The previous chapter examined how Aristotle posits a strange proposition in the Physics concerning the mimetic intrication of phusis and technē. I will now bind this to the Poetics. Of course, they are already bound together by the ergon of mimesis, by which “poetics, that is to say the theater, comes thus to graft itself to the heart of physics, to the heart of the question of being,” as Francis Fischer puts it. That is, Aristotle’s double proposition entails that mimesis is anterior to the presencing of phusis, which Lacoue-Labarthe speaks of as an originary theater or arche-theater. Said otherwise, art allows for nature to appear. Technē and phusis are co-implicated in a mimetic knot of originary poiesis, exposing a spacing, a gaping void conditioning all appearance. But this condition remains impossibly withdrawn in conditioning the appearing of all appearance—it is, strictly speaking, nothing, the “pure” nothing of all appearance. Lacoue-Labarthe speaks of it as “the transcendental as negativity itself, or if one prefers: transcendental negativity” (the language of the transcendental stressing conditioning as opposed to causation).