ABSTRACT
This chapter describes the relationship between nothingness and analyzes the emergence of sense in paintings. It argues that there is a parallel between the first manifestation of sense in the infant's consciousness and some painters' search for the transition from nothingness to sense. Most people would agree without hesitation, that the visual and the auditory systems are most important receptor-based senses, in the sense that they are the ones that dominate consciousness. The visual and the auditory systems are the core of the remote senses and it is biologically plausible that they are developed last. The first and primary constitution of the transcendental ego must at some point have a conscious sense, a point where nothingness become something—a mono color, a mono sound, a mono movement, not a specific color, a specific sound, and a specific movement.
