
Imagine you open a simple app on your laptop: just a dark grid of tiny squares, like digital graph paper. You click a few cells to light them up, hit “play,” and suddenly the pattern starts to move. Dots travel across the screen, loops appear, some structures collide and disappear, others split and multiply. There’s no character, no storyline, no fancy graphics—only colored squares following basic rules. Yet, the screen feels strangely alive, like watching bacteria in a petri dish or traffic in a city from a great distance. Langton’s work asks a bold question about scenes like this: could something that looks and behaves “alive” emerge from nothing more than tiny, inanimate pieces obeying simple rules?
To explore that question, Langton uses what are called cellular automata, which can be visualized as video-game worlds composed of pixels that all update simultaneously. Each square on the grid decides what to do—stay dark, light up, change color—by checking only its neighbors. No central authority is dictating the grid’s actions; instead, it relies on local interactions. By changing a single “knob” that controls how easily cells become active, Langton shows that these worlds can freeze into stillness, explode into chaos, or settle into a balanced middle zone. In that middle zone, patterns are both stable and changing: little moving shapes glide around, collide, and leave trails. This is where things start looking uncannily like the way molecules interact in real cells, and it’s the region Langton finds most promising for “artificial life.”
Langton goes a step further and treats the moving patterns themselves as tiny digital machines, which he calls virtual automata or virtual state machines. They can store information in their shape, react to other patterns, and even build or erase structures on the grid. In his examples, some of these patterns play roles similar to biological molecules: they transport “stuff” by copying it elsewhere, regulate activity by keeping each other in check, or act as messengers that trigger changes in different patterns. Collections of them can behave like simple societies: for instance, virtual “ants” follow ultra-simple rules—turn left or right depending on the color of the cell they step on—yet together they carve out trails and web-like structures that look designed, even though no ant has a global plan. Langton also shows a compact loop that carries a tiny digital “recipe” circulating inside it; that recipe is used both to build a new loop and to copy itself, allowing the loop to reproduce again and again across the grid, much like a microscopic colony expanding in all directions.
Why should any of this matter in everyday life if you’re not a biologist or a programmer? Because it’s a concrete reminder that complex, meaningful behavior can grow from straightforward rules repeated many times, with no mastermind in charge. The way trends spread on social media, how traffic jams suddenly appear on a highway, or how habits slowly build your future self all share this vibe: many small actions, interacting locally, creating significant patterns that no one person designed. Langton and colleagues suggest that by studying artificial life in these tiny digital universes, we can better understand not only how real cells and organisms might work, but also how any system made of many simple parts—groups of friends, online communities, even your own daily routine—can tip from boring, to richly creative, to completely chaotic depending on how it’s “tuned.” Playing with these grid worlds, or just thinking in their terms, can train you to notice the small rules shaping your own life and maybe tweak them so your world stays in that sweet, lively middle zone where new, interesting things can emerge.
Reference:
Langton, C. G. (1986). Studying artificial life with cellular automata. Physica D: Nonlinear Phenomena, 22(1–3), 120–149. https://doi.org/10.1016/0167-2789(86)90237-X
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