I think it's true that for existentialist thinkers, appreciation of what we are - free, makers of meaning, 'issues' for ourselves, and so on - is at the same time a recognition of how we should try to live.

I rather shared Nietzsche's conception of the kind of individual that an ideal education should be cultivating. 'Authenticity' is not Nietzsche's term, but as used by some existentialists, it nicely captures what Nietzsche admired - the resolve of an individual person to forge his or her own 'table of values', to be emancipated from strait-jacketing conventions, traditions, and ideologies. As embodied in the 'Overman', authenticity is the antidote to 'bad' nihilism.

To recognize that you are radically free, in Sartre's sense, but then to live as if you weren't, is to live in bad faith, in denial of what you know to be true. And that's not something anyone can sensibly want to do.

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.

In all great civilizations, garden discourses have belonged to larger discourses about beauty, the good life, the relation of humankind to nature, and so on.

I started my professional life as a philosopher of language and for several years took the orthodox line that meaning is an essentially linguistic phenomenon. Whether as a result of simply listening to everyday talk about meaning, or reading books of anthropology, sociology and art history, it dawned on me that there is nothing at all privileged or central about linguistic meaning.

It is hubris, claim the critics of 'absolutism', to suppose that we could ever even approximate to a true description of how the world anyway is. It is bad faith or 'bullshit', respond 'absolutists', to suppose - as the rhetoric of postmodernism implies - that we could seriously live and act with the thought that truth and value are simply our own projections. An attractive feature of 'ineffabilism', as I see it, is that it evades these accusations.