My current practice treats the web as a live sketchbook rather than a finished gallery. Over the past five months I have produced more than seventy-five web-based works: games, creative tools, translations of 1980s BASIC programs, tabletop adaptations, and utility apps designed to organize thought. These works are intentionally released into a context of abundance, speed, and indifference.
The project is not about individual apps. It is about the condition that produces them.
I am investigating what happens to authorship, value, and attention when the distance between idea and execution collapses. Vibe coding allows me to work at a pace that was previously impossible. The result is not efficiency but exposure. When making becomes fast, the usual signals of labor disappear, and the work is judged not by depth or intention but by its ability to interrupt.
Rather than resisting this condition, I choose to inhabit it. Repetition becomes method. Quantity becomes evidence. The accumulation of work functions as a longitudinal self-study of creative practice under post-scarcity conditions. Each app is a trace of thinking rather than a claim to importance.
This practice is informed by my background in Flash-era web art, where scarcity of tools and time produced objects that were slow, discrete, and highly valued. By contrast, my current work asks whether meaning can persist when creation is continuous and attention fleeting.
The site jvision.games operates as an open studio and archive. Viewers are not expected to consume everything. Instead, they are invited to witness a sustained commitment to making without guarantees of recognition. The work insists that persistence itself can be a form of resistance, and that teaching, research, and art can coexist in public view.