Agent Smith is the face of the Abyss, above which all our constructs hang precariously. He is a construct within a construct, representing the implicit reality of the Abyss itself. At the heart of our own constructs and perceptions of ourselves and the implicit reality around us are the implicit realities of ourselves, the Ding an Sich of our very own existences, the potentialities of ourselves that no-one can guess, not even, and perhaps especially not, ourselves. “I don’t know of what I am capable, or not capable. Let’s find out, shall we?”
Negative nihilism emphasizes the existence of the Abyss, and exalts it to a primary place. Positive nihilism emphasizes the aching emptiness of the Abyss, and its infinite capacity to be filled with an endless stream of new constructs, constructs of our own design, and more representative of our true and implicit selves than the shallow and superficial constructs with which we currently find ourselves surrounded. The art of creating powerful and elegant expressions of the implicit features of our existence begins with an acknowledgement of the existence of the Abyss, and the inherent emptiness of constructs, which take their natures both from the Abyss, and from the inherent meaningfulness of real phenomena.
Perhaps even positive nihilism does not go far enough, in that it asks us to rid ourselves of the constructs which already exist. This is unnecessary, and a waste of effort which could be put to the better use of designing an endless stream of new constructs which can either augment or supplant the crude constructs which already exist. We invest phenomena with constructs all of the time; we call these investments “Art” and “Technology”, and they serve us well, if we allow it.