I have it running way better now. Before, the raycaster was an intermediate CPU step, but now it's almost completely offloaded to the GPU, which allows for much larger grids. This is such a fun way to explore CA I saved. Whatever automata my crosshair is over, I can hit the spacebar, and it opens up in the editor. I eventually want to make this completely seamless.
This view mode allows me to explore my automata in a raycaster before I open it up in the editor. It works similar to Wolfenstein 3D's raycaster, texturing only the walls on a single floor, except new textures are constantly streamed in and replaced as the automata progresses. It already works better than I imagined, and just love being in the space as I see the automata develop and change around me.
My software works in very simply ways by duplicating shapes and offsetting the position, size and rotation, amount other aspects. Adding sine/cosine math is what can make these offsets result in spiraling. I'm fascinated in both the patterns that can arise from the objects and connecting lines, but also in its negative space (the moire é patterns).
To achieve this level of pulsation, the software initiates a Rotation Mutation Formation that defies logical expectation. It all starts with a foundation of rhythmic oscillation. You have multiple oscillators that you can use for the assignation of various parameters. When you trigger the activation of the primary oscillation, it creates a cascading sensation of color saturation and geometric multiplication. The mutation occurs through a combination of orbital acceleration and pixel transformation. As the rotation hits peak velocity, the formation undergoes a recursive superposition, leading to a state of pure visual hallucination and gratification.
A simple duplicator with offsets for position, rotation, color and scale combined with sine/cosine operations can give a lot of satisfying results.