Music is one of my big interests - I once had a rather fanciful ambition to be a singer - and of course music is philosophically fascinating. What it is for music to express emotion strikes me as one of the most difficult questions - it's hard to say what it precisely means, although it plainly does mean something. But whenever I have tried to say something about this, it has come out as either banal or pretentious or both.

The wine itself has aesthetic value; but what it is for a wine to have aesthetic value cannot be understood without making reference to the experience to tasting it

I do think that if you are trying to think empirically about the relationship between conscious experience and the underlying physical reality, wine provides an excellent practical example. Winemakers manipulate the chemicals they are dealing with in a way that is very sensitive to the kinds of effects it will have on the subjective experience of tasters - this is not an accident.

Many people like to think that their moral or political enemies are not just wicked or wrong - as if that were not enough - but stupid or idiotic too. We tend to find this attitude too in the contemporary religion debate. It might console those on each side of the debate to think of their opponents in these terms, but if we want to make real progress in understanding what is going on here, this approach cannot help.

Even if we ignore the 'non-theoretical' knowledge which we acquire through experience (such as the knowledge of what something tastes like) and concentrate on theoretical knowledge, there is no good reason to think that physics can literally give the theory of everything. Here I want to be really pedantic. Although everything may be subject to physical law, not everything can be explained or described in physical terms. Physics has literally nothing to say about society, morality and the mind, for example - but of course these are parts of 'everything'.

We have no proper understanding of the relationship between conscious thought and conscious sensation. The various forms of thought and sensation are underpinned by very different neural mechanisms; so how can the neural correlate of their conscious natures be the same? I don't think we are yet in a position to make such speculations. To make progress, we have to have a good conception of the phenomenology of consciousness, among other things.

Music is one of my big interests - I once had a rather fanciful ambition to be a singer - and of course music is philosophically fascinating. What it is for music to express emotion strikes me as one of the most difficult questions - it's hard to say what it precisely means, although it plainly does mean something. But whenever I have tried to say something about this, it has come out as either banal or pretentious or both.