Can we maintain that purple seems composed of red and blue without giving up the impenetrability of the red and blue parts that compose it? Brentano thinks we can. Purple, according to him, is a chessboard of red and blue tiles which, although individually too small to be perceived, are together indistinctly perceived within the purple. After a presentation of Brentano’s solution, we raise two objections to it. First, Brentano’s solution commits him to unperceivable intentional objects (the chessboard’s tiles). Second, (...) his chessboard account fails in the end to explain the phenomenal spatial continuity of compound colours. We then sketch an alternative account, which, while holding fast to the phenomenal compoundedness of the purple and to the impenetrability of component colours, avoids introducing inaccessible intentional objects and compromising on the continuity of the purple. According to our proposal, instead of being indistinctly perceived spatial parts of the purple, red and blue are distinctly perceived non- spatial parts of it. (shrink)

Unlike those with type 1 blindsight, people who have type 2 blindsight have some sort of consciousness of the stimuli in their blind field. What is the nature of that consciousness? Is it visual experience? I address these questions by considering whether we can establish the existence of any structural—necessary—features of visual experience. I argue that it is very difficult to establish the existence of any such features. In particular, I investigate whether it is possible to visually, or more generally (...) perceptually, experience form or movement at a distance from our body, without experiencing colour. The traditional answer, advocated by Aristotle, and some other philosophers, up to and including the present day, is that it is not and hence colour is a structural feature of visual experience. I argue that there is no good reason to think that this is impossible, and provide evidence from four cases—sensory substitution, achomatopsia, phantom contours and amodal completion—in favour of the idea that it is possible. If it is possible then one important reason for rejecting the idea that people with type 2 blindsight do not have visual experiences is undermined. I suggest further experiments that could be done to help settle the matter. (shrink)

There exist two widely used notions concerning the structure of phenomenal color space. The first is the notion of unique/binary hue structure, which maintains that there are four unique hues from which all other hues are composed. The second notion is the similarity structure of hues, which describes the interrelations between the hues and hence does not divide hues into two types as the first notion does. Philosophers have considered the existence of the unique/binary hue structure to be empirically and (...) phenomenally well-grounded, and the structure has been considered to be primary because this can account for the similarity structure. Consequently, the unique/binary hue structure has played a central role in color philosophy. This calls for the assessment of the justification for its existence carried out in this paper. It is concluded that, despite the prevalent view among philosophers, none of their reasons for endorsing the existence of the unique/binary hue structure are justified. Since the notion of the unique/binary hue structure appears intuitively plausible for many, however, a sketch explaining this intuition is outlined at the end. (shrink)

A "concept" in the sense favoured by Wittgenstein is a paradigm for a transition between parts of a notational system. A concept-determining sentence such as "There is no reddish green" registers the absence of such a transition. This suggests a plausible account of what is perceived in an experiment that was first designed by Crane and Piantanida, who claim to have induced perceptions of reddish green. I shall propose a redescription of the relevant phenomena, invoking only ordinary colour concepts. This (...) redescription is not ruled out by anything the experimenters say. It accounts for certain peculiarities in both their descriptions and their subjects', and suggests that instead of discovering forbidden colours the experimenters introduced a new use of "-ish". Still, there is a point in speaking of "reddish green" in their context, which can be motivated by invoking what Wittgenstein calls a "physiognomy". (shrink)

It is often claimed, following Joseph Levine, that there is an ‘explanatory gap’ between ordinary physical facts and the way we perceive things, so that it is impossible to explain, among other things, why colours actually look the way they do. C.L. Hardin, by contrast, argues that there are sufficient asymmetries between colours to traverse this gap. This paper argues that the terms we use to characterize colours, such as ‘warm’ and ‘cool’, are not well understood, and that we need (...) to understand the neurological basis for such associations if we are even to understand what is fully meant by saying, for example, that red is a warm colour. This paper also speculates on how Hardin’s strategy can be generalized. A PowerPoint presentation that depicts inverted colour qualia is attached as an appendix. (shrink)

The thesis is intended to contribute to the growing understanding of the indispensable role played by phenomenal consciousness in human cognition, and specifically in making our concepts of the external world available. The focus falls on so called observational concepts, a type of rudimentary, perceptually-based objective concepts in our repertoire — picking out manifest properties such as colors and shapes. A theory of such concepts gets provided, and, consequently, the exact role that perceptual consciousness plays in making concepts of this (...) sort available gets settled. In the first half of the thesis, observational concepts get construed as a special type of recognitional concepts. On an analogy with perceptual demonstratives, having such concepts would involve having non-trivial knowledge of their reference. The experiential basis of such concepts would, among other things, provide for such constitutive knowledge. The theoretical background relevant to the hypothesis gets provided in the first chapter. A defence of the hypothesis follows in the second. In the second half of the thesis, care is taken to distinguish among two ways in which the constitutive knowledge of the reference of an observational concept could be fleshed out. In the third chapter, perceptual experience is shown to provide the basis both for knowledge of observational properties by acquaintance, and for knowledge of the essence of such properties — provided that knowledge of essence gets construed in the right, modest way. It might be natural to take knowledge by acquaintance to be the sort relevant to observational concept possession, especially given that in the case of perceptual demonstratives this is the role likely played by experience. However, this initial impression proves to be mistaken. The constitutive knowledge of the referent of an observational concept turns out to consist in the capacity to determine a priori the essence of the respective property. To show this, an argument gets provided in the penultimate fourth chapter, based on the key role played by experiences of instances of observational properties in optimal viewing conditions in enabling the possession of the respective observational concept. (shrink)