adopt perceiver-relativism, the view that colorpredicates express relations between objects and types of perceivers.Perceiver-relativism makes no claim as to the identity of color properties;it is compatible with both physicalism and dispositionalism. I arguehowever for a response-dependence version of it according to which an object counts as red (for a type of (...) perceiver) iff it standardly looks red to normal perceivers (of that type). Finally, I develop a notion of minimal realism on which this account counts as realist despite its subjectivist elements, in that it is committed to the objectivityof truth. (shrink)

I am grateful to Michael Tye for his discussion of my book, and to the editor for offering me the opportunity to respond to Tye's criticisms of my account of the phenomenal character of perceptual experience—especially since this prompted reflections that led me to see a way of removing one unattractive feature of the account.

[…] One view I hold about the nature of phenomenal character, which is also a view about the relation between phenomenal character and the introspective belief about it, is that phenomenal character is “self intimating.” This means that it is of the essence of a state’s having a certain phenomenal character that this issues in the subject’s being introspectively aware of that character, or does so if the subject reflects. Part of my aim is to give an account which makes (...) it intelligible that this should be so. A more substantive view I hold about phenomenal character is that a perceptual state’s having a certain phenomenal character is a matter of its having a certain sort of representational content. This much I hold in common with a number of recent writers, including Gil Harman, Michael Tye, Bill Lycan, and Fred Dretske. But representationalism about phenomenal character often goes with the rejection of “qualia,” and with the rejection of the possibility of spectrum inversion and other sorts of “qualia invesion.” My version of representationalism embraces what other versions reject. It assigns an essential role to qualia, and accepts the possibility of qualia inversion. A central aim of the present paper is to present a version of this view which is free of the defects I now see in my earlier versions of it. (shrink)

By a `denoting phrase' I mean a phrase such as any one of the following: a man, some man, any man, every man, all men, the present King of England, the present King of France, the center of mass of the solar system at the first instant of the twentieth century, the revolution of the earth round the sun, the revolution of the sun round the earth. Thus a phrase is denoting solely in virtue of its form. We may distinguish (...) three cases: (1) A phrase may be denoting, and yet not denote anything; e.g., `the present King of France'. (2) A phrase may denote one definite object; e.g., `the present King of England' denotes a certain man. (3) A phrase may denote ambiguously; e.g. `a man' denotes not many men, but an ambiguous man. The interpretation of such phrases is a matter of considerably difficulty; indeed, it is very hard to frame any theory not susceptible of formal refutation. All the difficulties with which I am acquainted are met, so far as I can discover, by the theory which I am about to explain. (shrink)

By a `denoting phrase' I mean a phrase such as any one of the following: a man, some man, any man, every man, all men, the present King of England, the present King of France, the center of mass of the solar system at the first instant of the twentieth century, the revolution of the earth round the sun, the revolution of the sun round the earth. Thus a phrase is denoting solely in virtue of its form. We may distinguish (...) three cases: (1) A phrase may be denoting, and yet not denote anything; e.g., `the present King of France'. (2) A phrase may denote one definite object; e.g., `the present King of England' denotes a certain man. (3) A phrase may denote ambiguously; e.g. `a man' denotes not many men, but an ambiguous man. The interpretation of such phrases is a matter of considerably difficulty; indeed, it is very hard to frame any theory not susceptible of formal refutation. All the difficulties with which I am acquainted are met, so far as I can discover, by the theory which I am about to explain. (shrink)

The problem of the nature of color is typically put in terms of the following question about the intentional content of visual experiences: what’s the nature of the property we attribute to physical objects in virtue of our visual experiences of color? This problem has proven to be tenacious largely because it’s not clear what the constraints are for an answer. With no clarity about constraints, the proposed solutions range widely, the most common dividing into subjectivist views which hold that (...) attributed colors are mental properties or mental events} and a variety of realist views, which hold that colors are properties of physical objects. These realist views, in turn, divide into views that hold that attributed colors are dispositions of physical objects to produce color experiences (dispositionalism),° nondispositional relations between objects and perceivers (the relational view)," physical properties of physical objects (physicalism),‘ or sui generis properties of physical objects (primitivism and impressionism).‘ I’ll examine a proposed constraint which Mark Johnston (1992) calls Revelation. According to Revelation, the appearance of color in our ordinary visual experience provides us with unqualified access to the nature of color. While every proposal about the nature of color must take a stand on how the.. (shrink)

In this paper, I argue that Book II, Chapter viii of Locke' Essay is a unified, self-consistent whole, and that the appearance of inconsistency is due largely to anachronistic misreadings and misunderstandings. The key to the distinction between primary and secondary qualities is that the former are, while the latter are not, real properties, i.e., properties that exist in bodies independently of being perceived. Once the distinction is properly understood, it becomes clear that Locke's arguments for it are simple, valid (...) and (in one case) persuasive as well. (shrink)

The paper is divided into two parts, each with subsections. In the first part, I shall discuss some matters that have been extensively examined by Kim, namely what the basic types of supervenience are and how they are pairwise logically related; in the course of this discussion, I shall distinguish a weak from a strong notion of global supervenience. In the second part, I shall examine supervenience in a context in which Kim has not: I shall attempt to solve a (...) puzzle that arises when we consider supervenience relations involving vague properties and/or predicates. This is, of course, not a special case of property/predicate supervenience, but the typical one: for virtually all properties/predicates are vague. The two parts of the paper stand independently of each other. Of the discussion in the first part, essentially all that is presupposed in the second is the notion of “world strong supervenience” defined in section 1 of part I. (shrink)

The paper is divided into two parts, each with subsections. In the first part, I shall discuss some matters that have been extensively examined by Kim, namely what the basic types of supervenience are and how they are pairwise logically related; in the course of this discussion, I shall distinguish a weak from a strong notion of global supervenience. In the second part, I shall examine supervenience in a context in which Kim has not: I shall attempt to solve a (...) puzzle that arises when we consider supervenience relations involving vague properties and/or predicates. This is, of course, not a special case of property/predicate super- venience, but the typical one: for virtually all properties/predicates are vague. The two parts of the paper stand independently of each other. Of the discussion in the first part, essentially all that is presupposed in the second is the notion of “world strong supervenience” defined in section 1 of part I. (shrink)

What is color? What is color vision? Most philosophers answer by reference to humans: to human color qualia, or to the environmental properties or "quality spaces" perceived by humans. It is argued, with reference to empirical findings concerning comparative color vision and the evolution of color vision, that all such attempts are mistaken. An adequate definition of color vision must eschew reference to its outputs in the human cognition and refer only to inputs: color vision consists in the use of (...) wavelength discrimination in the construction of visual representations. A color quality is one that is generated from such processing. (shrink)

Scientists are often bemused by the efforts of philosophers essaying a theory of colour: colour science sports a huge array of facts and theories, and it is unclear to its practitioners what philosophy can or is trying to contribute. Equally, philosophers tend to be puzzled about how they can fit colour science into their investigations without compromising their own disciplinary identity: philosophy is supposed to be an _a priori_ investigation; philosophers do not work in psychophysics labs – not in their (...) professional capacity, anyway. (shrink)

Scientists are often bemused by the efforts of philosophers essaying a theory of colour: colour science sports a huge array of facts and theories, and it is unclear to its practitioners what philosophy can or is trying to contribute. Equally, philosophers tend to be puzzled about how they can fit colour science into their investigations without compromising their own disciplinary identity: philosophy is supposed to be an a priori investigation; philosophers do not work in psychophysics labs – not in their (...) professional capacity, anyway.These inter-disciplinary barriers arise out of misunderstanding. Philosophers should not so much attempt to contribute to empirical theories of colour, as to formulate philosophical theories of colour. Philosophy is concerned with appearance and reality, object and property, function and representation, and other such fundamental categories of ontology and epistemology. Philosophical theories attempt to fit colour into these categories; such theories do not compete with colour science. However, fitting colour into philosophical theories means dealing with colour as it really is – and one cannot know what it is without consulting the psychologists. That is why philosophers need an up-to-date understanding of psychological theories of colour. (shrink)

Something could be round even if it were the only thing in the universe, unaccompanied by anything distinct from itself. Jaegwon Kim once suggested that we define an intrinsic property as one that can belong to something unaccompanied. Wrong: unaccompaniment itself is not intrinsic, yet it can belong to something unaccompanied. But there is a better Kim-style definition. Say that P is independent of accompaniment iff four different cases are possible: something accompanied may have P or lack P, something unaccompanied (...) may have P or lack P. P is basic intrinsic iff (1) P and not-P are nondisjunctive and contingent, and (2) P is independent of accompaniment. Two things (actual or possible) are duplicates iff they have exactly the same basic intrinsic properties. P is intrinsic iff no two duplicates differ with respect to P. (shrink)

We make three points. First, the concept of productance value that the authors propose in their defense of color physicalism fails to do the work for which it is intended. Second, the authors fail to offer an adequate physicalist account of what they call the hue-magnitudes. Third, their answer to the problem of individual differences faces serious difficulties.

Several intrinsic/extrinsic distinctions amongst properties, current in the literature, are discussed and contrasted. The proponents of such distinctions tend to present them as competing, but it is suggested here that at least three of the relevant distinctions (including here that between non-relational and relational properties) arise out of separate perfectly legitimate intuitive considerations: though of course different proposed explications of the informal distinctions involved in any one case may well conflict. Special attention is paid to the question of whether a (...) single notion of property is capable of supporting the various distinctions. (shrink)

Biological species have been treated traditionally as spatiotemporally unrestricted classes. If they are to perform the function which they do in the evolutionary process, they must be spatiotemporally localized individuals, historical entities. Reinterpreting biological species as historical entities solves several important anomalies in biology, in philosophy of biology, and within philosophy itself. It also has important implications for any attempt to present an "evolutionary" analysis of science and for sciences such as anthropology which are devoted to the study of single (...) species. (shrink)