Scatter seed points across a plane, then assign every location to its nearest seed. The plane shatters into convex cells, one per seed, with boundaries exactly halfway between neighbors. That is the Voronoi diagram, and nature draws it constantly: cracked earth, dragonfly wings, foam between bubbles, cells in tissue, territories around anthills. Any process where regions grow outward from centers until they collide leaves this signature.
Graphics uses it as texture and structure. Worley noise, the shader version, computes distance-to-nearest-seed per pixel and shades by it, giving instant cellular, organic surfaces; layering and animating the seeds produces caustics, scales, and shattering effects. Beyond texture, the diagram partitions space for mosaic effects, fracture patterns for destruction, and even the layout of distributed points in stippling.
The animated form is the compelling one for music: let the seeds drift like a swarm and the whole cellular structure flexes, and on a hit the seeds can scatter or multiply so the surface visibly shatters and reforms. Because each pixel’s math involves only nearby seeds, it runs fast enough to fill a screen at show frame rates.