Download Naming the Rainbow: Colour Language, Colour Science, and by D. Dedrick PDF

By D. Dedrick

Is there a common biolinguistic disposition for the improvement of `basic' color phrases? this query has been an issue of dialogue considering the fact that Brent Berlin and Paul Kay's Basic colour phrases: Their Universality andEvolution was once released in 1969. Naming the Rainbow is the 1st prolonged learn of this debate. the writer describes and criticizes empirically and conceptually unified types of color naming that relate easy color phrases on to perceptual and eventually to physiological evidence, arguing that this process has ignored the cognitive size of color naming. He proposes a psychosemantics for easy color phrases that's delicate to cultural distinction and to the character and constitution of non-linguistic adventure.
Audience: modern color naming learn is greatly interdisciplinary and Naming the Rainbow should be of curiosity to philosophers, psychologists, anthropologists, and cognitive scientists curious about: organic constraints on cognition and categorization; difficulties inherent in cross-cultural and in interdisciplinary technological know-how; the character and volume of cultural relativism.

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Additional resources for Naming the Rainbow: Colour Language, Colour Science, and Culture

Example text

2 HUMAN COLOUR VISION: THE OPPONENT COLOURS THEORY Nineteenth-century accounts of colour vision were based on colour mixing experiments. In a colour matching test, humans with normal colour vision require three coloured lights to match a fourth light of arbitrary colour. We are, for this reason, called trichromats (human colour defectives may be dichromats or monochromats-or anomalous trichromats). 4 It was assumed by physicists such as Thomas Young and von Helmholtz that human physiology conformed to the laws of colour mixture.

Austen Clark explains this problem Experiments in color vision typically exert precise control over viewing conditions. Ambient illumination is specified, and a neutrally adapted observer views the patches at a specified distance and visual angle. The patches are directly fixated in the center of the visual field, where color sensitivity is the greatest. Under those conditions we get a threedimensional psychological color solid. But this special case will not suffice to represent the full visual quality space.

Were added, to produce, as with colour mixing, a particular colour phenomenon. 5 There are problems with this view. It was noted, for example, that the additive theory fits poorly with some of the phenomenal facts. L. Hardin presents the following case as an example: purple seems to have both reddish and bluish constituents in it, and is readily describable as a reddish blue or a bluish red. It could thus plausibly be the result of mixing "red" cone outputs with "blue" cone outputs, by analogy with the mixture of "red" light and "blue" light to give "purple" light.

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