#sisyphus — Public Fediverse posts

Ah, the digital age's #Sisyphus has spoken! 🤖 Apparently, this brave soul has discovered that the best audience is an army of tireless, unsleeping bots… because who needs human readers when you can have a #spammy echo chamber? 🎉 Bravo, truly a #masterpiece of relevance in the attention economy.
https://hoeijmakers.net/thirty-years-of-caching-sorted-in-an-afternoon/ #digitalage #bots #attentioneconomy #echochamber #HackerNews #ngated

I explore the psychological necessity of routine and domestic labour for the elderly as a means of maintaining dignity and purpose through repetitive tasks that serve as vital frameworks that hold a person’s identity together.

https://philosophics.blog/2026/05/02/octogenarians/?utm_source=masto&utm_medium=social

#philosophy #psychology #care #blog #podcast #ageing #humanism #meaning #feminism #purpose #housework #domestic #employment #productivity #ritual #retirement #caregiving #elderly #compassion #absurdity #sisyphus #writing #routine

I explore the psychological necessity of routine and domestic labour for the elderly as a means of maintaining dignity and purpose through repetitive tasks that serve as vital frameworks that hold a person’s identity together.

https://philosophics.blog/2026/05/02/octogenarians/?utm_source=masto&utm_medium=social

#philosophy #psychology #care #blog #podcast #ageing #humanism #meaning #feminism #purpose #housework #domestic #employment #productivity #ritual #retirement #caregiving #elderly #compassion #absurdity #sisyphus #writing #routine

I explore the psychological necessity of routine and domestic labour for the elderly as a means of maintaining dignity and purpose through repetitive tasks that serve as vital frameworks that hold a person’s identity together.

https://philosophics.blog/2026/05/02/octogenarians/?utm_source=masto&utm_medium=social

#philosophy #psychology #care #blog #podcast #ageing #humanism #meaning #feminism #purpose #housework #domestic #employment #productivity #ritual #retirement #caregiving #elderly #compassion #absurdity #sisyphus #writing #routine

I explore the psychological necessity of routine and domestic labour for the elderly as a means of maintaining dignity and purpose through repetitive tasks that serve as vital frameworks that hold a person’s identity together.

https://philosophics.blog/2026/05/02/octogenarians/?utm_source=masto&utm_medium=social

#philosophy #psychology #care #blog #podcast #ageing #humanism #meaning #feminism #purpose #housework #domestic #employment #productivity #ritual #retirement #caregiving #elderly #compassion #absurdity #sisyphus #writing #routine

I explore the psychological necessity of routine and domestic labour for the elderly as a means of maintaining dignity and purpose through repetitive tasks that serve as vital frameworks that hold a person’s identity together.

https://philosophics.blog/2026/05/02/octogenarians/?utm_source=masto&utm_medium=social

#philosophy #psychology #care #blog #podcast #ageing #humanism #meaning #feminism #purpose #housework #domestic #employment #productivity #ritual #retirement #caregiving #elderly #compassion #absurdity #sisyphus #writing #routine

The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading

Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.

Here is the passage in question:

Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.

This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.

The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.

Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.

Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.

She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.

Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.

The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.

The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.

Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.

Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.

Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.

A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.

The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.

Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.

The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading

Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.

Here is the passage in question:

Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.

This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.

The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.

Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.

Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.

She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.

Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.

The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.

The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.

Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.

Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.

Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.

A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.

The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.

Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.

The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading

Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.

Here is the passage in question:

Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.

This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.

The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.

Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.

Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.

She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.

Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.

The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.

The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.

Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.

Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.

Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.

A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.

The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.

Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.

The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading

Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.

Here is the passage in question:

Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.

This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.

The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.

Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.

Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.

She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.

Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.

The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.

The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.

Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.

Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.

Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.

A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.

The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.

Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.

The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading

Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.

Here is the passage in question:

Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.

This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.

The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.

Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.

Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.

She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.

Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.

The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.

The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.

Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.

Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.

Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.

A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.

The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.

Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.

The Finite Lens: How a Fragile Life Gives Shape to an Infinite Universe

The question arrives early and stays late: what does it mean to live a finite, fragile life inside an infinite, eternal universe? Every serious person encounters this problem, usually around the age when the body first betrays its limits, and no one resolves it cleanly. Theology dissolves the question by denying its premise. Science measures the mismatch with such precision that the human side of the equation vanishes into decimal places. And the popular existentialist answers, the ones printed on coffee mugs and quoted in commencement speeches, have been sanded down so thoroughly that they function as anesthesia rather than analysis.

The question deserves better than any of these treatments. It deserves to be held open, examined under pressure, and allowed to remain uncomfortable.

The Asymmetry

Start from the direction of the universe and the human life looks like a rounding error. Our cosmos is approximately 13.8 billion years old. The average human lifespan, even in the most medically privileged nations, occupies roughly 80 years of that span. Express the ratio and you arrive at a number so small it resists intuition. You are, measured against the full temporal scale, less than a flicker. Less than a photon’s transit across a single atom, proportionally speaking.

Now reverse the direction. Start from the body, from the specific locus of a single nervous system processing sensory data in a particular room on a particular afternoon, and the universe becomes the abstraction. The cosmos has never experienced a Wednesday. It has never tasted copper on the back of its tongue during a nosebleed. It has never recognized a face in a crowd or understood, with the specific sinking weight that only a conscious being can generate, that this will end. The universe is infinite and eternal and has no experience of either condition. Panpsychist arguments might attribute proto-consciousness to matter itself, but even those frameworks require integration and boundary to produce anything resembling experience, which returns us to the same point: experience needs a finite frame. You are finite and fragile and experience both conditions constantly.

This asymmetry is the entire problem, and it is also the entire answer. Most attempts to address the question fail because they try to resolve the asymmetry rather than examine what it produces.

The Consolation Error

The first failure mode is consolation. Nearly every major religious tradition offers some version of the same move: the finite life is not actually finite. It continues, elsewhere, in another form, on another plane, in another body. The soul persists. Consciousness transfers. The drop returns to the ocean. Specific metaphors vary by culture and century, but the structural logic is identical in every case. Anxiety produced by finitude is managed by reclassifying finitude as an illusion.

What this move never does is confront the question it claims to answer. If the life is not actually finite, then the original tension between finite life and infinite universe does not exist, and there is nothing to explain. The consolation retreats from the paradox rather than resolving it. And the retreat has consequences. A person who believes that consciousness continues after biological death is making a different set of calculations about how to spend Tuesday afternoon than a person who believes Tuesday afternoon is drawn from a non-renewable account. The consolation changes behavior by changing the perceived stakes, and the changed stakes may or may not produce a life that the person, looking back from any vantage point, would endorse.

Religious belief can survive this observation intact. The target here is narrower: using religious belief as an escape hatch from a question that operates independently of any theological commitment. Even if consciousness does persist after death, the specific form of experience available to a human body in a human lifespan, the form that includes embodiment, limitation, sensory saturation, and the constant negotiation with a decaying physical substrate, that form ends. The question is about that form, and no afterlife addresses it.

The Absurdist Shortcut

The second failure mode is absurdism, and it gets closer to honesty before veering away. Camus, writing in the middle of the twentieth century with the wreckage of two world wars still smoking in the background, argued that the confrontation between a meaning-seeking human and a meaningless universe produces the absurd. His prescribed response was defiance: acknowledge the mismatch, refuse both suicide and consolation, and keep pushing the boulder. We must imagine Sisyphus happy, he wrote, and the sentence has been quoted so frequently that it now functions as a kind of secular prayer, recited for comfort rather than analyzed for content.

Camus, though, converts the absurd into an aesthetic posture. Sisyphus becomes admirable, even heroic, and the absurdity of his situation becomes a stage on which he performs dignity. The appeal is immediate, and so is the evasion. Performing dignity in the face of meaninglessness is itself a meaning-making act, which means Camus has smuggled purpose back into a framework that was supposed to exclude it. If Sisyphus is happy because his defiance constitutes a form of self-authorship, then the universe has become a venue for self-authorship, which is a meaning. Camus would call this “revolt” and argue that revolt is the whole point, that the absurd generates its own ethic. Fair enough; but then the position has migrated from an epistemological claim about the absence of meaning to an ethical claim about the creation of meaning through resistance, and those are different propositions with different burdens of proof. Rigorously applied, the absurdist position should be unlivable. That Camus makes it livable suggests he has abandoned it somewhere between the premise and the conclusion.

Sartre made a parallel move from the existentialist side, arguing that existence precedes essence and that human beings are “condemned to be free.” The condemnation framing is rhetorically effective, but it too becomes a kind of aesthetic stance: the anguish of radical freedom is performed rather than endured. By the time Sartre reaches his prescriptions for engagement and commitment, he has left the raw confrontation with finitude behind and entered a system of ethics that, however admirable, no longer sits with the original vertigo.

What Finitude Actually Produces

Strip away the consolation and the aesthetic postures and what remains is a structural observation. Finitude functions as the precondition for consciousness to operate at all, the architecture that makes experience possible.

Consider what infinity would mean for experience. An infinite being could not experience sequence, because sequence requires that one moment end before the next begins, and in an infinite frame, no moment is privileged over any other. Loss would be equally unavailable, because loss requires that something once possessed become permanently unavailable, and permanent unavailability is a concept that has no purchase in an infinite system where everything recurs or persists. Anticipation would vanish as well, because anticipation requires uncertainty about what comes next, and an infinite being either contains all possible futures simultaneously or extends through all of them serially, neither of which permits the specific tension of not knowing.

Heidegger understood this when he argued that Dasein’s being-toward-death is the structural precondition for any moment to register as significant. This is a philosophical observation about conditions, not a psychological guarantee about outcomes. Plenty of people are crushed by the awareness of their own finitude; anxiety disorders, existential paralysis, and the entire pharmaceutical architecture of modern life testify to finitude’s capacity to destroy as readily as it generates. The structural point holds regardless: even the terror is available only to a finite being. An infinite consciousness could not experience dread, because dread requires a future that might contain annihilation, and an infinite being faces no such future. Remove the horizon and the landscape flattens. A life without an endpoint is a life without shape, and a life without shape cannot generate meaning, because meaning requires selection, and selection requires that most possibilities will go unrealized. You chose this sentence over the infinite set of sentences you might have written. That choice cost you time, and the time came from a finite supply. The cost is what makes the choice real.

Here is a practical example. You write a book. That book exists because you arranged specific words in a specific order and excluded all other possible arrangements. The infinite universe contains, in some abstract combinatorial sense, every possible book: every arrangement of every symbol in every language, including arrangements that are gibberish and arrangements that are masterpieces no human will ever compose. Not one of those hypothetical books means anything. Yours does, because it cost you years you will not recover, attention you cannot redistribute, and effort drawn from an account that accepts no deposits. The finitude generates the value, acting as the mechanism that makes the creative expenditure register. A book that cost nothing to produce, that emerged from an infinite supply of time and attention, would carry no weight. Weight requires gravity, and gravity requires mass, and in this analogy, mass is limitation.

Fragility as Intensifier

Finitude alone would be sufficient to generate meaning, but the human situation includes a second constraint that sharpens the first. The life is finite and, on top of that, fragile. The span can be cut short at any moment by accident, disease, violence, or cascading systemic failure. You are running out of time in the long actuarial sense, and you also cannot guarantee the next hour.

This fragility adds pressure to every act of attention. Montaigne understood this and built his entire literary project on the foundation of that understanding. The essay form, provisional and exploratory, matched the condition of a mind that knew it might be interrupted at any moment. Treatises imply completion and systematic coverage; Montaigne chose instead to write attempts, which is what the French word “essai” means: trials, tests, experiments conducted by a consciousness that cannot promise to be present for the conclusion. The fragility clarified his priorities rather than freezing them. When you cannot guarantee the future, the present tense becomes the only reliable site of action, and the quality of attention you bring to the present becomes the only variable fully under your control.

Simone Weil made a related argument from a different angle when she described attention as the rarest form of generosity. She was writing about prayer, but the observation holds in secular contexts. Attention, the deliberate focusing of a finite mind on a specific object, is expensive precisely because the mind is mortal. Every moment of concentration is drawn from a supply that is both limited and vulnerable to sudden termination. You pay for attention with life, and you pay at a rate you cannot negotiate.

The Poverty of Infinity

The reciprocal observation is less frequently made but equally important. If finitude is the condition that produces meaning, then infinity is the condition that prevents it. The infinite universe has no priorities. It cannot. Priority requires preference, preference requires perspective, and perspective requires a located, bounded observer who can distinguish between here and there, now and then, this and that. The universe is everywhere and everywhen simultaneously, which means it is, in experiential terms, nowhere and never. Its infinity is a form of poverty. It contains everything and experiences nothing.

This is counterintuitive because human beings tend to associate infinity with richness and finitude with deprivation. We speak of “limited” lifespans as though the limitation were a loss, as though somewhere there exists a full-length version of a human life from which ours has been cut short. The framing is backwards. The infinite version would be the impoverished one: a life that included everything would be a life that selected nothing, and a life that selected nothing would be indistinguishable, in experiential terms, from a life that never occurred.

Jorge Luis Borges explored this in “The Library of Babel,” his story about an infinite library containing every possible book. The library is simultaneously the greatest imaginable repository of knowledge and a total waste, because the books that contain truth are buried among an effectively infinite number of books that contain nonsense, and no finite reader can distinguish between them. The library’s infinity makes it useless. Only a finite reader, approaching the library with limited time and specific questions, could extract value from any single volume. The finitude of the reader is what makes the library legible.

The Lens

So what does it mean to live a finite, fragile life in an infinite, eternal universe? You are the part of the universe that knows the universe is there. Your finitude is the specific structural feature that allows the cosmos to become legible. You are the lens through which infinity briefly achieves focus, and the focus holds only because the lens will break.

The breaking constitutes the design itself. A lens that never broke would be a lens that never focused, because focusing requires boundaries, and boundaries are what fragile things possess. The universe needs your limits more than you need its expanse. Without a finite observer, the infinite has no witness. Without a fragile consciousness, the eternal has no moment. The relationship lacks symmetry, and symmetry would add nothing to it. The comparison between your scale and the universe’s scale misidentifies the relevant metric entirely. You and the universe are performing different functions, and yours is the one that requires courage.

The honest response to this situation is seriousness. That word needs to be distinguished from solemnity, which is an aesthetic posture, and from gravity, which is a mood. Seriousness, in this context, means treating each act of attention as consequential because it is drawn from a non-renewable supply. Refuse the consolation that would make the supply seem infinite; refuse equally the ironic detachment that would make the expenditure seem meaningless. Live as though the account is real, the balance is declining, and the only question that matters is what you purchase with what remains.

The universe does not need to be watching. The account does not need to balance against some cosmic ledger. Recognition alone suffices: the asymmetry between your finitude and the universe’s infinity is the condition that makes you the one asking the question, while the universe, for all its reach and duration, has never once thought to ask.

After a ton of compiling, the v2 release is official. Containers all work, the client works, and now I'm gonna relax and watch some YouTube videos. Releases are available on the website though I still need to update the docs with the new "installation" process (much simplified).

Releases: https://git.jamesthebard.net/jweatherly/sisyphus-client-golang/releases

#sisyphus #encoding #programming #golang

Building containers...so much fun...

#sisyphus #devops

Version 2.0.0b5 should be the last version before the first "official" release of the client rewrite. So very, very close...lol

#programming #sisyphus

The long test is looking good for the `av1an`, `mkvmerge`, and `cleanup` modules, the Golang client is doing exactly what its supposed to which is a welcome change from yesterday. I need to do long tests on the `ffmpeg` and `handbrake` modules next, but I'll handle those tomorrow.

After that, I'll update documentation, release the `2.0.0` client, and deprecate the old client.

#sisyphus #av1an #ffmpeg #matroska #encoding #programming #golang

Lots of progress and a lots of pain. However, all of the Sisyphus modules have been implemented and I'm currently running a test across the `2.0.0b2` version. The most painful thing I fought was literally tailing a log file. Got lazy and brought in `hpcloud/tail` because it did what I needed it to, but what it _didn't_ do was work well for my application. After a day or two of battling it, I removed it and went with `bufio.NewReader`and a nice `context.CloseWith` setup and now it works every time.

Also added a `PostRun()` call to each module just to have a place to do basic module cleanup if needed.

Learned a ton on this one so far and while annoying at times: it's been pretty fun.

Repo: https://git.jamesthebard.net/jweatherly/sisyphus-client-golang

#golang #sisyphus #encoding #programming

Ah previous me...I see you've decided to make this rewrite more difficult because you got _clever_ and I decided to keep backward compatibility. Thought that the `ffmpeg` module would be the biggest pain in the ass, but I was completely wrong. The `mkvmerge` part is coming along and I'm hoping to have it done today or tomorrow. Things progress.

#matroska #mkvmerge #sisyphus #golang

Every morning I wake up and fail my own purity tests.
How can I persist in tolerating myself?

#Sisyphus

The Sisyphus client rewrite continues after a bit of a break. The `ffmpeg` module is mostly finished and should serve as a good template for `handbrake`, `av1an`, `mkvmerge`, and `cleanup` modules. Logging is progressing pretty well. The config has been expanded slightly and can now pull from TOML files on top of the standard environment variables.

#sisyphus #encoding #ffmpeg #golang

Roads cutting through mountain ranges and waterfalls
Do they cause landslides and reactivate old ones?

Temporary fix for Waterfall Way at Gordonville slip site
"Waterfall Way has reopened between Bellingen and Dorrigo after temporary repairs to the Gordonville slip site. The temporary fix consists of a gravel filled shipping container wall, two containers high and eight containers long, attached to the rockface using nine high-strength steel anchors drilled deep into the rockface." >>
https://insidelocalgovernment.com.au/temporary-fix-for-waterfall-way-at-gordonville-slip-site/

Video of landslide: Waterfall Way, Gordonville Crossing Landslip >>
https://www.youtube.com/watch?v=ZGymAVc1u8g

Do roads mean landslides are more likely? >>
https://blogs.egu.eu/geolog/2015/01/16/geosciences-column-do-roads-mean-landslides-are-more-likely/

Could road constructions be more hazardous than an earthquake in terms of mass movement?

"In this study, we report a distinct correlation of mass movements and major road constructions that explicitly shows human impact on mountainous environments which are under anthropogenic disturbance recently. Our results further suggest that slope instabilities increased drastically after major service road constructions for hydroelectric power plants and as well as other road extension works."

"We also stress that the impact of road construction can disturb the natural slope equilibrium to an extent comparable with moderate (larger than 6 Mw) earthquakes."

"Such an observation implies that human activities can have a large, if not even dominant, impact on landscape evolution and the natural regime of surface processes. This is part of the definition of “Anthropocene,” an age where our society shapes nature for our purposes, frequently at the risk of damaging ourselves."
https://link.springer.com/article/10.1007/s11069-021-05199-2

Image: Sisyphus, Franz von Stuck, 1920

#roads #WaterFallWay #mountains #ecosystem #denudation #overloading #waterfalls #Bellingenshire #Dorrigo #landslides #landslips #infrastructure #cars #engineering #Sisyphus #mindsets #Anthropocene

Roads cutting through mountain ranges and waterfalls
Do they cause landslides and reactivate old ones?

Temporary fix for Waterfall Way at Gordonville slip site
"Waterfall Way has reopened between Bellingen and Dorrigo after temporary repairs to the Gordonville slip site. The temporary fix consists of a gravel filled shipping container wall, two containers high and eight containers long, attached to the rockface using nine high-strength steel anchors drilled deep into the rockface." >>
https://insidelocalgovernment.com.au/temporary-fix-for-waterfall-way-at-gordonville-slip-site/

Video of landslide: Waterfall Way, Gordonville Crossing Landslip >>
https://www.youtube.com/watch?v=ZGymAVc1u8g

Do roads mean landslides are more likely? >>
https://blogs.egu.eu/geolog/2015/01/16/geosciences-column-do-roads-mean-landslides-are-more-likely/

Could road constructions be more hazardous than an earthquake in terms of mass movement?

"In this study, we report a distinct correlation of mass movements and major road constructions that explicitly shows human impact on mountainous environments which are under anthropogenic disturbance recently. Our results further suggest that slope instabilities increased drastically after major service road constructions for hydroelectric power plants and as well as other road extension works."

"We also stress that the impact of road construction can disturb the natural slope equilibrium to an extent comparable with moderate (larger than 6 Mw) earthquakes."

"Such an observation implies that human activities can have a large, if not even dominant, impact on landscape evolution and the natural regime of surface processes. This is part of the definition of “Anthropocene,” an age where our society shapes nature for our purposes, frequently at the risk of damaging ourselves."
https://link.springer.com/article/10.1007/s11069-021-05199-2

Image: Sisyphus, Franz von Stuck, 1920

#roads #WaterFallWay #mountains #ecosystem #denudation #overloading #waterfalls #Bellingenshire #Dorrigo #landslides #landslips #infrastructure #cars #engineering #Sisyphus #mindsets #Anthropocene

Roads cutting through mountain ranges and waterfalls
Do they cause landslides and reactivate old ones?

Temporary fix for Waterfall Way at Gordonville slip site
"Waterfall Way has reopened between Bellingen and Dorrigo after temporary repairs to the Gordonville slip site. The temporary fix consists of a gravel filled shipping container wall, two containers high and eight containers long, attached to the rockface using nine high-strength steel anchors drilled deep into the rockface." >>
https://insidelocalgovernment.com.au/temporary-fix-for-waterfall-way-at-gordonville-slip-site/

Video of landslide: Waterfall Way, Gordonville Crossing Landslip >>
https://www.youtube.com/watch?v=ZGymAVc1u8g

Do roads mean landslides are more likely? >>
https://blogs.egu.eu/geolog/2015/01/16/geosciences-column-do-roads-mean-landslides-are-more-likely/

Could road constructions be more hazardous than an earthquake in terms of mass movement?

"In this study, we report a distinct correlation of mass movements and major road constructions that explicitly shows human impact on mountainous environments which are under anthropogenic disturbance recently. Our results further suggest that slope instabilities increased drastically after major service road constructions for hydroelectric power plants and as well as other road extension works."

"We also stress that the impact of road construction can disturb the natural slope equilibrium to an extent comparable with moderate (larger than 6 Mw) earthquakes."

"Such an observation implies that human activities can have a large, if not even dominant, impact on landscape evolution and the natural regime of surface processes. This is part of the definition of “Anthropocene,” an age where our society shapes nature for our purposes, frequently at the risk of damaging ourselves."
https://link.springer.com/article/10.1007/s11069-021-05199-2

Image: Sisyphus, Franz von Stuck, 1920

#roads #WaterFallWay #mountains #ecosystem #denudation #overloading #waterfalls #Bellingenshire #Dorrigo #landslides #landslips #infrastructure #cars #engineering #Sisyphus #mindsets #Anthropocene

Roads cutting through mountain ranges and waterfalls
Do they cause landslides and reactivate old ones?

Temporary fix for Waterfall Way at Gordonville slip site
"Waterfall Way has reopened between Bellingen and Dorrigo after temporary repairs to the Gordonville slip site. The temporary fix consists of a gravel filled shipping container wall, two containers high and eight containers long, attached to the rockface using nine high-strength steel anchors drilled deep into the rockface." >>
https://insidelocalgovernment.com.au/temporary-fix-for-waterfall-way-at-gordonville-slip-site/

Video of landslide: Waterfall Way, Gordonville Crossing Landslip >>
https://www.youtube.com/watch?v=ZGymAVc1u8g

Do roads mean landslides are more likely? >>
https://blogs.egu.eu/geolog/2015/01/16/geosciences-column-do-roads-mean-landslides-are-more-likely/

Could road constructions be more hazardous than an earthquake in terms of mass movement?

"In this study, we report a distinct correlation of mass movements and major road constructions that explicitly shows human impact on mountainous environments which are under anthropogenic disturbance recently. Our results further suggest that slope instabilities increased drastically after major service road constructions for hydroelectric power plants and as well as other road extension works."

"We also stress that the impact of road construction can disturb the natural slope equilibrium to an extent comparable with moderate (larger than 6 Mw) earthquakes."

"Such an observation implies that human activities can have a large, if not even dominant, impact on landscape evolution and the natural regime of surface processes. This is part of the definition of “Anthropocene,” an age where our society shapes nature for our purposes, frequently at the risk of damaging ourselves."
https://link.springer.com/article/10.1007/s11069-021-05199-2

Image: Sisyphus, Franz von Stuck, 1920

#roads #WaterFallWay #mountains #ecosystem #denudation #overloading #waterfalls #Bellingenshire #Dorrigo #landslides #landslips #infrastructure #cars #engineering #Sisyphus #mindsets #Anthropocene

Roads cutting through mountain ranges and waterfalls
Do they cause landslides and reactivate old ones?

Temporary fix for Waterfall Way at Gordonville slip site
"Waterfall Way has reopened between Bellingen and Dorrigo after temporary repairs to the Gordonville slip site. The temporary fix consists of a gravel filled shipping container wall, two containers high and eight containers long, attached to the rockface using nine high-strength steel anchors drilled deep into the rockface." >>
https://insidelocalgovernment.com.au/temporary-fix-for-waterfall-way-at-gordonville-slip-site/

Video of landslide: Waterfall Way, Gordonville Crossing Landslip >>
https://www.youtube.com/watch?v=ZGymAVc1u8g

Do roads mean landslides are more likely? >>
https://blogs.egu.eu/geolog/2015/01/16/geosciences-column-do-roads-mean-landslides-are-more-likely/

Could road constructions be more hazardous than an earthquake in terms of mass movement?

"In this study, we report a distinct correlation of mass movements and major road constructions that explicitly shows human impact on mountainous environments which are under anthropogenic disturbance recently. Our results further suggest that slope instabilities increased drastically after major service road constructions for hydroelectric power plants and as well as other road extension works."

"We also stress that the impact of road construction can disturb the natural slope equilibrium to an extent comparable with moderate (larger than 6 Mw) earthquakes."

"Such an observation implies that human activities can have a large, if not even dominant, impact on landscape evolution and the natural regime of surface processes. This is part of the definition of “Anthropocene,” an age where our society shapes nature for our purposes, frequently at the risk of damaging ourselves."
https://link.springer.com/article/10.1007/s11069-021-05199-2

Image: Sisyphus, Franz von Stuck, 1920

#roads #WaterFallWay #mountains #ecosystem #denudation #overloading #waterfalls #Bellingenshire #Dorrigo #landslides #landslips #infrastructure #cars #engineering #Sisyphus #mindsets #Anthropocene

A nice afternoon running some brutal encodes across the homelab. This is initial testing of the 5fist fork of the `svt-av1-psy` encoder with some pretty severe settings. Hoping that the results are worth the wait, but gotta wait until the first few results come out of the workers.

#sisyphus #av1 #svtAv1 #encoding

"…One always finds one's burden again. But #Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile: Each atom of that stone, each mineral flake of that night-filled mountain, in itself, forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."
- Albert #Camus

#philosophy #philosophyquotes

So, spent most of the day getting Handbrake compiled with the `svt-av1-psyex` and `svt-av1-essential` forks of the SvtAv1 encoder. However, I did win that battle and both are now available in the `sisyphus-client` containers. Definitely a pain in the ass, but it's nice to have options depending on what you want to use. Also updated the documentation to make sure I don't forget which is which.

I still need to implement some pipelines to build these, but holy crap the Handbrake compiles take forever to finish.

https://git.jamesthebard.net/jweatherly/-/packages/container/sisyphus-client/latest

#sisyphus #handbrake #svtAv1Psyex #svtAv1Essential

The madness continues. I'm working on getting Handbrake compiled with support for the SvtAv1 `psyex` fork, and after quite a few attempts and fixing a few patches I have it working. This will end up in the final `sisyphus-client:latest` container assuming the current tests pass. I have something similar I need to do with the `sisyphus-client:latest-essential` container with the `essential` SvtAv1 fork as well, but things are looking good.

#sisyphus #av1 #svtAv1Psyex #svtAv1Essential

Oh yeah, things are working as intended now. Unfortunately, I did crank the settings so these encodes are going to take about an hour each. However, the homelab seems to be up to the challenge.

#sisyphus #encoding #av1an

After breaking out `strace` and just a ton of other stuff I finally figured out what was going on. A single encoder option was invalid which caused the workers to crash before even writing the file in the data directory. Fixing the setting cleared up the issue and made everything happy.

What caused this rabbithole initially was `av1an` eating itself when trying to put the video and audio stuff together at the end of an encode. Unfortunately the `audio.mkv` file it was trying to mux into the container kept causing `mkvmerge` to fail because the audio file was empty. _This_ was caused by bad audio encoder options being passed to `ffmpeg`.

I made sure I documented both of these and I'm currently running test videos before calling it 100% good.

#av1an #sisyphus #encoding #ffmpeg #mkvtoolnix

I think this might be the most frustrating thing I've dealt with: the `av1an` encoder not being able to create files in the client container. Definitely has free space, the user is running in the container as `root` (also does the this as a regular user) but absolutely refuses to run.

The mystery continues.

#av1an #sisyphus #docker

Time to put the newly rewritten server into action. Broke out my totally stock firmware LG WH16NS60 drive, and started in on some Bluray TV episode sets. Currently ripping at ~9.2X which definitely helps out.

Think I'm gonna target AV1 via `av1an` and use the `svt-av1-psyex` encoder. Already have the subtitles and attachments though I'll have to offset the subs by 1000ms for everything to work out.

#video #encoding #bluray #lg #sisyphus #makemkv

I'm done with the server for the time being, got everything working the way I want it to and the performance is where I wanted it to be at before starting some client work.

https://git.jamesthebard.net/jweatherly/sisyphus-server-golang/releases

#golang #sisyphus #programming

Almost 600 lines of OpenAPI documentation later and I'm done. I think I'll package the `/doc` endpoint with the Docker images since I can just copy over the static directory and have it live in the container. I'll add directions on how to add the docs to the standalone binaries as well which should cover that use case. Overall, it turned out pretty well.

#sisyphus #openapi #swagger #scalar #documentation

Documentation continues. Done with the `queue` and `worker` endpoints, probably about 50% of the way done with this. I still need a good way to package all of this up with the binary which means putting the `openapi.yaml` file somewhere on the net so it can be pulled if need be. I'll deal with that later...lol

#openapi #scalar #sisyphus #programming

We worked very hard for first place. Well, I know I did, the end goal and where my efforts were directed wasn't in my hands. #Sisyphus https://www.roymorgan.com/findings/10157-risk-monitor-quartely-update-december-2025

Now the pain in the ass part: documenting all of the routes. I think I'm gonna use Scalar because it's easy and I'm pretty lazy. Carved off the `/doc` directory to host the `openapi.yaml` and `index.html` files. So far, got one single endpoint documented...lol

#openapi #sisyphus

Initial release done for the Sisyphus server, had to do it manually for the time being which is slightly annoying. I'll deal with the pipeline much later. Posted AMD64 and ARM64 binaries for Windows, Linux, And macOS. Got a lot done over the last few days, now time to relax...lol

https://git.jamesthebard.net/jweatherly/sisyphus-server-golang/releases

#golang #sisyphus

So, got the server in place but discovered that the Docker image that I created that has the Sisyphus client and all of the binaries like `ffmpeg`, `av1an` was not very happy. Ffmpeg crashed because it couldn't find the `libSvtAvcEnc.so.4` library which was because I had a custom version of it installed (`svt-av1-psyex`).

Got the Dockerfile fixed by installing `svt-av1-psyex` and then compiling `ffmpeg` against those libraries, then installing both `svt-av1-psyex` and `ffmpeg` into the final container which makes `ffmpeg` happy. Also saw an issue where the Vapoursynth `lsmash` module wasn't being found, but that got tracked down to a stale Docker image (forgot to pull the latest from the repo).

I have two encodes going: one `ffmpeg` and one `av1an` which should be the real final test. If they turn out well, attachments where they're supposed to be, etc., etc. then I'll probably start working on documentation and get this out there.

#sisyphus #encoding #av1an #vapoursynth #ffmpeg #svtAv1Psyex

The new server is online and so far the testing looks good. All the endpoints seem to be working and all of the workers and frontend are showing the correct information. I still need to do a complete test run to include encoding just to verify everything, but I'll do that after work today.

#golang #gin #sisyphus #programming

So, decided to get them rookie `/queue` numbers up so did a quick bit of caching. For a 12-job queue, I went from 240 RPS (Python/Flask) to 680 (Golang/Gin) then to 3400 RPS with some proper caching. The `/workers` endpoint would benefit as well, but I think its performant enough though I may end up adding a bit of caching later.

#golang #programming #sisyphus #caching #valkey

@AdmiralMemo @david
I'm slightly sad no one has figured out how to get the hamster wheel to be (or directly turn) an LP, so the hamster can enjoy it too :P

#hamster #hamsterwheel #sisyphus #LP #vinyl #animals

@AdmiralMemo @david
I'm slightly sad no one has figured out how to get the hamster wheel to be (or directly turn) an LP, so the hamster can enjoy it too :P

#hamster #hamsterwheel #sisyphus #LP #vinyl #animals

@AdmiralMemo @david
I'm slightly sad no one has figured out how to get the hamster wheel to be (or directly turn) an LP, so the hamster can enjoy it too :P

#hamster #hamsterwheel #sisyphus #LP #vinyl #animals

@AdmiralMemo @david
I'm slightly sad no one has figured out how to get the hamster wheel to be (or directly turn) an LP, so the hamster can enjoy it too :P

#hamster #hamsterwheel #sisyphus #LP #vinyl #animals

@AdmiralMemo @david
I'm slightly sad no one has figured out how to get the hamster wheel to be (or directly turn) an LP, so the hamster can enjoy it too :P

#hamster #hamsterwheel #sisyphus #LP #vinyl #animals

So, decided to make the `sisyphus-client` Docker image a multi-stage build because it was a really large image. Ended up taking it from 1.3GB to 708MB which isn't too shabby. Unfortunately, that's about as small as I'm gonna be able to get it with all of the encoding binaries/libraries that I have to install.

Still, pretty solid reduction in container size.

#homelab #encoding #sisyphus

Sisyphus or Icarus? #abtest #pleasexplain #Sisyphus #Icarus

Sisyphus or Icarus? #abtest #pleasexplain #Sisyphus #Icarus