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It would be easy to conclude that an absurdist view of life rules out happiness and leads anyone with any sense to despair at her very existence. And yet in his book, Camus concludes, “One must imagine Sisyphus happy

this unexpected twist in Camus’ philosophy of life and happiness can help you change your perspective and see your daily struggles in a new, more equanimous way.

he argues that despite the hardships of this world, against all apparent odds, human beings regularly experience true happiness. People in terrible circumstances bask in love for one another. They enjoy simple diversions

Even Sisyphus was happy, according to Camus, because “the struggle itself toward the heights is enough to fill a man’s heart.” Simply put, he had something to keep him busy.

Instead of feeling desperation at the futility of life, Camus tells us to embrace its ridiculousness. It’s the only way to arrive at happiness, the most absurd emotion of all under these circumstances

We shouldn’t try to find some cosmic meaning in our relentless routines—getting, spending, eating, working, pushing our own little boulders up our own little hills

Instead, we should laugh uproariously at the fact that there is no meaning, and be happy anyway.

Happiness, for Camus, is an existential declaration of independence. Instead of advising “Don’t worry, be happy,” he offers a rebellious “Tell the universe to go suck eggs, be happy.”

If embracing the ridiculous seems impossible to you, Camus says it’s only because of your pride.

“Those who prefer their principles over their happiness, they refuse to be happy outside the conditions they seem to have attached to their happiness,”

In fact, each of us can consciously implement Camus’ absurdism in order to forge a happier life. Here are three practical ways to find joy in the ridiculous.

1. Stand up to your ennui.

You can’t necessarily change your perception of the world, but, as I have written, you most certainly can change your response to that perception. Meet that feeling of despair with a personal motto, such as “I don’t know what everything means, but I do know I am alive right now, and I will not squander this moment

2. Look for opportunities to do a little good.

One of the best ways to cultivate futility is by focusing on the big things you can’t control—war, natural disasters, hatred—as opposed to the little things you can.

Those little things include bringing a small blessing or source of relief to others.

if your commute to work is a soul-sucking existential nightmare, don’t ruminate on the cars stopped ahead of you. Rather, focus on making space for that poor sap stuck in the wrong lane who’s desperately trying to merge

3. Be fully present.

Absurdity tends to sting only when we see it from the “outside”; for example, when you think about how meaningless it has been to wash the dishes every day in the past only to find them dirty again right now—and imagine the countless dish washings that the rest of your life will comprise.

Confronting the absurd is much more comfortable when you do so with mindfulness.

“While washing the dishes one should only be washing the dishes, which means that while washing the dishes one should be completely aware of the fact that one is washing the dishes.

When the broad sweep of life brings you horror, concentrate on this moment, and savor it. The pleasure and meaning you can find right now are real; the meaninglessness of the future is not.

Some mornings, I wake up seeing only boulders and can’t face pushing them once again up that hill

Those are the days when my old friend Camus comes in handy. Instead of despairing of the absurdity of life, I lean into it, laugh at it, and start my day in a light mood. Then I gather my beloved boulders and set out for the nearest hill.

An aperiodic tiling displays no such “translational symmetry,” and mathematicians have long sought a single shape that could tile the plane in such a fashion. This is known as the einstein problem.

black and white squares also can make weird nonperiodic patterns, in addition to the familiar, periodic checkerboard pattern. “It’s really pretty trivial to be able to make weird and interesting patterns,” he said. The magic of the two Penrose tiles is that they make only nonperiodic patterns — that’s all they can do.“But then the Holy Grail was, could you do with one — one tile?” Dr. Goodman-Strauss said.

now a new paper — by Mr. Smith and three co-authors with mathematical and computational expertise — proves Mr. Smith’s discovery true. The researchers called their einstein “the hat,

“The most significant aspect for me is that the tiling does not clearly fall into any of the familiar classes of structures that we understand.”

“I’m always messing about and experimenting with shapes,” said Mr. Smith, 64, who worked as a printing technician, among other jobs, and retired early. Although he enjoyed math in high school, he didn’t excel at it, he said. But he has long been “obsessively intrigued” by the einstein problem.

Sir Roger found the proofs “very complicated.” Nonetheless, he was “extremely intrigued” by the einstein, he said: “It’s a really good shape, strikingly simple.”

The simplicity came honestly. Mr. Smith’s investigations were mostly by hand; one of his co-authors described him as an “imaginative tinkerer.”

When in November he found a tile that seemed to fill the plane without a repeating pattern, he emailed Craig Kaplan, a co-author and a computer scientist at the University of Waterloo.

“It was clear that something unusual was happening with this shape,” Dr. Kaplan said. Taking a computational approach that built on previous research, his algorithm generated larger and larger swaths of hat tiles. “There didn’t seem to be any limit to how large a blob of tiles the software could construct,”

The first step, Dr. Kaplan said, was to “define a set of four ‘metatiles,’ simple shapes that stand in for small groupings of one, two, or four hats.” The metatiles assemble into four larger shapes that behave similarly. This assembly, from metatiles to supertiles to supersupertiles, ad infinitum, covered “larger and larger mathematical ‘floors’ with copies of the hat,” Dr. Kaplan said. “We then show that this sort of hierarchical assembly is essentially the only way to tile the plane with hats, which turns out to be enough to show that it can never tile periodically.”

some might wonder whether this is a two-tile, not one-tile, set of aperiodic monotiles.

Dr. Goodman-Strauss had raised this subtlety on a tiling listserv: “Is there one hat or two?” The consensus was that a monotile counts as such even using its reflection. That leaves an open question, Dr. Berger said: Is there an einstein that will do the job without reflection?

“the hat” was not a new geometric invention. It is a polykite — it consists of eight kites. (Take a hexagon and draw three lines, connecting the center of each side to the center of its opposite side; the six shapes that result are kites.)

“It’s likely that others have contemplated this hat shape in the past, just not in a context where they proceeded to investigate its tiling properties,” Dr. Kaplan said. “I like to think that it was hiding in plain sight.”

Incredibly, Mr. Smith later found a second einstein. He called it “the turtle” — a polykite made of not eight kites but 10. It was “uncanny,” Dr. Kaplan said. He recalled feeling panicked; he was already “neck deep in the hat.”

Dr. Myers, who had done similar computations, promptly discovered a profound connection between the hat and the turtle. And he discerned that, in fact, there was an entire family of related einsteins — a continuous, uncountable infinity of shapes that morph one to the next.

this einstein family motivated the second proof, which offers a new tool for proving aperiodicity. The math seemed “too good to be true,” Dr. Myers said in an email. “I wasn’t expecting such a different approach to proving aperiodicity — but everything seemed to hold together as I wrote up the details.”

Mr. Smith was amazed to see the research paper come together. “I was no help, to be honest.” He appreciated the illustrations, he said: “I’m more of a pictures person.”

New financial constraints on family formation are a potential cause, as implied by another striking finding in the Journal poll — 78 percent of adults lack confidence this generation of children will enjoy a better life than they do.

Yet a recent analysis for the Aspen Economic Strategy Group by Melissa S. Kearney and Phillip B. Levine, economics professors at the University of Maryland and Wellesley College, respectively, determined that “beyond the temporary effects of the Great Recession, no recent economic or policy change is responsible for a meaningful share of the decline in the US fertility rate since 2007.”

Their study took account of such factors as the high cost of child care, student debt service and housing as well as Medicaid coverage and the wider availability of long-acting reversible contraception. Yet they had “no success finding evidence” that any of these were decisive.

Kearney and Levine speculated instead that the answers lie in the cultural zeitgeist — “shifting priorities across cohorts of young adults,”

A possibility worth considering, they suggested, is that young adults who experienced “intensive parenting” as children now balk at the heavy investment of time and resources needed to raise their own kids that way: It would clash with their career and leisure goals.

another event that year: Apple released the first iPhone, a revolutionary cultural moment if there ever was one. The ensuing smartphone-enabled social media boom — Facebook had opened membership to anyone older than 13 in 2006 — forever changed how human beings relate with one another.

We are just beginning to understand this development’s effect on mental health, education, religious observance, community cohesion — everything. Why wouldn’t it also affect people’s willingness to have children?

one indirect way new media affect childbearing rates is through “time competition effects” — essentially, hours spent watching the tube cannot be spent forming romantic partnerships.

a 2021 review of survey data on young adults and adolescents in the United States and other countries, the years between 2009 and 2018 saw a marked decline in reported sexual activity.

the authors hypothesized that people are distracted from the search for partners by “increasing use of computer games and social media.

during the late 20th century, Brazil’s fertility rates fell after women who watched soap operas depicting smaller families sought to emulate them by having fewer children themselves.

This may be an area where incentives do not influence behavior, at least not enough. Whether the cultural shift to lower birthrates occurs on an accelerated basis, as in the United States after 2007, or gradually, as it did in Japan, it appears permanent — “sticky,” as policy wonks say.

Koselleck observes that prior to the French revolution, a crisis was a medical or legal problem but not much more. After the fall of the ancien regime, crisis becomes the “structural signature of modernity”, he writes. As the 19th century progressed, crises multiplied: there were economic crises, foreign policy crises, cultural crises and intellectual crises.

When he looked at 5,000 creative individuals over 127 generations in European history, he found that significant creative breakthroughs were less likely during periods of political crisis and instability.

Victor H Mair, a professor of Chinese literature at the University of Pennsylvania, points out that in fact the Chinese word for crisis, wēijī, refers to a perilous situation in which you should be particularly cautious

“Those who purvey the doctrine that the Chinese word for ‘crisis’ is composed of elements meaning ‘danger’ and ‘opportunity’ are engaging in a type of muddled thinking that is a danger to society,” he writes. “It lulls people into welcoming crises as unstable situations from which they can benefit.” Revolutionaries, billionaires and politicians may relish the chance to profit from a crisis, but most people world prefer not to have a crisis at all.

A common folk theory is that times of great crisis also lead to great bursts of creativity.

The first world war sparked the growth of modernism in painting and literature. The second fuelled innovations in science and technology. The economic crises of the 1970s and 80s are supposed to have inspired the spread of punk and the creation of hip-hop

psychologists have also found that when we are threatened by a crisis, we become more rigid and locked into our beliefs. The creativity researcher Dean Simonton has spent his career looking at breakthroughs in music, philosophy, science and literature. He has found that during periods of crisis, we actually tend to become less creative.

psychologists have found that it is what they call “malevolent creativity” that flourishes when we feel threatened by crisis.

during moments of significant crisis, the best leaders are able to create some sense of certainty and a shared fate amid the seas of change.

These are innovations that tend to be harmful – such as new weapons, torture devices and ingenious scams.

A 2019 study which involved observing participants using bricks, found that those who had been threatened before the task tended to come up with more harmful uses of the bricks (such as using them as weapons) than people who did not feel threatened

Students presented with information about a threatening situation tended to become increasingly wary of outsiders, and even begin to adopt positions such as an unwillingness to support LGBT people afterwards.

during moments of crisis – when change is really needed – we tend to become less able to change.

When we suffer significant traumatic events, we tend to have worse wellbeing and life outcomes.

, other studies have shown that in moderate doses, crises can help to build our sense of resilience.

we tend to be more resilient if a crisis is shared with others. As Bruce Daisley, the ex-Twitter vice-president, notes: “True resilience lies in a feeling of togetherness, that we’re united with those around us in a shared endeavour.”

Crises are like many things in life – only good in moderation, and best shared with others

The challenge our leaders face during times of overwhelming crisis is to avoid letting us plunge into the bracing ocean of change alone, to see if we sink or swim. Nor should they tell us things are fine, encouraging us to hide our heads in the san

Waking up each morning to hear about the latest crisis is dispiriting for some, but throughout history it has been a bracing experience for others. In 1857, Friedrich Engels wrote in a letter that “the crisis will make me feel as good as a swim in the ocean”. A hundred years later, John F Kennedy (wrongly) pointed out that in the Chinese language, the word “crisis” is composed of two characters, “one representing danger, and the other, opportunity”. More recently, Elon Musk has argued “if things are not failing, you are not innovating enough”.

This means people won’t feel an overwhelming sense of threat. It also means people do not feel alone. When we feel some certainty and common identity, we are more likely to be able to summon the creativity, ingenuity and energy needed to change things.

That has made him the most popular influencer among American Gen-Zers, according to a twice-yearly survey of 14,500 of the country’s teenage boys and girls by Piper Sandler, a finance company that researches consumer data. Teachers have reported boys as young as 11 praising and emulating him.

Before the introduction of Botox and hyaluronic acid dermal fillers in 2002 and 2003, respectively, aesthetic work was serious, expensive. Nose jobs and face lifts required general anesthesia, not insignificant recovery time, and cost thousands of dollars (in 2000, a facelift was $5,416 on average, and a rhinoplasty $4,109, around $9,400 and $7,000 adjusted).

In contrast, the average price of a syringe of hyaluronic acid filler today is $684, while treating, for example, the forehead and eyes with Botox will put you out anywhere from $300 to $600

We copied the beautiful and the rich, not in facsimile, but in homage.

In 2018, use of Botox and fillers was up 18% and 20% from five years prior. Philosophies of prejuvenation have made Botox use jump 22% among 22- to 37-year-olds in half a decade as well. By 2030, global noninvasive aesthetic treatments are predicted to triple.

The trouble is that a status symbol, without status, is common.

Beauty has always been exclusive. When someone strikes you as pretty, it means they are something that everyone else is not.

It’s a zero-sum game, as relative as our morals. Naturally, we hoard of beauty what we can. It’s why we call grooming tips “secrets.”

Largely the secrets started with the wealthy, who possess the requisite money and leisure to spare on their appearances

Botox and filler only accelerated a trend that began in the ’70s and ’80s and is just now reaching its saturation point.

we didn’t have the tools for anything more than emulation. Fake breasts and overdrawn lips only approximated real ones; a birthmark drawn with pencil would always be just that.

Instagram Face, on the other hand, distinguishes itself by its sheer reproducibility. Not only because of those new cosmetic technologies, which can truly reshape features, at reasonable cost and with little risk.

built in to the whole premise of reversible, low-stakes modification is an indefinite flux, and thus a lack of discretion.

Instagram Face has replicated outward, with trendsetters giving up competing with one another in favor of looking eerily alike. And obviously it has replicated down.

Eva looks like Eva. If she has procedures in common with Kim K, you couldn’t tell. “I look at my features and I think long and hard of how I can, without looking different and while keeping as natural as possible, make them look better and more proportional. I’m against everything that is too invasive. My problem with Instagram Face is that if you want to look like someone else, you should be in therapy.”

natural looks have always been, and still are, more valuable than artificial ones. Partly because of our urge to legitimize in any way we can the advantages we have over other people. Hotness is a class struggle.

As more and more women post videos of themselves eating, sleeping, dressing, dancing, and Only-Fanning online, in a logical bid for economic ascendance, the women who haven’t needed to do that gain a new status symbol.

Privacy. A life which is not a ticketed show. An intimacy that does not admit advertisers. A face that does not broadcast its insecurity, or the work undergone to correct it.

Upper class, private women get discrete work done. The differences aren’t in the procedures themselves—they’re the same—but in disposition

Eva, who lives between central London, Geneva, and the south of France, says: “I do stuff, but none of the stuff I do is at all in my head associated with Instagram Face. Essentially you do similar procedures, but the end goal is completely different. Because they are trying to get the result of looking like another human being, and I’m just beautifying myself.”

But the more rapidly it replicates, and the clearer our manuals for quick imitation become, the closer we get to singularity—that moment Kim Kardashian fears unlike any other: the moment when it becomes unclear whether we’re copying her, or whether she is copying us.

what he restores is complicated and yet not complicated at all. It’s herself, the fingerprint of her features. Her aura, her presence and genealogy, her authenticity in space and time.

Dr. Taktouk’s approach is “not so formulaic.” He aims to give his patients the “better versions of themselves.” “It’s not about trying to be anyone else,” he says, “or creating a conveyor belt of patients. It’s about working with your best features, enhancing them, but still looking like you.”

“Vulgar” says that in pursuing indistinguishability, women have been duped into another punishing divide. “Vulgar” says that the subtlety of his work is what signals its special class—and that the women who’ve obtained Instagram Face for mobility’s sake have unwittingly shut themselves out of it.

While younger women are dissolving their gratuitous work, the 64-year-old Madonna appeared at the Grammy Awards in early February, looking so tragically unlike herself that the internet launched an immediate postmortem.

The folly of Instagram Face is that in pursuing a bionic ideal, it turns cosmetic technology away from not just the reality of class and power, but also the great, poignant, painful human project of trying to reverse time. It misses the point of what we find beautiful: that which is ephemeral, and can’t be reproduced

Age is just one of the hierarchies Instagram Face can’t topple, in the history of women striving versus the women already arrived. What exactly have they arrived at?

Youth, temporarily. Wealth. Emotional security. Privacy. Personal choices, like cosmetic decisions, which are not so public, and do not have to be defended as empowered, in the defeatist humiliation of our times

Maybe they’ve arrived at love, which for women has never been separate from the things I’ve already mentioned.

I can’t help but recall the time I was chatting with a plastic surgeon. I began to point to my features, my flaws. I asked her, “What would you do to me, if I were your patient?” I had many ideas. She gazed at me, and then noticed my ring. “Nothing,” she said. “You’re already married.”

Social-media platforms are “preying on your insecurities; they’re preying on your temptations,” Jenn explained to me in an interview that shifted our parasocial connection, at least for an hour, to a mere relationship. “And, you know, I do play a role in this.” Jenn makes money through aspirational advertising, after all—a familiar part of any influencer’s job.

She’s pro–parasocial relationships, she explains to the camera, but only if we remain aware that we’re in one. “This relationship does not replace existing friendships, existing relationships,” she emphasizes. “This is all supplementary. Like, it should be in addition to your life, not a replacement.” I sat there watching her talk about parasocial relationships while absorbing the irony of being in one with her.

The open acknowledgment of social media’s inner workings, with content creators exposing the foundations of their content within the content itself, is what Alice Marwick, an associate communications professor at the University of North Carolina at Chapel Hill, described to me as “meta-content.”

Meta-content can be overt, such as the vlogger Casey Neistat wondering, in a vlog, if vlogging your life prevents you from being fully present in it;

But meta-content can also be subtle: a vlogger walking across the frame before running back to get the camera. Or influencers vlogging themselves editing the very video you’re watching, in a moment of space-time distortion.

Viewers don’t seem to care. We keep watching, fully accepting the performance. Perhaps that’s because the rise of meta-content promises a way to grasp authenticity by acknowledging artifice; especially in a moment when artifice is easier to create than ever before, audiences want to know what’s “real” and what isn’

“The idea of a space where you can trust no sources, there’s no place to sort of land, everything is put into question, is a very unsettling, unsatisfying way to live.

So we continue to search for, as Murray observes, the “agreed-upon things, our basic understandings of what’s real, what’s true.” But when the content we watch becomes self-aware and even self-critical, it raises the question of whether we can truly escape the machinations of social media. Maybe when we stare directly into the abyss, we begin to enjoy its company.

“The difference between BeReal and the social-media giants isn’t the former’s relationship to truth but the size and scale of its deceptions.” BeReal users still angle their camera and wait to take their daily photo at an aesthetic time of day. The snapshots merely remind us how impossible it is to stop performing online.

Jenn’s concern over the future of the internet stems, in part, from motherhood. She recently had a son, Lennon (whose first birthday party I watched on YouTube), and worries about the digital world he’s going to inherit.

Back in the age of MySpace, she had her own internet friends and would sneak out to parking lots at 1 a.m. to meet them in real life: “I think this was when technology was really used as a tool to connect us.” Now, she explained, it’s beginning to ensnare us. Posting content online is no longer a means to an end so much as the end itself.

We used to view influencers’ lives as aspirational, a reality that we could reach toward. Now both sides acknowledge that they’re part of a perfect product that the viewer understands is unattainable and the influencer acknowledges is not fully real.

“I forgot to say this to her in the interview, but I truly think that my videos are less about me and more of a reflection of where you are currently … You are kind of reflecting on your own life and seeing what resonates [with] you, and you’re discarding what doesn’t. And I think that’s what’s beautiful about it.”

meta-content is fundamentally a compromise. Recognizing the delusion of the internet doesn’t alter our course within it so much as remind us how trapped we truly are—and how we wouldn’t have it any other way.

People believe that memory should be effortless, but their expectations for how much they should remember are totally out of whack with how much they’re capable of remembering.1

What is the most common misconception about memory?

Another misconception is that memory is supposed to be an archive of the past. We expect that we should be able to replay the past like a movie in our heads.

we don’t replay the past as it happened; we do it through a lens of interpretation and imagination.

How much are we capable of remembering, from both an episodic2 2 Episodic memory is the term for the memory of life experiences. and a semantic3 3 Semantic memory is the term for the memory of facts and knowledge about the world. standpoint?

I would argue that we’re all everyday-memory experts, because we have this exceptional semantic memory, which is the scaffold for episodic memory.

If what we’re remembering, or the emotional tenor of what we’re remembering, is dictated by how we’re thinking in a present moment, what can we really say about the truth of a memory?

But if memories are malleable, what are the implications for how we understand our “true” selves?

your question gets to a major purpose of memory, which is to give us an illusion of stability in a world that is always changing. Because if we look for memories, we’ll reshape them into our beliefs of what’s happening right now. We’ll be biased in terms of how we sample the past. We have these illusions of stability, but we are always changing

And depending on what memories we draw upon, those life narratives can change.

I know it sounds squirmy to say, “Well, I can’t answer the question of how much we remember,” but I don’t want readers to walk away thinking memory is all made up.

One thing that makes the human brain so sophisticated is that we have a longer timeline in which we can integrate information than many other species. That gives us the ability to say: “Hey, I’m walking up and giving money to the cashier at the cafe. The barista is going to hand me a cup of coffee in about a minute or two.”

There is this illusion that we know exactly what’s going to happen, but the fact is we don’t. Memory can overdo it: Somebody lied to us once, so they are a liar; somebody shoplifted once, they are a thief.

If people have a vivid memory of something that sticks out, that will overshadow all their knowledge about the way things work. So there’s kind of an illus

we have this illusion that much of the world is cause and effect. But the reason, in my opinion, that we have that illusion is that our brain is constantly trying to find the patterns

I think of memory more like a painting than a photograph. There’s often photorealistic aspects of a painting, but there’s also interpretation. As a painter evolves, they could revisit the same subject over and over and paint differently based on who they are now. We’re capable of remembering things in extraordinary detail, but we infuse meaning into what we remember. We’re designed to extract meaning from the past, and that meaning should have truth in it. But it also has knowledge and imagination and, sometimes, wisdom.

memory, often, is educated guesses by the brain about what’s important. So what’s important? Things that are scary, things that get your desire going, things that are surprising. Maybe you were attracted to this person, and your eyes dilated, your pulse went up. Maybe you were working on something in this high state of excitement, and your dopamine was up.

It could be any of those things, but they’re all important in some way, because if you’re a brain, you want to take what’s surprising, you want to take what’s motivationally important for survival, what’s new.

On the more intentional side, are there things that we might be able to do in the moment to make events last in our memories? In some sense, it’s about being mindful. If we want to form a new memory, focus on aspects of the experience you want to take with you.

If you’re with your kid, you’re at a park, focus on the parts of it that are great, not the parts that are kind of annoying. Then you want to focus on the sights, the sounds, the smells, because those will give you rich detail later on

Another part of it, too, is that we kill ourselves by inducing distractions in our world. We have alerts on our phones. We check email habitually.

When we go on trips, I take candid shots. These are the things that bring you back to moments. If you capture the feelings and the sights and the sounds that bring you to the moment, as opposed to the facts of what happened, that is a huge part of getting the best of memory.

this goes back to the question of whether the factual truth of a memory matters to how we interpret it. I think it matters to have some truth, but then again, many of the truths we cling to depend on our own perspective.

There’s a great experiment on this. These researchers had people read this story about a house.8 8 The study was “Recall of Previously Unrecallable Information Following a Shift in Perspective,” by Richard C. Anderson and James W. Pichert. One group of subjects is told, I want you to read this story from the perspective of a prospective home buyer. When they remember it, they remember all the features of the house that are described in the thing. Another group is told, I want you to remember this from the perspective of a burglar. Those people tend to remember the valuables in the house and things that you would want to take. But what was interesting was then they switched the groups around. All of a sudden, people could pull up a number of details that they didn’t pull up before. It was always there, but they just didn’t approach it from that mind-set. So we do have a lot of information that we can get if we change our perspective, and this ability to change our perspective is exceptionally important for being accurate. It’s exceptionally important for being able to grow and modify our beliefs