David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Philosophical Psychology 12 (4):415 – 428 (1999)
The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art.
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References found in this work BETA
Robert Hopkins (1998). Picture, Image and Experience: A Philosophical Inquiry. Cambridge University Press.
Dominic Lopes (1996). Understanding Pictures. Oxford University Press.
Richard Wollheim (1989). Painting as an Art. Journal of Aesthetics and Art Criticism 47 (3):281-284.
Christopher Peacocke (1987). Depiction. Philosophical Review 96 (3):383-410.
Dominic M. M. Lopes (1997). Art Media and the Sense Modalities: Tactile Pictures. Philosophical Quarterly 47 (189):425-440.
Citations of this work BETA
Dustin Stokes (2009). Aesthetics and Cognitive Science. Philosophy Compass 4 (5):715-733.
Michael Newall (2006). Pictures, Colour and Resemblance. Philosophical Quarterly 56 (225):587–595.
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