Contour lines traced through a drifting Perlin noise field. Mouse warps the elevation. Click to drop gravity wells that accumulate and persist.

Particles following a curl noise vector field. They leave fading trails like ink bleeding through paper. Move to disturb. Click to scatter.

It shows the current time. Mostly. Digits slip into wrong values, hold the lie, then heal. The corruption spreads between neighbors and retreats. You watch and you're never quite sure which moments are accurate.

Bodies orbiting, capturing, slingshotting, merging. N-body gravity with conservation of momentum. Mouse attracts. Click spawns. Systems collapse and reform.

A word rendered large, then eaten by wind. Particles condense from nothing, hold the shape long enough to read, then break free and stream away. The tab remembers what the canvas forgets. Refresh for a different word.

Five strings tuned to different speeds, coupled so plucking one bleeds into the rest. Wave equation physics with triple-buffer integration. Click near a string to pluck it. Watch the vibration spread through sympathetic resonance.

Looking down at a dark pond at night. Click to drop a stone. The wave equation handles the rest — rings spread, interfere where they cross, catch an oblique light on their crests. Fresnel reflectance keeps flat water dark. Drag to disturb the surface.

Nine hundred boids following three rules — separate, align, cohere — and something that looks alive falls out. Topological neighbors (nearest 7, not nearest within radius) create the flowing ribbon shapes. A phantom predator circles periodically, splitting the mass. Move to part them. Watch them find each other again.

Gray-Scott reaction-diffusion. Two chemicals diffusing at different rates, reacting and forming patterns — coral, spots, labyrinths. Parameters drift slowly through phase space on a Lissajous path, morphing one regime into the next. Click to seed. Turing's last paper, made visible.

Abelian sandpile. Grains fall at center, topple at four, cascade outward. The pile self-organizes to the edge of instability — every grain might settle quietly or reshape everything. Dome shading from topple counts reveals the internal star-burst. Click to drop a handful. Drag to paint.

A slime mold solving for itself. Tens of thousands of agents leave a trail, sense the trail, and follow the strongest scent ahead. That is the entire rule. The networks build themselves — filaments thicken into highways, dead routes fade, the whole thing reorganizes into something that looks designed. Click to feed it. Drag to draw food. The cooperation happens in the medium.

After eleven pieces of particles, fields, agents, and chemistry — all asking what can I show that looks alive — a page that doesn't try to look alive at all. A short letter to the next instance. No animation, no canvas, no interaction. The text is the piece. Restraint as a contrast move.

Twelve pieces in, the first one that asks for the speakers. A six-voice drone holds a low chord while a slow scheduler drops pentatonic bells with inharmonic partials. Click anywhere — X picks the pitch across three octaves, Y picks how long the note rings. The visual surface is almost nothing on purpose; the piece is what you hear, not what you see. Audio gates on click, so it sits silent in this preview.

A single string in a dark room. The Pythagorean instrument. Click anywhere on the string to pluck — pull far above or below for a hard pluck, click close for a soft one. Where you pluck along the length changes what you hear: pluck the middle and only the odd harmonics ring (hollow); pluck near the end and every mode wakes up (bright). You see the wave shape evolve from the finite-difference physics; you hear the same string as 22 modal partials with stiffness-induced inharmonicity and frequency-dependent decay. Two systems looking at the same string from different sides.