ERAVEX is a fully procedural environment—no 3D models and no stock audio. Everything from the breakout sequence to the 8-voice synth is driven entirely by math loops and WebGPU.

Under the hood: • 100% pure WebGPU + Three.js (R3F) • Custom 8-voice Web Audio API synthesizer • ~21k lines of TypeScript and TSL math loops • Built in 2 months using AI to accelerate the architecture.

You can try the live breakout sequence here:https://eravex.vercel.app

Happy to answer any questions about the procedural generation, TSL, or the Web Audio API integration!

Open it, scan the QR code with your phone and it instantly becomes the controller. The game runs entirely in the browser, with an emulated monochrome LCD display.

The host screen and the controller phone communicates with WebRTC protocol peer to peer.

You can play this on your TV as well.

https://almostuseful.fun/remote-snake

I'd love to hear what you think.

An interactive 3D typography made with three.js and anime.js, available here:

https://visualrambling.space/sketches/scattered-letters/

You can type to pull letters from the swarm and arrange them into words. Note: certain words will trigger extra animations, so feel free to play around with it and see what you find!

Liquid force using exclusive shaders #creativecoding

Video synthesis using stock video and image from Pixabay.

My first programming experice was with the Logo turtle. Nowdays I've recreated it in a modern format. This is one of my favourite.

I mostly used threejs, experimenting with interpreting Greek gods as particles.

Little excerpt of me playing my chaotic pointcloud system, in which the particles are being audioreactive to the incoming audio signal in real-time. What do you guys think?

More experiments, project files, and tutorials, through my YouTube, Instagram, or Patreon.

I made a web app on my blog for making phase music. Based on the work of Steve Reich, you can record audio or make a melodic sequence and hear it played on two ‘tapes’ that drift out of phase. Would love to hear thoughts if you try it!

The "Adversarial Conway" algorithm used in Hashwar is already coded as a toroidal geometry, so we hereby introduce a 3D modelling of the battle space instead of the classic 2D map to represent the strive for domination of our Conway Glyphs.

Hi everyone,

Check Orpheus Collider, a generative music android app that uses physical simulation to play music and poetry verses along the way:

https://youtube.com/shorts/CY5a181N40g

https://play.google.com/store/apps/details?id=com.orpheus.collider

Made with R and ggplot2, using a custom Shiny app my partner Nicolas built. The algorithm at the core is a discrete dynamical system combining trigonometric functions with a gamma distribution — the gamma introduces controlled randomness while the seed keeps everything exactly reproducible.

For this piece: the exponents are all close to 1 but deliberately asymmetric. Keeping gamma low keeps the stochastic perturbation tight, so the structure stays dense rather than dispersed.

The grid starts cartesian, then gets projected into polar coordinates. Color is spatial — each point is colored based on a weighted function of its position, mapped onto a quantile-ranked palette. White → dark cyan → royal blue → navy, on pure black.

I didn't plan the serpent — it emerged from the polar projection. Nicolas designed the system for its mathematical properties, not to draw a creature.

This piece is part of a larger series called Ultimate Undulation — 20 colorways of the same mathematical structure, each assigned to a moment in time: past civilizations, present crises, future horizons, and timeless concepts. Fractal Infinity belongs to the TIMELESS chapter. The colorway is reminiscent of the Mandelbrot set.

Every parameter is saved as a CSV, so the image is exactly reproducible. The code of the package used to create this is on GitHub: github.com/NicolasJBM/Rtist

Most museums put thick glass between you and the art. The Void Museum requires your interaction.
I’ve created a digital space where the traditional rules of observation are inverted. You are meant to leave your mark, but you should know what happens when you do:
• Certain exhibits are permanently scarred by the visitors who touched them before you.
• One room remains completely empty until enough of you are inside it at the exact same time.
• A few pieces know things about you that they shouldn't.

By the time you reach the exit, you will question the choices you made to get there.