Online research in philosophy

Colors are sensible qualities. They are qualities that objects are perceived to have. Thus, when Norm, a normal perceiver, perceives a blue bead, the bead is perceived have a certain quality, perceived blueness. `Quality', here, is no mere synonym for property; rather, a quality is a kind of property a qualitative, as opposed to quan• titative, property. (The quantitative is a way of contrasting with the qualitative perhaps not the only way.).

The Dangerous Book for Boys Abstract: Seventeenth and eighteenth century discussions of the senses are often thought to contain a profound truth: some perceptible properties are secondary qualities, dispositions to produce certain sorts of experiences in perceivers. In particular, colors are secondary qualities: for example, an object is green iff it is disposed to look green to standard perceivers in standard conditions. After rebutting Boghossian and Velleman’s argument that a certain kind of secondary quality theory is viciously circular, we discuss three main lines of argument for the secondary quality theory. The first is inspired by an intuitively compelling picture of perception articulated by Reid; the second is that the secondary quality theory is a conceptual truth; the third line of argument is presented in Johnston’s influential paper ‘How to speak of the colors’. We conclude that all these arguments fail, and that the secondary quality theory is unmotivated. Keywords: color, secondary quality, disposition, vision, perception..

Primary quality theories of color claim that colors are intrinsic, objective, mind-independent properties of external objects — that colors, like size and shape, are examples of the sort of properties moderns such as Boyle and Locke called primary qualities of body.¹ Primary quality theories have long been seen as one of the main philosophical options for understanding the nature of color.

During the past three decades, there has been an ongoing debate on the quality of health care. Defining quality is an important part of it. This paper offers a review of definitions and a conceptual analysis in order to understand and explain the differences between them. The analysis results in a semantic rule, expressing the meaning of quality as an optimal balance between possibilities realised and a framework of norms and values. This rule is postulated as a formal criterion of meaning, e.g. when (correctly) applied people understand each other. The rule suits the abstract nature of the term quality. Quality doesn't exist as such. It is constructed in an interaction between people. This interaction is guided by rules in order to transfer information, e.g. communicate on quality. The rule improves our ability to discuss the debate on quality and to develop a theory grounding actions such as quality assurance or quality improvement.

The intransitivity of matching sensible qualities of color is a threat not only to the sense-data theory, but to all realist theories of sensible qualities, including the current leading realist theory: representationalism. I save representationalism from this threat by way of a novel yet empirically plausible hypothesis about the introspective classification of sensible qualities of color. I argue that due to limitations of the visual system's ability to extract fine-grained information about color from the environment, introspective classification of sensible qualities of color is sensitive to features of context. I finish by arguing for the superiority of my solution over two alternative solutions: one by Nelson Goodman, the other by C.L. Hardin.

Color has been studied for centuries, but has never been completely understood. Digital technology has recently sparked a burgeoning interdisciplinary interest in color. The fact that color is a quality of perception rather than a physical quality brings up a host of interesting questions of interest to both artists and scholars. This volume--the ninth in the Vancouver Studies in Cognitive Science series--brings together chapters by psychologists, philosophers, computer scientists, and artists to explore the nature of human color perception with the aim to further our understanding of color by encouraging interdisciplinary interaction.

What is color? What is color vision? Most philosophers answer by reference to humans: to human color qualia, or to the environmental properties or "quality spaces" perceived by humans. It is argued, with reference to empirical findings concerning comparative color vision and the evolution of color vision, that all such attempts are mistaken. An adequate definition of color vision must eschew reference to its outputs in the human cognition and refer only to inputs: color vision consists in the use of wavelength discrimination in the construction of visual representations. A color quality is one that is generated from such processing.