If there are to be appropriate judgments about what questions are significant, you need both the informed views of scientists who know what has been achieved and what future developments are promising and the reflective judgments of representatives of different groups who can identify what kinds of information are most urgently needed.

I was occupied by a range of questions, often different from those fashionable in the professional philosophy of the past half century, that have sometimes troubled philosophers in the past. It's taken me several decades to work out my own philosophical agenda, and it is wide.

There are many critics whose work I greatly admire. Even though I diverge from T.J. Reed in several important ways, I've learned greatly from his writings on Mann.

The balance between literature and philosophy in Schopenhauer and Nietzsche is different from that struck in the novella, but, as Mann clearly pointed out in his writings about both thinkers, both modes are present.

Britten's opera tends to see things in simpler terms. It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire.

Both Proust and Joyce record the ways in which human perspectives can be transformed. In Portrait, Stephen Dedalus is constantly undergoing epiphanies, but their effects are transitory: the new synthetic complex quickly falls apart. Proust's characters, by contrast, often achieve lasting changes of perspective.

Those citizens are distracted by the toys technology has supplied, and fail to recognize the ways in which what they most deeply want is made vulnerable by the coming disruptions of human relations on an over-heated planet.