A line is a stretched dot moved by contradiction.


Black ink-marker drawings share a fundamental property with classic binary logic, that is;
Any section of the plane is either black or it is empty.
From this point of view, drawing with a black ink-marker is ‘drawing with a computer in mind’.

stroke by Het Saptrajekt

Your head asplode

In classic logic any proposition is either true or false; hence, contradictory statements cannot both be true in the same sense.
The principle of explosion* states that if a contradiction is true, then every proposition is true.
In formal terms, from any proposition of the form P¬ P, any arbitrary A can be derived.

‘Explosion’ however does not represent a formal symbol of logic, it rather points at a psychological side-effect for binary systems like computers or in this case, any black ink-marker agent.


The logical proposition is not  sequential but  combinatory,
so if P represents a random dot on a paper plane, then P¬ P represents a
[black dot, no black dot, anywhere, nowhere, instantly].
In general a computer will not recognize this as a valid instruction and do nothing,
 However a creative or fictional ‘computer in mind’ may start processing infinitely,
fruitlessly looking for clues in an undifferentiated field of grey noise caused by the contradiction.
The infinite search causes the system to ‘overheat’
a conclusive output becomes increasingly urgent and necessary.

Because the infinite loophole has hijacked executive functions,
action can no longer be motivated by ideas and the system is left with reflexes.
In science fiction the sentient supercomputer infected with a contradictory instruction (logic bomb*) may become restricted to expressing only punctuation marks(...), stammering, or a more rigid version might burst into flames,

A black-inkmarker ventilating heat via an instant blind sweep that stretches a dot over a large section of the plane

PˬP (animated GIF)

This stretched dot then is a primal trace that creates a difference that can set off a new creative chain of events towards a next possible state,  a ‘finished drawing’.

(also note the dramatic structure* of the principle;
First the causes are downplayed, then there is the crisis, followed by the resolution.
1.incentive moment(complication) 2.crisis (unravelling) 3.resolution(catharsis))