Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch explores ways to (...) enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires. (shrink)

The particular fascination of butterfly wings for developmental biologists (and others) lies in their spectacular array of colour patterns. The evolutionary and developmental relationships between these patterns have been analysed and we know something of the cell interactions involved in their formation(1). Now butterfly homologues of Drosophila wing‐patterning genes have been identified, and their expression patterns offer the first clues to the molecular mechanisms which specify wing colour patterns(2).

The diversity in colour patterns on butterfly wings provides great potential for understanding how developmental mechanisms may be modulated in the evolution of adaptive traits. In particular, we discuss concentric eyespot patterns, which have been shown by surgical experiments to be formed in response to signals from a central focus. Seasonal polyphenism shows how alternate phenotypes can develop through environmental sensitivity mediated by ecdysteroid hormones, whereas artificial selection and single gene mutants demonstrate genetic variation influencing the number, shape, (...) size, position, and colour composition of the eyespots. The expression patterns of the regulatory gene Distal-less reveal that these changes can arise at several different developmental stages, and the phenotypes indicate that some forms of changed pattern may occur much more readily than others. Further study of the genes, of the developmental mechanisms, and of the functions of the patterns will provide novel insights about the evolution of morphological diversity. BioEssays 21:391–401, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

The diversity in colour patterns on butterfly wings provides great potential for understanding how developmental mechanisms may be modulated in the evolution of adaptive traits. In particular, we discuss concentric eyespot patterns, which have been shown by surgical experiments to be formed in response to signals from a central focus. Seasonal polyphenism shows how alternate phenotypes can develop through environmental sensitivity mediated by ecdysteroid hormones, whereas artificial selection and single gene mutants demonstrate genetic variation influencing the number, shape, (...) size, position, and colour composition of the eyespots. The expression patterns of the regulatory gene Distal-less reveal that these changes can arise at several different developmental stages, and the phenotypes indicate that some forms of changed pattern may occur much more readily than others. Further study of the genes, of the developmental mechanisms, and of the functions of the patterns will provide novel insights about the evolution of morphological diversity. BioEssays 21:391–401, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

Pigment cells in zebrafish − melanophores, iridophores, and xanthophores − originate from neural crest‐derived stem cells associated with the dorsal root ganglia of the peripheral nervous system. Clonal analysis indicates that these progenitors remain multipotent and plastic beyond embryogenesis well into metamorphosis, when the adult color pattern develops. Pigment cells share a lineage with neuronal cells of the peripheral nervous system; progenitors propagate along the spinal nerves. The proliferation of pigment cells is regulated by competitive interactions among cells of (...) the same type. An even spacing involves collective migration and contact inhibition of locomotion of the three cell types distributed in superimposed monolayers in the skin. This mode of coloring the skin is probably common to fish, whereas different patterns emerge by species specific cell interactions among the different pigment cell types. These interactions are mediated by channels involved in direct cell contact between the pigment cells, as well as unknown cues provided by the tissue environment. (shrink)

The quantization error in a fixed-size Self-Organizing Map (SOM) with unsupervised winner-take-all learning has previously been used successfully to detect, in minimal computation time, highly meaningful changes across images in medical time series and in time series of satellite images. Here, the functional properties of the quantization error in SOM are explored further to show that the metric is capable of reliably discriminating between the finest differences in local contrast intensities and contrast signs. While this capability of the QE is (...) akin to functional characteristics of a specific class of retinal ganglion cells (the so-called Y-cells) in the visual systems of the primate and the cat, the sensitivity of the QE surpasses the capacity limits of human visual detection. Here, the quantization error in the SOM is found to reliably signal changes in contrast or colour when contrast information is removed from or added to the image, but not when the amount and relative weight of contrast information is constant and only the local spatial position of contrast elements in the pattern changes. While the RGB Mean reflects coarser changes in colour or contrast well enough, the SOM-QE is shown to outperform the RGB Mean in the detection of single-pixel changes in images with up to five million pixels. This could have important implications in the context of unsupervised image learning and computational building block approaches to large sets of image data (big data). (shrink)

Are color adjectives ("red", "green", etc.) relative adjectives or absolute adjectives? Existing theories of the meaning of color adjectives attempt to answer that question using informal ("armchair") judgments. The informal judgments of theorists conflict: it has been proposed that color adjectives are absolute with standards anchored at the minimum degree on the scale, that they are absolute but have near-midpoint standards, and that they are relative. In this paper we report two experiments, one based on entailment (...) class='Hi'>patterns and one based on presupposition accommodation, that investigate the meaning of scalar adjectives. We find evidence confirming the existence of subgroups of the population who operate with different standards for color adjectives. The evidence of interpersonal variation in where standards are located on the relevant scale and how those standards can be adjusted indicates that the existing theories of the meaning of color adjectives are at best only partially correct. We also find evidence that paradigmatic relative adjectives ("tall", "wide") behave in ways that are not predicted by the standard theory of scalar adjectives. We discuss several different possible explanations for this unexpected behavior. We conclude by discussing the relevance of our findings for philosophical debates about the nature and extent of semantically encoded context sensitivity in which color adjectives have played a key role. (shrink)

As standardly conceived, an illusion is an experience of an object o appearing F where o is not in fact F. Paradigm examples of color illusion, however, do not fit this pattern. A diagnosis of this uncovers different sense of appearance talk that is the basis of a dilemma for the standard conception. The dilemma is only a challenge. But if the challenge cannot be met, then any conception of experience, such as representationalism, that is committed to the standard (...) conception is false. Perhaps surprisingly, naïve realism provides a better account of color illusion.An apparence ymaad by som Magyk. Chaucer. (shrink)

Systems for color naming across languages have been a fascinating topic for decades. Zaslavsky and colleagues challenge Gibson's argument that color names are shaped by patterns of communicative need. Using an information‐theoretic analysis, they show that color naming is shaped by both perceptual structure (as is usually argued) but also by communication need.

What is the relationship between being coloured and looking coloured? According to Alva Noë, to be coloured is to manifest a pattern of apparent colours as the perceptual conditions vary. I argue that Noë’s ‘phenomenal objectivism’ faces similar objections to attempts by traditional dispositionalist theories of colour to account for being coloured in terms of looking coloured. Instead, I suggest that to be coloured is to look coloured in a ‘non-perspectival’ sense, where non-perspectival looks transcend specific perceptual conditions.

It remains unclear what is being processed in blindsight in response to faces, colours, shapes, and patterns. This was investigated in two hemianopes with chromatic and achromatic stimuli with sharp or shallow luminance or chromatic contrast boundaries or temporal onsets. Performance was excellent only when stimuli had sharp spatial boundaries. When discrimination between isoluminant coloured Gaussians was good it declined to chance levels if stimulus onset was slow. The ability to discriminate between instantaneously presented colours in the hemianopic field (...) depended on their luminance, indicating that wavelength discrimination totally independent of other stimulus qualities is absent. When presented with narrow-band colours the hemianopes detected a stimulus maximally effective for S-cones but invisible to M- and L-cones, indicating that blindsight is mediated not just by the mid-brain, which receives no S-cone input, or that the rods contribute to blindsight. The results show that only simple stimulus features are processed in blindsight. (shrink)

Victor Vasarely's (1906–1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain local effects of 2D color and contrast cues on the perceptual organization in terms of (...) figure-ground assignments, i.e. which local surfaces are likely to be seen as “nearer” or “bigger” in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely's creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for “nearer” and “bigger” when other geometric depth cues are missing. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast to resolve the planar ambiguity of a complex pattern context at a critical point in the hierarchical resolution of figure-ground uncertainty. The potential role of color temperature in this process is brought forward here. Vasarely intuitively understood and successfully exploited the subtle context effects accounted for in this paper, well before empirical investigation had set out to study and explain them in terms of information processing by the visual brain. (shrink)

Color charts, or grids of evenly spaced multicolored dots or squares, appear in the work of modern artists and designers. Often the artist/designer distributes the many colors in a way that could be described as “random,” that is, without an obvious pattern. We conduct a statistical analysis of 125 “random-looking” art and design color charts and show that they differ significantly from truly random color charts in the average distance between adjacent colors. We argue that this attribute (...) generalizes results in subjective randomness in a black/white setting and gives further evidence supporting a connection between subjective randomness and what is esthetically pleasing. (shrink)

An expression-induction model was used to simulate the evolution of basic color terms to test Berlin and Kay's (1969) hypothesis that the typological patterns observed in basic color term systems are produced by a process of cultural evolution under the influence of biases resulting from the special properties of universal focal colors. Ten agents were simulated, each of which could learn color term denotations by generalizing from examples using Bayesian inference, and for which universal focal red, (...) yellow, green, and blue were especially salient, but unevenly spaced in the perceptual color space. Conversations between these agents, in which agents would learn from one another, were simulated over several generations, and the languages emerging at the end of each simulation were investigated. The proportion of color terms of each type correlated closely with the equivalent frequencies found in the World Color Survey, and most of the emergent languages could be placed on one of the evolutionary trajectories proposed by Kay and Maffi (1999). The simulation therefore demonstrates how typological patterns can emerge as a result of learning biases acting over a period of time. (shrink)

An expression-induction model was used to simulate the evolution of basic color terms to test Berlin and Kay's (1969) hypothesis that the typological patterns observed in basic color term systems are produced by a process of cultural evolution under the influence of biases resulting from the special properties of universal focal colors. Ten agents were simulated, each of which could learn color term denotations by generalizing from examples using Bayesian inference, and for which universal focal red, (...) yellow, green, and blue were especially salient, but unevenly spaced in the perceptual color space. Conversations between these agents, in which agents would learn from one another, were simulated over several generations, and the languages emerging at the end of each simulation were investigated. The proportion of color terms of each type correlated closely with the equivalent frequencies found in the World Color Survey, and most of the emergent languages could be placed on one of the evolutionary trajectories proposed by Kay and Maffi (1999). The simulation therefore demonstrates how typological patterns can emerge as a result of learning biases acting over a period of time. (shrink)

How the visual systems of different species enable them to detect and discriminate colour patterns and how such visual abilities contribute to their survival is discussed. The influence of evolutionary and environmental pressures on both perceptual capacity and colour trait production is to be considered. Visual systems with different functional anatomy have evolved in response to such pressures.

The debate about the meaning of color terms in the philosophy of language has been dominated by two main issues. Firstly, there is the discussion about the context-dependency of color terms, specifically, quantity, the degree to which the object is of the color, and one of the dimensions of color quality, hue. Secondly, there is the question of how indexical contextualism can account for these elements of context-dependence. The aim of this chapter is twofold. First, to (...) examine brightness, one of the dimensions of color quality that has been neglected in the literature. For this purpose, we will examine how the equivalent of “white” in Arabic and Spanish interacts with brightness modifiers. The analysis will allow us to distinguish three different usage patterns, light source, light reflection, and contrast between white and black, pointing to three new ways of contextual incompleteness of color terms. Second, to assess indexical theories of color terms considering these new empirical findings. We will argue that the results of our study offer support for indexical contextualist theories by distinguishing new dimensions of contextual incompleteness of color terms. However, the consequences of applying the standard indexical contextualist explanation–hidden-variable analysis– are too strong. (shrink)

Because theories of visual perception have traditionally concentrated on form, artists have generally dealt with the problem of color through their own observation and intuition. In _Color Harmonies,_ Augusto Garau systematically investigates the role of both color and form in visual perception and presents an original theory of the aesthetic relations among colors. Garau, a painter who teaches the psychology of form, pays particular attention to the way colors behave when organized in patterns. His theory of (...) class='Hi'>color combination addresses two principal compositional elements: the relations between figure and ground and the phenomenon of transparency. Garau meticulously analyzes the use of color in paintings by masters such as Cézanne, Picasso, and Matisse to show how his theory applies to actual works of art. Containing many full-color examples, his introduction to the workings of color relations is of great practical use to art historians and critics, artists, interior decorators, fashion and set designers, and anyone who works with color to display information or convey emotions. "In an area of the psychology of art where reliable guidance is still so hard to come by, [Garau's] well-supported contributions to the theory of color composition ought to be welcomed by practitioners and scholars alike."—from the Foreword by Rudolf Arnheim. (shrink)

This paper focusses on colour terminology as a tool for achieving ἐνάργεια in the Latin poetry of the first century c.e. After briefly outlining the developments in the concept of ἐνάργεια from Aristotle to Quintilian, the paper considers the use of Latin terms for black in three descriptive passages from Statius’ epic poem, the Thebaid. It is observed that the poet privileges the juxtaposition of the two adjectives ater and niger in a pattern of uariatio, where ater often carries a (...) figurative meaning and repeats established poetic clichés, while niger is part of unparalleled collocations that evoke a material notion of blackness. Further analysis of the uariatio in the context of each passage reveals that the juxtaposition of the two-colour terms enhances the vividness of the objects described not only by increasing their chromatic impact but also by establishing connections with other parts of the poem, and by inviting a reflection on the competing practices of imitation and transgression of poetic models. The analysis of one stylistic feature shows that this stylistic feature is used by Statius for achieving ἐνάργεια as an artistic effect, for reflecting on ἐνάργεια as an instrument through which poetic models are challenged, and for tying his own poetic practice to contemporary rhetorical discussions. (shrink)

Synaesthetes persistently perceive certain stimuli as systematically accompanied by illusory colours, even though they know those colours to be illusory. This appears to contrast with cases where a subject’s colour vision adapts to systematic distortions caused by wearing coloured goggles. Given that each case involves longstanding systematic distortion of colour perception that the subjects recognize as such, how can a theory of colour perception explain the fact that perceptual adaptation occurs in one case but not the other? I argue that (...) these cases and the relationship between them can be made sense of in light of an existing view of colour perception. Understanding colours as ways in which objects and surfaces modify light, perceived through grasping patterns and variations in colour appearances, provides a framework from which the cases and their apparent disanalogy can be predicted and explained. This theory’s ability to accommodate these cases constitutes further empirical evidence in its favour. (shrink)

Rightly or, wrongly I am going to take it that the doctrine of simple qualities says three things. First, that yellow, for example, is a simple unanalyzable quality. I don’t really believe this to be true, except in what it denies, but I have no immediate quarrel with it. Second, a simple quality, such as yellow, is what it is quite independently of its pattern of exemplification. Third, yellow is somehow ineffable, the sheer dazzling yellowishness of yellow things cannot be (...) conveyed in words. In the third case, I do not mean the commonplace that words are different from things, that the word ‘yellow’ is not itself yellow. I mean the view that there is something about color qualities as immediately apprehended by us that eludes description. Now all these views are somewhat old-fashioned. The third is hardly mentioned nowadays. Yet I am not so sure that we are not still very much in their grip. In any case, philosophical hemlil)eS oscillate almost as frequently as do those of high fashion so it should not surprise anyone if these views were to come back into vogue, especially if phenomenology becomes important in this country. Now it may be more a matter of convenience than of historical accuracy that I am lumping these three doctrines together as “the doctrine of simple qualities”. Perhaps “doctrine of atomistic qualities” would be better. I am reasonably certain that the second and third doctrines mutually entail each other, although it has to be conceded that the situation is fairly complicated. I shall have something to say about the third doctrine–the doctrine of ineffability, but I shall be mostly concerned to refute the second doctrine–the doctrine that the identity of a quality is independent of its extension–and to put something else in its place. I shall be concerned incidentally to examine certain puzzling statements like ‘Red is a color’, ‘Red is between orange and purple’ and ‘Whatever is green is extended’, which seem to be necessary but don’t seem to be analytic. (shrink)

Color experience is structured. Some ?unique? colors (red, green, yellow, and blue) appear as ?pure,? or containing no trace of any other color. Others can be considered as a mixture of these colors, or as ?binary colors.? According to a widespread assumption, this unique/binary structure of color experience is to be explained in terms of neurophysiological structuring (e.g., by opponent processes) and has no genuine explanatory basis in the physical stimulus. The argument from structure builds on these (...) assumptions to argue that colors are not properties of surfaces and that color experiences are neural processes without environmental counterparts. We reconsider the argument both in terms of its logic and in the light of recent models in vision science which point at environment-involving patterns that may be at the basis of the unique/binary structure of color experience. We conclude that, in the light of internal and external problems which arise for it, the argument from structure fails. (shrink)

According to Reid, color sensations are not extended nor are they arranged in figured patterns. Reid further claimed that ‘there is no sensation appropriated to visible figure.’ Reid justified these controversial claims by appeal to Cheselden's report of the experiences of a young man affected by severe cataracts, and by appeal to cases of perception of visible figure without color. While holding fast to the principle that sensations are not extended, Dugald Stewart tried to show that ‘a (...) variety of colour sensations is a necessary means for the perception of visible figure.’ According to John Fearn, two motives appear to be central to Reid's views about color sensations and extension: his commitment to the Cartesian doctrine of the immateriality of the soul, and his attempt to evade ‘Hume's dilemma’ about the existence and immateriality of the soul. (shrink)

��Grapheme-color synaesthesia is a neurological phenomenon in which particular graphemes, such as the numeral 9, automatically induce the simultaneous perception of a particular color, such as the color red. To test whether the concurrent color sensations in graphemecolor synaesthesia are treated as meaningful stimuli, we recorded event-related brain potentials as 8 synaesthetes and 8 matched control subjects read sentences such as ‘‘Looking very clear, the lake was the most beautiful hue of 7.’’ In synaesthetes, but not (...) control subjects, congruous graphemes, compared with incongruous graphemes, elicited a more negative N1 component, a less positive P2 component, and a less negative N400 component. Thus, contextual congruity of synaesthetically induced colors altered the brain response to achromatic graphemes beginning 100 ms postonset, affecting pattern-recognition, perceptual, and meaning-integration processes. The results suggest that grapheme-color synaesthesia is automatic and perceptual in nature and also suggest that the connections between colors and numbers are bidirectional. (shrink)

Abstract:AbstractThis article examines how representations of women of color in the 1970s shaped and were shaped by US feminist print cultures. Critiques of the US women's liberation movement importantly focus on its whiteness and US-centrism, deployment of concepts such as sisterhood, and practices such as tokenization. I propose a shift the terms of this conversation through a semiotic and affective analysis of representations of women of color across a range of US feminist periodicals published during the 1970s. Specifically, (...) I identify patterns in the representation of figures of Indochinese and other revolutionary women, attending to what is consistent and what varies in their representation. I argue that the revolutionary, antiracist, antisexist, and anti-imperialist struggles of women of color lent US feminism a weight that countered the ways movement outsiders—particularly mainstream media and the New Left—trivialized and devalued feminist activism. This paper thus seeks to demonstrate that portrayals of women of color countered not only sexism but also the implicit racism in dominant narratives characterizing the women's liberation movement. (shrink)

In Buddhist experience-qua-experienced based and process-oriented thought the experiencer is an integral aspect by virtue of his being a participant, not a detached observer, in the anthropocosmic unfolding of life's mystery, variously called "reality," "Being," or "wholeness." The unfolding process passes through three phases, called "in-depth appraisals," toward a definite value of phase difference. The whole process is experienced as shifting patterns of energy in constant creative interaction with their environment through frequencies of light and intensities of vibrations . (...) These fuse in the sememic-morphemic Hilm, symbol of the spiritual in man, that underlies all concrete manifestations. (shrink)

This essay engages Chandra Mohanty, M. Jacqui Alexander, and María Lugones in a “plurilogue” to elaborate and exhibit a method that animates the differential mode of Women of Color politics while rendering more acute the strategies each scholar offers against the racialized, gendered oppressions of colonialism and global capitalism. Ella Shohat describes “a multifaceted plurilogue” as a “dissonant polyphony” that “links different yet co-implicated constituencies and arenas of struggle” (Shohat 2001, 2). The emphasis on reading differences within Women of (...) Color theorizing resists the homogenizing tendency of superficial engagement that glosses Women of Color scholarship as a unified genre of thought. A plurilogue thus pursues dissimilarities to clarify the conceptual interventions made within Women of Color theorizing and the relationship among the different patterns of oppression that each intervention exposes. Plurilogued engagements bring these conceptual strategies and understandings of multiple oppressions together, not to resolve or rank them, but to more effectively ascertain the complexities of, and varied coalitional strategies for, resisting the racialized, heteropatriarchal oppressions of global capitalism and colonialism. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses the (...) Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses the (...) Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

This chapter focuses on a factor widely considered by the standard view to be the basis for color-naming phenomena and explores some plausible, comparatively uninvestigated factors that might underlie color naming. These are illustrated, in part, through a reexamination of World Color Survey data as it has been presented by Kuehni. The aim of this chapter is to examine the appropriateness of the Hering opponent-color construct as a theoretical foundation for explaining patterns of color (...) naming in datasets like the WCS, which include many languages that do not use Hering color terms. The main conclusion reached is that a proper explanation for cross-cultural color naming and categorization should not depend on the Hering opponent-color construct. (shrink)

We argue that the confusing pattern of evidence concerning colour categorization reported by Saunders & van Brakel is unsurprising. On a perspectival view, categorization may follow semantic or pragmatic attributes. Colour lacks clear semantic attributes; as a result categorization is necessarily pragmatic and context-sensitive. This view of colour categorization helps explain the developmental delay in colour naming.

Synaesthesia is a condition in which one type of stimulation evokes the sensation of another, as when the hearing of a sound produces photisms, i.e. mental percepts of colours. R is a 20 year old colour blind subject who, in addition to the relatively common grapheme-colour synaesthesia, presents a rarely reported cross modal perception in which a variety of visual stimuli elicit aura-like percepts of colour. In R, photisms seem to be closely related to the affective valence of stimuli and (...) typically bring out a consistent pattern of emotional responses. The present case study suggests that colours might be an intrinsic category of the human brain. We developed an empirical methodology that allowed us to study the subject's otherwise inaccessible phenomenological experience. First, we found that R shows a Stroop effect elicited by photisms despite the fact that he does not show a regular Stroop with real colours. Secondly, by manipulating the colour context we confirmed that colours can alter R's emotional evaluation of the stimuli. Furthermore, we demonstrated that R's auras may actually lead to a partially inverted emotional spectrum where certain stimuli bring out emotional reactions opposite to the normal ones. These findings can only be accounted for by considering R's subjective colour experience or qualia. Therefore the present paper defends the view that qualia are a useful scientific concept that can be approached and studied by experimental methods. (shrink)

Melanin, and other pigments have recently been shown to preserve over geologic time scales, and are found in several different organisms. This opens up the possibility of inferring colours and colour patterns ranging from invertebrates to feathered dinosaurs and mammals. An emerging discipline is palaeo colour: colour plays an important role in display and camouflage as well as in integumental strengthening and protection, which makes possible the hitherto difficult task of doing inferences about past ecologies, behaviours, and organismal appearance. (...) Several studies and techniques have been presented in the last couple of years that have described ways to characterize pigment patterns. Here, I will review the available methods and the likely applications to understand past ecologies. A golden age of colourized dinosaurs and other animals is now dawning upon us, which may elucidate the nature of ancient predator prey interactions and display structures.Also watch the Video Abstract. (shrink)

Synaesthesia is a condition in which one type of stimulation evokes the sensation of another, as when the hearing of a sound produces photisms, i.e. mental percepts of colours. R is a 20 year old colour blind subject who, in addition to the relatively common grapheme-colour synaesthesia, presents a rarely reported cross modal perception in which a variety of visual stimuli elicit aura-like percepts of colour. In R, photisms seem to be closely related to the affective valence of stimuli and (...) typically bring out a consistent pattern of emotional responses. The present case study suggests that colours might be an intrinsic category of the human brain. We developed an empirical methodology that allowed us to study the subject's otherwise inaccessible phenomenological experience. First, we found that R shows a Stroop effect elicited by photisms despite the fact that he does not show a regular Stroop with real colours. Secondly, by manipulating the colour context we confirmed that colours can alter R's emotional evaluation of the stimuli. Furthermore, we demonstrated that R's auras may actually lead to a partially inverted emotional spectrum where certain stimuli bring out emotional reactions opposite to the normal ones. These findings can only be accounted for by considering R's subjective colour experience or qualia. Therefore the present paper defends the view that qualia are a useful scientific concept that can be approached and studied by experimental methods. (shrink)

Whenever we communicate, we inevitably have to say one thing before another. This means introducing particularly subtle patterns of salience into our language. In this paper, I introduce ‘order-based salience patterns’, referring to the ordering of syntactic contents where that ordering, pretheoretically, does not appear to be of consequence. For instance, if one is to describe a colourful scarf, it wouldn’t seem to matter if one were to say it is ‘orange and blue’ or ‘blue and orange’. Despite (...) their apparent triviality, I argue that order-based salience patterns tend to make the content positioned first more salient – in the sense of attention-grabbing – in a way that can have surprising normative implications. Giving relative salience to gender differences over similarities, for instance, can result in the activation of cognitively accessible beliefs about gender differences. Where those beliefs are epistemically and/or ethically flawed, we can critique the salience pattern that led to them, providing an instrumental way of evaluating those patterns. I suggest that order-based salience patterns can also be evaluated on constitutive grounds; talking about gender differences before similarities might constitute a subtle form of bias. Finally, I reflect on how the apparent triviality of order-based salience patterns in language gives them an insidious strength. (shrink)

The human body is central to myriad metaphors, so studying the conceptualisation of the body itself is critical if we are to understand its broader use. One essential but understudied issue is whether languages differ in which body parts they single out for naming. This paper takes a multi-method approach to investigate body part nomenclature within a single language family. Using both a naming task and colouring-in task to collect data from six Japonic languages, we found that lexical similarity for (...) body part terminology was notably differentiated within Japonic, and similar variation was evident in semantics too. Novel application of cluster analysis on naming data revealed a relatively flat hierarchical structure for parts of the face, whereas parts of the body were organised with deeper hierarchical structure. The colouring data revealed that bounded parts show more stability across languages than unbounded parts. Overall, the data reveal there is not a single universal conceptualisation of the body as is often assumed, and that in-depth, multi-method explorations of under-studied languages are urgently required. (shrink)

The blooming desert or ‘El desierto florido’ in Spanish, is a millenarian climate pattern caused by El Niño that warms the surface waters in the eastern tropical Pacific Ocean and creates the conditions for rain in the Altiplano and the Atacama Desert, north of Chile. After some millimeters of abundant rain, a rich biotic community emerges, and in a matter of hours or days, the driest surface on Earth becomes an impressive colorful habitat for more than two hundred different species (...) of eye-catching flowers that host the desert biotic life. Unfortunately, this breathtaking display of colors coexists with less appealing but equally astonishing landscapes. The Atacama Desert harbors the largest accumulation of discarded clothing worldwide and the largest pools of lithium mining which require vast amounts of water for their production. Every year, approximately 56,000 tons of used clothing, predominantly consisting of fast fashion polyester products, water-intensive cotton fabrics, and equally polluting material scraps, are deposited, forming toxic mountains of waste. This article presents an interpretation of these distinct landscapes as interconnected realities of the dump that illustrate the impact of biocultural semiocides, whereby the loss of relationships and meanings with Earth materials is shaped by glocal forces. By making this argument, the article contends that the Atacama region replicates the conditions of the Earth as a global dumping and solastalgia, namely ‘the pain caused by the loss of solace and the sense of desolation connected to one´s home and territory.’. (shrink)