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)

A collection of lectures which focussed on the small, constant aggressions of racism.

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization (...) has remained unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

I analyse conceptual change and conceptual engineering in the special case of colour concepts. The case raises the prospects of conceptual engineering because a precise standard for measuring the amelioration of the structure of concepts is available. On the other hand, the study highlights the problems with controlling conceptual engineering pointed out by Cappelen. I argue that in the case of conceptual change of colour concepts varying degrees of optimization, design and control are possible. I submit that this observation can (...) be generalized to other classes of concepts. As a result, the scope of conceptual engineering is reduced considerably; conceptual engineering appears as a limit case of conceptual change. (shrink)

Social exclusion can cause negative changes on human beings both in the physiological and psychological aspects. Although considerable efforts have been devoted to study its effects on consumption behavior, little attention has been paid to the consequence that social exclusion might have on consumer’s color preference and the underlying mechanisms. Such social events can change individual’s behavior. This work examines the influence of social exclusion on consumers’ color preference as well as the moderation and mediation effects via three (...) experiments: Experiment 1 studies the impacts of social exclusion on consumer color choice. To further validate the robustness of the results, experiment 2 is designed by replicating the findings of experiment 1 in another product category and instructed the participants to choose products with different colors. Meanwhile, the mediation effect of self-threat is examined. In Experiment 3, the moderation effect of self-construal is investigated via a 2 × 2 × between-subjects design. Our results indicate that social exclusion makes people prefer warm colors rather than cold colors. However, these effects would be mediated by self-threat, which could be further moderated by self-construal. The present study establishes the relationship between social exclusion and consumers’ color preference, which is expected to provide guidance for companies to improve product design and promotion strategies to adapt to various contexts. (shrink)

Over the last 25 years, there has been a concerted effort to settle questions about multiple realization by bringing detailed scientific evidence to bear. Ken Aizawa and Carl Gillett have pursued this scientific approach to multiple realization with a precise theory and applications. This paper reviews the application of the Dimensioned approach to human color vision, addressing objections that have appeared in the literature.

Decolonizing the Body explores the traumatic physical and emotional effects of colonization and systemic racism on the body and mind. Written by a woman of color for women of color, it offers body-centered somatic practices to free women from internalized oppression, so they can reclaim confidence, dignity, and self-worth.

Sarah Angelina Acland is one of the most important photographers of the late Victorian and early Edwardian periods. Daughter of the Regius Professor of Medicine at Oxford, she was photographed by Lewis Carroll as a child, along with her close friend Ina Liddell, sister of Alice of Wonderland fame. The critic John Ruskin taught her art and she also knew many of the Pre-Raphaelites, holding Rossetti's palette for him as he painted the Oxford Union murals. At the age of nineteen (...) she met the photographer Julia Margaret Cameron, whose influence is evident in her early work.Following in the footsteps of Cameron and Carroll Miss Acland first came to attention as a portraitist, photographing the illustrious visitors to her Oxford home. In 1899 she then turned to the challenge of colour photography, becoming, through work with the 'Sanger Shepherd process', the leading colour photographer of the day. Her colour photographs were regarded as the finest that had ever been seen by her contemporaries, several years before the release of the Lumière Autochrome system, which she also practised.This volume provides an introduction to Miss Acland's photography, illustrating more than 200 examples of her work, from portraits to picturesque views of the landscape and gardens of Madeira. Some fifty specimens of the photographic art and science of her peers from Bodleian collections are also reproduced for the first time, including four unrecorded child portraits by Carroll. Detailed descriptions accompany the images, explaining their interest and significance. The photographs not only shed important light on the history of photography in the period, but also offer a fascinating insight into the lives of a pre-eminent English family and their circle of friends. (shrink)

I>Diversity High offers special insight into school change and social transition in racially divided communities.

Pigment cells in zebrafish − melanophores, iridophores, and xanthophores − originate from neural crest‐derived stem cells associated with the dorsal root ganglia of the peripheral nervous system. Clonal analysis indicates that these progenitors remain multipotent and plastic beyond embryogenesis well into metamorphosis, when the adult color pattern develops. Pigment cells share a lineage with neuronal cells of the peripheral nervous system; progenitors propagate along the spinal nerves. The proliferation of pigment cells is regulated by competitive interactions among cells of (...) the same type. An even spacing involves collective migration and contact inhibition of locomotion of the three cell types distributed in superimposed monolayers in the skin. This mode of coloring the skin is probably common to fish, whereas different patterns emerge by species specific cell interactions among the different pigment cell types. These interactions are mediated by channels involved in direct cell contact between the pigment cells, as well as unknown cues provided by the tissue environment. (shrink)

It is well known that the appearance of food, particularly its color, can influence flavor perception and identification. However, food studies involving the manipulation of product color face inevitable limitations, from extrinsic flavors introduced by food coloring to the cost in development time and resources in order to produce different product variants. One solution lies in modern virtual reality technology, which has become increasingly accessible, sophisticated, and widespread over the past years. In the present study, we investigated whether (...) making a coffee look milkier in a VR environment can alter its perceived flavor and liking. Thirty-two United Kingdom consumers were given four samples of black cold brew coffee at 4 and 8% sucrose concentration. They wore VR headsets throughout the study and viewed the same coffee in a virtual setting. The color of the beverage was manipulated in VR, such that participants saw either a dark brown or light brown liquid as they sipped the coffee. A full factorial design was used so that each participant tasted each sweetness x color combination, Participants reported sweetness, creaminess, and liking for each sample. Results revealed that beverage color as viewed in VR significantly influenced perceived creaminess, with the light brown coffee rated to be creamier than dark brown coffee. However, beverage color did not influence perceived sweetness or liking. The present study supports the role of VR as a means of conducting food perception studies, either to gain a better understanding of multisensory integration, or, from an industry perspective, to enable rapid product testing when it may be time-intensive or costly to produce the same range of products in the real-world. Furthermore, it opens potential future opportunities for VR to promote healthy eating behavior by manipulating the visual appearance of foods. (shrink)

In three experiments, each of a set colour-unrelated distracting words was presented most often in a particular target print colour . In Experiment 1, half of the participants were told the word-colour contingencies in advance and half were not . The instructed group showed a larger learning effect. This instruction effect was fully explained by increases in subjective awareness with instruction. In Experiment 2, contingency instructions were again given, but no contingencies were actually present. Although many participants claimed to be (...) aware of these contingencies, they did not produce an instructed contingency effect. In Experiment 3, half of the participants were given contingency instructions that did not correspond to the correct contingencies. Participants with these false instructions learned the actual contingencies worse than controls. Collectively, our results suggest that conscious contingency knowledge might play a moderating role in the strength of implicit learning. (shrink)

But Hardin hasn’t contented himself with reframing traditional philosoph- ical issues about color in a way that is sensitive to relevant empirical con- straints. In addition, he has been a staunch defender of color eliminativism — the view that there are no colors, qua properties of tables, chairs, and other mind-external objects, and a vociferous critic of several varieties of re- alism about color that have been defended by others (e.g., [Hardin, 2003], [Hardin, 2005]). These other views (...) include the so-called color physical- ism of [Hilbert, 1987], [Byrne and Hilbert, 1997a], [Byrne and Hilbert, 2003], and [Tye, 2000],¹ and, inconveniently, even the relationalist view defended in [Cohen, 2003a], [Cohen, 2004a], [Cohen, 2003b], [McLaughlin, 2003], and [Jakab and McLaughlin, 2003]. (shrink)