The subject of the study is Bernardo Bertolucci's film "The Last Emperor", in particular, the coloristic of the film and the psychology of the image of the main character, which is largely revealed through the color palette and individual artistic details. The object of research is the language of cinematography, cinematographic artistic techniques. Despite the sometimes shocking images and plots, Bertolucci's films were highly appreciated by the international community and domestic film critics due to their artistic solution and (...) topical issues affecting the problems of class struggle and anti-fascist themes. The author of the article examines the image of the main character of the film, Aisingero Pu Yi, the last emperor of China and Manchukuo. The film is based on real historical events taking place in the first half of the 20th century, so the dramatic collisions of the character are not perceived by the viewer as some kind of abstract problem. Against the backdrop of the complex historical changes that China has faced, many questions of the formation and self-determination of the individual are being raised. The image of Emperor Pu Yi is revealed gradually through a comparison of two storylines and the color scheme of the film, since it is the color palette that helps to subtly and meaningfully convey the psychological content of the character. The main research methods are analytical and comparative-historical. The composition of the film and the dynamics of the change in the color palette of individual episodes are analyzed, which makes it possible to trace the evolution of the image. The author comes to the conclusion that it was the coloristic solution of the film that allowed the creators to convey the national color and historical atmosphere of China of a certain historical period and show a vivid image of the protagonist on the screen. (shrink)

Color provides an instance of a general puzzle about how to reconcile the picture of the world given to us by our ordinary experience with the picture of the world given to us by our best theoretical accounts. The Red and the Real offers a new approach to such longstanding philosophical puzzles about what colors are and how they fit into nature. It is responsive to a broad range of constraints --- both the ordinary constraints of color experience (...) and the more theoretical constraints of color science, psychology, semantics, and ontology. (shrink)

The distinction between access consciousness and phenomenal consciousness is a subject of intensive debate. According to one view, visual experience overflows the capacity of the attentional and working memory system: We see more than we can report. According to the opposed view, this perceived richness is an illusion—we are aware only of information that we can subsequently report. This debate remains unresolved because of the inevitable reliance on report, which is limited in capacity. To bypass this limitation, this study utilized (...) color diversity—a unique summary statistic—which is sensitive to detailed visual information. Participants were shown a Sperling-like array of colored letters, one row of which was precued. After reporting a letter from the cued row, participants estimated the color diversity of the noncued rows. Results showed that people could estimate the color diversity of the noncued array without a cost to letter report, which suggests that color diversity is registered automatically, outside focal attention, and without consuming additional working memory resources. (shrink)

You see a cherry and you experience it as red. A textbook explanation for why you have this sort of experience is going to cite such things as the cherry’s chemical surface properties and the distinctive mixture wavelengths of light it is disposed to reflect. What does not show up in this explanation is the redness of the cherry. Many allege that the availability of color-free explanations of color experience somehow calls into question our beliefs about the colors (...) of objects around us. We explore how such explanations are supposed to undermine color beliefs, and in particular whether evolutionary considerations have any special role to play. (shrink)

Naturalistic experiments of color perception are critically evaluated. The review concludes that they fail to confirm a natural determination of color perception. Rather than demonstrating universal sensitivity to focal colors, the experiments actually yielded enormous cultural variation in response. This variation is interpreted as supporting a sociohistorical psychological explanation of color perception.

By emphasizing that color categories are the collective achievement of a language community, the methodology of Steels & Belpaeme (S&B) suggests a number of corollaries. It focuses attention on whether a system of categories is optimized to match color experience. If a hypothesis can be operationalized about the nature of the optimality – about how color language becomes standardized – it becomes testable.

Early psychophysical methods as codified by Fechner motivate the development of quantitative theories of subjective experience. The basic insight is that just noticeable differences between experiences can serve as units for measuring a sensory domain. However, the methods described by Fechner tacitly assume that the experiences being investigated can be linearly ordered. This assumption is not true for all sensory domains; for example, there is no trivial linear order over all possible color sensations. This paper discusses key developments in (...) the history of psychophysical methods for measuring color experience. In particular, a clear distinction between topological and metrical structure allowed Helmholtz to use opponent colors as a standard for measuring the gross structure of color space. Once this gross structure had been determined, lines through color space could be defined and Fechner-style methods employed for determining local structure. Extensions of these methods due to Wright, MacAdam, and others provide detailed evidence for the degree of agreement in the qualities of color experience across individuals. This allows a precise statement of the evidential support for the claim that your experience of color and mine are the same. (shrink)

Research on the U.S. women’s movement has documented the difficulties of cross-racial work between White women and women of racial/ethnic minorities. Less understood is how racial/ethnic minorities do cross-racial work among themselves to construct a collective identity of “women of color” that encourages solidarity across race, class, and other statuses. Drawing on research from the reproductive justice movement, I examine how women of color organizations that strive for intersectional praxis negotiate sameness and difference. I identify two different logics (...) at work within women of color organizations: the first relies on a presumption of “same difference” that emphasizes similar experiences of gender and race oppression; the second accords greater recognition to the “difference-in-sameness” that structures constituents’ lived experiences. While the former can reproduce precisely those forms of silencing and exclusion that women of color organizations seek to challenge, the second remains a ongoing process. The article concludes that women of color organizations must strive continuously to actively negotiate, rather than assume, commonality if they are to avoid reproducing various forms of marginalization and inequality. (shrink)

The question of whether colour categorisation is determined by nontrivial constraints (i.e., universal neurophysiological properties of visual neurons) is an empirical issue concerning the organisation of the internal colour space. Rosch has provided psychological evidence that categories are organised around focal colours and that the organisation is universal; this commentary reconsiders that evidence.

In previous work, I have defended a non-standard version of intentionalism about perceptual experience. According to the doxastic account, visual experience is a peculiar kind of belief: belief with “phenomenal” or looks-content. In this paper, I investigate what happens if this account of experience is combined with another idea I find very plausible: That the colors are to be understood in terms of color experience. I argue that the resulting phenomenal account of color experience captures everything essential to (...) what has been called the “natural concept of color”. And I show that circularity worries are not aggravated by adopting this account instead of more standard forms of intentionalism—rather, they can be dispelled along the same lines. (shrink)

The binary between the figure of the child and the fully human being is invoked with regularity in analyses of race, yet its centrality to the conception of race has never been fully explored. For most commentators, the figure of the child operates as a metaphoric or rhetorical trope, a non-essential strategic tool in the perpetuation of White supremacy. As I show in the following, the child/human binary does not present a contingent or merely rhetorical construction but, rather, a central (...) feature of racialization. Where Black peoples are situated as objects of violence it is often precisely because Blackness has been identified with childhood and childhood is historically identified as the archetypal site of naturalized violence and servitude. I proceed by offering a historical account of how Black peoples came to inherit the subordination and dehumanization of European childhood and how White youth were subsequently spared through their partial categorization as adults. (shrink)

We perceive color everywhere and on everything that we encounter in daily life. Color science has progressed to the point where a great deal is known about the mechanics, evolution, and development of color vision, but less is known about the relation between color vision and psychology. However, color psychology is now a burgeoning, exciting area and this Handbook provides comprehensive coverage of emerging theory and research. Top scholars in the field provide rigorous overviews of (...) work on color categorization, color symbolism and association, color preference, reciprocal relations between color perception and psychological functioning, and variations and deficiencies in color perception. The Handbook of Color Psychology seeks to facilitate cross-fertilization among researchers, both within and across disciplines and areas of research, and is an essential resource for anyone interested in color psychology in both theoretical and applied areas of study. (shrink)

En este trabajo argumento que sólo mediante un enfoque y un tratamiento wittgensteinianos se pueden disolver las pseudo-dificultades filosóficas concernientes a los colores. Sostengo que, aunque los hechos que de los que se ocupa la ciencia son fundamentales para que pueda gestarse el lenguaje de los colores, lo que la ciencia tiene que decir es enteramente irrelevante para inquietudes concernientes al significado, utilidad, enseñanza y aprendizaje, etc., del lenguaje de los colores. Asumiendo una perspectiva wittgensteiniana, se puede hacer ver que (...) los problemas filosóficos concernientes a los colores son efectivamente artificiales, porque plantean interrogantes en los que los nombres de los colores no son usados. Lo que nos debe interesar es describir su aplicación, explicar para qué nos sirve el lenguaje de colores, qué utilidad de hecho presta dicho juego de lenguaje. Doy por sentado que las palabras para colores no se usan solas sino en oraciones, en conexión con verbos de percepción y recojo dos contrastes de verbos como ‘ver’. Por una parte, ‘ver’ apunta tanto a propiedades objetivas de las cosas como a experiencias visuales de los hablantes. Por otra parte, los verbos psicológicos como ‘ver’ están marcados por una asimetría fundamental entre la primera y la tercera personas. Ambas distinciones tienen consecuencias para el lenguaje de los colores, porque éste sirve para lidiar con el mundo a través de nuestras vivencias. Éstas, sin embargo, son relevantes en la medida en que quedaron lingüistizados, esto es, cuando los hablantes ya se volvieron usuarios de la terminología de los colores, es decir, ya adscriben y reconocen correctamente las propiedades cromáticas de los objetos. ¿Para qué nos sirve entonces el lenguaje de los colores? En primera persona indico que tengo ciertas vivencias que son gracias al lenguaje comprensibles para otros y le doy garantías a mi interlocutor de que puedo lidiar con objetos ; en tercera persona me permiten describir la conducta exitosa de alguien en procesos de reconocimiento y manipulación de objetos. La presuposición fundamental del enfoque wittgensteiniano es la existencia de una comunidad lingüística. Comprendemos entonces que los nombres para colores, como cualesquiera otras palabras, se aprenden a través de un proceso de enseñanza ostensiva, ensayo y error, interacción permanente entre hablantes y aprendiz, premios y castigos, etc. Aplico también la idea de que, contrariamente a como proceden los filósofos, las palabras para colores no se usan solas, sino en oraciones y en conexión con actividades, esto es, con formas de vida. Los conceptos de juegos de lenguaje y formas de vida son pues los instrumentos que se requieren para superar los enredos filosóficos en torno al color. (shrink)

Al-Kindi was influenced by two Greek traditions in his attempts to explain vision, light and color. Most obviously, his works on optics are indebted to Euclid and, perhaps indirectly, to Ptolemy. But he also knew some works from the Aristotelian tradition that touch on the nature of color and vision. Al-Kindi explicitly rejects the Aristotelian account of vision in his De Aspectibus, and adopts a theory according to which we see by means of a visual ray emitted from (...) the eye. But in the same work, al-Kindi draws on Philoponus. (shrink)

In a diversity course for pre-service teachers, we explored coursework by students of color to uncover instances in which they resisted the existence systemic oppression in K12 schools. First, we examined the written responses from three students of color (Asian-Indian, Asian immigrant, and Latina) who were largely agreeable to the existence of different forms of oppression presented in the course content. Our work illuminated instances of what we have described as narrative-based resistance. Students initially referred to narratives of (...) rugged individualism or the American Dream to resist the existence of systemic barriers. As the course progressed, students shifted to deeply entrenched responses that rejected the course content to refute systemic oppression. Secondly, we developed a case study for one student, a biracial female that self-identified as White who consistently rejected systemic oppression during class interactions to the point of displaying openly defiant behaviors. The examples of resistance we encountered served as a reminder that students of color along with their White peers must be able to critically examine and understand systems of oppression that are pervasive throughout education. Furthermore, the underlying sources of the resistance were closely associated with indoctrination in Whiteness, limited understanding of systemic oppression, deeply held beliefs and understandings and the lived experiences of individuals. While we agree that teacher education must recruit and retain more teachers of color for an increasingly diverse US K12 student population, we add that preparation that meets the needs of teachers of color is essential. -/- . (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has an astonishing (...) capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

Are colors features of objects “out there in the world” or are they features of our inner experience and only “in our head?” Color perception has been the focus of extensive philosophical and scientific debate. In this paper we discuss the limitations of the view that Chalmers’ (2006) has characterized as Primitivism, and we develop Marmodoro’s (2006) Constitutionalism further, to provide a metaphysical account of color perception in terms of causal powers. The result is Power-based Constitutionalism, the view (...) that colors are (multi-track and multi-stage) powers of objects, whose (full) manifestations depend on the mutual manifestation of relevant powers of perceivers and the perceived objects being co-realized in mutual interaction. After a presentation of the tenets of Power-based Constitutionalism, we evaluate its strengths in contrast to two other recent power-based accounts: John Heil’s (2003, 2012) powerful qualities view and Max Kistler’s (2017) multi-track view. (shrink)