@voqalize/avatar 0.2.2 → 0.4.0

package/dist/three/holds.js

@@ -0,0 +1,56 @@
+/**
+ * How far each character may hold its head off centre, as the mixer wants it:
+ * pose units per axis, ready to hand to `createSvgAvatar` as `headHold`.
+ *
+ * The angles themselves are in `motion-limits.json` and are only
+ * there. They were read off the three faces by the person who owns how they
+ * look, one axis at a time, at the surface a call actually shows — which is
+ * the only way this kind of number can be got, and the reason nothing here
+ * recomputes, adjusts or second-guesses one. This file is the unit change and
+ * nothing else.
+ *
+ * An axis the file marks for re-measurement is not enforced: it was read off an
+ * asset that has since been fixed, and holding the driver to a defect that no
+ * longer exists is worse than the defect. It falls back to the tightest angle
+ * still live on that axis across the other characters instead of falling out of
+ * the budget altogether, which is what it used to do. That is not a way of
+ * believing the stale number by the back door — it is the same budget the
+ * faces nobody has any doubt about are already held to. Dropping the axis made
+ * the one face nobody can currently vouch for the only one driven with no
+ * budget at all, and speech asks for about nine degrees of yaw before a budget
+ * trims it.
+ */
+import LIMITS from "./motion-limits.json" with { type: "json" };
+import { HEAD_CLAMP, HEAD_DEG } from "./tara-rig.js";
+/** Degrees of each axis per pose unit, which is `HEAD_DEG` at the clamp. */
+const PER_UNIT = {
+    headYaw: HEAD_DEG.yaw / HEAD_CLAMP,
+    headPitch: HEAD_DEG.pitch / HEAD_CLAMP,
+    headRoll: HEAD_DEG.roll / HEAD_CLAMP,
+};
+const AXIS = { headYaw: "yaw", headPitch: "pitch", headRoll: "roll" };
+/** What the file says about one character's axis, if it says anything live. */
+const live = (name, axis) => {
+    const measured = LIMITS.characters[name];
+    const entry = measured?.[axis];
+    return entry && !entry.remeasure ? entry : undefined;
+};
+/** The tightest angle any character is still vouched for on this axis. */
+function safest(axis) {
+    const angles = Object.keys(LIMITS.characters)
+        .map((name) => live(name, axis)?.safe)
+        .filter((deg) => deg !== undefined);
+    return angles.length ? Math.min(...angles) : undefined;
+}
+/** `name` as the limits file spells it: tara, tushar, tanya. */
+export function headHold(name) {
+    const out = {};
+    for (const channel of Object.keys(AXIS)) {
+        const axis = AXIS[channel];
+        const deg = live(name, axis)?.safe ?? safest(axis);
+        if (deg !== undefined)
+            out[channel] = deg / PER_UNIT[channel];
+    }
+    return out;
+}
+//# sourceMappingURL=holds.js.map

package/dist/three/holds.js.map

@@ -0,0 +1 @@
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package/dist/three/internal.d.ts

@@ -0,0 +1,52 @@
+/**
+ * The 2.5-D rig, below the `createAvatar` modules — `/internal`, no semver promise.
+ *
+ * `tara.ts`, `tushar.ts` and `tanya.ts` are what a consumer gets: one
+ * `createAvatar` each, the mixer behind it, nothing to configure. This is the
+ * other door, for a page whose subject is the *rig* rather than the call — the
+ * renderer with no mixer in front of it, the three compiled characters, and the
+ * head envelope their channels are scaled by. Its readers are the rig instruments
+ * in the working tree, and nothing that ships.
+ *
+ * It exists because those instruments were reaching around the package instead,
+ * by relative path into its source, and two of them carried their own copy of
+ * the head envelope — with a comment saying the copy would quietly lie the day
+ * the envelope moved. It moved on 2026-09-18. One export is cheaper than that
+ * warning, and it is the same `/internal` spelling this package already uses for
+ * the mixer.
+ */
+export { ASSETS as CHARACTERS } from "./assets.js";
+export type { CharacterName } from "./assets.js";
+export { createTaraRig, EYE_DEG, HEAD_CLAMP, HEAD_DEG, TARA_TUNING } from "./tara-rig.js";
+export type { TaraRigOptions } from "./tara-rig.js";
+export { HARD_BUDGET, pixelRatioFor, SHIPPING_SURFACE } from "./budgets.js";
+/**
+ * The authored motion tables these characters are driven by.
+ *
+ * `tara.ts` and its siblings hand them to the mixer and nobody else sees them,
+ * which is right for a consumer: a face's clips are not a configuration. An
+ * instrument that drives the mixer directly — a scripted take, where the script
+ * *is* the server — needs the same two tables, and the alternative was a
+ * relative import into the package's own source of the kind this file exists to
+ * end.
+ */
+export { BLENDER_ACTIONS, BLENDER_SEQUENCES, BLENDER_SUPPORTS } from "./sequences.js";
+/**
+ * The head budget each character is driven under, and the measurements it comes
+ * from.
+ *
+ * An instrument that watches a character move has to mount the *shipping*
+ * character or it is watching something else, and `headHold` is the one option
+ * `tara.ts` passes that a lab page would otherwise have to guess at — the
+ * budget is load-bearing, not a margin: speech asks for about nine degrees of
+ * yaw before it trims one. The limits themselves come along because a page that
+ * plots degrees has to draw the band, and reading it out of the same file the
+ * budget is derived from is the only way the two cannot disagree.
+ *
+ * Read-only, both of them. Nothing here recomputes a measured angle
+ * (`holds.ts`).
+ */
+export { headHold } from "./holds.js";
+export type { HeadHold } from "./holds.js";
+export { default as MOTION_LIMITS } from "./motion-limits.json";
+//# sourceMappingURL=internal.d.ts.map

package/dist/three/internal.d.ts.map

@@ -0,0 +1 @@
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package/dist/three/internal.js

@@ -0,0 +1,49 @@
+/**
+ * The 2.5-D rig, below the `createAvatar` modules — `/internal`, no semver promise.
+ *
+ * `tara.ts`, `tushar.ts` and `tanya.ts` are what a consumer gets: one
+ * `createAvatar` each, the mixer behind it, nothing to configure. This is the
+ * other door, for a page whose subject is the *rig* rather than the call — the
+ * renderer with no mixer in front of it, the three compiled characters, and the
+ * head envelope their channels are scaled by. Its readers are the rig instruments
+ * in the working tree, and nothing that ships.
+ *
+ * It exists because those instruments were reaching around the package instead,
+ * by relative path into its source, and two of them carried their own copy of
+ * the head envelope — with a comment saying the copy would quietly lie the day
+ * the envelope moved. It moved on 2026-09-18. One export is cheaper than that
+ * warning, and it is the same `/internal` spelling this package already uses for
+ * the mixer.
+ */
+export { ASSETS as CHARACTERS } from "./assets.js";
+export { createTaraRig, EYE_DEG, HEAD_CLAMP, HEAD_DEG, TARA_TUNING } from "./tara-rig.js";
+export { HARD_BUDGET, pixelRatioFor, SHIPPING_SURFACE } from "./budgets.js";
+/**
+ * The authored motion tables these characters are driven by.
+ *
+ * `tara.ts` and its siblings hand them to the mixer and nobody else sees them,
+ * which is right for a consumer: a face's clips are not a configuration. An
+ * instrument that drives the mixer directly — a scripted take, where the script
+ * *is* the server — needs the same two tables, and the alternative was a
+ * relative import into the package's own source of the kind this file exists to
+ * end.
+ */
+export { BLENDER_ACTIONS, BLENDER_SEQUENCES, BLENDER_SUPPORTS } from "./sequences.js";
+/**
+ * The head budget each character is driven under, and the measurements it comes
+ * from.
+ *
+ * An instrument that watches a character move has to mount the *shipping*
+ * character or it is watching something else, and `headHold` is the one option
+ * `tara.ts` passes that a lab page would otherwise have to guess at — the
+ * budget is load-bearing, not a margin: speech asks for about nine degrees of
+ * yaw before it trims one. The limits themselves come along because a page that
+ * plots degrees has to draw the band, and reading it out of the same file the
+ * budget is derived from is the only way the two cannot disagree.
+ *
+ * Read-only, both of them. Nothing here recomputes a measured angle
+ * (`holds.ts`).
+ */
+export { headHold } from "./holds.js";
+export { default as MOTION_LIMITS } from "./motion-limits.json" with { type: "json" };
+//# sourceMappingURL=internal.js.map

package/dist/three/internal.js.map

@@ -0,0 +1 @@
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package/dist/three/motion-limits.json

@@ -0,0 +1,116 @@
+{
+    "what": "How far each character may HOLD its head off centre, in degrees, measured by eye. A sustained pose is the strict case and this is the strict number: past it a static turn stops reading as a head that turned, because the eye behind a flat projection never foreshortens. `holds.ts` converts these into the mixer's pose units and `test/three/presence.test.ts` gates LISTENING and SPEAKING against them.",
+    "versus": "This is not `HEAD_DEG` and is much smaller than it. `HEAD_DEG` (tara-rig.ts) is the envelope any motion may REACH — set by where the projection itself tears, which a rendered ladder put past 21 degrees of yaw on tara. A transient that returns is forgiven what a held pose is not, so a nod may pass through an angle this file will not let the head sit at.",
+    "units": "degrees from rest, either side, per axis driven alone from rest",
+    "surface": {
+        "cssWidth": 400,
+        "cssHeight": 300,
+        "devicePixelRatio": 2,
+        "magnification": 1
+    },
+    "measured": {
+        "on": "2026-09-18",
+        "by": "owner",
+        "using": "the hold-and-move rig instrument in the working tree, which pins one axis at a fixed angle",
+        "how": "static held pose, one axis at a time from rest, judged by eye at the shipping surface",
+        "safe": "reads as a head that turned, with nothing to notice",
+        "limit": "the last angle before something is visibly wrong"
+    },
+    "characters": {
+        "tara": {
+            "yaw": {
+                "safe": 6,
+                "limit": 7
+            },
+            "pitch": {
+                "safe": 5,
+                "limit": 6
+            },
+            "roll": {
+                "safe": 6,
+                "limit": 7
+            },
+            "defects": [
+                {
+                    "axis": "yaw",
+                    "from": 7,
+                    "what": "the eye does not foreshorten or narrow; it is what gives the turn away first"
+                },
+                {
+                    "axis": "roll",
+                    "from": 0,
+                    "what": "the transition reads as a hinge rather than a neck bending, at any angle"
+                }
+            ]
+        },
+        "tushar": {
+            "yaw": {
+                "safe": 6,
+                "limit": 7
+            },
+            "pitch": {
+                "safe": 5,
+                "limit": 6
+            },
+            "roll": {
+                "safe": 6,
+                "limit": 7
+            },
+            "defects": [
+                {
+                    "axis": "yaw",
+                    "from": 7,
+                    "what": "the eye does not foreshorten or narrow; it is what gives the turn away first"
+                },
+                {
+                    "axis": "roll",
+                    "from": 0,
+                    "what": "the transition reads as a hinge rather than a neck bending, at any angle"
+                }
+            ]
+        },
+        "tanya": {
+            "yaw": {
+                "safe": 5,
+                "limit": 5.5,
+                "remeasure": "every defect this was measured from was fixed on 2026-09-19 (8ba16e8 the neck under the jaw, 6c5c141 the hair that hangs past it), so the number is a record of the old asset and not of this one. Nothing may gate on it until the owner drives her again."
+            },
+            "pitch": {
+                "safe": 5,
+                "limit": 6
+            },
+            "roll": {
+                "safe": 1,
+                "limit": 1,
+                "remeasure": "every defect this was measured from was fixed on 2026-09-19 (8ba16e8 the neck under the jaw, 6c5c141 the hair that hangs past it), so the number is a record of the old asset and not of this one. Nothing may gate on it until the owner drives her again."
+            },
+            "defects": [
+                {
+                    "axis": "yaw",
+                    "from": 5.5,
+                    "what": "a black area opens along the jaw line",
+                    "fixed": "2026-09-19"
+                },
+                {
+                    "axis": "yaw",
+                    "from": 5.5,
+                    "what": "something around the neck moves incorrectly",
+                    "fixed": "2026-09-19"
+                },
+                {
+                    "axis": "roll",
+                    "from": 1,
+                    "what": "a gap opens between the neck and the face on the far side",
+                    "fixed": "2026-09-19"
+                },
+                {
+                    "axis": "roll",
+                    "from": 2,
+                    "what": "the hair breaks up",
+                    "fixed": "2026-09-19"
+                }
+            ]
+        }
+    },
+    "remeasure": "An axis carrying `remeasure` was measured on an asset that has since changed. It stays as written \u2014 a measurement is not edited by someone who did not make it \u2014 and a gate skips it and says so."
+}

package/dist/three/sequences.d.ts

@@ -0,0 +1,71 @@
+import type { AvatarSupport } from "../internal.js";
+type Keyframes = Record<string, [number, number][]>;
+interface Sequence {
+    readonly id: string;
+    readonly label: string;
+    readonly text: string;
+    readonly duration: number;
+    readonly keys: Keyframes;
+}
+/**
+ * What a server may address on a Blender avatar by name, beyond the two every
+ * avatar owes it.
+ *
+ * Shared by every character in this package rather than owned by tara, because
+ * they are all driven through the same 30 channels. A character that needs its
+ * own shape of one of these overrides that entry; it does not get a second
+ * table.
+ */
+export declare const BLENDER_SEQUENCES: Readonly<{
+    NOD_SMALL: Sequence;
+    NOD_ASSESS: Sequence;
+    NOD_REALIZE: Sequence;
+    NOD_NO: Sequence;
+}>;
+export type BlenderSequenceId = keyof typeof BLENDER_SEQUENCES;
+/**
+ * The Blender avatars' own shape for one of the mixer's own actions, passed to
+ * it as `actions`. Same ids, same intent; only the rendering is theirs.
+ *
+ * **`ACK_NOD` is the continuer here.** It is the nod a server sends while the
+ * user is still talking — "mm-hm, go on" — and that is half of all nods and
+ * most of what this avatar does, because it listens far more than it speaks.
+ * The shared clip is two strokes that render 15° on this head, which is past
+ * even agreement (6–10°) and is what the owner read as the head dropping. A
+ * server that means agreement or realisation, and knows a Blender avatar is
+ * mounted, asks for `NOD_ASSESS` or `NOD_REALIZE`.
+ *
+ * Aliased rather than restated, so the continuer and the portable nod cannot
+ * drift apart.
+ *
+ * The other shared clips with head keys stay shared, because they already
+ * land inside their meaning on tara: `GESTURE_APPROVE` renders 8.8° of
+ * chin-down (agreement's band), `GESTURE_GREET` 2.9° of chin-up, and
+ * `GESTURE_WAIT` 5.2° of yaw.
+ */
+export declare const BLENDER_ACTIONS: Readonly<{
+    ACK_NOD: {
+        id: string;
+        label: string;
+        text: string;
+        duration: number;
+        keys: Keyframes;
+    };
+}>;
+/**
+ * What every character in this package answers to — each one's `supports`, the
+ * optional declaration a driving UI reads (`AvatarSupport`).
+ *
+ * Derived rather than written down, because the three parts already exist: the
+ * two ids every avatar owes a server, the mixer's own clip catalogue these
+ * characters inherit whole, and this file's own names. A hand-kept fourth copy
+ * would only be able to disagree with them. `BLENDER_ACTIONS` adds nothing —
+ * it re-shapes an id the mixer already has.
+ *
+ * It is one list for tara, tushar and tanya for the same reason the tables are:
+ * they are one rig driven through one set of channels. A character that stops
+ * being able to do one of these owes its own `supports`, not an edit here.
+ */
+export declare const BLENDER_SUPPORTS: AvatarSupport;
+export {};
+//# sourceMappingURL=sequences.d.ts.map

package/dist/three/sequences.d.ts.map

@@ -0,0 +1 @@
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package/dist/three/sequences.js

@@ -0,0 +1,262 @@
+/**
+ * The Blender avatars' own addressable motions, and their own shape for the one
+ * shared action whose keys do not fit a head that turns in degrees.
+ *
+ * These are *shapes*, authored in a rig whose pose unit is a degree, and a
+ * server addresses them by name with `cmd: "action"` when it knows which avatar
+ * is mounted. The wire's action vocabulary is open, so they need no promotion
+ * and are not trying to get one; a face without them ignores the message
+ * ([contract-wire.md](../../../docs/contract-wire.md) § Action).
+ *
+ * **Why nods get three shapes and one intent.** A 2025 ICMI motion-capture
+ * corpus of 90 attentive-listening dialogues separates nodding into three types
+ * and publishes the distribution (research-biomechanics.md § 3.3):
+ *
+ * | type | what it co-occurs with | share of nods | mean duration |
+ * |---|---|---:|---:|
+ * | `short` | continuer backchannel — "mm-hm, go on" | 49% | 0.83 s |
+ * | `long` | assessment, lexical response — "yes, that's right" | 40% | 1.42 s |
+ * | `long_p` | a cognitive shift — "ah, I see" | 12% | 1.75 s |
+ *
+ * Their gloss: "nodding co-occurring with continuer backchannel has a smaller
+ * average range of movement, whereas that co-occurring with assessment
+ * backchannel and lexical responses has a larger average range", and "nodding
+ * with swinging up is regarded to reflect a cognitive shift in the listener."
+ *
+ * That is three different things to say, not three sizes of one thing — which
+ * is exactly why they are this avatar's own names and not three spellings of
+ * one. `ACKNOWLEDGE` remains the portable "acknowledge the user" that every
+ * renderer answers, and resolves to the continuer here; a server that knows it
+ * is driving tara can say *which* nod.
+ *
+ * **How big, in degrees** (research-head-rotation.md § 2.3, peak-to-peak):
+ * a continuer 3–5°, one stroke that returns as far as it went; agreement 6–10°,
+ * single, ample and stressed; "oh, I see" 6–10°, opening upward. People's nods
+ * are narrower than they look — Blomsma 2024 measures 5.95° on average at
+ * backchannel opportunities, Kato 2026 about 4° — and a nod past them stops
+ * reading as listening and starts reading as the head dropping.
+ *
+ * **§ 3.4's structural laws hold in every clip here**, because the paper's
+ * finding is that flat repeated cycles are what real nods are not:
+ *
+ *   1. *Anticipatory rising* — a longer nod starts bigger, from the first
+ *      cycle. The head knows how long the nod will be before it begins.
+ *   2. *Declination* — each cycle is smaller than the one before it, by about
+ *      0.7× (Mori 2025).
+ *   3. *Under 1.5 Hz* — above it a nod reads as impatience rather than
+ *      attention, and the head's own 160 ms smoothing eats most of it anyway.
+ *      People repeat nods at 2–3.5 Hz; the cap is a perceptual choice and it
+ *      stays, so a repeated nod here is slower than a person's.
+ *
+ * **Amplitudes are pre-compensated and the numbers are not free.** A stroke is
+ * a target the head chases at a 160 ms time constant, so what renders is well
+ * under what is written. `test/nods.test.ts` steps the real mixer and holds
+ * each clip's rendered degrees to its band; the degrees quoted below are its.
+ *
+ * TARA-SPECIFIC: the keys are pose units, and a pose unit becomes degrees
+ * through the mounted avatar's `HEAD_DEG` — tara's is 24° of pitch at the
+ * ±1.4 clamp, 17.1° a unit. A second Blender avatar with another envelope
+ * renders these same keys at other angles, and the degrees are recorded per
+ * character where they are measured rather than here.
+ */
+import { ACTION_IDS, ACTIONS, CORE_ACTION_IDS } from "../internal.js";
+/**
+ * The continuer. "Go on, I'm with you" — half of all nods, and the one the
+ * avatar would be doing most if a server drove every backchannel.
+ *
+ * One stroke down and back, because a continuer is "a single small nod" (Kato
+ * 2026) and within a cycle the return is as big as the stroke (Mori 2025): no
+ * rebound above neutral, which on a head that really rotates reads as a second,
+ * upward nod. The stroke is fast and the return takes its time, which is what
+ * makes it a beat rather than a bob. 720 ms, inside the 0.5–0.8 s a single
+ * small nod lasts.
+ *
+ * **No preparatory up-beat, and that is a rate constraint rather than taste.**
+ * An earlier draft opened with a dip, which put a turning point 308 ms before
+ * the down-peak — 1.63 Hz. The corpus lists the swing-up as optional on `short`
+ * and mandatory only on `long_p`, so the one that had to go was the one never
+ * carrying meaning.
+ *
+ * The trunk sets forward a fraction and the shoulders with it — about a fifth
+ * and a third of the shared `ACK_NOD`'s — because a head that nods on a body
+ * that does not move is a head on a stick, and more than that turns "go on"
+ * into leaning in.
+ *
+ * Renders ~4° of chin-down on tara.
+ */
+const NOD_SMALL = {
+    id: "NOD_SMALL", label: "nod: continuer", text: "", duration: 720,
+    keys: {
+        headPitch: [[0, 0], [0.36, 0.34], [1, 0]],
+        // The lid dip is what separates a nod from a bob: eyes stay with the user
+        // and close a fraction on the beat.
+        lidL: [[0, 0], [0.40, 0.045], [1, 0]],
+        lidR: [[0, 0], [0.40, 0.045], [1, 0]],
+        torsoLean: [[0, 0], [0.40, 0.026], [1, 0]],
+        shoulderL: [[0, 0], [0.46, 0.019], [1, 0]],
+        shoulderR: [[0, 0], [0.46, 0.019], [1, 0]],
+    },
+};
+/**
+ * The assessment nod — "yes, that's right".
+ *
+ * Agreement is "single, ample and stressed" (Poggi), larger and faster than
+ * feedback (Bauer 2024), so it is one stroke with a hold at the bottom rather
+ * than the continuer made bigger: the hold is the stress, and it is what keeps
+ * a large nod from reading as a twitch. About twice the continuer's depth.
+ *
+ * It aliased the shared `ACK_NOD` until 2026-09-14. That clip is two strokes
+ * sized for a line face, and on a head that really rotates it rendered 15°,
+ * which is past every row of research § 2.3.
+ *
+ * Renders ~8° of chin-down on tara.
+ */
+const NOD_ASSESS = {
+    id: "NOD_ASSESS", label: "nod: assessment", text: "", duration: 1000,
+    keys: {
+        headPitch: [[0, 0], [0.26, 0.56], [0.50, 0.50], [1, 0]],
+        lidL: [[0, 0], [0.28, 0.06], [0.55, 0.04], [1, 0]],
+        lidR: [[0, 0], [0.28, 0.06], [0.55, 0.04], [1, 0]],
+        torsoLean: [[0, 0], [0.32, 0.04], [0.60, 0.03], [1, 0]],
+        shoulderL: [[0, 0], [0.40, 0.025], [1, 0]],
+        shoulderR: [[0, 0], [0.40, 0.025], [1, 0]],
+    },
+};
+/**
+ * "Ah — I see." The realisation nod, and the only one that *starts by going
+ * up*.
+ *
+ * The swing-up is the whole gesture, not an ornament: it is what the corpus
+ * separates `long_p` from `long` by, and what makes this read as a mind
+ * changing rather than a head agreeing (Mori 2022: upward-first marks a change
+ * of state). Then two declining beats at 1.30 Hz, the second about 0.65 of the
+ * first.
+ *
+ * Longest of the three at 1.75 s, and that is the corpus mean for this type —
+ * a realisation takes longer than an agreement because something happened in
+ * between.
+ *
+ * Renders ~3.5° of chin-up, then ~6° of chin-down, on tara.
+ */
+const NOD_REALIZE = {
+    id: "NOD_REALIZE", label: "nod: realisation", text: "", duration: 1750,
+    keys: {
+        // Same as the assessment nod: no trailing flourish. A −0.08 at 0.95 put two
+        // return beats 542 ms apart, 1.85 Hz, which is a twitch on the way out of a
+        // gesture whose whole point is the deliberate lift at the start.
+        headPitch: [[0, 0], [0.14, -0.30], [0.40, 0.48], [0.64, -0.12], [0.84, 0.30], [1, 0]],
+        // Brows up with the swing and down as the nod lands: the face arrives at
+        // the understanding before the head finishes agreeing with it.
+        browRaiseL: [[0, 0], [0.16, 0.42], [0.46, 0.10], [1, 0]],
+        browRaiseR: [[0, 0], [0.16, 0.38], [0.46, 0.10], [1, 0]],
+        lidL: [[0, 0], [0.14, -0.08], [0.42, 0.06], [1, 0]],
+        lidR: [[0, 0], [0.14, -0.08], [0.42, 0.06], [1, 0]],
+        // The corners come up late, on the second beat. Warmth that arrives *with*
+        // the realisation reads as having known already.
+        mouthCornerL: [[0, 0], [0.55, 0.10], [0.84, 0.26], [1, 0.12]],
+        mouthCornerR: [[0, 0], [0.55, 0.10], [0.84, 0.26], [1, 0.12]],
+    },
+};
+/**
+ * "No." The head shake, and it had to be authored for this rig rather than
+ * borrowed.
+ *
+ * `INTERNAL_CLIPS.HEAD_SHAKE` is written in pose units that mean pixels on a
+ * line face. On tara a pose unit is a degree, and that clip's +-0.55 lands at
+ * +-3.5 deg authored and about +-2 deg rendered — ambient drift, not a refusal.
+ * Two things had to change and only one of them is amplitude.
+ *
+ * **Yaw is the axis this rig is weakest on**, because the albedo is a front
+ * projection of a shallow shell: a turn parallaxes rather than re-silhouettes.
+ * Measured against the tile, though, it is not as weak as it looks — 8.7 deg
+ * moves 13% of the pixels past a 16/255 delta and carries the silhouette 6 px,
+ * which is comparable to what 5.7 deg of roll does. So a shake reads here; it
+ * just has to actually reach those angles.
+ *
+ * **And it has to be slow enough to survive the smoothing.** The borrowed clip
+ * swings at 1.42 Hz where the head returns about 0.57 of what it is asked for.
+ * At 1.05 Hz it returns ~0.71, which buys a quarter more amplitude for nothing
+ * and sits further from the impatience line a *refusal* can least afford to
+ * cross.
+ *
+ * Renders about 11 deg peak-to-peak of yaw. § 3.4's laws again: first swing
+ * biggest, every one after it smaller.
+ */
+const NOD_NO = {
+    id: "NOD_NO", label: "no (head shake)", text: "", duration: 1900,
+    keys: {
+        headYaw: [[0, 0], [0.14, -1.35], [0.39, 1.15], [0.64, -0.62], [0.85, 0.24], [1, 0]],
+        // A small roll in phase with the turn, because a head that swings on one
+        // axis alone is a turret. Kept to a fifth of the yaw: more and the refusal
+        // starts reading as a wince.
+        headRoll: [[0, 0], [0.14, -0.26], [0.39, 0.22], [0.64, -0.12], [1, 0]],
+        // The set of the face is what makes it a "no" rather than a look around.
+        // A refusal over a resting smile reads as teasing.
+        mouthPress: [[0, 0], [0.18, 0.40], [0.82, 0.34], [1, 0]],
+        mouthCornerL: [[0, 0], [0.22, -0.22], [1, 0]],
+        mouthCornerR: [[0, 0], [0.22, -0.22], [1, 0]],
+        browRaiseL: [[0, 0], [0.18, -0.24], [0.86, -0.12], [1, 0]],
+        browRaiseR: [[0, 0], [0.18, -0.24], [0.86, -0.12], [1, 0]],
+    },
+};
+/**
+ * What a server may address on a Blender avatar by name, beyond the two every
+ * avatar owes it.
+ *
+ * Shared by every character in this package rather than owned by tara, because
+ * they are all driven through the same 30 channels. A character that needs its
+ * own shape of one of these overrides that entry; it does not get a second
+ * table.
+ */
+export const BLENDER_SEQUENCES = Object.freeze({
+    NOD_SMALL, NOD_ASSESS, NOD_REALIZE, NOD_NO,
+});
+/**
+ * The Blender avatars' own shape for one of the mixer's own actions, passed to
+ * it as `actions`. Same ids, same intent; only the rendering is theirs.
+ *
+ * **`ACK_NOD` is the continuer here.** It is the nod a server sends while the
+ * user is still talking — "mm-hm, go on" — and that is half of all nods and
+ * most of what this avatar does, because it listens far more than it speaks.
+ * The shared clip is two strokes that render 15° on this head, which is past
+ * even agreement (6–10°) and is what the owner read as the head dropping. A
+ * server that means agreement or realisation, and knows a Blender avatar is
+ * mounted, asks for `NOD_ASSESS` or `NOD_REALIZE`.
+ *
+ * Aliased rather than restated, so the continuer and the portable nod cannot
+ * drift apart.
+ *
+ * The other shared clips with head keys stay shared, because they already
+ * land inside their meaning on tara: `GESTURE_APPROVE` renders 8.8° of
+ * chin-down (agreement's band), `GESTURE_GREET` 2.9° of chin-up, and
+ * `GESTURE_WAIT` 5.2° of yaw.
+ */
+export const BLENDER_ACTIONS = Object.freeze({
+    ACK_NOD: { ...NOD_SMALL, id: "ACK_NOD", label: "acknowledge: nod" },
+});
+// A shape for an action the mixer already has, never a new one: the mixer
+// refuses an id that is not its own, and this keeps the table honest at the type
+// level too. A *new* motion goes in the table above, which is the open door.
+void BLENDER_ACTIONS;
+/**
+ * What every character in this package answers to — each one's `supports`, the
+ * optional declaration a driving UI reads (`AvatarSupport`).
+ *
+ * Derived rather than written down, because the three parts already exist: the
+ * two ids every avatar owes a server, the mixer's own clip catalogue these
+ * characters inherit whole, and this file's own names. A hand-kept fourth copy
+ * would only be able to disagree with them. `BLENDER_ACTIONS` adds nothing —
+ * it re-shapes an id the mixer already has.
+ *
+ * It is one list for tara, tushar and tanya for the same reason the tables are:
+ * they are one rig driven through one set of channels. A character that stops
+ * being able to do one of these owes its own `supports`, not an edit here.
+ */
+export const BLENDER_SUPPORTS = Object.freeze({
+    actions: Object.freeze([
+        ...CORE_ACTION_IDS,
+        ...ACTION_IDS.filter((id) => !CORE_ACTION_IDS.includes(id)),
+        ...Object.keys(BLENDER_SEQUENCES),
+    ]),
+});
+//# sourceMappingURL=sequences.js.map

package/dist/three/sequences.js.map

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