Otherwise he would collapse inwards upon the great dark void

“…life was a hollow shell all round him, roaring and clattering like the sound of the sea, a noise in which he participated externally, and inside this hollow shell was all the darkness and fearful space of death … otherwise he would collapse inwards upon the great dark void which circled at the centre of his soul … Something must come with him into the hollow void of death in his soul, fill it up, and so equalise the pressure within to the pressure without. For day by day he felt more and more like a bubble filled with darkness, round which whirled the iridescence of his consciousness, and upon which the pressure of the outer world, the outer life, roared vastly.”

Women in Love, D. H. Lawrence.

The void is not an absence, it is an infinity

“As many philosophers have noted, a void as such is not possible: a void is not the absence of any content but simply the absence of anticipated content. This is why for Bergson, ‘the idea of the absolute nought’ is ‘a self-destructive idea, a pseudo-idea, a mere word’; the void is ‘only a comparison between what is and what could or ought to be, between the full and the full.’ Deleuze echoes this sentiment in his second Cinema book, where he explores the implications of cinematic emptiness. For Deleuze, ‘an empty space, without characters,’ can have ‘a fullness in which there is nothing missing.’ And the idea of the emptiness as a kind of fullness was explored in art before the experimental monochromes of the twentieth century. For example, as Paul Schrader points out, ‘Emptiness, silence, and stillness are positive elements in Zen art, and represent presence rather than the absence of something.’ Monochrome paintings and films simply carry on this tradition, reaffirming Rauschenberg’s assertion that ‘a canvas is never empty.’

a film like Blue does not use the monochromatic screen to merely posit nihilism and emptiness. Rather, Jarman’s blue screen is a site of multiplicity, limitlessness, eternity. As Jim Ellis puts it, Blue ‘recalls Klein’s understanding of the void not as an absence, but rather as an infinity.’

Motion[less] Pictures: The Cinema of Stasis, Justin Remes.

La utilidad de la nada

«Treinta rayos convergen hacia el centro de una rueda,
pero el vacío en el medio hace marchar el carro.
Con arcilla se moldea un recipiente,
pero se utiliza por su vacío.
Se hacen puertas y ventanas en la casa
y es el vacío el que permite habitarla.

Por eso, del ser provienen las cosas
y del no-ser su utilidad».

Tao Te Ching, Lao Tzu.