 Kulvicki’s alleges that an analysis of the phenomenon of sound constancy, modeled on an analogue to color constancy, militates in favor of the dispositional view. Colors are notoriously resilient to many changes of illumination, and even when incident light composition is very distant from standard light, surfaces may be seen as having their standard color. “The green grass looks green in the orange light at dusk, but it looks like green grass illuminated oddly” (Kulvicki 2008: 9). This is in sync with the likely function of vision—to inform about distal, stable properties of surfaces. Analogously, Kulvicki claims, “objects sound roughly the same whether it is white noise [i.e., an impulse] or something reasonably far from it that stimulates them” (2008: 9). Our ability to recognize voices across a large variation of ways to produce them is a case in point. In general, humans are able to identify sounds in terms of their spectral slopes and spectral envelope patterns, which are “fairly constant across changes in the fundamental frequency produced by the vocal chords” (2008: 10). Now, it can be objected that voices are but a part of the auditory world, and they are the object of dedicated neural machinery. More generally, however, sound constancy is exhibited in hearing objects of various sorts. 