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Profile: Aaron Meskin (University of Leeds)
  1. Shen-yi Liao, Louise McNally & Aaron Meskin (forthcoming). Aesthetic Adjectives Lack Uniform Behavior. Inquiry.
    The goal of this short paper is to show that aesthetic adjectives---exemplified by “beautiful” and “elegant”---do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  2. Shen‐yi Liao & Aaron Meskin (2015). Aesthetic Adjectives: Experimental Semantics and Context‐Sensitivity. Philosophy and Phenomenological Research 92 (1).
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...)
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  3.  13
    Shen-yi Liao & Aaron Meskin (forthcoming). Morality and Aesthetics of Food. In Anne Barnhill, Mark Budolfson & Tyler Doggett (eds.), The Oxford Handbook on Food Ethics. Oxford University Press
    We explore the interaction between moral and aesthetic values of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, we consider the artistic status of food, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately we argue for the position of food immoralism. We conclude by drawing out broader implications of this position for discussions on the ethics of food and discussions (...)
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  4. Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran (2013). Mere Exposure to Bad Art. British Journal of Aesthetics 53 (2):139-164.
  5.  75
    Nick Wiltsher & Aaron Meskin (forthcoming). Art and Imagination. In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...)
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  6. 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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  7. 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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  8. 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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  9.  99
    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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  10.  46
    Aaron Meskin & Jon Robson (2015). Taste and Acquaintance. Journal of Aesthetics and Art Criticism 73 (2):127-139.
    The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...)
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  11.  5
    Jon Robson & Aaron Meskin (2016). Video Games as Self‐Involving Interactive Fictions. Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  12. 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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  13.  29
    Jon Robson & Aaron Meskin (2012). Videogames and the First Person. In G. Currie, P. Kotako & M. Pokorny (eds.), Mimesis: Metaphysics, Cognition, Pragmatics. College Publishing
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  14.  74
    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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  15.  31
    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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  16.  86
    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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  17. Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.) (2014). Aesthetics and the Sciences of Mind. OUP Oxford.
    How far should philosophical accounts of the value and interpretation of art be sensitive to the scientific approaches used by psychologists, sociologists, and evolutionary thinkers? A team of experts urge different answers to this question, and explore how empirical inquiry can shed light on problems traditionally regarded as philosophical.
     
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  18.  37
    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.  33
    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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  20.  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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  21.  54
    Aaron Meskin (2007). Defining Comics? Journal of Aesthetics and Art Criticism 65 (4):369–379.
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  22. Aaron Meskin (2008). Authorship. In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge
     
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  23.  14
    Roy T. Cook & Aaron Meskin (2015). Comics, Prints, and Multiplicity. Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...)
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  24. 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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  25.  28
    Aaron Meskin (2013). The Art of Food. The Philosophers' Magazine 61 (61):81-86.
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  26.  63
    Aaron Meskin (2004). Aesthetic Concepts: Essays After Sibley. [REVIEW] British Journal of Aesthetics 44 (1):90-93.
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  27.  34
    Aaron Meskin (2001). The Aesthetics of Comics. British Journal of Aesthetics 41 (4):446-449.
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  28.  3
    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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  29.  17
    Aaron Meskin & Jon Robson (2011). Videogames and the Moving Image. Revue Internationale de Philosophie 4:547-564.
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  30.  6
    Aaron Meskin (1998). Art and Ethics Reunited: Aesthetics and Ethics , Edited by Jerrold Levinson. Film-Philosophy 2 (1).
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  31. 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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  32.  26
    Aaron Meskin (2011). The Philosophy of Comics. Philosophy Compass 6 (12):854-864.
    Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...)
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  33.  39
    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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  34.  27
    Aaron Meskin (2009). Scrutinizing the Art of Theater. Journal of Aesthetic Education 43 (3):pp. 51-66.
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  35.  13
    Aaron Meskin (2012). Teaching & Learning Guide For: The Philosophy of Comics. Philosophy Compass 7 (5):361-364.
    This guide accompanies the following article: Aaron Meskin, ‘The Philosophy of Comics’. Philosophy Compass 6/12 : 854–64. doi: 10.1111/j.1747‐9991.2011.00450.xAuthor’s IntroductionComics have been around since at least the middle of the 19th century, but they are just beginning to receive philosophical attention. Much of this recent philosophical work has focused on the definition of comics and their relation to other art forms , but recent work on such topics as narrative in comics, comics authorship, the relationship between words and pictures, and (...)
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  36.  9
    Aaron Meskin (2008). The Philosophy of Art - by Stephen Davies. Philosophical Books 49 (2):188-190.
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  37. 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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  38. Steven M. Cahn & Aaron Meskin (eds.) (2007). Aesthetics: A Comprehensive Anthology. Wiley-Blackwell.
    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. Brings together the most significant writings in aesthetics and philosophy of art from the past 2500 years Each section includes a useful introductory essay which provides an overview of developments in the field Broken down into three sections: (...)
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  39. Gregory Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.) (2014). Aesthetics and the Sciences of Mind. Oxford University Press.
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  40. Gregory Currie, Matthew Kieran, Aaron Meskin & Margaret Moore (eds.) (2014). Philosophical Aesthetics and the Sciences of Art: Volume 75. Cambridge University Press.
    Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the Leeds (...)
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  41. Steven M. Cahn & Aaron Meskin (eds.) (2007). Aesthetics. John Wiley & Sons.
    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. Brings together the most significant writings in aesthetics and philosophy of art from the past 2500 years Each section includes a useful introductory essay which provides an overview of developments in the field Broken down into three sections: (...)
     
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  42. Aaron Meskin & Jon Robson (2012). Fiction and Fictional Worlds in Videogames. In J. R. Sageng, T. M. Larsen & H. Fossheim (eds.), The Philosophy of Computer Games. Springer 201-18.
     
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  43. Aaron Meskin (2000). Relevance and the Philosophy of Art. Dissertation, Rutgers the State University of New Jersey - New Brunswick
    This dissertation explores the notion of relevance as it appears in debates within the philosophy of art. ;Chapter one begins by exploring the extent to which notions of relevance inform many of the central debates within the philosophy of art. I distinguish some contexts in which questions about relevance arise and show that there are at least two importantly distinct notions of relevance that get referred to in the literature---a metaphysical notion and an epistemological notion. Chapter two addresses a recent (...)
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  44. Aaron Meskin (2001). Style. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge
     
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  45. Aaron Meskin, Roy T. Cook & Warren Ellis (2014). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    _The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...)
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  46. Aaron Meskin, Roy T. Cook & Warren Ellis (2011). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    _The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...)
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  47. Aaron Meskin, Roy T. Cook & Warren Ellis (2011). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    _The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...)
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  48. Aaron Meskin, Roy T. Cook & Warren Ellis (2011). The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    _The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...)
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