What impressed me about Plato and Sartre was their conviction that we should live our lives in the light of big truths about reality and human existence.

How people make gardens is bound to reflect a way of experiencing the natural world, while at the same time this experience of nature is bound to reflect a culture - ways of painting nature, for example, or representing nature in literature, or of course making gardens.

I was keen to dispel a familiar misunderstanding: that existentialists somehow relish the alienation of human beings from the world. This may have been Camus's attitude, but it was certainly not that of Heidegger, Sartre and Merleau-Ponty, each of whom tried to show that we can only experience the world in relation to our own projects and purposes. The world is initially one of 'equipment', said Heidegger: it is a world of 'tasks', said Sartre.

Between nature and music there seems to be an elective affinity: they fit together, and when they do experiences of an ineffable kind are generated.

The Overman will himself be a nihilist in the (good) sense of rejecting any metaphysical or religious grounding for truth and value, but instead of curling up in despair, or simply going along with the crowd like the 'passive' nihilist, he will recognize himself as the sole source of truths and values to live by.

I think that Asian versions of 'ineffabilism' have an advantage over the best-known Western ones, like Schopenhauer's. They are free from the dualistic image of the world of experience as the joint product of mind and reality.

The main objection to the 'scientistic' claim that physics describes the world as it is in itself is that you 'can't weed out' the human contribution. That is, the scientific image of the world, like any other, is indelibly shaped by our interests, practices and prejudices.