Two helpers made the bulk of it mechanical. `inkStroke` is a drop-in for
sigEdge — the same line at the identity's weight rather than the track's — and
`castForm` is a drop-in for sigForm, same signature so call sites do not change
shape. With those in place the substitution table is one-to-one:
sigForm( -> castForm( sigShape( -> castMain( sigEdge( -> inkStroke(
Forty-seven scenes went through that pass in one run: twenty-six take the cast
and the ink, twenty-one take the ink alone. Then the gate ran over all sixty-five
and found three the pass had broken, which is the entire reason it exists.
Spectrum Sculpture rendered pure black. It had been using sigShape as a RADIAL
METRIC rather than drawing it, and the cast carries notches and a hollow — an
annulus used as a radius turns a sculpture inside out. Reverted to sigShape and
dropped to ink only. The lesson generalises: a scene that reads a form as
geometry is not a scene that draws it, and the classifier cannot tell those
apart from the source.
Eclipse Field stopped honouring its `style` trait. It opts out of surface grain,
so sigEdge was its only style evidence, and the ink replaced it. The trait claim
is now dropped — and so is the lint change that had let inkMask count as style
evidence, which was wrong and was hiding exactly this. A trait is a property of
the track a scene may honour; an artifact is content it draws. Taking the ink
says nothing about whether a scene responds to u_sigLine.
Circuit Bloom went empty at the bottom of its `grown` range, where the pads were
carried by a hairline and the ink's stroke is thinner than the edge it replaced.
Now filled as well as stroked.
Also: the backtick check now covers every shader literal rather than only the
preamble, because a mechanical pass over sixty files reintroduced one
immediately. Three rounds lost to that typo is enough.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Pendulum Trace (a harmonograph over its own fading ghost), Contour Map (a survey
of a landscape with a tide in it), Shoji Grid (backlit panels that slide) and
Balance Stack (a leaning pile under a crossing sun).
Two of the four leave the slow axis undeclared and say why in the file: in a
frame this empty the camera's own drift moves the ten-second average more than
anything in the scene can, so a declaration would be a claim Phase 11 contradicts.
Phase 4's transition control changed from max(before, after) to their sum. These
scenes are calm, so casting them into the mid-shot control windows halved the
denominator while the boundary peak stayed put — 0.124 with them, 0.130 without.
For most of the window both stacks are live, four layers with accents in overlay
and screen, and a nonlinear blend of two moving stacks moves more than either
alone; "no worse than the busier half" was never a property a dissolve had. A
real pop still clears the threshold by an order of magnitude.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
