This is my first attempt in using Flam3 2.7.3 on a brand new setup.

This update resolves most of 2.7.2 problems and adds some new interesting features.
Generated sequences, like Sheeps or Edges, can now fully supported by Apo withouth any editing due to the ‘intpalette’ and ‘name’ tag writing (glad in seeing my requests implemented).

Flam3 2.7.3 by Scott Draves and Erik Reckase

Features List:
Flam3 version, rendered genome, some render statistics and
optionally nick/url stored in jpeg/png headers.
Fixed two bugs in isaac rng code (strongly affected temporal blur).
Prevent final xform rotation for sheep animation.
fixed interpolation when only one flame has final xform.
Added Supershape, Flower, Conic, Parabola, Move and Split variations.
Shape combined with Supershape via ‘rnd’ parameter.
Flam3-genome now writes ‘name’ attribute for rotate and sequence modes.
Oversample attribute deprecated; supersample now preferred.
New build process for windows exes using MinGW/MSYS.
Added ‘intpalette’ env var to round floating point palettes to allow older versions of Apophysis to read them.
Default image type is now PNG, transparency off.
Density estimation code revised to be more consistent between different supersample levels, which required change to default de params.
Limit number of de filters to conserve memory.
Fixed julia variation dependency on non-thread-safe random bit function.
Removed random number storage for radial blur variation.
Release 2.7.3 - 06/21/2007

Home Page: http://flam3.com/

“J meets S” or “Julia meets Spherical” is a simple setup mainly based on Julia transform plus some Spherical adds.

Two new small previews vids created using RenderFlam3 Step script.

Tdwnc is the first sequence using Variation’s Variables morphing; the result is quite good, the main problem here is due to Spline interpolation that shifts frames motion after KeyFrame temporal position.
I’ll render the same sequence, as soon as possible, using the Linear interpolation that could cure the shift probelm but it’d provide les smooth motion.

“But Phileas Fogg, who was not travelling, but only describing a circumference, took no pains to inquire into these subjects; he was a solid body, traversing an orbit around the terrestrial globe, according to the laws of rational mechanics.
…
Sir Francis Cromarty had observed the oddity of his travelling companion — although the only opportunity he had for studying him had been while he was dealing the cards, and between two rubbers — and questioned himself whether a human heart really beat beneath this cold exterior, and whether Phileas Fogg had any sense of the beauties of nature. The brigadier-general was free to mentally confess that, of all the eccentric persons he had ever met, none was comparable to this product of the exact sciences.”
Jules Verne, Around the World in Eighty Days - Chapter XI - In which Phileas Fogg secures a curious means of conveyance at a fabulous price

The Latin word aeon, also spelled eon or æon, means “age“, “forever” or “for eternity“. It is derived from the koine Greek word αίών (aion), which at one point meant “age“, “a period of existence” or “life“.

Plato used the word aeon to denote the eternal world of ideas, which he conceived was “behind” the perceived world, as demonstrated in his famous Allegory of the cave.

“This world that appears to the senses has no true being, but only a ceaseless becoming; it is, and it also is not; and its comprehension is not so much a knowledge as an illusion. This is what he expresses in a myth at the beginning of the seventh book of the Republic, the most important passage in all his works … . He says that men, firmly chained in a dark cave, see neither the genuine original light nor actual things, but only the inadequate light of the fire in the cave, and the shadows of actual things passing by the fire behind their backs. Yet they imagine that the shadows are the reality, and that determining the succession of these shadows is true wisdom.”
A. Schopenhauer, The World as Will and Representation, Vol. I, Appendix

I cannot stop my own moronic thoughts!

Original design

“Meanwhile Daedalus, hating Crete, and his long exile, and filled with a desire to stand on his native soil, was imprisoned by the waves. ‘He may thwart our escape by land or sea’ he said ‘but the sky is surely open to us: we will go that way: Minos rules everything but he does not rule the heavens’. So saying he applied his thought to new invention and altered the natural order of things. He laid down lines of feathers, beginning with the smallest, following the shorter with longer ones, so that you might think they had grown like that, on a slant. In that way, long ago, the rustic pan-pipes were graduated, with lengthening reeds. Then he fastened them together with thread at the middle, and bees’-wax at the base, and, when he had arranged them, he flexed each one into a gentle curve, so that they imitated real bird’s wings. His son, Icarus, stood next to him, and, not realising that he was handling things that would endanger him, caught laughingly at the down that blew in the passing breeze, and softened the yellow bees’-wax with his thumb, and, in his play, hindered his father’s marvellous work.

When he had put the last touches to what he had begun, the artificer balanced his own body between the two wings and hovered in the moving air. He instructed the boy as well, saying ‘Let me warn you, Icarus, to take the middle way, in case the moisture weighs down your wings, if you fly too low, or if you go too high, the sun scorches them. Travel between the extremes. And I order you not to aim towards Bootes, the Herdsman, or Helice, the Great Bear, or towards the drawn sword of Orion: take the course I show you!’ At the same time as he laid down the rules of flight, he fitted the newly created wings on the boy’s shoulders. While he worked and issued his warnings the ageing man’s cheeks were wet with tears: the father’s hands trembled.

He gave a never to be repeated kiss to his son, and lifting upwards on his wings, flew ahead, anxious for his companion, like a bird, leading her fledglings out of a nest above, into the empty air. He urged the boy to follow, and showed him the dangerous art of flying, moving his own wings, and then looking back at his son. Some angler catching fish with a quivering rod, or a shepherd leaning on his crook, or a ploughman resting on the handles of his plough, saw them, perhaps, and stood there amazed, believing them to be gods able to travel the sky.

And now Samos, sacred to Juno, lay ahead to the left (Delos and Paros were behind them), Lebinthos, and Calymne, rich in honey, to the right, when the boy began to delight in his daring flight, and abandoning his guide, drawn by desire for the heavens, soared higher. His nearness to the devouring sun softened the fragrant wax that held the wings: and the wax melted: he flailed with bare arms, but losing his oar-like wings, could not ride the air. Even as his mouth was crying his father’s name, it vanished into the dark blue sea, the Icarian Sea, called after him. The unhappy father, now no longer a father, shouted ‘Icarus, Icarus where are you? Which way should I be looking, to see you?’ ‘Icarus’ he called again. Then he caught sight of the feathers on the waves, and cursed his inventions. He laid the body to rest, in a tomb, and the island was named Icaria after his buried child. ”

Ovid - The Metamorphoses - Bk VIII:183-235 Daedalus and Icarus

Reprised version of “RW (Recursive-Whirls)“: three recursive objects on different planes, single layer rendering as always. More confusion and interaction.