By C. L. Hardin
This publication is presented the 1986 Johnsonian Prize in Philosophy. This elevated version of C. L. Hardin's ground-breaking paintings on color contains a new bankruptcy, 'Further options: 1993', during which the writer revisits the dispute among color objectivists and subjectivists from the viewpoint of the ecology, genetics, and evolution of color imaginative and prescient, and brings to undergo new information on person variability in color notion.
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Extra info for Color for Philosophers: Unweaving the Rainbow
Facing page: The upper and lower patterns look very similar, with a light rectangle on the left and a dark rectangle on the right. But the light distributions drawn beneath each pattern tell us that they are physically quite different. The discon tinuity of the light distribution in the lower pattern dominates our perception of the relative lightnesses of the rectangles on each side of it. Try covering up the discontinu ity with a pencil. 20 PERCEIVING LIGHTNESS AND DARKNESS t I ntensity r -� I ntensity 21 COLOR PERCEPTION AND SCIENCE abrupt changes much better than we do absolute levels or slow changes in space or time.
The phenom enology, which presumably reflects the upshot of the total process, bears the earmarks of opponency, but this does not of itself enable us to decide whether opponent coding is maintained at every stage subsequent to the retina or whether or later, nonopponent coding conveys a signal that has been shaped by earlier opponent stages (Teller 1984) . If the latter is the case, it might under some circum35 COLOR PERCEPTION AND SCIENCE stances be possible to gain alternative access to such a later stage or stages and generate color experiences not generable by opponent processing.
That black will be noticeably darker than the gray of the inactivated screen. But television pictures are brought into being by adding light to the screen, not by subtracting it. Simultaneous brightness contrast is very important in enabling us to assess the levels of the illumination of a scene . It was earlier re marked that the eye is capable of operating over a huge dynamic range of light intensities, on the order of ten trillion to one . But for 24 PERCEIVING LIGHTNESS AND DARKNESS any single scene with which the eye can deal, the intensity ratio of the brightest to the dimmest object rarely exceeds 200 to I, and this is about the limit of differences that can be signaled by a visual neu ron (Haber and Hershenson 1980, 50-51; Evans 1974, 195; Barlow and Mollon 1982, 102) .
Color for Philosophers: Unweaving the Rainbow by C. L. Hardin