According to the state of the art in psychology and philosophy, colour sensations are located in a 'quality space'. This space has three dimensions: hue , saturation , and brightness. This space is structured further via a small number of primitive hues or landmark colours, usually four or six . It has also been suggested that there are eleven semantic universals — the six colours previously mentioned plus orange, pink, brown, purple, and grey. Against the standard view, we argue that (...) colour might better be regarded as the outcome of a social-historical developmental trajectory in which there is mutual shaping of philosophical presuppositions, scientific theories, experimental practices, technological tools, rhetorical frameworks, and their intercalated and recursive interactions with the lifeworld. That is: the domain of colour is the outcome of interactive processes of scientific, instrumental, industrial, and everyday lifeworlds. (shrink)

In this commentary I point out that Palmer mislocates the source of the inverted spectrum, misrepresents the nature of colour science, and offers no reason for prefering one colour machine over another. I conclude nonetheless that talk about “colour machines” is a step in the right direction.

In this commentary I argue that Byrne & Hilbert commit a number of philosophical solecisms: They beg the question of “realism,” they take the phenomenon and the theoretical model to be the same thing, and they surreptitiously substitute data sets for the life-world.

Theories, Technologies, Instrumentalities of Color is the outcome of a workshop, held in Leuven, Belgium, in May 2000.

Atran reifies Fodor's metaphor of modularity to create a truth-producing apparatus to generate a priori taxonomies or natural kinds that lock a tautology in place.