Art of course survives on the walls of private dwellings and corporate offices, but it 'dies' in the sense of losing its public, community-gathering, world-historical significance.

It was Schopenhauer who made me a philosopher. Real philosophy, I told my appalled colleagues at Auckland, is about sex, death, and boredom. Since then I have expanded my horizons, but I have always retained an affection for the sage of Frankfurt.

Art of course survives on the walls of private dwellings and corporate offices, but it 'dies' in the sense of losing its public, community-gathering, world-historical significance.

The brain, Schopenhauer says, is the 'one great tool' that has enabled a creature endowed with neither sharp teeth nor claws to survive in a competitive environment. Moreover simplification of data, and indeed judicious falsification, are adaptive traits.

In aesthetic consciousness we enter that painless state, prized by Epicurus as the state of the gods; for a moment we are delivered from the miserable pressure of the will. We celebrate the Sabbath from the penal servitude of willing; the wheel of Ixion stands still.

I drifted into a career in academic philosophy because I couldn't see anything outside the academy that looked to be anything other than drudgery. But I wouldn't say I 'became a philosopher' until an early mid-life crisis forced me to confront the fact that, while 'philosophy' means 'love of wisdom', and 'wisdom' is the knowledge of how to live well, the analytic philosophy in which I had been trained seemed to have nothing to do with life.

The everyday world, as Kant proved, is mere appearance. But it is also the only world in which we can make sense of the idea of a plurality of distinct individuals. We can only distinguish things as different if they occupy different regions of space-time. It follows (a point Kant missed but which the mystics have always understood) that reality 'in itself' is 'beyond plurality' and is, in that sense, 'One'.