Do English-speakers think about anger as “red” and sadness as “blue”? Some theories of emotion suggests that color(s) - like other biologically-derived signals- should be reliably paired with an emotion, and that colors should differentiate across emotions. We assessed consistency and specificity for color-emotion pairings among English-speaking adults. In study 1, participants (n = 73) completed an online survey in which they could select up to three colors from 23 colored swatches (varying hue, saturation, (...) and light) for each of ten emotion words. In study 2, different participants (n = 52) completed a similar online survey except that we added additional emotions and colors (which better sampled color space). Participants in both studies indicated the strength of the relationship between a selected color(s) and the emotion. In study 1, four of the ten emotions showed consistency, and about one-third of the colors showed specificity, yet agreement was low-to-moderate among raters even in these cases. When we resampled our data, however, none of these effects were likely to replicate with statistical confidence. In study 2, only two of twenty emotions showed consistency, and three colors showed specificity. As with the first study, no color-emotion pairings were both specific and consistent. In addition, in study 2, we found that saturation and lightness, and to a lesser extent hue, predicted color-emotion agreement rather than perceived color. The results suggest that previous studies which report emotion-color pairings are likely best thought of experiment-specific. The results are discussed with respect to constructionist theories of emotion. (shrink)

Specific emotions and colors are associated. The current study tested whether the interference of colors with affective processing occurs solely in the semantic stage or extends to a more complex stage like the lexical processing of emotional words. We performed two experiments to determine the effect of colors on affective processing. In Experiment 1, participants completed a color-emotion priming task. The priming stimulus included a color-tinted image of a neutral face, followed by a target stimulus of gray-scaled (...) emotional and neutral faces after 50 ms. Experiment 2 used a modified emostroop paradigm and superimposed emotion words on the center of the color-tinted emotional and neutral faces. Results showed the priming effect of red for the angry face compared to the control, but not in blue for the sad face compared to the control. However, responses to the blue-sad pair were significantly faster than the red-sad pair. In the color-emostroop task, we observed a significant interaction between color and emotion target words in the modified emostroop task. Participants detected sad targets more accurately and faster in blue than red, but only in the incongruent condition. The results indicate that the influence of color in the processing of emotional information exists at the semantic level but found no evidence supporting the lexical level effect. (shrink)

1. IntroductionThe Emotional Construction of Morals is a tour de force that combines empirical data and philosophical argument in an impressively coherent way. Certainly it resists any sweeping assessment; a mere presentation of the principal lines of argument would itself take the space of an article. Also, and despite its systematic structure, I do not think Prinz's view places decisive weight on any small number of points. Consequently, I do not think it can be refuted in any wholesale way. Nevertheless, (...) I often find myself in very sharp disagreement with Prinz. What I would like to do in this article, therefore, is to focus on what seem to be some broad issues of perspective, and see if I can convince readers that taking a slightly different perspective on certain matters might undermine the apparent force of much of what he has to say. In particular, I will focus on the analogy between moral properties and colour properties: an analogy to which Prinz himself appeals. As a corollary I will also try to show that Prinz's focus, for many purposes, on cannibalism and issues of sexual morality undermines the relevance of much of the empirical data he brings to bear in defending his sentimentalist moral theory.According to Prinz, moral judgements are manifestations of complex emotional dispositions that he calls ‘sentiments’. But unlike the expressivist, who might easily embrace the spirit of this claim, Prinz also holds that the existence of these sentiments is sufficient to generate moral properties and facts; moral properties are simply powers to activate our moral sentiments, and it is often a fact that an action has such a property. In holding moral properties to be powers of this sort, Prinz embraces both an analogy with colours, and a certain understanding of what colours are: secondary qualities understood …. (shrink)

Psychology suffers from the absence of mathematically-formalized primitives. As a result, conceptual and quantitative studies lack an ontological basis that would situate them in the company of natural sciences. The article addresses this problem by describing a minimal psychic structure, expressed in the algebra of quantum theory. The structure is demarcated into categories of emotion and color, renowned as elementary psychological phenomena. This is achieved by means of quantum-theoretic qubit state space, isomorphic to emotion and color (...) experiences both in meaning and math. In particular, colors are mapped to the qubit states through geometric affinity between the HSL-RGB color solids and the Bloch sphere, widely used in physics. The resulting correspondence aligns with the recent model of subjective experience, producing a unified spherical map of emotions and colors. This structure is identified as a semantic atom of natural thinking—a unit of affectively-colored personal meaning, involved in elementary acts of a binary decision. The model contributes to finding a unified ontology of both inert and living Nature, bridging previously disconnected fields of research. In particular, it enables theory-based coordination of emotion, decision, and cybernetic sciences, needed to achieve new levels of practical impact. (shrink)

Defenders of moral perception have famously argued that seeing value is relevantly similar to seeing color. Some critics think, however, that the analogy between color-seeing and value-seeing breaks down in several crucial respects. Defenders of moral perception, these critics say, have not succeeded in providing examples of non-moral perception that are relevantly analogous to cases of moral perception. Therefore, it can be doubted whether there is such a thing as moral perception at all. I argue that, although the (...) analogy between color perception and moral perception does indeed break down in several crucial respects, that conclusion does not weaken the case of defenders of moral perception, because better analogies are available. If defenders of moral perception seek to draw support from an analogy, then seeing emotion will protect them better against criticisms than will seeing color. (shrink)

Our sense of time is altered by our emotions to such an extent that time seems to fly when we are having fun and drags when we are bored. Recent studies using standardized emotional material provide a unique opportunity for understanding the neurocognitive mechanisms that underlie the effects of emotion on timing and time perception in the milliseconds-to-hours range. We outline how these new findings can be explained within the framework of internal-clock models and describe how emotional arousal and (...) valence interact to produce both increases and decreases in attentional time sharing and clock speed. The study of time and emotion is at a crossroads, and we outline possible examples for future directions. (shrink)

To enhance the emotional communication of image oil painting art and better analyze the image oil painting art, this article puts forward the research on color emotional information communication in image oil painting art. First, starting from the artistic characteristics of color and its embodiment in various oil painting art forms, this article expounds the relationship and the significance between color language and emotional expression. Then, it summarizes the development of color in image oil painting from (...) a macro perspective and analyzes the emotional expression of color in oil painting. Finally, it discusses the color law of the oil painting art and analyzes the emotional expression of the oil painting art from two aspects: image and artistic conception. The research shows that the design method can better convey emotion and make it easier for people to understand the connotation of image oil paintings. (shrink)

This study sets out to investigate the ¿poetry of grammar¿, more specifically the role of the body in figurative speech, in African languages mainly belonging to Nilotic and Bantu. Apprehending the semantics and pragmatics of metaphorical and metonymic expressions in these languages presupposes an interaction between a number of cognitive processes, as argued below. Interestingly, these languages seem to use these strategies involving figurative speech in tandem with alternative strategies involving on-record statements. This multivocality only makes sense if we place (...) language and language structure more in the social world in which it is used. (shrink)

The increase in emotional consumption reflects the increased emotional appeal of people in modern life. As a place for people’s daily life and consumption, the indoor environment has been regarded as a symbol of quality of life and esthetic taste. The purpose of this paper is to study how to analyze and study the color factor and space humanization in interior design based on emotional needs, and describe the neural network. This paper puts forward the problem of emotional needs, (...) which is based on the neural network model, and then elaborates on its concept and related algorithms, and designs and analyzes the case design and analysis of the humanized design of interior color and space based on emotional needs. The experimental results show that in the evaluation of the emotional needs of indoor environment users, the emotional needs of users for the three levels are all above 3.00. Users have the highest emotional needs at the usage level, reaching 4.24. It shows that users pay more attention to the practical value of the indoor environment, and hope to obtain a pleasant emotional experience by meeting the needs of practical value. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

Previous research has demonstrated how emotion resembling cues in the face help shape impression formation. Perhaps most notable in the literature to date, has been work suggesting that gender-related appearance cues are visually confounded with certain stereotypic expressive cues. Only a couple studies to date have used computer vision to directly map out and test facial structural resemblance to emotion expressions using facial landmark coordinates to estimate face shape. In one study using a Bayesian network classifier trained to (...) detect emotional expressions structural resemblance to a specific expression on a non-expressive face was found to influence trait impressions of others. In another study, a connectionist model trained to detect emotional expressions found different emotion-resembling cues in male vs. female faces. Despite this seminal work, direct evidence confirming the theoretical assertion that humans likewise utilize these emotion-resembling cues when forming impressions has been lacking. Across four studies, we replicate and extend these prior findings using new advances in computer vision to examine gender-related, emotion-resembling structure, color, and texture and their impact on gender-stereotypic impression formation. We show that all three are meaningfully related to human impressions of emotionally neutral faces. Further when applying the computer vision algorithms to experimentally manipulate faces, we show that humans derive similar impressions from them as did the computer. (shrink)

ABSTRACTEmotion knowledge, the ability to accurately perceive and label emotions, predicts higher quality peer relations, higher social competence, higher academic achievement, and fewer behaviour...

This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts and hue combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that the overall arousal (...) ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information over the emotional effects of the hypothesized influence of hue on perceived performance. To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. (shrink)

How to enable the computer to accurately analyze the emotional information and story background of characters in Qin opera is a problem that needs to be studied. To promote the artistic inheritance and cultural emotion color dissemination of Qin opera, an emotion analysis model of Qin opera based on attention residual network is presented. The neural network is improved and optimized from the perspective of the model, learning rate, network layers, and the network itself, and then multi-head (...) attention is added to the ResNet to increase the recognition ability of the model. The convolutional neural network is optimized from the internal depth, and the fitting ability and stability of the model are enhanced through the ResNet model. Combined with the attention mechanism, the expression of each weight information is strengthened. The multi-head attention mechanism is introduced in the model and a multi-head attention ResNet, namely, MHAtt_ResNet, is proposed. The network structure can effectively identify the features of the spectrogram, improve the weight information of spectrogram features, and deepen the relationship between distant information in long-time series. Through experiments, the proposed model has high emotional classification accuracy for Qin opera, and with the increase of the number of data sets, the model will train a better classification effect. (shrink)

Researchers have long suspected that grapheme-color synaesthesia is useful, but research on its utility has so far focused primarily on episodic memory and perceptual discrimination. Here we ask whether it can be harnessed during rule-based Category learning. Participants learned through trial and error to classify grapheme pairs that were organized into categories on the basis of their associated synaesthetic colors. The performance of synaesthetes was similar to non-synaesthetes viewing graphemes that were physically colored in the same way. Specifically, synaesthetes (...) learned to categorize stimuli effectively, they were able to transfer this learning to novel stimuli, and they falsely recognized grapheme-pair foils, all like non-synaesthetes viewing colored graphemes. These findings demonstrate that synaesthesia can be exploited when learning the kind of material taught in many classroom settings. (shrink)

We prove that colouring of pairs from 2 with strong properties exists. The easiest to state problem it solves is: there are two topological spaces with cellularity 1 whose product has cellularity 2; equivalently, we can speak of cellularity of Boolean algebras or of Boolean algebras satisfying the 2-c.c. whose product fails the 2-c.c. We also deal more with guessing of clubs.

We prove that colouring of pairs from 2 with strong properties exists. The easiest to state problem it solves is: there are two topological spaces with cellularity 1 whose product has cellularity 2; equivalently, we can speak of cellularity of Boolean algebras or of Boolean algebras satisfying the 2-c.c. whose product fails the 2-c.c. We also deal more with guessing of clubs.

This paper summarizes paired courses, a technique that is being used to incorporate the benefits of liberal arts into the business curriculum. This technique pairs a required business course with a liberal arts course that students take concurrently during a semester. The courses have overlapping themes and activities to build specific competencies that are desired by organizations, such as communication, critical thinking and problem solving, emotional intelligence, and organizational professionalism. These competencies are identified by exploring national surveys and conducting a (...) local survey of business professionals. The paired courses utilize a variety of exercises with the ultimate goals of building desired workplace-related skills in students and improving their practical reasoning ability. The exercises do this by strengthening students’ analytical thinking, understanding of multiple framing, and reflective exploration of meaning through various techniques. Many of the activities are explained in detail with some additional resources provided. Teachers can utilize the same activities or adapt them to their classroom. (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)

Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain were (...) hard at work. If we want to properly understand the evolution of the mind, we must explore this more primal capability that we share with other animals: the power to feel. Emotions saturate every thought and perception with the weight of feelings. The Emotional Mind reveals that many of the distinctive behaviors and social structures of our species are best discerned through the lens of emotions. Even the roots of so much that makes us uniquely human—art, mythology, religion—can be traced to feelings of caring, longing, fear, loneliness, awe, rage, lust, playfulness, and more. From prehistoric cave art to the songs of Hank Williams, Stephen T. Asma and Rami Gabriel explore how the evolution of the emotional mind stimulated our species’ cultural expression in all its rich variety. Bringing together insights and data from philosophy, biology, anthropology, neuroscience, and psychology, The Emotional Mind offers a new paradigm for understanding what it is that makes us so unique. (shrink)

Attentional bias to threat has been almost exclusively examined after participants experienced repeated pairings between a conditioned stimulus (CS) and an aversive unconditioned stimulus (US). This study aimed to determine whether threat-related attentional capture can result from observational learning, when participants acquire knowledge of the aversive qualities of a stimulus without themselves experiencing aversive outcomes. Non-clinical young-adult participants (N = 38) first watched a video of an individual (the demonstrator) performing a Pavlovian conditioning task in which one colour was (...) paired with shock (CS+) and another colour was neutral (CS−). They then carried out visual search for a shape-defined target. Oculomotor measures evidenced an attentional bias toward the CS+ colour, suggesting that threat-related attentional capture can ensue from observational learning. Exploratory analyses also revealed that this effect was positively correlated with empathy for the demonstrator. Our findings extend empirical and theoretical knowledge about threat-driven attention and provide valuable insights to better understand the formation of anxiety disorders. (shrink)

ABSTRACTWhen processing information about human faces, we have to integrate different sources of information like skin colour and emotional expression. In 3 experiments, we investigated how these features are processed in a top-down manner when task instructions determine the relevance of features, and in a bottom-up manner when the stimulus features themselves determine process priority. In Experiment 1, participants learned to respond with approach-avoidance movements to faces that presented both emotion and colour features. For each participant, only one of (...) these two features was task-relevant while the other one could be ignored. In contrast to our predictions, we found better learning of task-irrelevant colour when emotion was task-relevant than vice versa. Experiment 2 showed that the learning of task-irrelevant emotional information was improved in general when participants’ awareness was increased by adding NoGo-trials. Experiment 3 replicated these results... (shrink)

The goal of the present paper is to defend against a certain line of attack the view that conscious experience of color is no more fine-grained that the repertoire of non- demonstrative concepts that a perceiver is able to bring to bear in perception. The line of attack in question is an alleged empirical argument - the Diachronic Indistinguishability Argument - based on pairs of colors so similar that they can be discriminated when simultaneously presented but not when presented (...) across a memory delay. My aim here is to show that this argument fails. (shrink)

A reference volume and playful devotional object based on the author's research into color theory informed by psychology, mysticism, and early modernism. The Color-Word Value Index has 44 word pairings; 10 colors; 5 suits; and values of positive, negative, and neutral"--Women's Studio Workshop website, viewed December 14, 2021.

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. (shrink)

This paper evaluates Husserl’s and Merleau-Ponty’s phenomenological notion of pairing in light of a representative variety of findings and views in contemporary developmental psychology. This notion belongs to the direct social perception framework, which suggests that the fundamental access to other minds is intuitive, or perceptual. Pairing entails that the perception of other minds relies merely on first-person embodied experience and domain-general processes. For this reason, pairing is opposed to cognitive nativist views that assume specialized mechanisms for low-level mental state (...) attribution, while it is compatible with acknowledging innate affective tendencies. I criticize cognitive nativism for being based on ambiguous evidence. I argue that in early social interactions infants experience sufficient self–other similarities to ground the most primitive perception of others as minded beings. I show that pairing can account for the ontogenetically earliest perceptions of others’ actions and emotions, as well as for the earliest perception of others’ perceptions. (shrink)

Colour shapes our world in profound, if sometimes subtle, ways. It helps us to classify, form opinions, and make aesthetic and emotional judgements. Colour operates in every culture as a symbol, a metaphor, and as part of an aesthetic system. Yet archaeologists have traditionally subordinated the study of colour to the form and material value of the objects they find and thereby overlook its impact on conceptual systems throughout human history.This book explores the means by which colour-based cultural understandings are (...) formed, and how they are used to sustain or alter social relations. From colour systems in the Mesolithic, to Mesoamerican symbolism and the use of colour in Roman Pompeii, this book paints a new picture of the past. Through their close observation of monuments and material culture, authors uncover the subtle role colour has played in the construction of past social identities and the expression of ancient beliefs. Providing an original contribution to our understanding of past worlds of meaning, this book will be essential reading for archaeologists, anthropologists and historians, as well as anyone with an interest in material culture, art and aesthetics. (shrink)

The goal of this paper is to show that a particular view of emotion sharing and a specific hypothesis on infant social perception strengthen each other. The view of emotion sharing is called “the straightforward view.” The hypothesis on infant social perception is called “the pairing account.” The straightforward view suggests that participants in emotion sharing undergo one and the same overarching emotion. The pairing account posits that infants perceive others’ embodied experiences as belonging to someone (...) other than the self through a process of assimilation to, and accommodation of, their own embodied experience. The connection between the two theories lies in the domain-general process of association by similarity, which functions both in the individuation of a unitary emotion and in the interpretation of the sensory stimulus. By elaborating on this connection, the straightforward view becomes more solid from the cognitive-developmental standpoint and the pairing account expands its explanatory power. Since the straightforward view requires minimal forms of self- and other-awareness, the paper provides a characterization of the developmental origin of the sense of us, i.e., the experience of self and other as co-subjects of a shared emotional state. (shrink)

Luminance and color are strong and self-sufficient cues to pictorial depth in visual scenes and images. The present study investigates the conditions Under which luminance or color either strengthens or overrides geometric depth cues. We investigated how luminance contrasts associated with color contrast interact with relative height in the visual field, partial occlusion, and interposition in determining the probability that a given figure is perceived as ‘‘nearer’’ than another. Latencies of ‘‘near’’ responses were analyzed to test for (...) effects of attentional selection. Figures in a pair were supported by luminance contrast or isoluminant color contrast and combined with one of the three geometric cues. The results of Experiment 1 show that luminance contrasts associated with hue, when it does not interact with other hues, produces the same effects as achromatic luminance contrasts: The probability of‘‘near’’ increases with luminance contrast while the latencies for ‘‘near’’ responses decrease. Partial occlusion is found to be a strong enough pictorial cue to support a weaker red luminance contrast. Interposition cues lose out against cues of spatial position and partial occlusion. The results of Experiment 2, with isoluminant displays of varying color contrast, reveal that red color contrast on a light background supported by any of the three geometric cues wins over green or white supported by any of the three geometric cues. On a dark background, red color contrast supported by the interposition cue loses out against green or white color contrast supported by partial occlusion. These findings reveal that color is not an independent depth cue, but is strongly influenced by luminance contrast and stimulus geometry. Systematically shorter response latencies for stronger ‘‘near’’ percepts demonstrate that selective visual attention reliably detects the most likely depth cue combination in a given configuration. (shrink)

We commonly appeal to emotions to explain human behaviour: we seek comfort out of grief, we threaten someone in anger and we hide in fear. According to the standard Humean analysis, intentional action is always explained with reference to a belief-desire pair. According to recent consensus, however, emotions have independent motivating force apart from beliefs and desires, and supplant them when explaining emotional action. In this paper I provide a systematic framework for thinking about the motivational structure of emotion (...) and show how it is consistent with the Humean analysis. On this picture, emotions are not reducible to beliefs and desires, instead their primary motivational force comes from their role as modulators of desires—they control the strength of our occurrent desires. Emotions therefore motivate actions through the belief-desire system instead of overriding it. (shrink)

This article examines the role of emotion experience in both rational action and self-knowledge. A key distinction is made between emotion experiences of which we are unaware, and those of which we are aware. The former motivate action and color our view of the world, but they do not do so in a rational way, and their nonreflective nature obscures self-understanding. The article provides arguments and evidence to support the view that emotion experiences contribute to rational (...) action only if one is appropriately aware of them (because only then does one have the capacity to inhibit one's emotional reactions). Furthermore, it is argued that awareness of emotion increases self-knowledge because it is a source of information about our biases. (shrink)

In their article ‘In defense of incompatibility, objectivism, and veridicality about color’ P. Roberts and K. Schmidtke offer the results of an experiment supposed to show that if selection of colored samples representing unique hues for subjects has a greater inter-subject variability than identification of sample pairs with no perceptual difference between them the result provides support for the philosophical concept of color realism. On examining the results in detail, we find that, according to standard statistical methodology, the (...) relative magnitude of inter-subject variability in the matching experiment is for both tested colors larger than that in the naming experiment, thus invalidating their claims. In addition, we point out several serious shortcomings in the experiment. (shrink)

"This admirable volume of readings is the first of a pair: the editors are to be applauded for placing the philosophy of color exactly where it should go, in ...

Farhad Dalal argues that people differentiate between races in order to make a distinction between the "haves" and "must-not-haves", and that this process is cognitive, emotional and political rather than biological. Examining the subject over the past thousand years, Race, Colour and the Process of Racialisation covers theories of racism and a general theory of difference based on the works of Fanon, Elias, Matte-Blanco and Foulkes, as well as application of this theory to race and racism. Farhad Dalal concludes that (...) the structures of society are reflected in the structures of the psyche, and both of these are colour coded. This book will be invaluable to students, academics and practitioners in the areas of psychoanalysis, group analysis, psychotherapy and counseling. (shrink)

In response to Zack’s “White Privilege​ and Black Rights”, I consider her account of the hunting schema in light of police violence against black women. I argue that although Zack provides us with a compelling account of racial profiling and police brutality, the emotional aspect she attributes to the hunting schema is too charitable. I then claim that Zack’s hunting schema fails to account for state violence against black women and in doing so she only tells a partial story of (...) comparative injustice as it relates to police brutality of blacks. (shrink)

Humans have only finite discriminatory capacities. This simple fact seems to be incompatible with the existence of appearances. As many authors have noted, the hypothesis that appearances exist seems to be refuted by reductio: Let A, B, C be three uniformly coloured surfaces presented to a subject in optimal viewing conditions, such that A, B, and C resemble one another perfectly except with respect to their colours. Their colours differ slightly in the following way: the difference between A and B (...) and the difference between B and C are below the discrimination threshold, but the difference between A and C is above this threshold. According to an intuitive construal of what an appearance is, given that A and B appear (to the subject) identical in colour, A and B have the same (colour1) appearance P1; likewise, B and C have the same appearance P2. B's appearance is both P1 and P2. This seems to imply that P1=P2. But then, A and C also have the same appearance, which contradicts the hypothesis that A and C are discriminable. If A and C are discriminable with respect to their colour, they do not have the same appearance with respect to colour. The paradox arising from such a series of judgments of sameness or difference between pairs of coloured surfaces seems to belong to the class of sorites paradoxes. I will show that there is a way to construe colours and their appearances in a way that does not fall prey to the reduction just sketched. (shrink)

The aim of the study is to clarify the aesthetic concept of color perception from the phenomenological reasoning of Edmund Husserl. Today, the orientation diagram of the field of phenomenological research is formed in various zones: from theological to naturalistic. In which of these zones the structures of the phenomenological analysis of color are located is not an easy question. The coloristic region is constituted according to the degree of consciousness, including aesthetic consciousness. It is extremely difficult to (...) meet with the phenomenon of color, if only because its obviousness is fulfilled only by the fervor of the contemplative consciousness with its aesthetic pathos, a consciousness that distinguishes between, as it were, the reality of transcendent color and the aesthetic "continent of givens". We are talking, as Husserl would say, about the halo of consciousness, referring to the essence of perception performed in the mode of turning to the beauty of color. For the first time, approaches to the study of such a complex phenomenological topic as the description of a coloristic attitude, the eidetics of color experiences in Husserl's philosophy are outlined, the significance of its development for the comprehension of aesthetic and artistic consciousness is revealed. The main conclusions of the study are related to the philosophical interpretation of the idea of color as included in phenomenology in the experience of philosophical surprise, which turns into the acquisition of the essence of "phenomenological color" in general, and in aesthetics it is directly correlated with the appearance of its structures on the horizon of the harmonic synthesis of acts of perceptual performance in the imagination, "primordial giving visions" of color, with the creation of a picture coloristic impressions as cognitive emotions, reduced pure color perception, with an understanding of how art makes the very conditions of color visibility obvious, how its artistic synthesis is made, in the structure of which correlation analysis can see an analogue of a priori empiricism – this fundamental characteristic of purely Husserl synthesis and method revealed in domestic studies. (shrink)