Skip to main content

An Animated Introduction to Albert Camus’ Existentialism, a Philosophy Making a Comeback in Our Dysfunctional Times

When next you meet an existentialist, ask him what kind of existentialist s/he is. There are at least as many varieties of existentialism as there have been high-profile thinkers propounding it. Several major strains ran through postwar France alone, most famously those championed by Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus — who explicitly rejected existentialism, in part due to a philosophical split with Sartre, but who nevertheless gets categorized among the existentialists today. We could, perhaps, more accurately describe Camus as an absurdist, a thinker who starts with the inherent meaningless and futility of life and proceeds, not necessarily in an obvious direction, from there.

The animated TED-Ed lesson above sheds light on the historical events and personal experiences that brought Camus to this worldview. Beginning in the troubled colonial Algeria of the early 20th-century in which he was born and raised, educator Nina Medvinskaya goes on to tell of his periods as a resistance journalist in France and as a novelist, in which capacity he would write such enduring works as The Stranger and The Plague. Medvinskaya illuminates Camus' central insight with a well-known image from his earlier essay "The Myth of Sisyphus," on the Greek king condemned by the gods to roll a boulder up a hill for all eternity.

"Camus argues that all of humanity is in the same position," says Medvinskaya, "and only when we accept the meaninglessness of our lives can we face the absurd with our heads held high." But "Camus' contemporaries weren't so accepting of futility." (Here the Quentin Blake-style illustrations portray a couple of figures bearing a strong resemblance to Sartre and de Beauvoir.) Many existentialists "advocated for violent revolution to upend systems they believed were depriving people of agency and purpose." Such calls haven't gone silent in 2020, just as The Plague — one of Camus' writings in response to revolutionary existentialism — has only gained relevance in a time of global pandemic.

Last month the Boston Review's Carmen Lea Dege considered the recent comeback of the thought, exemplified in different ways by Camus, Sartre, and others, that "rejected religious and political dogma, expressed scorn for academic abstraction, and focused on the finitude and absurdity of human existence." This resurgence of interest "is not entirely surprising. The body of work we now think of as existentialist emerged during the first half of the twentieth century in conflict-ridden Germany and France, where uncertainty permeated every dimension of society." As much as our societies have changed since then, uncertainty has a way of returning.

Today "we define ourselves and others on the basis of class, religion, race, and nationality, or even childhood influences and subconscious drives, to gain control over the contingencies of the world and insert ourselves in the myriad ways people have failed and succeeded in human history." But the existentialists argued that "this control is illusory and deceptive," an "alluring distraction from our own fragility" that ultimately "corrodes our ability to live well." For the existentialists, pursuit of good life first demands an acceptance of not just fragility but futility, meaninglessness, absurdity, and ambiguity, among other conditions that strike us as deeply unacceptable. As Camus put it, we must imagine Sisyphus happy. But can we?

Related Content:

The Absurd Philosophy of Albert Camus Presented in a Short Animated Film by Alain De Botton

Why You Should Read The Plague, the Albert Camus Novel the Coronavirus Has Made a Bestseller Again

Albert Camus: The Madness of Sincerity — 1997 Documentary Revisits the Philosopher’s Life & Work

An Animated Introduction to the Existentialist Philosophy of Jean-Paul Sartre… and How It Can Open Our Eyes to Life’s Possibilities

The Meaning of Life According to Simone de Beauvoir

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

An Animated Introduction to Albert Camus’ Existentialism, a Philosophy Making a Comeback in Our Dysfunctional Times is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/35YcWjt
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...