In this paper I examine whether representationalism can account for various thought experiments about colour inversions. Representationalism is, at minimum, the view that, necessarily, if two experiences have the same representational content then they have the same phenomenal character. I argue that representationalism ought to be rejected if one holds externalist views about experiential content and one holds traditional exter- nalist views about the nature of the content of propositional attitudes. Thus, colour inver- sion scenarios are more damaging to externalist (...) representationalist views than have been previously thought. More specifically, I argue that representationalists who endorse externalism about experiential content either have to become internalists about the content of propositional attitudes or they have to adopt a novel variety of externalism about the content of propositional attitudes. This novel type of propositional attitude externalism is investigated. It can be seen that adopting it forces one to reject Putnam. (shrink)

Martine Nida-Rümelin (1996) argues that color science indicates behaviorally undetectable spectrum inversion is possible and raises this possibility as an objection to functionalist accounts of visual states of color. I show that her argument does not rest solely on color science, but also on a philosophically controversial assumption, namely, that visual states of color supervene on physiological states. However, this assumption, on the part of philosophers or vision scientists, has the effect of simply ruling out (...) certain versions of functionalism. While Nida-Rümelin is quite right to search for empirical tests for claims about the nature of visual states, philosophical issues remain pivotal in determining the correctness of these claims. (shrink)

The possibility that what looks red to me may look green to you has traditionally been known as "spectrum inversion." This possibility is thought to create difficulties for any attempt to define mental states in terms of behavioral dispositions or functional roles. If spectrum inversion is possible, then it seems that two perceptual states may have identical functional antecedents and effects yet differ in their qualitative content. In that case the qualitative character of the states could not be (...) functionally defined. (shrink)

Sydney Shoemaker has gone to great lengths to defend a repre-sentationalist view of phenomenal character, and yet he describes this view as breaking with standard representationalism in two ways. First, he thinks his representationalist position is consis- tent with the possibility of spectrum inversion, and second, he thinks there are qualia. Thus, we can think of his position in the qualia debate as moderate representationalism (or, equally, moderate qualia realism) by taking up some middle ground be- tween these two (...) major camps. This \moderate" view faces several problems. Here I will very briey explain Shoemaker's represen- tationalist account of spectrum inversion in which he appeals to the existence of a certain sort of subjective property of objects, namely, what he calls appearance properties (formerly he called these phenomenal properties). I will argue that an alternative ver- sion of representationalism provides a more plausible explanation of both inversion-type scenarios and Shoemaker's color constancy case, which he uses to motivate the existence of these subjective properties, without positing appearance properties at all. (shrink)

Sydney Shoemaker has gone to great lengths to defend a repre-sentationalist view of phenomenal character, and yet he describes this view as breaking with standard representationalism in two ways. First, he thinks his representationalist position is consis- tent with the possibility of spectrum inversion, and second, he thinks there are qualia. Thus, we can think of his position in the qualia debate as moderate representationalism by taking up some middle ground be- tween these two major camps. This \moderate" view (...) faces several problems. Here I will very briey explain Shoemaker's represen- tationalist account of spectrum inversion in which he appeals to the existence of a certain sort of subjective property of objects, namely, what he calls appearance properties. I will argue that an alternative ver- sion of representationalism provides a more plausible explanation of both inversion-type scenarios and Shoemaker's color constancy case, which he uses to motivate the existence of these subjective properties, without positing appearance properties at all. (shrink)

Martine Nida-Rümelin (1996) argues that color science indicates behaviorally undetectable spectrum inversion is possible and raises this possibility as an objection to functionalist accounts of visual states of color. I show that her argument does not rest solely on color science, but also on a philosophically controversial assumption, namely, that visual states of color supervene on physiological states. However, this assumption, on the part of philosophers or vision scientists, has the effect of simply ruling out (...) certain versions of functionalism. While Nida-Rümelin is quite right to search for empirical tests for claims about the nature of visual states, philosophical issues remain pivotal in determining the correctness of these claims. (shrink)

This chapter examines the spectrum inversion hypothesis as an argument against certain kinds of account of what it’s like to be conscious of color. The hypothesis aims to provide a counterexample to accounts of what it’s like to be conscious of color in non-qualitative terms, as well as to accounts of what it’s like to be conscious of color in terms of the representational content of conscious visual states (which, according to some philosophers, is in turn (...) given an account in non-qualitative terms). I explain the hypothesis’s reasoning in sections 1 and 2. I then take up background issues: since the counterexample provided by the hypothesis is typically given as a possibility rather than an actuality, I briefly discuss the kind of possibility involved in section 3, and the methodologies used to evaluate the plausibility of possibilities in section 4. In section 5, I describe some general considerations that are commonly used against the spectrum inversion hypothesis. I take up attempts to support the hypothesis with findings from color science in section 6. I end with comments skeptical of both the motivation for the spectrum inversion hypothesis and the methodology used to support it. (shrink)

A major part of the mind–body problem is to explain why a given set of physical processes should give rise to qualia of one sort rather than another. Colour hues are the usual example considered here, and there is a lively debate between, for example, Hardin, Levine, Jackson, Clark and Chalmers as to whether the results of colour vision science can provide convincing explanations of why colours actually look the way they do. This paper examines carefully the type of explanation (...) that is needed here, and it is concluded that it does not have to be reductive to be effective. What needs to be explained more than anything is why inverted hue scenarios are more intuitive than other sensory inversions: and the issue of physicalism versus dualism is only of marginal relevance here. (shrink)

All representationalists maintain that there is a necessary connection between an experience’s phenomenal character and intentional content; but there is a disagreement amongst representationalists regarding the nature of those intentional contents that are necessarily connected to phenomenal character. Russellian representationalists maintain that the relevant contents are composed of objects and/or properties, while Fregean representationalists maintain that the relevant contents are composed of modes of presentation of objects and properties. According to Fregean representationalists such as David Chalmers and Brad Thompson, the (...) Fregean variety of the view is preferable to the Russellian variety because the former can accommodate purported counterexamples involving spectrum inversion without illusion and colour constancy while the latter cannot. I maintain that colour constancy poses a special problem for the Fregean theory in that the features of the theory that enable it handle spectrum inversion without illusion cannot be extended to handle colour constancy. I consider the two most plausible proposals regarding how the Fregean view might be developed in order to handle colour constancy—one of which has recently been defended by Thompson —and argue that neither is adequate. I conclude that Fregean representationalism is no more able to accommodate colour constancy than is Russellian representationalism and, as such, ought to be rejected. (shrink)

I argue that the inverted spectrum hypothesis is nota possibility we should take seriously. The principlereason is that if someone's qualia were inverted inthe specified manner there is reason to believe thephenomenal difference would manifest itself inbehaviour. This is so for two reasons. First, Isuggest that qualia, including phenomenal colours, arepartly constituted by an affective component whichwould be inverted along with the connected qualia. Theresulting affective inversions will, given theintimate connections that exist between emotions andbehaviour, likely manifest themselves in behaviour, (...) inwhich case the underlying phenomenal differences canbe functionally captured. Second, I argue that othersense modalities lack the structural featuresnecessary for undetectable inversion which, because oftheir analogy with colour qualia, weakens theplausibility of such an inversion in the original caseof vision. (shrink)

The polarity of light and dark in the treatment of the Newtonian spectrum and the inverse spectrum is studied further and the validity of heterogeneity of light and darkness in relation to Goethe’s views is examined. In order to clarify the reality of the “darkness rays”, theexperimentum crucisis re-evaluated. It is shown that the commonly accepted analysis contains assumptions in the choice of the spectrum and background, which mask the inherent dynamic of the spectrum. The relation between colour and wavelength (...) is re-examined with respect to the immutability and specific refrangibility of colour. It is then shown that both these properties are approximations that apply under the specific conditions that have later become standardized in spectroscopy, leading to a consensus regarding the relation of wavelength to colours of one particular spectrum. This consensus has resulted in the study of colour diverging into spectroscopy and colour physiology. As an alternative, the basis of the dichotomy postulated by Müller is studied, leading to the realization that the resolution of this dichotomy was begun by Goethe with the idea of turbidity. A further study shows that turbidity resolves the apparent incompatibility of light and dark. (shrink)

The possibility of spectrum inversion has been debated since it was raised by Locke and is still discussed because of its implications for functionalist theories of conscious experience . This paper provides a mathematical formulation of the question of spectrum inversion and proves that such inversions, and indeed bijective scramblings of color in general, are logically possible. Symmetries in the structure of color space are, for purposes of the proof, irrelevant. The proof entails that conscious experiences (...) are not identical with functional relations. It leaves open the empirical possibility that functional relations might, at least in part, be causally responsible for generating conscious experiences. Functionalists can propose causal accounts that meet the normal standards for scientific theories, including numerical precision and novel prediction; they cannot, however, claim that, because functional relationships and conscious experiences are identical, any attempt to construct such causal theories entails a category error. (shrink)

Over _Principles_ 42-43, Berkeley worried that we might "in truth" see things existing at a distance from us, in which case they could not plausibly be supposed to exist independently of being perceived. He went on to say that he had developed his new theory of vision to address this worry. This paper argues that the worry is serious and that Berkeley was right to think that it would take nothing less than a theory of vision to address it. The (...) paper further argues that Berkeley's theory of vision fails to adequately address the worry. The locus of the failure is Berkeley's account of what he called "situation." The term has an ambiguity that Berkeley exploited. It can refer to how coloured points are localized on a two dimensional visual field or it can mean how the visual field is oriented with respect to the direction of gravity. Berkeley focused on the second when he needed to explain how the first is possible without granting that we originally experience objects as disposed over at least two spatial dimensions. (shrink)

A major part of the mind–body problem is to explain why a given set of physical processes should give rise to perceptual qualities of one sort rather than another. Colour hues are the usual example considered here, and there is a lively debate as to whether the results of colour vision science can provide convincing explanations of why colours actually look the way they do. The internal phenomenological structure of colours is considered here in some detail, and a comparison is (...) drawn with sounds and their synthesis. This paper examines the type of explanation that is needed, and it is concluded that it does not have to be reductive to be effective. What needs to be explained more than anything is why inverted hue scenarios are more intuitive than other sensory inversions: and the issue of physicalism versus dualism is argued to be of only marginal relevance. (shrink)

Sydney Shoemaker offers an account of color perception that attempts to do justice, within a functionalist framework, to the commonsense view that colors are properties of ordinary objects, to the existence of qualia, and to the possibility of spectrum inversions. Shoemaker posits phenomenal properties as dispositional properties of colored objects that explain how there can be intersubjective variation in the experience of a particular color. I argue that his account does not in fact allow for the description of (...) a spectrum inversion scenario, and that it cannot sustain a functionalist relationship between an object's color and its phenomenal properties. Functionalists must, however, come to terms with Shoemaker's recognition that intersubjective spectrum shifts are possible. (shrink)

Palmer's strategy of saving functionalism by constraining spectrum inversions cannot succeed because (1) there remain many nontrivial transformations not ruled out by Palmer's constraints, and (2) the constraints involved are due to the contingent makeup of our visual systems, and are therefore not available for use by functionalists.

Palmer's attempt to dust off Locke's construct of “inverted spectrum” is discussed here to examine its plausibility. Perceptual inversion could be fulfilled by adopting the notion of “inverted trichromacy” rather than by the proposed existence of “red-green reversed trichromats.” Although the former alternative conforms to a hypothetical world of vampires, it fails to conform to the realities of genetics and neuroscience.

From now on I will assume that it is possible in principle for there to be cases of spectrum inversion in which the invertees are equally good perceivers of the colors. What I want to show next is that while allowing this possibility is incompatible with standard representationalism, it requires acceptance of a different version of representationalism. Consider the standard way of describing a case of spectrum inversion. Returning to Jack and Jill, we say that red things look (...) to Jack the way green things look to Jill, blue things look to Jack the way yellow things look to Jill, and so on. Of course, we might also express this by saying that the phenomenal character of Jack’s experience of red things is like the phenomenal character of Jill’s experience of green things, and so on. Or by saying that “what it is like” for Jack to see red things is “what it is like” for Jill to see green things, and so on. But “phenomenal character” is philosophical jargon, and “what it is like” is on its way to being that. We need to be able cash these locutions in terms that we are sure we understand. And I think that the best way of doing that is in terms of how things look. Now the sense in which red things look different to Jack and Jill cannot be that they look to have different colors in the epistemic sense. We can suppose that both perceive red things as being red, and therefore that to both red things look red in the epistemic sense. Nor can it be the comparative sense – to each, we can suppose, red things look like standard red things under standard conditions. The remaining sense of “looks” is supposed to be the phenomenal sense. Now those who employ this notion typically speak of things as looking red, blue, yellow, etc., in the phenomenal sense. But if Jack and Jill are both accurate perceivers of the colors of things, it can’t be that the difference in how things look to them is a difference in what colors things look to them, even if “looks” is used in the phenomenal sense.. (shrink)

Philosophers have devoted a great deal of discussion to the question of whether an inverted spectrum thought experiment refutes functionalism. (For a review of the inverted spectrum and its many philosophical applications, see Byrne, 2004.) If Ho?man is correct the matter can be swiftly and conclusively settled, without appeal to any empirical data about color vision (or anything else). Assuming only that color experiences and functional relations can be mathematically represented, a simple mathematical result.

Subjectivists hold that you cannot specify color kinds without implicitly or explicitly referring to the dispositions of observers. Even though "yellow" is ascribed to physical items, and presumably there is something physical in each such item causing it to be so characterized, the only physical similarity between all such items is that they all affect an observer in the same way. So the principles organizing the colors are all found within the skin.

The paper is a critical comment on D. Hoffman. The Scrambling Theorem: A simple proof of the logical possibility of spectrum inversion. Consciousness and Cognition, 2006, 15, 31–45.

The universality, invariance, and elegance of principles governing the universe may be reflected in principles of the minds that have evolved in that universe – provided that the mental principles are formulated with respect to the abstract spaces appropriate for the representation of biologically significant objects and their properties. (1) Positions and motions of objects conserve their shapes in the geometrically fullest and simplest way when represented as points and connecting geodesic paths in the six-dimensional manifold jointly determined by the (...) Euclidean group of three-dimensional space and the symmetry group of each object. (2) Colors of objects attain constancy when represented as points in a three-dimensional vector space in which each variation in natural illumination is canceled by application of its inverse from the three-dimensional linear group of terrestrial transformations of the invariant solar source. (3) Kinds of objects support optimal generalization and categorization when represented, in an evolutionarily-shaped space of possible objects, as connected regions with associated weights determined by Bayesian revision of maximum-entropy priors. Key Words: apparent motion; Bayesian inference; cognition; color constancy; generalization; mental rotation; perception; psychological laws; psychological space; universal laws. (shrink)

The paper continues the consideration of Hilbert mathematics to mathematics itself as an additional “dimension” allowing for the most difficult and fundamental problems to be attacked in a new general and universal way shareable between all of them. That dimension consists in the parameter of the “distance between finiteness and infinity”, particularly able to interpret standard mathematics as a particular case, the basis of which are arithmetic, set theory and propositional logic: that is as a special “flat” case of Hilbert (...) mathematics. The following four essential problems are considered for the idea to be elucidated: Fermat’s last theorem proved by Andrew Wiles; Poincaré’s conjecture proved by Grigori Perelman and the only resolved from the seven Millennium problems offered by the Clay Mathematics Institute (CMI); the four-color theorem proved “machine-likely” by enumerating all cases and the crucial software assistance; the Yang-Mills existence and mass gap problem also suggested by CMI and yet unresolved. They are intentionally chosen to belong to quite different mathematical areas (number theory, topology, mathematical physics) just to demonstrate the power of the approach able to unite and even unify them from the viewpoint of Hilbert mathematics. Also, specific ideas relevant to each of them are considered. Fermat’s last theorem is shown as a Gödel insoluble statement by means of Yablo’s paradox. Thus, Wiles’s proof as a corollary from the modularity theorem and thus needing both arithmetic and set theory involves necessarily an inverse Grothendieck universe. On the contrary, its proof in “Fermat arithmetic” introduced by “epoché to infinity” (following the pattern of Husserl’s original “epoché to reality”) can be suggested by Hilbert arithmetic relevant to Hilbert mathematics, the mediation of which can be removed in the final analysis as a “Wittgenstein ladder”. Poincaré’s conjecture can be reinterpreted physically by Minkowski space and thus reduced to the “nonstandard homeomorphism” of a bit of information mathematically. Perelman’s proof can be accordingly reinterpreted. However, it is valid in Gödel (or Gödelian) mathematics, but not in Hilbert mathematics in general, where the question of whether it holds remains open. The four-color theorem can be also deduced from the nonstandard homeomorphism at issue, but the available proof by enumerating a finite set of all possible cases is more general and relevant to Hilbert mathematics as well, therefore being an indirect argument in favor of the validity of Poincaré’s conjecture in Hilbert mathematics. The Yang-Mills existence and mass gap problem furthermore suggests the most general viewpoint to the relation of Hilbert and Gödel mathematics justifying the qubit Hilbert space as the dual counterpart of Hilbert arithmetic in a narrow sense, in turn being inferable from Hilbert arithmetic in a wide sense. The conjecture that many if not almost all great problems in contemporary mathematics rely on (or at least relate to) the Gödel incompleteness is suggested. It implies that Hilbert mathematics is the natural medium for their discussion or eventual solutions. (shrink)

Michael Tye’s considered position on visual experience combines representationalism with externalism about color, so when considering spectrum inversion, he needs a principled reason to claim that a person with inverted color vision is seeing things incorrectly. Tye’s responses to the problem of the inverted spectrum ( 2000 , in: Consciousness, color, and content, The MIT Press, Cambridge, MA and 2002a , in: Chalmers (ed.) Philosophy of mind: classical and contemporary readings, Oxford University Press, Oxford) rely on (...) a teleological approach to the evolution of vision to secure the grounds upon which people with normal color vision can be justly called ‘right’ and those with inverted color vision can be called ‘wrong’. I demonstrate that since the inverted spectrum thought experiment requires that both sorts of vision be behaviorally indistinguishable, no biologically acceptable concept of teleology will allow Tye to draw the distinction he needs. (shrink)

Color qualia inversion scenarios have played a key role in various philosophical debates. Most notably perhaps, they have figured in skeptical arguments for the fundamental unknowability of other persons’ color experiences. For these arguments to succeed, it must be assumed that a person's having inverted color qualia may go forever unnoticed. This assumption is now generally deemed to be implausible. The present paper defines a variant of color qualia inversion—termed ‘‘color qualia compression’’—and argues (...) that the possibility of undetectable color qualia compression is immune to the objections that have been levelled against color qualia inversion arguments, and that color qualia compression scenarios support full-blown skepticism regarding other people's color experiences. (shrink)

전도 문제는 하나의 지각에 대응하는 복수의 외부 자극 중에서 지각자는 무엇이 실재인지 구분할 수 없다는 문제이다. 이를 심각하게 여긴 퍼브스(Purves, D.)는 지각 내용이 외부대상이 아니라 누적된 내적 지각의 빈도에 의해 결정된다는 경험적 접근을 제안했다. 워타치(Wojtach, W.)는 이를 목적론적 표상 이론에 접목하여 경험 외재론으로 발전시켰다. 그에 따르면, 오표상이란 없으며 유기체는 성공적인 행위를 위해 높은 빈도로 나타났던 외부 자극에 대응하는 내적 표상을 만들어 낸다. 그러나 표상 이론가들은 오표상 없는 표상이론을 용인하지 않을 것이다. 본 연구는 퍼브스의 경험적 접근을 적절히 반영하는 대안으로서 간접 외재론을 (...) 제안한다. 경험 외재론은 특정 지각 내용과 높은 빈도의 외부 자극을 인과적으로 연결하는 표상 개념을 가정한다. 반면에 간접 외재론은 특정 지각 내용이 직접적으로는 누적된 내부 지각의 영향으로 결정되며, 자주 나타났던 외부 환경은 특정 지각이 아니라 내부 지각의 역사성에 기여함으로써 지각 내용에 간접적인 영향을 미친다고 주장한다. (shrink)

THIS PAPER ARGUES FOR THE CLAIM THAT ALTHOUGH COLOUR WORDS LIKE 'RED' ARE, ESSENTIALLY, 'PHENOMENAL-QUALITY' WORDS—I.E., WORDS FOR PROPERTIES WHOSE WHOLE AND ESSENTIAL NATURE CAN BE AND IS FULLY REVEALED IN SENSORY EXPERIENCE, GIVEN ONLY THE QUALITATIVE CHARACTER THAT THAT EXPERIENCE HAS—STILL 'RED' CANNOT BE SUPPOSED TO BE A WORD THAT PICKS OUT OR DENOTES ANY PARTICULAR PHENOMENAL QUALITY. THE ARGUMENT RESTS ESSENTIALLY ON THE SUPPOSITION, OFTEN DISCUSSED UNDER THE HEADING OF THE 'COLOR-SPECTRUM INVERSION ARGUMENT', THAT TWO PEOPLE (...) COULD POSSIBLY AGREE IN ALL THEIR COLOUR-JUDGEMENTS WHILE DIFFERING IN THEIR COLOUR EXPERIENCE. (shrink)

Representation and content in some (actual) theories of perception -- Representation in perception and cognition : task analysis, psychological functions, and rule instantiation -- Perception as unconscious inference -- Representation and constraints : the inverse problem and the structure of visual space -- On perceptual constancy -- Getting objects for free (or not) : the philosophy and psychology of object perception -- Color perception and neural encoding : does metameric matching entail a loss of information? -- Objectivity and subjectivity (...) revisited : color as a psychobiological property -- Sense data and the mind body problem -- The reality of qualia -- The sensory core and the medieval foundations of early modern perceptual theory -- Postscript (2008) on Ibn al-Haytham's (Alhacen's) theory of vision -- Attention in early scientific psychology -- Psychology, philosophy, and cognitive science : reflections on the history and philosophy of experimental psychology -- What can the mind tell us about the brain? : psychology, neurophysiology, and constraint -- Introspective evidence in psychology. (shrink)

Intentionalism holds that two experiences differ in their representational content if and only if they differ in phenomenal character. It is generally held that Intentionalism cannot allow for the possibility of spectrum inversion without systematic error, unless it abandons the idea that, for example, the qualitative character of color experience is inherited from the qualitative character of colors. The paper argues that the conjunction of all three -- the possibility of spectrum inversion, Intentionalism, and the inheritance thesis (...) -- can be consistently, and plausibly, accepted. (shrink)

Let's be externalists about perceptual consciousness and think the form of veridical perceptual consciousness includes /seeing this or that mind-independent particular and its colors/. Let's also take internalism seriously, granting that spectral inversion and hallucination can be "phenomenally" the same as normal seeing. Then perceptual consciousness and phenomenality are different, and so we need to say how they are related. It's complicated!<br><br>Phenomenal sameness is (against all odds) /reflective indiscriminability/. I build a "displaced perception" account of reflection on which indiscriminability (...) stems from shared "qualia". Qualia are compatible with direct realism: while they generate an explanatory gap (and colors do not), so does /seeing/; qualia are excluded from perceptual consciousness by its "transparency"; instead, qualia are aspects of thought about the perceived environment. <br><br>The asymmetry between my treatments of color and seeing is grounded in the asymmetry between ignorance and error: while inversion shows that normal subjects are ignorant of the natures of the colors, hallucination shows not that perceivers are ignorant of the nature of seeing but that hallucinators are prone to error about their condition. Past literature has treated inversion and hallucination as on a par: externalists see error in both cases, while internalists see mutual ignorance. My account is so complicated because plausible results require mixing it up. (shrink)

Everyone would agree that the American flag is red, white and blue. Everyone should also agree that it looks red, white and blue to people with normal color vision in appropriate circumstances. If a philosophical theory led to the conclusion that the red stripes cannot look red to both men and women, both blacks and whites, both young and old, we would be reluctant (to say the least) to accept that philosophical theory. But there is a widespread philosophical view (...) about the nature of conscious experience that, together with some empirical facts, suggests that color experience cannot be veridical for both men and women, both blacks and whites, both young and old. (shrink)

Reflectance physicalists define reflectance as the intrinsic disposition of a surface to reflect finite-duration light pulses at a given efficiency per wavelength. I criticize the received view of dispositional reflectance (David R. Hilbert’s) for failing to account for what I call “harmonic dispersion,” the inverse relationship of a light pulse's duration to its bandwidth. I argue that harmonic dispersion renders reflectance defined in terms of light pulses an extrinsic disposition. Reflectance defined as the per-wavelength efficiency to reflect the superimposed, infinite-duration, (...) Fourier harmonics of pulses can be an intrinsic disposition of surfaces. This conclusion raises questions about mathematical realism, about which I nevertheless remain neutral. (shrink)

Our contention is that while what may be termed woke capitalism is the result of real changes in both the material structure of capitalism and its ideological superstructure, those are not changes pulling in the same direction. The main material development is the consolidation of the shift from a quasi-deterministic to a more pronouncedly probabilistic nexus of class and race. But it is unclear that this makes much difference to the material prospects of the vast majority of people of (...) class='Hi'>color or indeed of people in general. Indeed, the racial permeability of the upper classes is accompanied by an increased and inverse racial permeability of the underclass. Diversification is so elite-driven that it is unlikely to proceed beyond the cosmetic, and for that reason it seems that diversification does not necessarily correspond to any major structural changes in the relations between groups of people, whether we consider them as arranged by class, race, or the intersection of the two. It follows that the politics of representation should not be regarded as a vehicle for the agenda of the materialist left. We propose instead a responsive universalist approach—responsive to racism and all other forms of marginalization and different from the homogenizing universalism of class-only politics. (shrink)

Most philosophers who have endorsed the idea that there is such a thing as phenomenal content—content that supervenes on phenomenal character—have also endorsed what I call Standard Russellianism. According to Standard Russellianism, phenomenal content is Russellian in nature, and the properties represented by perceptual experiences are mind-independent physical properties. In agreement with Sydney Shoemaker [Shoemaker, S. (1994). Philosophy and Phenomenological Research, 54 249–314], I argue that Standard Russellianism is incompatible with the possibility of spectrum inversion without illusion. One defense (...) of (...) Standard Russellianism is to hold that spectrum inversion without illusion is conceivable but not in fact possible. I argue that this response fails. As a consequence, either phenomenal content is not Russellian, or experiences do not represent mind-independent physical properties. (shrink)

According to the colored-brain thesis, sense data or qualia are real physical-chemical qualities, located inside the brain, possibly at a specific locus. Our hypothesis is that the seats of phenomenal consciousness have a structure and a materiality. According to the proposed view, a chromatic quale emerges when a certain pixel of the visual sensorium is fed with a certain pattern Σ of spikes; a change in this pattern quickly changes the color that is subjectively generated. How could one manage (...) to measure chromatic qualia? In principle, with nanoscopical techniques, one could capture all the patterns that fall on the sensorium, and transmit the information to other media. But this does not capture the qualia. However, if the patterns are made to fall on a tissue of the same kind, typically inside another person’s brain, this other person will have roughly the same subjective experience as the first person. The model is used to explore two different situations involving qualia inversion. The paper also explores Cartesian materialism, and the claim that phenomenal time and space are identical to a region of physical time and space. (shrink)

To the familiar idea of an undetectable spectrum inversion some have added the idea of inverted earth. This new combination of ideas is even harder to make coherent, particularly as it applies to a supposed inversion of black and white counteracted by an environmental switch of these. Black and white exhibit asymmetries in their connections with illumination, shadow and visibility, which rule out their being reversed. And since the most saturated yellow is light and the most saturated blue (...) dark, yellow and blue could not be reversed unless light and dark could be. The difficulties suggest some more general morals for how to think of the role of 'qualia' in colour perception. (shrink)

Formerly a spectral apparition that haunted behaviorism and provided a puzzle about our knowledge of other minds, the inverted spectrum possibility has emerged as an important challenge to functionalist accounts of qualia. The inverted spectrum hypothesis raises the possibility that two individuals might think and behave in the same way yet have different qualia. The traditional supposition is of an individual who has a subjective color spectrum that is inverted with regard to that had by other individuals. When he (...) looks at red objects, this individual has the qualia normally produced in others by blue objects. And when presented with a blue object, this individual experiences qualia that most persons experience only when presented with red objects. And so forth - the Invert's color spectrum is the inverse of normal; there are systematic inter-subjective differences in qualia. (shrink)

Introduction: The present study was conducted to verify a promising experimental setup which demonstrated an inversed Stroop-effect following a mismatching tone. In the matching condition, which was an almost exact replication of the original study, participants were required to indicate whether word color and word meaning were matching, whereas in the response conflict condition, instruction was the same as in a classical Stroop task and required the participants to respond to the word color. As in the original study, (...) each trial was preceded by a sine tone which was deviant in pitch in 20% of the trials.Results: The main result was that the Stroop effect was not inversed after deviant tones, neither under the matching task instruction nor under the response conflict task instruction. The Stroop effect was unaffected by the previous “conceptual mismatch.”Conclusion: The current study failed to replicate the astonishing concept of “conflict priming” reported in previous work and does not open the doors for a new window on sequences of conflicts. Nevertheless, the failed replication is valuable for future research, since it demonstrated that “Conflict Priming” as a facilitation of processing of conflict trials following deviant tones, is not an confirmed finding. (shrink)

Feminist, critical race, and postcolonial theories have established that social identities such as race and gender are mutually constitutive—i.e., that they “intersect.” I argue that “cultural appropriation” is never merely the appropriation of culture, but also of gender, sexuality, class, etc. For example, “white hipness” is the appropriation of stereotypical black masculinity by white males. Looking at recent videos from black male hip-hop artists, I develop an account of “postmillennial black hipness.” The inverse of white hipness, this practice involves the (...) appropriation, by black men, of stereotypical white gay masculinity and/or non-American, non-white femininity. I also argue that Shephard Fairey’s recent images of (mainly militant) non-Western women of color can be read as a new form of white hipness that revises the traditional logic in two ways: (1) by appropriating non-white femininity rather than masculinity, and (2) by adopting the practice of postmillennial black hipness itself. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

That conditional, if-then reasoning does not emerge until 4–5 years has long been accepted. Here we show that children barely 3 years old can do conditional reasoning. All that was needed was a superficial change to the stimuli: When color was a property of the shapes rather than of the background, 3-year-olds could succeed. Three-year-olds do not seem to use color to inform them which shape is correct unless color is a property of the shapes themselves. While (...) CD requires integrating color and shape information, the dimensional change card sort task requires keeping those dimension cognitively separate – inhibiting attention to one when sorting by the other. For DCCS, a superficial change to the stimuli that is the inverse of what helps on CD enables 3-year-olds to succeed when normally they do not until ∼4⁤12 years. As we and others have previously shown, 3-year-olds can succeed at DCCS when color is a property of the background, instead of a property of the stimulus. Our findings on CD and DCCS suggest that scaffolding preschoolers’ emerging conceptual skills by changing the way stimuli look enables 3-year-olds to demonstrate reasoning abilities long thought beyond their grasp. Evidently, children of 3 years have difficulty mentally separating dimensions of the same object and difficulty mentally integrating dimensions not part of the same object. Our present CD findings plus our earlier DCCS findings provide strong evidence against prominent cognitive complexity, conditional reasoning, and graded memory theories for why 3-year-olds fail these two tasks. The ways we have traditionally queried children may have obscured the budding reasoning competencies present at 3 years of age. (shrink)

I argue that physicalists have been too conciliatory in granting that certain classic thought experiments about consciousness like Mary the colour scientist, colour spectrum inversion, and zombies provide strong prima facie support for epiphenomenal anti-physicalism. While these thought experiments may suggest that we are intuitive epiphenomenal anti-physicalists when taken individually, when they are appropriately combined, they suggest that epiphenomenal anti-physicalism leads to a version of phenomenal scepticism according to which (i) we cannot know how our states of phenomenal consciousness (...) compare and contrast and (ii) we cannot know how our first-order beliefs about our states of consciousness compare and contrast. Insofar as comparative phenomenal scepticism is a deeply counter-intuitive view, our intuitions about consciousness are far more equivocal than they are widely thought to be. There simply may be no one metaphysical view that should qualify as their obvious champion. (shrink)