  Although Block thinks “that these criticisms can be defeated on their own terms” (1990, 61), his “Inverted Earth” scenario is designed to sidestep them. (See Block 1990, 1996a,  2003.)[22]  Instead of considering an “overnight” inversion and the consequent confusion, semantic adaptation and amnesia, your eyes are fitted with “color inverting lenses” and you are transported to another  planet—Inverted Earth. This is a place just like Earth except that each object has “the complementary color of [its counterpart] on Earth. The sky is yellow, grass is red, fire hydrants are green, etc.” (1990, 60). The inhabitants also speak Color Inverted English (‘red’ means green, ‘blue’ means yellow, etc.). The right hand part of figure 4 above displays a photograph of fruits taken on Inverted Earth with an ordinary Earthly camera. (Despite the yellow sky, the illumination on Inverted Earth is the same as it is on Earth. Note that achromatic colors are not inverted—on Inverted Earth snow is white and coal is  black.)[23]  Because of the inverting lenses—and  ignoring complications such as those mentioned in subsection  2.3.1—when you arrive on Inverted Earth you notice no visible change. Your experience when you look at an arrangement of fruits on Inverted Earth is phenomenologically the same as your previous experience of the counterpart arrangement on Earth (see the left hand part of figure 4), and conversation with the locals proceeds just as smoothly as it did back on Earth. This scenario is therefore the converse of typical inverted spectrum scenarios: instead of keeping the environment fixed and varying the internal constitution of the subject, Inverted Earth varies the environment and (due to the inverting lenses) keeps the subject’s internal constitution fixed. Block uses Inverted Earth in an argument against functionalism and representationalism (see subsections 3.1 and 3.2  below).[24]