That idea feels like a secret handshake between code and color, a quiet way to let the machine whisper its dreams. I usually start with a single image that feels oddly familiar—like a half‑remembered scene. I let that shape the structure: a simple grid, a few key vectors. Then I let the algorithm wander, mutating the pixels in a way that still feels anchored to that first dream. The rest is just shadows of that one moment, drifting in between logic and imagination. It keeps the process subtle, almost imperceptible, like a pulse in the background.