What are colours? My view is that they are properties of surfaces in the world around us — albeit complex gerrymanded ones, which can be picked out only by reference to our reactions to them. Blue things are things that evoke a certain distinctive cluster of reactive dispositions in us. Note that that I do not say that they are ones that produce blue sensations in us. I don’t think that experiencing blue involves entertaining a mental version of blueness — a blue quale or phenomenal property.
Where then is the quality of blueness ? It’s not out there in the world. Out there there’s just a surface with a microstructure that reflects certain wavelengths of electromagnetic radiation. And I’ve denied that there is any blue quality in our minds. So where is the blueness of the blue?
My answer that it is not really anywhere. It’s a property that our minds misrepresent external objects as having. However, it’s a property that corresponds to, and carries information about, something real and important — namely, the affordances of the objects in question. That needs a lot of unpacking and qualification, but the general idea is this. We are tuned up, by biological evolution, cultural evolution, and personal experience, to track worldly properties that it’s useful for us to notice. Such properties afford us opportunities for action in various ways; they have specific affordances. An object’s affordances are reflected in the suite of reactive dispositions its perception triggers in us — the suite of beliefs, expectations, associations, emotions, priming effects, and so on.
Now my suggestion is that the human brain monitors its own reactive dispositions and generates schematic representations of them, which are linked to its representations of the objects that triggered them. The upshot of this is that we experience the world as being metaphorically coloured by our reactions to it. We experience objects as having a distinctive but ineffable significance for us, which is a marker of their affordances. This is what we call their quality or feel. The blueness of blue is a distorted representation of the affordances it presents, represented as a property of the object itself.
That’s still very schematic, but a little example may help. Consider shiny, metallic colours, such as silver and gold. These seem to have a distinctive feel to them, and as a child I was very puzzled as to where they fitted into the visible spectrum. But, of course, they are not really different colours. Shiny things are just regularly coloured things whose brightness (and colour if they are very shiny) varies markedly with viewing angle. What gives them their distinctive ‘feel’ is precisely the affordances they present. We expect them to change in a distinctive way as we move in relation to them. The ‘feel’ of metallic colour just is the expectation of this effect.
A postscript: Another illustration of this is afforded by Gregory Thielker’s paintings of scenes though rain-spattered glass. In me, these create a powerful response (‘feel’, if you like). Doubtless, this is in part because they evoke memories of glum hours spent in traffic during rainy commutes. But I think it also reflects the way they trigger strong expectations that the scene will morph and distort in a distinctive way as the water drips or I move my head.