  Music, which in some classical systems of the arts (in Schopenhauer and Nietzsche, for example) is the highest and most metaphysical, also receives an ambiguous treatment in existentialist aesthetics. In The Myth of Sisyphus, for example, Camus seems to be saying that it is the absurd art par excellence because it realises in the purest form what all art conscious of the absurd should be about, namely, the “triumph of the flesh” in the absence of any ultimate meaning: