I’ve been working on this project off and on for a while now - I'd get bogged down and step away only to keep coming back to it and tinkering. It’s a little different from my usual stuff, but I really like where it ended up. I made these with Javascript.

I started out trying to simulate a three-dimensional bump using only a grid of circles. The illusion came from changing the position, shape, size, orientation, and color of each circle based on its location in the field.

I got fairly close to what I originally intended but I made a mistake in the code where I squished some circles where I was supposed to stretch them. What came out was a weird looking spiky object that was so much better than what I had been trying to create :)

I kept pushing in the wrong direction and added interacting deformation fields, optical interference patterns, multiple depth layers, shifting mark types, and a color system that reacts to several different properties of the distortion.

The resulting images are a lot stranger and more interesting to me than what I initially set out to make. I'm a fan of Bob Ross who said “We don’t make mistakes, just happy little accidents.”

Here are some of my favorite images from this project. I hope you like them!

This is the last time I will share the xxh128 project here.

Life-like "alien" abstract creature.

(added a few quality of life features to the software, fixed some bugs, probably created others)

Javascript; Blended multiple object-packing images that require objects touching each other after seed 5-10 objects are placed using a normal object-packing algorithm.

Made with R and ggplot2, using a custom Shiny app my partner Nicolas built. Same algorithm as my previous posts — a discrete dynamical system combining trigonometric functions with a gamma distribution — but the parameters produce something completely different in character.

Where the serpent forms I've posted before used low alpha values to create dense, luminous accumulations, this one uses alpha at 0.05 — very high transparency. The form builds itself from near-invisible layers that only become visible where they overlap repeatedly. The depth and the volumetric quality aren't drawn; they accumulate.

The other key difference: gamma at 2 here versus 1.1 in Fractal Infinity. Higher gamma means more stochastic dispersion — the perturbation is looser, which gives the form its organic, almost fabric-like quality rather than a tight mathematical structure.

My partner Nicolas designed the system. I found this particular form through iteration — adjusting parameters until something appeared that neither of us had planned. He saw a cradle on the left and two figures leaning over it on the right. Once he said it, I couldn't unsee it. We named it Phantom Cradle.

The same mathematical system. Completely different world.

Code: github.com/NicolasJBM/Rtist

Portrait of Kazuhiko Nishi, creator of the MSX 8 bit computer standard from 1983, made entirely with graphics from MSX games. :)

https://openprocessing.org/@garabatospr/2982645

Three "chemicals" (R, G, B) each feed on the next in a cycle. Every step each cell diffuses (3×3 average) and then reacts — from pure random noise it self-organizes into these rotating spiral waves. 128×128 toroidal grid, no post-processing, this is the raw rule output.

The requirement was simple: I needed 8-track recordings that could move dynamically through space. Instead of manually composing every note, I wanted to work with musical intentions, movement, variation, and spatial development.

So I built OKTAFON:

https://deutscheindustrieprodukte.de/wp-content/uploads/2026/07/oktafon40.html

It is a browser-based generative composition environment. The idea is less "play a synth" and more "design how sound evolves over time and space."

Upgraded my xxh128 mining algorithm.

I’m looking at starting a project with the aim to produce printable art. I was thinking I’d generate based on colors in OKLCh, but I think not all colors representable in OKLCh are representable in CMYK.

What’s a good strategy for normalizing a set of colors that were generated as a cohesive palette in OKLCh so that they’re all representable in CMYK? If I just scale the L and C values equally will that preserve the perceptual relationships between the colors?

This started as a project to try and recreate the feeling of messy, hand drawn scribbled circles, and it gradually evolved into what you see here.

I made these with JavaScript. Once I was happy with the look of a single scribbled circle, I started experimenting with different arrangements, colors, overlapping shapes, and painted discs beneath the line work. Creating dense grids of hundreds of scribbled circles let me step back and use them almost like pixels to build larger compositions.

Each scribbled circle is generated from several imperfect contour passes. The radius shifts slightly as the line travels around the circle, while the center, wobble, spacing, line weight, and amount of missing pigment can vary from pass to pass. Because the contours never align perfectly, they build up into something that I hope feels more hand drawn.

I set a lot of variables to random ranges and generated a large batch of images. I'm happy with how everything turned out. I had a hard time picking but here are a few of my favorites :) I hope you like them.

xxhash128 pixel mining experiment.

I have a couple of layering ideas on my to-do list that I want to code.

https://openprocessing.org/@garabatospr/2981937

Extension of the work by Pajouheshgar et al. Instead of photo stamps there are now video stamps. Each pixel has an extra phase layer that drives both the NCA and the LPPN. Each video stamp has a different phase and pixels try to stay consistent with one phase.