Alex King – författare

Though a field often thought far from the center of contemporary philosophy, philosophy of art—perhaps more than any other field similarly situated—nevertheless enjoys extensive overlap with and points of exchange at that center. The last decade has seen a marked resurgence of interest in aesthetics and philosophy of art from those working outside these areas, and a reciprocal resurgence of interest in other subfields from philosophers of art. Art and Philosophy brings together twenty-one original essays at the intersection of art and philosophy. These essays are intersectional in two respects. Firstly, the authors draw meaningful connections between art and philosophy, using artworks to motivate, support, and shape their views. Secondly, the authors draw connections between the theoretical discipline of aesthetics and philosophy of art, on the one hand, and the rest of philosophy, on the other. Some chapters explore philosophical matters by examining art and other aesthetic objects, whilst others bring together contemporary thought and research in aesthetics and philosophy of art with important developments in other areas of philosophy. The chapters are organized into ten sections. These ten sections represent the current issues best exemplifying the productive and informative exchanges that exist at these intersections. The topics range from metaphysics and philosophy of language to creativity and love. By placing the connection to art at the forefront, Art and Philosophy is a testament to the myriad ways art and the philosophy of art intersect and overlap with issues that lie at the core of contemporary philosophy.

Are we able to do everything we ought to do? According to the important but controversial Ought Implies Can principle, the answer is yes.In this book Alex King sheds some much-needed light on this principle. She argues that it is flawed because we are obligated to perform some actions that we cannot perform, and goes on to present a suggested theory for anyone who would deny the principle. She examines the traditional motivations for Ought Implies Can, and finds that they to a large degree do not support it. Using examples like gay rights, addiction, and disability, she argues that we can preserve many of the motivations that led us to the principle by thinking more about what we, as individuals or institutions, can fairly demand of ourselves and each other.

Are we able to do everything we ought to do? According to the important but controversial Ought Implies Can principle, the answer is yes.In this book Alex King sheds some much-needed light on this principle. She argues that it is flawed because we are obligated to perform some actions that we cannot perform, and goes on to present a suggested theory for anyone who would deny the principle. She examines the traditional motivations for Ought Implies Can, and finds that they to a large degree do not support it. Using examples like gay rights, addiction, and disability, she argues that we can preserve many of the motivations that led us to the principle by thinking more about what we, as individuals or institutions, can fairly demand of ourselves and each other.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.

A guide to Athens - exceptional experiences, passionate authors, a new approach to the art of travelling. Cinema under the stars, the secrets of contemporary Greek cuisine, Athens’ most agreeable goats, a chemistry set that produces the finest wine in Greece, fish that will send you to heaven, outlaw folk music amongst the chickens, dining, and a show on the legendary Orient Express, ancient but chic Greek sandals, a charmingly chaotic community art center, the most idyllic island escapes, an urban oasis for artists and skaters, a decadent Nouvelle Vague drinking hole, the finest Greek art collection that most Athenians have never seen…Soul of Athens was written by Alex King, who explored his adopted city at length to discover the multiple facets of this capital at the heart of Europe that is capable of reinventing itself and surprising us.If we really want to experience the true essence of Athens today, where do we go? Soul of Athens is your guide to the best of what this city really is right now – and how it’s evolving. Celebrating both the old and the new, we’ll meet the guardians of the city’s authentic heritage and talk with the bright young things who are building its future, we’ll eat at hidden restaurants and explore the city’s long-forgotten corners.Join us as we experience the soul of Athens together.Each guide in the “Soul of” collection includes:-             the 30 best experiences a city has to offer-             interviews with those who give the city its spirit-             original illustrations that capture the city’s soulDon’t miss - Hidden inside these guides, you will always find a very secret location, carefully selected, waiting to be discovered. Are you up for a challenge?