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Verba Ex Nihilo

The first decades of the twentieth century were marked by a strange yet not accidental synchronicity: the rise of groundbreaking philosophical inquiries into the problem of nothingness and the process of negating (nichten in Heidegger’s words) conventional meanings and means poetically – explicitly expressing the notion of nothing or just giving an impression of some negative action toward representability. Naturally we can hardly ever find distinct traces of the phenomenology of nothing, whether it is Heidegger’s scrutinizing of das Nichts in the late 1920s or 1930s or Sartre’s interpretations in his ‘‘L’Être et le néant,’’ in the literary theory and practice of the avant-garde of the 1910s and 1920s. Although in the sketch titled ‘‘Toward the Physiology of Art’’ (included in ‘‘The Will to Power’’ XVI: 432–34) Nietzsche attributed ‘‘the will to nothingness’’ to ‘‘the inartistic state,’’ it was the post-Nietzschean artistic generation that paved the way for modern philosophical speculations on nothing, bringing to light nihilistic and critical tendencies, be they of Dadaist, Surrealist or Futurist origin. Indeed, though we are far from identifying the relationship between Nietzschean nihilism and nothing in metaphysics, the opposition between them has been distinctly formulated by Heidegger in his ‘‘European Nihilism’’ (1940), where he sees the main reason for nihilism as just the inability to contemplate nothing. However, to adhere to this differentiation and terminological preciseness in this study would be inadequate since nothing in its philosophical meaning has rarely been a point of reference for the historic avant-garde and entered its thesaurus only sporadically and vaguely (the Suprematist philosophy of Kazimir Malevich is a noteworthy example in the sense that he discussed his understanding of nothing). In a broad sense, the idea of nothing is implicitly manifested in artistic and literary avant-garde as it has been radically redefining the forms and functions of art according to the self-attributed mission of the total renewal of life. The post-Nietzschean ‘‘revaluation of all values’’ presupposed the experience of creating (or at least modeling) such a tabula rasa, which would be a potential condition to start from scratch. For instance, the idea of this kind of transitive form lies behind Malevich’s ‘‘zero of forms’’ and is revealed in his Black Square konstantin dudakov-kashuro