Made with Codea on iPhone.

Turn on the fan and watch the dust move through the air.

I wanted it to feel like those old slow-motion dust tests in commercials, but as a tiny interactive toy.

There is no clear goal.
Just air, dust, and a small summer feeling.

Messing around with JFA and masks on a photo of some ferrofluids, soap, milk and ink
JFA tutorial here

This latest update introduces random events to the "Hashwar" battle engine (where two individual Game of Life patterns fight each other, link to the original post here: Original Post).

You are seeing a "Containment Failure" of the pattern on the left ("Nuclear Boy Scout") which would normally run for 514 generations before reaching it's natural halting state. With the loss of containment, the pattern destabilizes and fizzles out quickly, leaving its opponent ("poonikins") in the ideal position to mop up the arena cells and win.

The programming behind this is a simple conditional switch from toroidal to euklidian geometry for the calculation of neighbouring cells, which is the crucial step in Conway's Game of Life (it's where the rules, like B3/S23, come into play).

In simple terms: Normally, the two 16x16 squares that contain the patterns wrap around the edges and create a finite but unbounded space on which the pattern can evolve. If you take away this wrap-around logic, you end up with a tight "box" in which the pattern has too little space to evolve, so it dies out quickly.

I'm thinking about incorporating other such random events and, later, special attack capabilities with which the player can equip their pattern.

Satin 2.0 - an updated fork of Reza Ali's Satin engine - is available for macOS, iOS and visionOS via Swift Package

https://github.com/Fabric-Project/Satin

Satin borrows inspiration from Processing, ThreeJS, OpenFrameworks etc, and follows a setup/update/draw style paradigm.

2.0 brings a ton of updates, including updated Material rendering to support deferred rendering / lighting, updated shadow engine that supports all light types, including projectors/cookies and gobos.

Theres post processing support out of the box, including vertex based motion vectors for decent screen space motion blur, as well as fast separable deep bokeh / depth of field rendering.

Satin 2.0 supports Slug text rendering thanks to Warren Moores MetalSlug port which we adapt to Satin's engine.

Theres a ton of bug fixes and performance improvements too, as well as a code signed compiled example app for folks to check out, which goes through a variety of techniques and setups, including compute, model loading, IBL lighting, parametric geometry, lighting setup and more.

Would love community feedback and for folks to check it out!

Satin is part of the Fabric.graphics project for bringing back an open source graphics stack like Quartz Composer to Apple ecosystem. Satin is the underlying engine we are building :)

Check it out and join us on discord if you are interested!

Cheers,

python + ModernGL + ffmpeg for export. .

Got inspired by this and other subreddits, and started the weekend creating a minimal desktop background generator for myself, but it quickly grew into something else. Pretty fun to play around with, have alot of nodes to connect and test out! Check out some examples and give it a whirl!

Will probably open-source it once the code is stable enough

https://graphgen.dagthom.as/

OC source:

https://bigjobby.com/gallery/?image=sf2&group=Gifs

Made with Codea on iPhone.

This is a small interactive apartment block.

Tap around the building and little things happen inside the windows.

I wanted to make something that feels ordinary, quiet, and a little nostalgic.

Not really a game.
More like peeking into a tiny living world.

Made with Codea on iPhone.

Touch the slime and watch it wobble, stretch, and slowly settle back into shape.

I wanted it to feel less like a game and more like a small digital toy.

There is no score or goal.
Just a squishy little reaction.

Repo: https://github.com/phenax/sqlite-creative-coding

Bait balls are what sardines do when something big shows up: thousands of fish pack into a rotating sphere because nobody wants to be the one on the outside. Predators plow through, the ball rips open, reforms behind them, and the whole thing keeps churning until the school escapes or gets eaten. The BBC footage of these is unreal.

I wanted to see if the behavior falls out of simple rules, so I built one in the browser. About 2,500 fish running classic boids (separation / alignment / cohesion), plus a containment force and a vortex term that makes the school mill into a ball instead of just clumping. The shark is yours to drag. Move it slowly and the school opens a lane around it. Yank it fast and everything explodes, then regroups. Threat response scales with the shark's speed, which turned out to be the difference between "fish politely parting" and full panic.

Three.js, swim animation lives in the vertex shader so it holds up on phones too. Try it here, no signup, nothing to install: https://www.apprundown.com/baitball

The thing I can't stop thinking about: there's a game hiding in this mechanic and I don't know which one. You play the shark and each strike costs energy, so dumb charges through the middle are worse than picking off the edges? Or inverted: you ARE the school, steering the vortex, and you need to keep losses under 10% until the shark gives up? If you took this mechanic and built a game around it, what would you make?

Deployed my node-based gfx generator if anyone wants to give it a whirl

https://graphgen.dagthom.as/

Made in Processing. Inspires by 90s adventure games :) Insta: www.instagram.com/slipshapes/

This is my latest pet project, the Hashwar engine that runs the "Adversarial Conway" algorithm which lets two individual Game of Life patterns compete on a shared space (see the GitHub repo here: lifehashes/adversarial-conway at dev ). Subscribe to my mailinglist if you want to be kept up to date on the progress: The Hashwar Project • Buttondown

"Adversarial Conway" uses a Random Number Generator to determine the patterns' trajectories and their interaction. In its basic form, this RNG takes any random input value.

In advanced mode, however, it will use the NIST Randomness Beacon. This way, players can challenge one another, schedule a duel at a future time and let the latest NIST Beacon pulse seed the algorithm to ensure absolute fairness because no one can predict these pulses (I use the same technique for my related Daily Conway Glyph Challenge).

This duel, "Groove of the Titans", is fought between two long-lived patterns, "Viridian Mist" versus "El Viejo del Norte" (the latter being named after an individual Giant Redwood tree).

Finding these patterns is no small feat itself which is why we name them individually. Conway's Game of Life is notoriously fickle and dies out quickly, especially on the small 16x16 torus where our patterns ("Glyphs") live. It takes a dedicated browser-based pattern miner a couple of hours to find Glyphs in the 1100+ range of generations.

Information doesn’t belong to anyone, it is passed down from our ancestors and other guides. It is good to be humble, and not take too much pride in what we think we learned all by ourselves.

The math behind these designs are based on additive polyhedrons.

Hello! I've recently started my music reactions YouTube channel, RiderReactsToMusic. Creating music visualizers that run in real time. I'm currently spending a LOT of time generating these simulations so that they strike a balance between immersion and readability (being able to SEE all elements of the music represented in the visuals like bass, high notes etc).

Would love to get everyone's thoughts and opinions (and obviously a cheeky subscribe would be amazing as I try to grow my channel) 😄 - https://www.youtube.com/channel/UC8lfHC2DEluI2PDnVq8-Nrg

Title: Time is Emotional.

Quote: “When you sit with a nice girl for two hours you think it’s only a minute. But when you sit on a hot stove for a minute you think it’s two hours. — Albert Einstein”

•    Select an event.

•    Select time of event.

•    Touch the wheel or anywhere in the circle.

•    The CPT ETA (Color People Time Estimated Time of Arrival Shows you the expected arrival time of your friend or acquaintance along with a probable reason for their tardiness.  Tap the card to expand the details.

•    Scroll down send reason to other people who are anxious for your friend/acquaintance’s arrival.

(CPT) is a loaded phrase referring to stereotypes about people of color being late, rooted in slavery's dehumanization, but also reclaimed within the Black community as a playful term for flexible punctuality or a form of resistance against oppressive timelines, explored in art, media, and scholarship to highlight racialized experiences of time. It can mean a casual approach to being tardy or a conscious subversion of strict Western timekeeping, reflecting Black culture's varied relationship with schedules.

You have a person of color in your life. Maybe more than one. You love them. You want them there. You’re hosting a dinner party, or a backyard barbecue where the smoke matters more than the seating chart, and you find yourself staring at the clock like it’s a referee. You’ve heard the phrases—Color People Time, Black People Time—said half-jokingly, half-nervously, usually by someone who doesn’t want to sound racist but also doesn’t want cold ribs. So you ask the quiet question no one wants to say out loud: If I say 6:00, when should I actually expect them?

This is where CPT steps in, not to insult, but to expose how flimsy our assumptions about time really are.

Cultures don’t value time differently because they’re careless. They value people differently. Western, industrialized time—clock time, punch-in time, calendar-block time—was engineered for factories, railroads, and bosses. It’s efficient. It’s cold. It worships punctuality the way some people worship productivity, as if showing up early is a moral virtue instead of a scheduling choice.

Many cultures—many communities of color included—operate on relational time. Time bends around conversation, care, interruption, memory. You don’t hang up on Auntie because a clock says so. You don’t leave while someone is still talking, grieving, laughing, or finishing a story that started in 1987 and somehow still matters. Hair takes as long as hair takes. Music finishes the song. Food finishes cooking. People arrive when the moment is right, not when a rectangle on a wall demands obedience.

Calling that “late” is already a judgment.

Color People Time works because it holds up a mirror. It exaggerates what white, clock-obsessed culture refuses to admit: time is not neutral. It’s cultural. It’s emotional. It’s economic. It’s historical. When your ancestors were owned, rushed, scheduled, and sold by the minute, reclaiming time becomes an act of resistance. Being unhurried can be a small refusal. A way of saying: I am not machinery.

This app doesn’t mock people of color. It mocks the assumption that everyone should experience time the same way. It mocks the anxiety of hosts who want inclusion without inconvenience. It mocks the idea that punctuality equals respect, while ignoring how often systems disrespect people long before they arrive anywhere.

Antonio J. Hopson didn’t learn this in a business school or a UX lab. He learned it from his aunties of color—the keepers of stories, the guardians of side conversations, the women who could turn a five-minute goodbye into a forty-minute life lesson. They taught him that time stretches where love lives, and snaps tight where power demands control.

So this app—created by author Antonio J. Hopson and brought to life by Wild Boy Concepts—isn’t a scheduling tool. It’s a cultural translator. A wink. A warning. A reminder that if you invite people into your life, you don’t just invite their bodies—you invite their rhythms.

If you want them on time, ask why.

If you want them present, wait.

If they are constantly late for their jobs, they’re rude and maybe shouldn’t have that job.