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

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.

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.

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

I layered my caustic generation for effect

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?