Online research in philosophy

The nature of the colors—what they are like, whether they are instantiated by objects or are projected by our minds, whether their nature is revealed to us in color perception, and whether there could be alien colors (e.g. reddish-green)—has been one of the central topics in philosophy for centuries. This entry focuses on the contemporary philosophical debate about the nature of the colors.

Against the Newtonian view of color, according to which the world is colorless and colors are subjective sensations, phenomenologists keep insisting that colors are in the world. In order to defend this view of the “being in the world” of colors, this paper tries to elucidate the essential spatiality of colors on the basis of James’s thesis of the intrinsic spatiality of sensation, Katz’s phenomenological description of various spatial characters of color, and Gibson’s ecological optics. The noticeable correspondence between Katz’s phenomenology and Gibson’s ecological optics indicates to us a possible way to an ecological phenomenology of colors.

In this paper I argue that all transparent objects are colorless. This thesis is important for at least three reasons. First, if transparent objects are colorless, there is no need to distinguish between colors which characterize three-dimensional bodies, like transparent colors, and colors which lie on the surface of objects. Second, traditional objections against color physicalism relying on transparent colors are rendered moot. Finally, an improved understanding of the relations between colors, light and transparency is provided.

On the relations of universals and particulars, by B. Russell.--Universals and resemblances, by H. H. Price.--On concept and object, by G. Frege.--Frege's hidden nominalism, by G. Bergmann.--Universals, by F. P. Ramsey.--Universals and metaphysical realism, by A. Donagan.--Universals and family resemblances, by R. Bambrough.--Particular and general, by P. F. Strawson.--The nature of universals and propositions, by G. F. Stout.--Are characteristics of particular things universal or particular? By G. E. Moore and G. F. Stout.--The relation of resemblance, by P. Butchvarov.--Qualities, by N. Wolterstroff.--On what there is, by W. V. Quine.--Empiricism, semantics, and ontology, by R. Carnap.--The languages of realism and nominalism, by R. B. Brandt.--Grammar and existence: a preface to ontology, by W. Sellars.--A world of individuals, by N. Goodman.--Bibliographical notes (p. [307]-308).

The paper ends with an argument that says: necessarily, if there are finitely spatially extended particulars, then there are monadic universals. Before that, in order to characterize the distinction between particulars and universals, Roman Ingarden’s notions of existential moments and modes (ways) of being are presented, and a new pair of such existential moments is introduced: multiplicity–monadicity. Also, it is argued that there are not only real universals, but instances of universals (tropes) and fictional universals too.

Because our only access to color qualities is through their appearance, Byrne & Hilbert's insistence on a strict distinction between apparent colors and real colors leaves them without a principled way of determining when, if ever, we see colors as they really are.

Universals are usually considered to be universal properties. Since tropes are particular properties, if there are only tropes, there are no universals. However, universals might be thought of not only as common properties, but also as common aspects (“determinable universals”) and common wholes (“concrete universals”). The existence of these two latter concepts of universals is fully compatible with the assumption that all properties are particular. This observation makes possible three different trope theories, which accept tropes and no universals, tropes and determinable universals and tropes and concrete universals.

What knowledge of the colors does perception of the colors provide? My first aim in this essay is to characterize the way in which color experience seems to provide knowledge of colors. This in turn tells us something about what it takes for there to be colors. Color experience provides knowledge of the aspect of the world that is being acted on when we, or some external force, act on the color of an object and thus make a difference to the experiences of people looking at it. It is in this sense that the nature of the colors is transparent to us. For there to be colors is for there to be the qualitative categorical properties that we encounter in perception, action on which affects the color experiences of observers. This line of thought contrasts with the idea that color experience reveals the colors to us, in the sense that it provides knowledge of a number of necessary truths about the colors. In a recent paper, Alex Byrne and David Hilbert provide a careful exposition and critique of this way of developing the idea of color experience as revelatory of the colors. In this paper my main aim is simply to contrast the idea that experience makes the colors transparent to us, with the idea that color experience provides us with knowledge of truths relating to the essences of the colors.

Colors aren't as real as shapes. Shapes are full?fledged qualities of things in themselves, independent of how they're perceived and by whom. Colors aren't. Colors are merely qualities of things as they are for us, and the colors of things depend on who is perceiving them. When we take the fully objective view of the world, things keep their shapes, but the colors fall away, revealed as the mere artifacts of our own subjective, parochial perspective on the world that they are.