Different from the pixel based software “Painter“ this image was created with a vector drawing program in which all objects, like lines or planes, for example, are mathematically defined shapes that can be scaled to any size without loss of precision, and the only limits lie in the physical qualities of the output medium. Giant advertising billboards are no problem. The price to pay in aesthetic terms is the massive cut back in degrees of freedom of expression, concerning the visual elements. All lines for example are in themselves evenly thick, depending on the one and only choice for a given line. All together it is something like a visual construction kit for which the greatest creative potential is the free line management and the composition as a whole. Precision, flawlessness of color gradients or fillings: All of this is a gift so to speak, it is not your ability but the machine’s. Now this is true for all digitally produced art, that pure generative capability of the machine used by humans is no extension, but in the best and wished for sense is a limitation, setting interesting counterpoints to human creativity. Using vector programs this limitation is apparent. To play with these limitations like a woodcutter, knowing about the brittleness of the material, defines my understanding of a thought through use of digital means of production for art. And nothing seems to me better suited than working with vector programs in order to demonstrate this. Understanding how one produces in technical and aesthetic terms is necessary. The title of the image is on the other hand: gut feeling, ex post facto.