Philosophers and scientists have long speculated about the nature of color. Atomists such as Democritus thought color to be "conventional," not real; Galileo and other key figures of the Scientific Revolution thought that it was an erroneous projection of our own sensations onto external objects. More recently, philosophers have enriched the debate about color by aligning the most advanced color science with the most sophisticated methods of analytical philosophy. In this volume, leading scientists and philosophers examine new problems with new (...) analytic tools, considering such topics as the psychophysical measurement of color and its implications, the nature of color experience in both normal color-perceivers and the color blind, and questions that arise from what we now know about the neural processing of color information, color consciousness, and color language. Taken together, these papers point toward a complete restructuring of current orthodoxy concerning color experience and how it relates to objective reality. Kuehni, Jameson, Mausfeld, and Niederee discuss how the traditional framework of a three-dimensional color space and basic color terms is far too simple to capture the complexities of color experience. Clark and MacLeod discuss the difficulties of a materialist account of color experience. Churchland, Cohen, Matthen, and Westphal offer competing accounts of color ontology. Finally, Broackes and Byrne and Hilbert discuss the phenomenology of color blindness. Contributors: Justin Broackes, Alex Byrne, Paul M. Churchland, Austen Clark, Jonathan Cohen, David R. Hilbert, Kimberly A. Jameson, Rolf Kuehni, Don I.A. MacLeod, Mohan Matthen, Rainer Mausfeld, Richard Niederée, Jonathan Westphal The hardcover edition does not include a dust jacket. (shrink)

In this paper, I present the enactive theory of color that implies a form of color relationism. I argue that this view constitutes a better alternative to color subjectivism and color objectivism. I liken the enactive view to Husserl’s phenomenology of perception, arguing that both deconstruct the clear duality of subject and object, which is at the basis of the other theories of color, in order to claim the co-constitution of subject and object in the process of experience. I also (...) extend the enactive and phenomenological account of color to the more general topic of the epistemological and ontological status of sensory qualities (qualia), outlining the fields of enactive phenomenology and enactive ontology. (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 physical properties of color and its influence on the organism -- The source of the myths about experience : the principle of the being and thinking identity.

While the presence of monsters in popular culture is ever-increasing, their use as an explicit or implicit category to frame, stigmatise, and demonise the other is seemingly on the rise. At the same time, academic interest for monsters is ever-growing. Usually, monstrosity is understood as a category that emerges to signal a transgression to a given order; this approach has led to the demystification of the insidious characterisations of the (racial, sexual, physical) other as monstrous. While this effort has been (...) necessary, its collateral effects have reduced the monstrous to a mere (socio-cultural) construction of the other: a dialectical framing that de facto deprives monstrosity from any reality. 'Monstrous Ontologies: Politics, Ethics, Materiality' proffers the necessity of challenging these monstrous otherings and their perverse socio-political effects, whilst also asserting that the monstrous is not simply an epistemological construct, but that it has an ontological reality. There is a profound difference between monsters and monstrosity. While the former is an often sterile political and social simplification, the end-product of rhetorical and biopolitical apparatuses; the latter may be understood as a dimension that nurtures the un-definable, that is, that shows the limits of these apparatuses by embodying their material excess: not a 'cultural frame', but the limit to the very mechanism of 'framing'. The monstrous expresses the combining, hybridising, becoming, and creative potential of socio-natural life, albeit colouring this powerful vitalism with the dark hue of a fearful, disgusting, and ultimately indigestible reality that cannot simply be embraced with multicultural naivety. As such, it forces us towards radically changing not the categories, but the very mechanisms of categorisation through which reality is framed and acted upon. Here lies the profound ethical dimension that monstrosity forces us to acknowledge; here lies its profoundly political potential, one that cannot be unfolded by merely deconstructing monstrosity, and rather requires to engage with its uncomfortable, appalling, and revealing materiality. This book will appeal to postgraduate students, PostDocs, and academics alike in the fields of philosophy, critical theory, humanities, sociology and social theory, criminology, human geography, and critical legal theory. (shrink)

When Vladimir Umanets entered the Tate Modern on October 7, 2012 and defaced Rothko's Black on Maroon, he was operating, not as an artist or a vandal, but as a Yellowist. Yellowism is neither art nor anti-art but is instead a supposedly new cultural element that exists for its own sake and is about nothing but the color yellow. It might be tempting to write Yellowism and the Rothko defacement off as a mere prank or as pseudo-intellectual fraud, but I (...) argue that, intentionally or not, the Yellowists have raised salient issues salient to those invested in both the ontology of art and social ontology more generally. In particular, their actions highlight issues pertaining to the relationship between stipulation and ontology. I explore these issues in this paper. (shrink)

This expanded edition of C L Hardin's ground-breaking work on colour features a new chapter, 'Further Thoughts: 1993', in which the author revisits the dispute ...

I describe in this paper an ontological solution to the Sleeping Beauty problem. I begin with describing the hyper-entanglement urn experiment. I restate first the Sleeping Beauty problem from a wider perspective than the usual opposition between halfers and thirders. I also argue that the Sleeping Beauty experiment is best modelled with the hyper-entanglement urn. I draw then the consequences of considering that some balls in the hyper-entanglement urn have ontologically different properties from normal ones. In this context, drawing a (...) red ball (a Monday-waking) leads to two different situations that are assigned each a different probability, depending on whether one considers “balls-as-colour” or “balls-as-object”. This leads to a two-sided account of the Sleeping Beauty problem. (shrink)

In his 1995 book Colour vision (New York: Routledge), Evan Thompson proposes a new approach to the ontology of color according to which it is tied to the ecological dispositions-affordances described by J.J. Gibson and his followers. Thompson claims that a relational account of color is necessary in order to avoid the problems that go along with the dispute between subjectivists and objectivists about color, but he claims that the received view of perception does not allow a satisfactory (...) relational account of color. Hence to avoid the problems of the subjectivist/objectivist dispute one must abandon the received view of perception. I describe an account which is similar to Thompson's, but which invokes instead the physical dispositional properties described by the received view. All of the distinguishing characteristics that Thompson claims separate his ecological dispositions from physical dispositions are in fact found in the physical dispositions appealed to by my proposed theory. Because my proposed theory is similar to subjectivism, Thompson's departure from the received view is not as radical as he claims. In a final section I describe the a posteriori manner in which a substantive departure from the received view must be carried out by describing an example of ecological experimentation. (shrink)

If all the participants in the color ontology debate are naturalists with good sciences on their side, how could color subjectivism win? The apparent reason is that subjectivism is supported by the opponent process theory that is a successful neurophysiological reduction of colors. We will argue that the real reason is the unique reductive methodology of the opponent paradigm. We will undermine subjectivism by arguing against the methodology.

From the swirling stars above, to the end-directed design of life below, to the perceptions and emotions that color the world within—as more and more phenomena prove susceptible to scientific description, explanation, prediction, and control, the naturalistic metainduction grows increasingly plausible: perhaps nature is self-enclosed, so that everything that makes a difference within the world is itself part of the world; perhaps there are no disembodied agents—neither ghosts nor gods—whose actions influence our shared day-to-day world. Because neither the expansion of (...) science’s adequacy nor the concomitant pressure toward philosophical naturalism show signs of abating, the recent emergence of religious naturalism.. (shrink)

Loosely put, colour constancy for example occurs when you experience a partly shadowed wall to be uniformly coloured, or experience your favourite shirt to be the same colour both with and without sunglasses on. Controversy ensues when one seeks to interpret ‘experience’ in these contexts, for evidence of a constant colour may be indicative a constant colour in the objective world, a judgement that a constant colour would be present were things thus and so, et (...) cetera. My primary aim is to articulate a viable conception of Present Constancy, of what occurs when a constant colour is present in experience, despite the additional presence of some experienced colour variation (e.g., correlating to a change in illumination). My proposed conception involves experienced colour layering – experiencing one opaque colour through another transparent one – and in particular requires one of those experienced layers to remain constant while the other changes. The aim is not to propose this layering conception of colour constancy as the correct interpretation of all constancy cases, but rather to develop the conception enough to demonstrate how it could and plausibly should be applied to various cases, and the virtues it has over rivals. Its virtues include a seamless application to constancy cases involving variations in filters (e.g., sunglasses) and illuminants; its ability to accommodate experiences of partial colours and error-free interpretations of difficult cases; and its broad theoretical-neutrality, allowing it to be incorporated into numerous perceptual epistemologies and ontologies. If layered constancy is prevalent, as I suspect it is, then our experiential access to colours is critically nuanced: we have been plunged into a world of colour without being told that we will rarely, if ever, look to a location and experience just one of them. (shrink)

Colour Relationalism asserts that colours are non-intrinsic or inherently relational properties of objects, properties that depend not only on a target object but in addition on some relation that object bears to other objects. The most powerful argument for Relationalism infers the inherently relational character of colour from cases in which one’s experience of a colour contextually depends on one’s experience of other colours. Experienced colour layering—say looking at grass through a tinted window and experiencing opaque (...) green through transparent grey—demands a contextual interdependency of one’s experience of one of these colours on one’s experience of the other. However, most if not all colour ontologies, and core perceptual experiential mechanisms like acquaintance and representation, can accommodate colour layering. It follows that experienced colour layering is consistent with colours being non-relational—this contextual interdependency of colours does not entail the constitutive dependency of one colour on the other. I utilize colour layering to examine the inference from the contextual to the constitutive interdependency of colours as it is employed in a well-known argument for Relationalism. I conclude that our justification for Relationalism is far weaker than Relationalists suggest. I first introduce readers to colour layering, then to Relationalism, and following this focus on the intersection of these topics. (shrink)

Questions about the ontology of color matter because colors matter. Colors are extremely pervasive and salient features of the world. Moreover, people care about the distribution of these features: they expend money and effort to paint their houses, cars, and other possessions, and their clear preference for polychromatic over monochromatic televisions and computer monitors have consigned monochromatic models to the status of rare antiques. The apparent ubiquity of colors and their importance to our lives makes them a ripe target (...) for ontological questions such as the following: " • What is the nature of colors? " • Are they, as they seem to be, properties of objects? (shrink)

Redness is the property that makes things look red in normal circumstances. That seems obvious enough. But then colour is whatever property does that job: a certain reflectance profile as it might be. Redness is the property something is represented to have when it looks red. That seems obvious enough. But looking red does not represent that which looks red as having a certain reflectance profile. What should we say about this antinomy and how does our answer impact on (...) the contest between realism and subjectivism about colour? I address the issues through the lens of a representationalist position on colour experience. (shrink)

Naive observers viewed a sequence of colored Mondrian patterns, simulated on a color monitor. Each pattern was presented twice in succession, first under one daylight illuminant with a correlated color temperature of either 16,000 or 4,000 K and then under the other, to test for color constancy. The observers compared the central square of the pattern across illuminants, either rating it for sameness of material appearance or sameness of hue and saturation or judging an objective property—that is, whether its change (...) of color originated from a change in material or only from a change in illumination. Average color constancy indices were high for material appearance ratings and binary judgments of origin and low for hue–saturation ratings. Individuals’ performance varied, but judgments of material and of hue and saturation remained demarcated. Observers seem able to separate phenomenal percepts from their ontological projections of mental appearance onto physical phenomena; thus, even when a chromatic change alters perceived hue and saturation, observers can reliably infer the cause, the constancy of the underlying surface spectral reflectance. (shrink)

There are serious reasons for accepting each of these propositions individually but there are apparently insurmountable difficulties with accepting all three of them simultaneously if we assume that color is a single property. 1) and 2) together seem to imply that there is some property which all organisms with color vision can see and 3) seems to imply that there can be no such property. If these implications really are valid then one or more of these propositions will have to (...) be rejected in spite of whatever reasons can be given for their apparent acceptability. Before going on to discuss possible resolutions of this apparent contradiction it is worth pointing out there our three propositions are not all of a kind. Proposition 1) is a metaphysical thesis about the ontological status of color and proposition 3) is an empirical thesis about what properties organisms with color vision are capable of detecting. If you accept 1) then 2) will appear to verge on the trivial, but if 1) is denied then the status of 2) will appear more problematic. In what follows I will have more to say about why we either should or should not accept all three of these propositions. (shrink)

An adequate ontology of color must face the empirical facts about per- ceptual variation. In this paper I begin by reviewing a range of data about perceptual variation, and showing how they tell against color physicalism and motivate color relationalism. Next I consider a series of objections to the argument from perceptual variation, and argue that they are un- persuasive. My conclusion will be that the argument remains a powerful obstacle for color physicalism, and a powerful reason to believe (...) in color relationalism instead. (shrink)

This article is a brief presentation and defense of response-dispositionalist intentionalism against a family of objections. The view claims that for a surface to have an objective stable color is to have a disposition to cause in normal observers a response, namely, intentional phenomenal-color experience. The objections, raised recently by M. Johnston, B. Stroud, and by Byrne and Hilbert, claim that any dispositionalist view is unfair to the naive perceiver-thinker, saddles her with massive error and represents her as maladaptated to (...) her environment. The paper reconstructs the main line of thought in favor of response-intentionalism and argues that it is in fact rather charitable and fair to naïve cognizers, and also avoids a cluster of related objections. (shrink)

Objectivism and projectivism are standardly taken to be incompatible theories of color. Here we argue that this incompatibility is only apparent: objectivism and projectivism, properly articulated so as to deal with basic objections, are in fundamental agreement about the ontology of color and the phenomenology of color perception.

Ross argues that the location problem for color-the problem of how it is represented as occupying a particular location in space-constitutes an objection to color subjectivism. There are two ways in which the location problem can be interpreted. First, it can be read as a why-question about the relation of visual experience to the environment represented: Why does visual experience represent a patch of color as located in this part of space rather than that? On this interpretation, the subjectivist can (...) answer Ross's objection by appealing to the physical location of reflectance rather than color. Second, it can be read as a how-question about visual representation itself: How does visual experience put together the experience of a color with the experience of its being located in space? This version makes the location problem a problem about visual experience itself and renders the ontology of color irrelevant to its solution. The location problem is thus no more a problem for the color subjectivist than for the color realist. (shrink)

At first pass, colour constancy occurs when one sees a thing in one’s environment to have a stable colour despite differences in the way it is illuminated. The phenomenon is intuitively grounded for example in everyday experiences in which something is partly shadowed but, in some sense, looks to be uniformly coloured. After a brief introduction to the colour constancy concept (§0) and the science of colour constancy (§1), my focus is on the significance of (...) class='Hi'>colour constancy for two intertwined philosophical issues. The first is colour ontology, where constancy has been used to argue for the objectivity of colour, and in particular for a reductive form of it (see §2). The second is colour constancy’s complicated connection to colour experience and colour epistemology. Colour constancy is a subtle phenomenon: it is situated at the intersection of perceptual experience and judgement; it is influenced by myriad forces within our visual-cognitive systems; and is likely a composite of interestingly disparate phenomena. I approach this suite of issues from the perspective of the given in colour perception (§3). As will become plain, the ontological and epistemic issues are related in important ways. This does not, however, detract from the value of focusing on each individually. (shrink)

This article evaluates the gains but also the losses of the set-theoretical ontology Badiou develops in Being and Event, in order to stress the importance of the shift to a concern with appearance and difference in Logics of Worlds. It is argued that this shift suggests a possible rapprochement between Badiou’s philosophy of the event on the one hand and postcolonial critical race theory on the other. This is explored through an evental reading of the so-called Morant Bay Revolt (...) that took place in Jamaica in 1865. The article closes by exploring some of the overlaps between Badiou’s development of an “objective phenomenology” in Logics of Worlds, and Frantz Fanon’s elaboration of a phenomenology of race in Black Skin, White Masks. (shrink)

Cognition can influence action. Your belief that it is raining outside, for example, may cause you to reach for the umbrella. Perception can also influence cognition. Seeing that no raindrops are falling, for example, may cause you to think that you don’t need to reach for an umbrella. The question that has fascinated philosophers and cognitive scientists for the past few decades, however, is whether cognition can influence perception. Can, for example, your desire for a rainy day cause you to (...) see, hear, or feel raindrops when you walk outside? More generally, can our cognitive states influence the way we see the external world? In this paper, I discuss three experiments on memory colour effects. In these experiments, subjects systematically made different colour matches or adjustments for object-patches representing objects that have prototypical colours and neutral object-patches. I argue that these differences are not merely differences in judgments but are best explained in terms of phenomenology. However, I show that these differences in phenomenology can be explained without reference to cognitive states such as colour concepts or beliefs. (shrink)

Data about perceptual variation motivate the ecumenicist view that distinct color representations are mutually compatible. On the other hand, data about agreement and disagreement motivate making distinct color representations mutually incompatible. Prima facie, these desiderata appear to conflict. I’ll lay out and assess two strategies for managing the conflict—color relationalism, and the self-locating property theory of color—with the aim of deciding how best to have your cake and eat it, too.

This chapter focuses on the notion of color as a property of the surfaces of objects. It considers three positions on what colors are: objectivist, subjectivist, and relationalist. Examination of the arguments of the objectivists will help us understand how they seek to reduce color to a physical property of object surfaces. Subjectivists, by contrast, seek to argue that no such reduction is possible, and hence that color must be wholly subjective. This chapter argues that when functional considerations are taken (...) into account, a relationalist position best accommodates the primary data concerning color perception, and permits a better understanding of the ways in which color is both objective and subjective. The chapter ends with a reconsideration of the notions of objectivity and subjectivity themselves, and a consideration of how modern technology can foster misleading expectations about the specificity of color properties. (shrink)

What is the relationship between color experience and color? Here, I defend the view that it is semantic: color experience denotes color in a code innately known by the perceiver. This semantic theory contrasts with a variety of theories according to which color is defined as the cause of color experience (in a special set of circumstances). It also contrasts with primary quality theories of color, which treat color as a physical quantity. I argue that the semantic theory better accounts (...) for the kinds of knowledge we have regarding both the color of objects that we see and of the colors themselves. (shrink)

One reason philosophers have addressed the metaphysics of color is its apparent relevance to the sciences concerned with color phenomena. In the light of such thinking, this paper examines a pairing of views that has received much attention: color physicalism and externalism about the content of perceptual experience. It is argued that the latter is a dubious conception of the workings of our perceptual systems. Together with flawed appeals to the empirical literature, it has led some philosophers to grant color (...) physicalism a scientific legitimacy it does not merit. This discussion provides a useful entry into broader points pertaining to debates about color realism and the relationship between philosophical theories of color and the relevant empirical literatures. A sketch of a novel form of color realism is offered, as is an example that fills in some details of that sketch. (shrink)

A standard view in philosophy of mind is that qualia and phenomenal character require consciousness. This paper argues that various experimental and clinical phenomena can be better explained if we reject this assumption. States found in early visual processing can possess qualitative character even though they are not in any sense conscious mental states. This non-standard interpretation bears the burden of explaining what must be added to states that have qualitative character in order to yield states of sensory awareness or (...) sensory experience. I argue that the study of selective attention reveals resources that can be useful in that project. Two traditional objects are briefly considered. (shrink)

Barry Stroud’s book _The Quest for Reality_1 is, I think, the most substantial study of colour realism that has yet been written. It subjects to fundamental criticism a tradition that found its classic expression in Descartes and Locke and which in many ways remains standard today; it argues to be flawed not only the traditional rejection of colours as mere ideas or features of ideas in the mind, but also the view that colours are dispositions or powers in objects (...) to produce ideas in us—which in other quarters sometimes passes as a form of colour realism. Stroud rejects subjectivism, dispositionalism, relativism, and reductionism; but he is deliberately reticent about offering any positive account of what we believe to exist when believe colours to exist (after all, he says, in quiet allusion to Butler, everything is what it is and not another thing). And he is resolute in denying that we can give a philosophical argument to establish such belief as true. Stroud’s general conclusion can be seen as occupying a middle ground between what we might call dogmatic anti-realism and dogmatic realism. He argues (in Ch. 7) that anti-realism (or what Stroud calls the ‘unmasking’ of colours) is a view that cannot be affirmed without a kind of self-refutation—for ‘no one could abandon all beliefs about the colours of things and still _understand_ the colour terms’ (168, my emphasis). On the other hand (in Ch. 9), it remains in some sense a ‘possibility’ (204) that everyday colour beliefs might actually all be false. Stroud’s final judgment is not that we shall or should abandon the ‘Quest for Reality’, though he has expressed many reservations about it.2 The. (shrink)

In a promising working note to the Visible and Invisible, Merleau-Ponty proposes that we understand Being according to topological space – relations of proximity, distance, and envelopment – and move away from an image of Being based on homogeneous, inert Euclidean space. With reference to treatments of cross-sensory perception, color-blindness, and the concept of quale or qualia, I seek to rehearse this shift from Euclidean to topological Being by illustrating how modern science confines color itself to a Euclidean model of (...) color space. I discuss “being as Object” in Merleau-Ponty’s later work before showing how color, and indeed all perception, is reduced to being as Object in the form of “quale”. Next, I address discussions in Merleau-Ponty’s work and contemporary research to illustrate how synesthesia and so-called color-blindness are rendered abnormal by this objectified being of color. Merleau-Ponty’s reading of synesthesia follows directly from his rejection of quale, and his use of color perception serves as a rejection of solipsism. With appeal to his proposed topological model of Being, I conclude by recognizing the problematic nature of synesthesia and color-blindness as being ontological, not psychological.Dans une note de travail, à mon sens décisive, du Visible et l’Invisible, Merleau-Ponty propose que l’on comprenne l’Être à partir de l’espace topologique – relations de proximité, distance et enveloppement – allant à l’encontre d’une l’image de l’Être fondée sur un espace euclidien homogène et inerte. En faisant référence aux traitements de la perception synesthésique, au daltonisme et au concept de quale ou qualia, j’essayerai de décrire ce passage de l’Être euclidien à l’Être topologique en montrant que la science moderne finit par confiner la couleur dans un modèle euclidien d’espace-couleur. J’examinerai « l’Être-objet » dans les derniers écrits de Merleau-Ponty avant de montrer comment la couleur, et plus en général la perception, est réduite à être comme un Objet dans la forme d’un « quale ». Ensuite, en examinant les analyses merleau-pontiennes et les recherches contemporaines, je montrerai comment la synesthésie et le daltonisme sont donc considérés comme anormaux à partir de cette objectivation de la couleur. La lecture que Merleau-Ponty donne de la synesthésie est la conséquence directe de son refus du quale, et l’utilisation qu’il fait de la perception des couleurs sert comme un refus du solipsisme. En faisant appel au modèle topologique de l’Être qu’il propose, je conclurai en constatant que la nature problématique de la synesthésie et du daltonisme est ontologique et non pas psychologique.In una nota di lavoro al Visibile e l’invisibile, Merleau-Ponty propone di comprendere l’Essere a partire da uno spazio topologico – secondo le relazioni di prossimità, distanza e avvolgimento – e abbandona l’immagine di un Essere fondato su uno spazio omogeneo, inerte, euclideo. Facendo riferimento ai trattamenti per le percezioni sinestetiche, al daltonismo e al concetto di quale o qualia, si cercherà di provare questo passaggio da un Essere euclideo a uno topologico, illustrando quanto la scienza moderna tenda a ridurre il concetto stesso di colore a un modello euclideo di spazio-colore. Si esaminerà l’“Essere-oggetto” degli ultimi lavori di Merleau-Ponty, mostrando come il colore, e in realtà la percezione tout court, vengano ridotti a oggetto nella forma di “quale”. Infine, si esaminerà l’opera merleau-pontiana e la ricerca contemporanea al fine di illustrare quanto la sinestesia e il daltonismo siano resi anormali da questa oggettivazione dell’essere del colore. L’interpretazione merleau-pontiana della sinestesia deriva proprio dal suo rifiuto del quale, e il suo uso della percezione del colore funge da rifiuto del solipsismo. Ricorrendo al modello topologico di Essere elaborato da Merleau-Ponty, si conclude riconoscendo che il problema della sinestesia e del daltonismo è, a tutti gli effetti, ontologico e non psicologico. (shrink)

The typical kind of color realism is reductive: the color properties are identified with properties specified in other terms (as ways of altering light, for instance). If no reductive analysis is available — if the colors are primitive sui generis properties — this is often taken to be a convincing argument for eliminativism. That is, realist primitivism is usually thought to be untenable. The realist preference for reductive theories of color over the last few decades is particularly striking in light (...) of the generally anti-reductionist mood of recent philosophy of mind. The parallels between the mind—body problem and the case of color are substantial enough that the difference in trajectory is surprising. While dualism and non-reductive physicalism are staples, realist primitivism is by and large a recent addition to the color literature. And it remains a minority position, although one that is perhaps gaining support. In this paper, we investigate whether it should be accepted, and conclude it should not be. (shrink)

This chapter discusses the ordering of color percepts, and starts by presenting an overview of the critical issues surrounding the topic and by examining the relationship between stimuli and percepts. Certain types of variability were found by experimental psychology in the relationship between stimulus and response as a result of observation conditions. In the twentieth century, the view that the normal human color-vision system has a standard implementation and that all perceptual data are appropriately treated with normal statistical distribution methodology (...) became the standard paradigm. However, the idea that the large number of color percepts humans can experience must fit into some kind of ordering system is an old one, going as far back to Aristotle and his proposed color categories based on a scale of chromatic colors between white and black. The strengths and limitations of the more recently developed kinds of color order systems are also touched upon here. (shrink)

Human–Computer Interaction (HCI) is a multidisciplinary area that involves a diverse body of knowledge and a complex landscape of concepts, which can lead to semantic problems, hampering communication and knowledge transfer. Ontologies have been successfully used to solve semantics and knowledge-related problems in several domains. This paper presents a systematic literature review that investigated the use of ontologies in the HCI domain. The main goal was to find out how HCI ontologies have been used and developed. 35 ontologies were identified. (...) As a result, we noticed that they cover different HCI aspects, such as user interface, interaction phenomenon, pervasive computing, user modeling / profile, HCI design, interaction experience and adaptive interactive system. Although there are overlaps, we did not identify reuse among the 35 analyzed ontologies. The ontologies have been used mainly to support knowledge representation and reasoning. Although ontologies have been used in HCI for more than 25 years, their use became more frequent in the last decade, when ontologies address a higher number of HCI aspects and are represented as both conceptual and computational models. Concerning how ontologies have been developed, we noticed that some good practices of ontology engineering have not been followed. Considering that the quality of an ontology directly influences the quality of the solution built based on it, we believe that there is an opportunity for HCI and ontology engineering professionals to get closer to build better and more effective ontologies, as well as ontology-based solutions. (shrink)

The gulf between philosophical and formal ontology can and should be bridged. In this Editorial, I elaborate briefly on this subject.

This book identifies the uniquely postmodern elements in hermeneutics and deconstruction in order to reread many of the central texts in modernist literature. It is a comparative study that illuminates points of contact between the philosophical positions of Gadamer and Derrida, discussing Heidegger's influence on both Gadamer's ontological approaches to the work of art and Derrida's transformation approach to literary and philosophical texts. The poetry of Eliot, Pound and Yeats is examined within this framework, while the crucial example of Joyce (...) is taken up in terms of the production and reception of 'Ulysses' as a seminal influence. The study concludes by suggesting that Derrida provides an ethical version of hermeneutics that departs from Gadamerian models but can be reconciled with both postmodern insights and historical research. (shrink)