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Profile: Aaron Meskin (University of Leeds)
  1. Greg Currie, Aaron Meskin, Matthew Kieran & Jon Robson (eds.) (forthcoming). Aesthetics and the Sciences of the Mind. Oxford University Press.
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  2. Aaron Meskin (2013). The Art of Food. The Philosophers' Magazine 61 (61):81-86.
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  3. Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran (2013). Mere Exposure to Bad Art. British Journal of Aesthetics 53 (2):139-164.
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  4. Aaron Meskin (2012). Teaching & Learning Guide For: The Philosophy of Comics. Philosophy Compass 7 (5):361-364.
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  5. Aaron Meskin & Roy T. Cook (eds.) (2012). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    Machine generated contents note: Foreword (Warren Ellis).Introduction (Roy T. Cook and Aaron Meskin).PART I: The Nature and Kinds of Comics.1. Redefining Comics (John Holbo).2. The Ontology of Comics (Aaron Meskin).3. Comics and Collective Authorship (Christy Mag Uidhir).4. Comics and Genre (Catharine Abell).PART 2: Comics and Representation.5. Wordy Pictures: Theorizing the Relationship between Image and Text in Comics (Thomas E. Wartenberg).6. What's So Funny? Comic Content in Depiction (Patrick Maynard).7. The Language of Comics (Darren Hudson Hick).PART 3: Comics and the Other (...)
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  6. Aaron Meskin (2011). The Philosophy of Comics. Philosophy Compass 6 (12):854-864.
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  7. Aaron Meskin & Jon Robson (2011). Videogames and the Moving Image. Revue Internationale de Philosophie 4:547-564.
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  8. Aaron Meskin & Jonathan M. Weinberg (2011). 1. The Puzzle (s) of Imaginative Resistance. In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. 239.
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  9. Jonathan Cohen & Aaron Meskin (2009). Photography and Its Epistemic Values: Reply to Cavedon-Taylor. Journal of Aesthetics and Art Criticism 67 (2):235-237.
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  10. Aaron Meskin (2009). Comics as Literature? British Journal of Aesthetics 49 (3):219-239.
    Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...)
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  11. Aaron Meskin (2009). Scrutinizing the Art of Theater. Journal of Aesthetic Education 43 (3):pp. 51-66.
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  12. Steven M. Cahn & Aaron Meskin (eds.) (2008). Aesthetics: A Comprehensive Anthology. Blackwell Pub..
    From Plato's Ion to works by contemporary philosophers, this anthology showcases classic texts to illuminate the development of philosophical thought about art and the aesthetic. This volume is the most comprehensive collection of readings on aesthetics and the philosophy of art currently available.
     
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  13. Aaron Meskin (2008). Authorship. In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.
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  14. Aaron Meskin (2008). From Defining Art to Defining the Individual Arts: The Role of Theory in the Philosophies of Arts. In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. 125--149.
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  15. Aaron Meskin (2008). The Philosophy of Art - by Stephen Davies. Philosophical Books 49 (2):188-190.
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  16. Aaron Meskin & Jonathan Cohen 1 (2008). Counterfactuals, Probabilities, and Information: Response to Critics. Australasian Journal of Philosophy 86 (4):635-642.
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  17. Aaron Meskin & Jonathan Cohen (2008). Photographs as Evidence. In Scott Walden (ed.), Photography and Philosophy: Essays on the Pencil of Nature. Blackwell.
    Photographs furnish evidence. This is true in both formal and informal contexts. The use of photographs as legal evidence goes back to the very earliest days of photography, and they have been used in American trials since around the time of the Civil War. Photographs may also serve as historical evidence (for example, about the Civil War). And they serve in informal contexts as evidence about all sorts of things, such as what we and our loved ones looked like in (...)
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  18. Aaron Meskin & Jonathan Cohen (2008). Counterfactuals, Probabilities, and Information: Response to Critics. Australasian Journal of Philosophy 86 (4):635 – 642.
    In earlier work we proposed an account of information grounded in counterfactual conditionals rather than probabilities, and argued that it might serve philosophical needs that more familiar probabilistic alternatives do not. Demir [2008] and Scarantino [2008] criticize the counterfactual approach by contending that its alleged advantages are illusory and that it fails to secure attractive desiderata. In this paper we defend the counterfactual account from these criticisms, and suggest that it remains a useful account of information.
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  19. Aaron Meskin (2007). Defining Comics? Journal of Aesthetics and Art Criticism 65 (4):369–379.
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  20. Aaron Meskin (2007). The Cluster Account of Art Reconsidered. British Journal of Aesthetics 47 (4):388-400.
    Berys Gaut has recently articulated and defended a putatively anti-definitional ‘cluster’ theory of art. In the first part of this paper, I argue that Gaut's version of the cluster account is flawed. The key notion of ‘counting toward the application of a concept’ is formulated in such a way that a range of apparently irrelevant properties will count as criterial for the concept of art. Moreover, there does not appear to be any quick fix to this problem. I then turn (...)
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  21. Jonathan Cohen & Aaron Meskin (2006). An Objective Counterfactual Theory of Information. Australasian Journal of Philosophy 84 (3):333 – 352.
    We offer a novel theory of information that differs from traditional accounts in two respects: (i) it explains information in terms of counterfactuals rather than conditional probabilities, and (ii) it does not make essential reference to doxastic states of subjects, and consequently allows for the sort of objective, reductive explanations of various notions in epistemology and philosophy of mind that many have wanted from an account of information.
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  22. Jonathan M. Weinberg & Aaron Meskin (2006). Imagine That! In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Publishing. 222-235.
     
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  23. Jonathan M. Weinberg & Aaron Meskin (2006). Puzzling Over the Imagination: Philosophical Problems, Architectural Solutions. In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Oxford. 175-202.
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  24. Jonathan Cohen & Aaron Meskin (2004). On the Epistemic Value of Photographs. Journal of Aesthetics and Art Criticism 62 (2):197–210.
    Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (...)
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  25. Aaron Meskin (2004). Aesthetic Concepts: Essays After Sibley. [REVIEW] British Journal of Aesthetics 44 (1):90-93.
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  26. Aaron Meskin (2004). Aesthetic Testimony: What Can We Learn From Others About Beauty and Art? Philosophy and Phenomenological Research 69 (1):65–91.
    The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...)
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  27. Aaron Meskin & Jonathan M. Weinberg (2003). Emotions, Fiction, and Cognitive Architecture. British Journal of Aesthetics 43 (1):18-34.
    Recent theorists suggest that our capacity to respond affectively to fictions depends on our ability to engage in simulation: either simulating a character in the fiction, or simulating someone reading or watching the fiction as though it were fact. We argue that such accounts are quite successful at accounting for many of the basic explananda of our affective engagements in fiction. Nonetheless, we argue further that simulationist accounts ultimately fail, for simulation involves an ineliminably ego-centred element that is atypical of (...)
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  28. Aaron Meskin (2001). Style. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  29. Aaron Meskin (2001). The Aesthetics of Comics. British Journal of Aesthetics 41 (4):446-449.
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  30. Aaron Meskin (1998). Art and Ethics Reunited: Aesthetics and Ethics , Edited by Jerrold Levinson. Film-Philosophy 2 (1).
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