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Aaron Meskin
University of Leeds
  1. Popular Fiction.Aaron Meskin - 2016 - In John Gibson & Noel Carroll (eds.), The Routledge Companion to Philosophy of Literature. Routledge.
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  2. Aesthetic Adjectives Lack Uniform Behavior.Shen-yi Liao, Louise McNally & Aaron Meskin - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):618-631.
    The goal of this short paper is to show that esthetic 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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  3. Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.Shen-yi Liao & Aaron Meskin - 2017 - Philosophy and Phenomenological Research 94 (2):371–398.
    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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  4. Morality and Aesthetics of Food.Shen-yi Liao & Aaron Meskin - 2018 - In Anne Barnhill, Mark Budolfson & Tyler Doggett (eds.), The Oxford Handbook on Food Ethics. Oxford University Press. pp. 658-679.
    This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...)
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  5. Aesthetic Testimony: What Can We Learn From Others About Beauty and Art?Aaron Meskin - 2004 - 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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  6. Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2013 - British Journal of Aesthetics 53 (2):139-164.
  7. Defining Comics.Aaron Meskin - 2016 - In Aaron Meskin, Frank Bramlett & Roy Cook (eds.), The Routledge Companion to Comics. Routledge. pp. 221-229.
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  8. Experimental Philosophical Aesthetics as Public Philosophy.Aaron Meskin & Shen-yi Liao - forthcoming - In Sébastien Réhault & Florian Cova (eds.), Advances in Experimental Philosophy of Aesthetics. New York: Bloomsbury.
    Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...)
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  9.  99
    Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - 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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  10. Puzzling Over the Imagination: Philosophical Problems, Architectural Solutions.Jonathan M. Weinberg & Aaron Meskin - 2006 - In Shaun Nichols (ed.), The Architecture of the Imagination: New Essays on Pretence, Possibility, and Fiction. Oxford University Press. pp. 175-202.
     
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  11. An Objective Counterfactual Theory of Information.Jonathan Cohen & Aaron Meskin - 2006 - 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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  12. On the Epistemic Value of Photographs.Jonathan Cohen & Aaron Meskin - 2004 - 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. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. London: Routledge. pp. 179–191.
    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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  14.  41
    Video Games as Self-Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - 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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  15. Emotions, Fiction, and Cognitive Architecture.Aaron Meskin & Jonathan M. Weinberg - 2003 - 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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  16. Taste and Acquaintance.Aaron Meskin & Jon Robson - 2015 - 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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  17. Videogames and the First Person.Jon Robson & Aaron Meskin - 2012 - In G. Currie, P. Kotako & M. Pokorny (eds.), Mimesis: Metaphysics, Cognition, Pragmatics. College Publishing.
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  18. Photographs as Evidence.Aaron Meskin & Jonathan Cohen - 2008 - 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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  19.  38
    The Cluster Account of Art Reconsidered.Aaron Meskin - 2007 - 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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  20. From Defining Art to Defining the Individual Arts: The Role of Theory in the Philosophies of Arts.Aaron Meskin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 125--149.
     
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  21. Aesthetics and the Sciences of Mind.Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.) - 2014 - Oxford University Press.
    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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  22.  32
    Still Self-Involved: A Reply to Patridge.Jon Robson & Aaron Meskin - 2017 - Journal of Aesthetics and Art Criticism 75 (2):184-187.
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  23. Imagine That!Jonathan M. Weinberg & Aaron Meskin - 2006 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell. pp. 222-235.
     
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  24.  44
    Counterfactuals, Probabilities, and Information: Response to Critics.Aaron Meskin & Jonathan Cohen - 2008 - 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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  25.  98
    Comics as Literature?Aaron Meskin - 2009 - 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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  26. Fiction and Fictional Worlds in Videogames.Aaron Meskin & Jon Robson - 2012 - In J. R. Sageng, T. M. Larsen & H. Fossheim (eds.), The Philosophy of Computer Games. Springer. pp. 201-18.
     
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  27.  67
    Defining Comics?Aaron Meskin - 2007 - Journal of Aesthetics and Art Criticism 65 (4):369–379.
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  28. The Art of Food.Aaron Meskin - 2013 - The Philosophers' Magazine 61 (61):81-86.
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  29.  80
    Comics, Prints, and Multiplicity.Roy T. Cook & Aaron Meskin - 2015 - 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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  30.  83
    The Art of Comics: A Philosophical Approach.Aaron Meskin, Roy T. Cook & Warren Ellis (eds.) - 2011 - 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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  31.  31
    Videogames and the Moving Image.Aaron Meskin & Jon Robson - 2010 - Revue Internationale de Philosophie 4:547-564.
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  32. Authorship.Aaron Meskin - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.
     
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  33.  19
    1. The Puzzle (s) of Imaginative Resistance.Aaron Meskin & Jonathan M. Weinberg - 2011 - In Elisabeth Schellekens & Peter Goldie (eds.), The Aesthetic Mind: Philosophy and Psychology. Oxford University Press. pp. 239.
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  34.  43
    Errors in ‘The History of an Error’.Simon Fokt & Aaron Meskin - 2016 - British Journal of Aesthetics 56 (2):179-185.
    In a recent article in this journal, Alex Neill and Aaron Ridley argue that relational theories of art are rooted in a misunderstanding of what it would take to falsify the family resemblance theories they are meant to supplant, and are incapable of meeting all the requirements a successful theory of art must meet. Hence, they are doomed to failure. We show that the arguments Neill and Ridley offer are rooted in misunderstandings about relational theories and the requirements for a (...)
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    Counterfactuals, Probabilities, and Information: Response to Critics.Aaron Meskin & Jonathan Cohen 1 - 2008 - Australasian Journal of Philosophy 86 (4):635-642.
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  36.  42
    The Aesthetics of Comics.Aaron Meskin - 2001 - British Journal of Aesthetics 41 (4):446-449.
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  37.  56
    The Philosophy of Comics.Aaron Meskin - 2011 - 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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    Aesthetic Concepts: Essays After Sibley. [REVIEW]Aaron Meskin - 2004 - British Journal of Aesthetics 44 (1):90-93.
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  39.  59
    Photography and Its Epistemic Values: Reply to Cavedon-Taylor.Jonathan Cohen & Aaron Meskin - 2009 - Journal of Aesthetics and Art Criticism 67 (2):235-237.
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  40.  40
    Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
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    Teaching & Learning Guide For: The Philosophy of Comics.Aaron Meskin - 2012 - 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.x -/- Author’s Introduction: Comics 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 (...)
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    Art and Ethics Reunited: Aesthetics and Ethics , Edited by Jerrold Levinson.Aaron Meskin - 1998 - Film-Philosophy 2 (1).
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    The Philosophy of Art - by Stephen Davies.Aaron Meskin - 2008 - Philosophical Books 49 (2):188-190.
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  44. Aesthetics: A Comprehensive Anthology.Steven M. Cahn & Aaron Meskin (eds.) - 2007 - 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.
     
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  45. Philosophical Aesthetics and the Sciences of Art.Gregory Currie, Matthew Kieran, Aaron Meskin & Margaret Moore (eds.) - 2014 - 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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  46. Relevance and the Philosophy of Art.Aaron Meskin - 2000 - 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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  47. Style.Aaron Meskin - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  48. The Art of Comics: A Philosophical Approach.Aaron Meskin & Roy T. Cook (eds.) - 2011 - Wiley-Blackwell.
     
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