@voqalize/avatar 0.4.3 → 0.5.0

package/src/prosody.js

@@ -1,741 +0,0 @@
-/**
- * Speech prosody: what a speaking face does *around* the mouth, read off the
- * same viseme track that drives the mouth, so it can never disagree with it.
- *
- * A talking head is mostly moved by its voice. Head motion alone accounts for
- * over 63 % of the variance in a speaker's F0 (Munhall et al. 2004), its
- * first canonical correlation with prosody runs about 0.7 (Busso et al.
- * 2007), and a face animated with the speaker's own natural head motion is
- * understood better than the same face held still — or moved at double
- * amplitude, which scored no better than none. That last result is the
- * sizing rule for everything here: natural, not more. Research, with the
- * numbers: docs/research-biomechanics.md §3.8.
- *
- * Each behaviour is here because a study found people use it:
- *
- *  - A blink at each pause. Speakers' blinks cluster at breakpoints of speech,
- *    and listeners entrain to exactly those blinks (Nakano & Kitazawa 2010;
- *    research-biomechanics.md §3.7, §5.4). A blink placed at a clause boundary
- *    is worth several on a timer, so the idle timer is re-armed each time.
- *  - A pose held through each phrase and changed between them. Most of a
- *    speaker's head motion is not the beats but a pose held and changed at
- *    phrase scale (Hadar et al. 1983's slow band). The change comes *before*
- *    the voice — the head moves first at over 70 % of phrase onsets (Graf et
- *    al. 2002) — so it is booked inside the pause, with the inbreath: speech
- *    breathing is a quick inbreath at the pause and a long outbreath over the
- *    phrase (§6.1).
- *  - Beats on the prominent vowels, about one a second where the speech has
- *    them. Brows up and a head stroke, the brows leading the accented syllable
- *    by ~60 ms (Flecha-García 2010). Graf's speaker nodded on most pitch
- *    accents and swung to a new position on a fifth of them, mostly in pitch,
- *    sometimes diagonally with yaw, and repeated her own motions — so the side
- *    a diagonal leans to is kept for the turn. The gate is the point: brow
- *    raises placed at random give no benefit (Al Moubayed & Beskow 2009), so a
- *    vowel that does not stand out gets no beat at all.
- *  - A settle on the last vowel of a phrase: the head comes down a little as
- *    a phrase closes (final lowering, §3.4) and *stays* down through the
- *    pause, until the next phrase lifts it.
- *  - Warmth at the edges of a turn. A smile held through a sentence is
- *    discounted as insincere (research-perception.md §3), so this is an
- *    episode: it rises as a turn starts and again as it ends, and is gone in
- *    between. The mixer withholds it under an emotion whose corners are down.
- *
- * **The head moves by holding, and that is the 2026-09-12 redesign.** Every
- * head behaviour above used to be a continuous envelope — a drift re-aimed each
- * phrase, strokes with counter-lobes, a lead-in dip — summed and low-passed,
- * which drew a head in motion from the first word to the last and read as
- * floating. It is now discrete: the held pose moves on a minimum-jerk path and
- * then is exactly still, and a beat is a pulse on top of it (head.js has the
- * argument). The amplitudes came down with it, to what a webcam shows of a
- * person talking — a few degrees — because they had been sized to the lab's
- * whole-sentence ranges, and on tara, a photograph on shallow geometry, a
- * turn that size is the moment she reads as a cutout.
- *
- * Prominence is estimated from what the cue stream carries. English stress is
- * mostly duration and loudness, and a cue has both: its length, and `i`, which
- * is TTS energy. That is a proxy for the pitch accent the studies measured, so
- * everything here is sized to be missed rather than to be wrong. The one
- * channel family it never writes is the mouth's articulation; lipsync is the
- * headline, and the corners it lifts are the ones visemes never touch.
- *
- * These are speech-rhythm movements, not acknowledgements. A beat is part of
- * how the avatar talks, like the torso moving more while it talks; a nod that
- * *means* yes is still only ever a server action.
- */
-
-import { SILENT } from './visemes.js';
-import { HeadPose } from './head.js';
-
-// A silence this long is a pause, not the gap between two words. Word gaps in
-// fluent TTS run ~50-200 ms; clause pauses start around a quarter second.
-const PAUSE_MS = 250;
-// Speakers blink ~20-26 times a minute. Clause pauses in fast speech can come
-// closer than that, and a blink at every one reads as nervous.
-const BLINK_MIN_GAP_MS = 1400;
-// Only fire on a pause we arrive at, not one the track was joined midway into.
-const BLINK_FRESH_MS = 150;
-
-// The held pose, in pose units at gain 1. What a unit is worth in degrees is
-// the rig's own scaling and is deliberately not repeated here: the figure that
-// used to be, was wrong for the whole of the day the yaw envelope moved.
-// Each phrase picks one, usually on the other side from the last,
-// so consecutive phrases are a visible change of position rather than a
-// wobble about the same one. Yaw is the narrowest in degrees because it is the
-// axis a projected photograph survives least; pitch leans slightly chin-up,
-// which is where a person talking to someone holds their head.
-// **Every axis went up on 2026-09-21, and it is paying for something
-// specific.** The speaking face used to get much of its movement from a gaze
-// aversion — a look away that took the neck with it — and that is gone
-// (gaze.js): the eyes now hold the user for the whole turn. Taking it out and
-// changing nothing else left the speaking head measurably *stiller* than
-// before, which is the defect the aversion had been introduced to fix. So the
-// movement comes back as the pose the head holds per phrase, which is what a
-// speaker's head actually does and is communicative rather than evasive.
-//
-// Sized against `presence.test.ts`, which renders a turn through the real
-// mixer and prints the degrees. On tara the widest yaw here is ~4.9° and the
-// widest chin-up ~4.4°, inside the 6° and 5° she was measured at for a *held*
-// pose; what the same table showed before the raise was a speaking head
-// reaching 4.2° of yaw and 2.1° of pitch, the second of which is under half of
-// what the aversion had been supplying. `headHold` softens the sum in any
-// case, so a character measured tighter than tara gets her own angle here for
-// free.
-const POSE = {
-  headYaw: [0.15, 0.44],
-  // **Pitch widens downward only, and the chin-up end is pinned where it was.**
-  // Opening it to -0.26 with the rest measured as a speaking face reading
-  // *sleepy*: the lids follow the globe, and on a rig with a reflex a chin-up
-  // head means eyes rolled down to hold the user, which narrows the aperture
-  // for real. The audit's open-lid median went 0.149 -> 0.163 against a 0.15
-  // ceiling (research-perception.md § 6) on that change alone. So the chin-up
-  // end stays at the -0.20 it was measured safe at, and the extra travel comes
-  // off the other end, where the reflex rolls the eyes *up* and the lid opens.
-  // A phrase pose returns, so this is not the chin-drift that reads downcast.
-  headPitch: [-0.20, 0.22],
-  headRoll: [0.12, 0.34],
-  // The mouth corners take a small share of each pose: a speaking mouth whose
-  // corners never move reads as dubbed. They ease rather than move, since a
-  // corner that jumps reads as a twitch.
-  corner: [0, 0.09],
-  cornerTauS: 0.9,
-  // **The brows take a level per phrase too, and it is signed.** Measured over
-  // the audit's 56 s turn, `browRaiseL` sat at exactly 0.000 for 84% of frames
-  // and never once went negative: between beats the upper face was pinned at
-  // the floor of its range. Two video reviewers named that stillness — "the
-  // eyebrows, forehead, and the muscles around the eyes do not move" — as the
-  // single biggest reason these faces read as uncanny, ahead of the mouth. The
-  // corners above already had a held level and measured 0.1%, so the brows
-  // were the channel with no *pose*, not the channel with no events.
-  //
-  // Signed is the half that carries it. `browRaise` is the one channel the
-  // Blender rigs split by sign into two photographed maps — a raise above zero
-  // and a knit below it — so a phrase sitting negative is the only route a
-  // real furrow has into a sentence. Pinned at zero, half the asset was
-  // unreachable by construction. The floor is `thoughtful`'s own -0.14, which
-  // character-rig's knit weight already cites as a third of the crease; the ceiling
-  // stays well under a beat's 0.34 so a held level is never read as an accent.
-  brow: [-0.14, 0.18],
-  browTauS: 0.8,
-  // One brow leads, the way BEAT.browAmp's 0.34/0.30 already has it: a matched
-  // pair is the drawing, not the face.
-  browAsym: 0.82,
-  switchP: 0.7,
-  // A phrase with no pause long enough to book a move keeps its pose, unless
-  // the pose is this old: then the phrase takes a new one as it starts.
-  holdMs: 3200,
-};
-
-// The move into a new phrase's pose. It starts inside the pause and lands
-// around the first syllable, and only a pause this long books one — a shorter
-// one is a breath between clauses, not a new thought.
-const ONSET = { minPauseMs: 400, leadMs: 280, durMs: 380 };
-// The inbreath: fast in across the pause's end, then let out over the phrase.
-// The idle layer's quiet breathing steps back while speech runs (idle.js), so
-// this is the breath a talking body shows rather than one on top of it.
-const INHALE = [[-420, 0], [-140, 1], [700, 0.55], [2200, 0]];
-const INHALE_AMP = 0.7;
-
-const BEAT = {
-  // The open vowels carry the energy, and the jaw drop that a stressed vowel
-  // gets; the closures and the narrow shapes are never the peak.
-  vowels: new Set(['C', 'D', 'E']),
-  // Measured over a 42 s track of real cue data, a stricter gate made one beat
-  // per 4.2 s of voiced speech, where accents come about once a second; the
-  // median phrase on that track is 1.26 s, so a long floor disqualified a
-  // third of the phrases outright.
-  minPhraseMs: 600,
-  minVowels: 2,
-  minDurMs: 100,
-  // How far above the phrase's mean a vowel must stand to count as prominent,
-  // and it must also be the strongest within `localMs` either side of it. A
-  // phrase of equal vowels still gets nothing.
-  salience: 1.05,
-  localMs: 380,
-  // Beats at least this far apart; closer and they read as a metronome, and
-  // their stroke frequency climbs past the 1.5 Hz line (CLAUDE.md).
-  gapMs: 620,
-  // Each vowel is weighed once, as it enters this window ahead of the clock:
-  // late enough that the cues around it have arrived, early enough for the
-  // head stroke's run-up.
-  commitMs: 340,
-  windowMs: 180,
-  // Relative to the vowel onset. The brows hold ~150 ms and come down over
-  // ~300 ms, the slower release of a real frontalis, and the upper lids lift
-  // a little with them — a brow flash that leaves the lids is a frown's half.
-  brow: [[-140, 0], [-40, 1], [110, 1], [410, 0]],
-  browAmp: [0.34, 0.30],
-  lidAmp: -0.05,
-  // **How big a beat is, the syllable decides.** Over a 20.7 s turn of real
-  // cue data every beat was authored at exactly 0.340 — 55 of them across five
-  // seeds, sd 0.000 — while the loudness of the vowels that won them ran 0.51
-  // to 1.00. A vowel can win on length alone, since `score` is duration times
-  // loudness, so a quiet long syllable drew the same flash as a shouted one. A
-  // face whose every accent is the same size is the "repetitive, like a
-  // puppet" read the mouth already had before `shapeFor` scaled it by this
-  // same `i`; nothing scaled these.
-  //
-  // It varies *upward*, because the complaint underneath this one is a still
-  // upper face: no beat may shrink. The quiet end lands at 0.349, above the
-  // 0.340 every beat used to take, and the range runs to 0.408. That is also
-  // what keeps the line faces safe — `browPath` lifts a brow 15 units of an
-  // 800-unit frame, so a beat is only ~0.8 px at the 130 px acceptance size,
-  // and the mouth's own `0.45 + 0.55i` would have halved it into nothing. The
-  // ceiling is the asset's: tara's raise map reads `browRaise / 0.6` and
-  // clamps, so under `POSE.brow`'s 0.18 held level a gain past ~1.24 buys
-  // light that is already saturated.
-  browGain: [0.85, 0.35],
-  // **A brow has more than one shape.** Measured over a speaking turn,
-  // `browAngleL` and `browInnerL` once moved exactly 0.000: every beat drew the
-  // same symmetric raise. The plain raise stays the common one; the inner lift
-  // is AU1, the appeal, and deliberately the rarest, because a face that keeps
-  // lifting its inner brows reads as worried; the outer-end tilt exists so two
-  // beats in a row are not the same drawing. Shapes of one event, on one
-  // envelope.
-  browForms: [
-    { p: 0.60, inner: 0.00, angle: 0.00 },
-    { p: 0.25, inner: 0.26, angle: 0.00 },
-    { p: 0.15, inner: 0.00, angle: 0.30 },
-  ],
-  // What the head does with a beat. A swing is Graf's one-way movement — the
-  // beat taken as a move to a new pose — and is only offered once the pose has
-  // been held a while, so a phrase does not change position twice in a breath.
-  // Of the rest most are a nod and some leave the head alone: a beat on every
-  // accent is a metronome, and the brows still carry it.
-  //
-  // **Raised on 2026-09-21, and this is where the speaking head's motion went.**
-  // Deleting the speaking aversion (gaze.js) took its head share with it, and
-  // that share had been most of what moved the head *inside* a sentence: the
-  // per-sentence deviation fell from 0.79 deg of yaw to 0.55 measured on the
-  // audit's real cue track, because a held phrase pose contributes nothing to a
-  // deviation taken about that phrase's own mean. The swing is the honest way
-  // to put it back — it is a move to a new pose rather than a look away from
-  // the user, which is the whole distinction the removal was about, and Graf
-  // has the speaker doing it. Offered more often and after a shorter hold; the
-  // hold is still long enough that a phrase does not reposition twice in a
-  // breath.
-  swingP: 0.42,
-  swingAfterMs: 1400,
-  swingMs: 320,
-  nodP: 0.7,
-  // The nod: down and back, over by 0.4 s, and nothing after it. It peaks just
-  // ahead of the vowel so that, through the head's 160 ms smoothing, it lands on
-  // it. About 2.5° asked of tara, of which the smoothing renders most.
-  nod: { pitch: 0.15, attack: 130, release: 240, lead: 170 },
-  // A diagonal nod's yaw, on the turn's side. Raised with the swing above, and
-  // for the same reason — a diagonal beat moves the head across the sentence
-  // where a pure pitch nod only moves it down and back. The amplitude is
-  // untouched: the nod's read defect was its geometry, never its size.
-  yawP: 0.45,
-  yaw: 0.12,
-};
-
-// **The body's share of a beat.** A speaker's trunk is not decorative on an
-// accent: emphasis travels down, the shoulders lift and set slightly on a
-// stressed syllable, and a phrase boundary is where posture resets (Hadar et
-// al. 1983 tied the pattern of movement against stillness to juncture). It is
-// not a gesture — there is no arm — but the head's stroke arriving late and
-// small at the shoulders, which `params.TAU` supplies for free by chasing the
-// shoulders at 0.19 s and the lean at 0.24 s. Each stroke returns through
-// neutral: a trunk that only ever lifts is a standing shrug, which is what a
-// filmstrip once showed as the figure sitting larger and lower in frame.
-// Raised on 2026-09-21 with the rest of the body: the trunk has no measured
-// hold budget the way the head does — nothing about a shoulder tells a
-// projected photograph it has been turned too far — so it is the channel where
-// "a bit more movement" is free, and it is the one the head-on-a-stick read
-// comes from.
-const BEAT_BODY = {
-  keys: [[-380, 0], [-60, 1], [140, 0.25], [320, -0.30], [600, 0]],
-  shoulder: 0.36, lean: 0.15, spread: 0.35,
-};
-// The lift a phrase carries, over its own span: up on the first stressed
-// syllable and settling below where it started as the breath goes out.
-const PHRASE_BODY = {
-  keys: [[-260, 0], [180, 1], [900, 0.5], [1500, -0.30], [2400, 0]],
-  shoulder: 0.28,
-  lean: 0.21,
-};
-
-// The phrase-final settle: chin down this far from the phrase's own pose,
-// held until the next phrase lifts it. Pitch only, and slower than a nod — it
-// closes a phrase rather than marking a word.
-const SETTLE = { pitch: 0.07, lead: 60, durMs: 360, gapMs: 520 };
-
-// A turn that ends, or a clip that takes the head, sends it home this fast.
-const HOME_MS = 700;
-
-// Warmth: corners, and the squint that makes them a smile rather than a mask
-// (emotions.js). A smile that never varies is discounted as insincere
-// (research-perception.md §3), so warmth only ever comes as an episode, with
-// an onset, a hold and an offset, and each is tied to something that
-// happened: the reply's first words (`onset`, from the first voiced cue), the
-// reply played out to its end (`close`), and an acknowledgement the server
-// sent (`ack`). Felt smiles run from about two-thirds of a second to four
-// (Ekman & Friesen 1982), and a listener's smile is itself a backchannel
-// (Brunner 1979).
-//
-// `close` is the face the user sees as the floor passes to them, so it is the
-// biggest and the longest: full for 2.6 s, gone by 3.8 s, seen while they
-// start to talk and gone before it could read as fixed. It used to be 0.18
-// held 1.2 s, which on the Blender faces barely lifted the corners before it
-// went; judged at crop on tara and tushar, 0.36 is the first height that
-// reads as a smile rather than a resting mouth, and still well under the
-// happy states' 0.48–0.58. `onset` stays small, because the visemes are about
-// to take the mouth.
-// `ack` rises with the nod and outlasts it, since a smile that ends with the
-// head's last beat reads as part of the gesture rather than as pleasure.
-//
-// `listen` is the fourth, and it is the one episode that is not about speech at
-// all: the floor has arrived and the face receives it. Every other state change
-// the avatar makes is a change of task; this one is a change of *who is
-// talking*, and a face that takes the floor back with no expression at all is
-// where the "not smiling enough" read comes from. Its shape is the owner's
-// (2026-09-21): up, then a long fade to neutral rather than a held level, which
-// is the same argument the other three are built on — a smile that stays is
-// discounted. The full height lasts 1.8 s, inside Ekman's felt-smile window,
-// and the remaining 3.8 s is the fade. **It is the warmest of the four, raised
-// on the owner's read of 2026-09-21 that it was not arriving.** It started at
-// `ack`'s height and reasoned that `close` — the face that hands the floor
-// over — should outrank the face that takes it; on screen that had it landing
-// as a politeness rather than as a welcome, and this is the one episode a user
-// is looking straight at when it fires.
-// Times in ms.
-const WARMTH = {
-  onset: { keys: [[0, 0], [350, 1], [1500, 1], [2800, 0]], corner: 0.18, squint: 0.08 },
-  close: { keys: [[0, 0], [300, 1], [2600, 1], [3800, 0]], corner: 0.36, squint: 0.14 },
-  ack: { keys: [[0, 0], [220, 1], [1100, 1], [2000, 0]], corner: 0.30, squint: 0.12 },
-  listen: { keys: [[0, 0], [400, 1], [2200, 1], [6000, 0]], corner: 0.42, squint: 0.17 },
-};
-// A continuer can come every second or two. Each one smiling would hold the
-// smile up for as long as the user talks, which is the fixed smile again, so
-// an acknowledgement inside this long of the last smiling one nods without it.
-const ACK_SMILE_REST_MS = 4000;
-// The listening smile rests behind *any* warmth, not just its own, and this is
-// the whole of what keeps it from becoming the fixed smile. A turn normally
-// ends SPEAKING -> `close` -> LISTENING within a few hundred ms, and `close` is
-// already that handover's smile; a state that flaps back through LISTENING —
-// through THINKING and out again, or a barge-in and a resume — would otherwise
-// re-arm one every time. Longer than the episodes themselves, so two can never
-// run end to end.
-const LISTEN_SMILE_REST_MS = 7000;
-
-/**
- * What a rig renders of the head amplitudes above, unless it says otherwise.
- *
- * **A pose unit is not a shared quantity.** On tara it is an angle; on an SVG
- * face it is a pixel count — `peep`'s head travels about 17 px per unit of
- * pitch on a 130 px drawing. A rig passes its own `prosodyHeadGain` (tara: 1);
- * one that has not been measured renders this share. It was held at 0.3 while
- * the amplitudes here were sized to the lab's ranges, which scaled peep's
- * speaking head to 20 px; sized to the medium they are small enough to render
- * whole, and the SVG faces now take the same hold-and-move head as tara —
- * unjudged by eye on them, which is the open item this number stands for.
- */
-export const UNCALIBRATED_HEAD_GAIN = 1;
-
-function envelope(t, keys) {
-  if (t <= keys[0][0] || t >= keys[keys.length - 1][0]) return 0;
-  for (let k = 1; k < keys.length; k++) {
-    const [t1, v1] = keys[k];
-    if (t <= t1) {
-      const [t0, v0] = keys[k - 1];
-      return v0 + (v1 - v0) * ((t - t0) / (t1 - t0));
-    }
-  }
-  return 0;
-}
-
-const endOf = (keys) => keys[keys.length - 1][0];
-const rand = ([a, b]) => a + Math.random() * (b - a);
-const side = () => (Math.random() < 0.5 ? -1 : 1);
-
-const isPause = (cues, j) =>
-  cues[j].v === SILENT && (j + 1 >= cues.length || cues[j + 1].t - cues[j].t >= PAUSE_MS);
-
-/** Channels this layer writes, besides the `blink` flag. */
-export const PROSODY_CHANNELS = [
-  'headPitch', 'headYaw', 'headRoll',
-  'browRaiseL', 'browRaiseR', 'browInnerL', 'browInnerR',
-  'browAngleL', 'browAngleR', 'lidL', 'lidR',
-  'mouthCornerL', 'mouthCornerR', 'squintL', 'squintR',
-  'breath',
-  'shoulderL', 'shoulderR', 'torsoLean',
-];
-
-export class SpeechProsody {
-  constructor(opts = {}) {
-    // Moves are timed on this layer's own clock, not the track's: a turn's
-    // clock restarts, and the tails of a settle or a closing smile outlive the
-    // track they came from.
-    this._ms = 0;
-    this._moves = [];
-    this._warm = [];
-    this._lastAckSmile = -Infinity;
-    this._lastWarm = -Infinity;
-    this._head = new HeadPose();
-    this._home = true;
-    this._corner = 0;
-    this._cornerTo = 0;
-    this._brow = 0;
-    this._browTo = 0;
-    // See `_drawBrow`. Defaulted to the range every face has always drawn from
-    // with no band skipped, so a seeded reel of an SVG or Canvas face draws the
-    // same level from the same `Math.random` call as before.
-    this._brows = { range: POSE.brow, floor: 0, forms: BEAT.browForms, ...opts.brows };
-    this._side = side();
-    this.reset();
-  }
-
-  /**
-   * Forget the utterance: its times are offsets into a clock that restarts.
-   * `newTurn` false is the same turn re-spoken on the same clock (the accurate
-   * leg splicing), and everything already weighed stays weighed.
-   */
-  reset(newTurn = true) {
-    if (!newTurn) return;
-    this._blinkKey = null;
-    this._lastBlink = -Infinity;
-    this._resumeKey = null;
-    this._bookedKey = null;
-    this._scanT = -Infinity;
-    this._lastBeat = -Infinity;
-    this._lastMove = -Infinity;
-    this._phraseKey = null;
-    this._poseAt = -Infinity;
-    this._phrasePitch = 0;
-    this._onsetPending = true;
-    // The side a diagonal beat leans to, and which way roll couples to yaw,
-    // are the speaker's habit for the turn (Graf: motions repeat).
-    this._beatSide = side();
-    this._rollSide = side();
-  }
-
-  /** The track played out to its end: the turn's closing warmth. */
-  closeTurn() {
-    this._smile(WARMTH.close);
-  }
-
-  /**
-   * The avatar has entered LISTENING: the floor is the user's. A warmth
-   * episode, unless something smiled recently — see `LISTEN_SMILE_REST_MS`,
-   * which is what stands between this and a face that is always smiling.
-   *
-   * Nothing smiles when the user *starts* talking, on purpose. The client has
-   * no event for that moment, and a smile the renderer timed for itself would
-   * be an acknowledgement nobody sent. The lever for more warmth while
-   * listening is the server sending more `ACK_NOD`s, never a timer here.
-   */
-  listen() {
-    if (this._ms - this._lastWarm < LISTEN_SMILE_REST_MS) return;
-    this._smile(WARMTH.listen);
-  }
-
-  /** Start a warmth episode, and remember that the face has just smiled. */
-  _smile(w) {
-    this._lastWarm = this._ms;
-    this._warm.push({ at: this._ms, w });
-  }
-
-  /**
-   * The server acknowledged what the user is saying: the smile that goes with
-   * it. Here rather than in the clip because it has to outlast the nod, and
-   * because it is one smile with the turn-edge warmth when the two meet.
-   */
-  acknowledge() {
-    if (this._ms - this._lastAckSmile < ACK_SMILE_REST_MS) return;
-    this._lastAckSmile = this._ms;
-    this._smile(WARMTH.ack);
-  }
-
-  /** Cut off: a smile that survives being interrupted has not noticed. The
-   *  rest period is deliberately *not* cleared — being interrupted is not an
-   *  occasion to smile a fresh one at the state change that follows. */
-  cool() {
-    this._warm = [];
-  }
-
-  /**
-   * @param {{cues: {t:number, v:string, i?:number}[], now: number, index: number}} track
-   *        the viseme track, already sampled this frame
-   * @param {boolean} active speech owns the mouth and no clip is gesturing
-   * @param {number} [dt] seconds since the last frame
-   * @returns {Record<string, number> & {blink: boolean}} additive deltas on
-   *          PROSODY_CHANNELS, at gain 1
-   */
-  update(track, active, dt = 1 / 60) {
-    this._ms += dt * 1000;
-    const out = { blink: false };
-    for (const c of PROSODY_CHANNELS) out[c] = 0;
-
-    if (active && track.cues.length) {
-      this._home = false;
-      this._listen(track, out);
-    } else {
-      // Beats belong to the words: an interrupted or gesture-covered turn
-      // drops the ones still to come, and the head goes home. Tails play out.
-      this._moves = this._moves.filter((m) => m.keep);
-      this._cornerTo = 0;
-      this._browTo = 0;
-      if (!this._home) {
-        this._home = true;
-        this._head.cancelStrokes(this._ms);
-        this._head.moveTo({ headYaw: 0, headPitch: 0, headRoll: 0 }, this._ms, HOME_MS);
-      }
-    }
-
-    const t = this._ms;
-    const h = this._head.sample(t);
-    out.headYaw += h.headYaw;
-    out.headPitch += h.headPitch;
-    out.headRoll += h.headRoll;
-    // Where the head is turned, without the strokes on it. The trunk follows
-    // it — a phrase's pose recruits the body, a nod does not — and the mixer
-    // budgets against it, for the same division: what the head *holds* is what
-    // has to stay inside a face's measured range, and a stroke is forgiven a
-    // peak because it is over before it is read as a pose.
-    out.hold = this._head.held(t);
-    out.trunkYaw = out.hold.headYaw;
-    this._corner += (this._cornerTo - this._corner) * (1 - Math.exp(-dt / POSE.cornerTauS));
-    out.mouthCornerL += this._corner;
-    out.mouthCornerR += this._corner;
-    // Eased rather than moved: a brow that steps to its phrase's level reads as
-    // a beat, and the beats are already on top of this.
-    this._brow += (this._browTo - this._brow) * (1 - Math.exp(-dt / POSE.browTauS));
-    out.browRaiseL += this._brow;
-    out.browRaiseR += this._brow * POSE.browAsym;
-
-    this._moves = this._moves.filter((m) => t - m.at < endOf(m.keys));
-    for (const m of this._moves) {
-      const e = envelope(t - m.at, m.keys);
-      if (e) for (const c in m.add) out[c] += e * m.add[c];
-    }
-    // Two warmth episodes that meet are one smile, not a bigger one.
-    this._warm = this._warm.filter((m) => t - m.at < endOf(m.w.keys));
-    let corner = 0;
-    let squint = 0;
-    for (const m of this._warm) {
-      const e = envelope(t - m.at, m.w.keys);
-      corner = Math.max(corner, e * m.w.corner);
-      squint = Math.max(squint, e * m.w.squint);
-    }
-    out.mouthCornerL += corner;
-    out.mouthCornerR += corner;
-    out.squintL += squint;
-    out.squintR += squint;
-    return out;
-  }
-
-  _listen(track, out) {
-    const { cues, now } = track;
-    const i = Math.min(track.index, cues.length - 1);
-    const cue = cues[i];
-    if (cue.t > now) return;
-    // Converts a time on the track's clock to one on this layer's.
-    const at = (ms) => this._ms + (ms - now);
-
-    // The pause blink.
-    if (isPause(cues, i) && cue.t !== this._blinkKey) {
-      this._blinkKey = cue.t;
-      if (now - cue.t < BLINK_FRESH_MS && now - this._lastBlink >= BLINK_MIN_GAP_MS) {
-        this._lastBlink = now;
-        out.blink = true;
-      }
-    }
-
-    // The next phrase's pose and the inbreath: booked inside a long pause,
-    // played through the resume.
-    if (cue.v === SILENT && i + 1 < cues.length && cue.t !== this._resumeKey
-        && cues[i + 1].t - cue.t >= ONSET.minPauseMs) {
-      this._resumeKey = cue.t;
-      this._bookedKey = cues[i + 1].t;
-      this._pose(at(cues[i + 1].t) - ONSET.leadMs, ONSET.durMs);
-      this._moves.push({ at: at(cues[i + 1].t), keys: INHALE, add: { breath: INHALE_AMP } });
-    }
-
-    if (cue.v !== SILENT) {
-      if (this._onsetPending) {
-        this._onsetPending = false;
-        this._smile(WARMTH.onset);
-      }
-      let a = i;
-      while (a > 0 && !isPause(cues, a - 1)) a--;
-      if (cues[a].t !== this._phraseKey) {
-        this._phraseKey = cues[a].t;
-        // A phrase nothing was booked for: the turn's first words, or a
-        // phrase after a pause too short to book a move in. An old pose
-        // changes as it starts; a recent one just lifts out of its settle.
-        if (this._bookedKey !== cues[a].t) {
-          if (this._ms - this._poseAt >= POSE.holdMs) this._pose(this._ms, ONSET.durMs);
-          else this._head.moveTo({ headPitch: this._phrasePitch }, this._ms, ONSET.durMs);
-        }
-        // The postural lift belongs to the sentence.
-        this._moves.push({
-          at: at(cues[a].t), keys: PHRASE_BODY.keys,
-          add: {
-            shoulderL: PHRASE_BODY.shoulder, shoulderR: PHRASE_BODY.shoulder,
-            torsoLean: PHRASE_BODY.lean,
-          },
-        });
-      }
-    }
-
-    // Every vowel is weighed once, as it comes into the commit window. One
-    // that arrives already inside it is let go: a late stroke is worse than
-    // none.
-    for (let j = i; j + 1 < cues.length && cues[j].t - now <= BEAT.commitMs + BEAT.windowMs; j++) {
-      const c = cues[j];
-      if (c.t <= this._scanT || !BEAT.vowels.has(c.v)) continue;
-      this._scanT = c.t;
-      if (c.t - now >= BEAT.commitMs) this._weigh(cues, j, at);
-    }
-  }
-
-  // A new pose for the head, starting at `at` on this layer's clock. The next
-  // phrase usually turns the other way.
-  _pose(at, dur) {
-    this._poseAt = at;
-    if (Math.random() < POSE.switchP) this._side = -this._side;
-    const s = this._side;
-    this._phrasePitch = rand(POSE.headPitch);
-    this._head.moveTo({
-      headYaw: s * rand(POSE.headYaw),
-      headPitch: this._phrasePitch,
-      headRoll: s * this._rollSide * rand(POSE.headRoll),
-    }, at, dur);
-    this._cornerTo = rand(POSE.corner);
-    this._browTo = this._drawBrow();
-  }
-
-  /**
-   * The level this phrase holds its brows at.
-   *
-   * `floor` is a band about zero the draw skips. `browRaise` is the one channel
-   * the Blender rigs split by sign into two photographed maps — a raise above
-   * zero, a knit below it — and *both* read as nothing near zero, so a range
-   * straddling it spends most of its phrases in a dead band where the upper
-   * face recruits no light at all. That is the deadpan: not too few events, but
-   * a pose that is usually nowhere. Skipping the band makes each phrase commit
-   * to a furrow or a lift.
-   *
-   * It is a floor and not a bigger range on purpose. What the prohibitions here
-   * turn on is *hold*, not size — a held inner lift reads as worried, a held
-   * outer kink as a smirk — and this changes only how far the brows travel
-   * between one phrase and the next, never how long any shape is kept.
-   *
-   * The two sides keep their widths' share of the draw rather than collapsing
-   * onto ±floor: a skipped band must not become a pair of repeated values.
-   */
-  _drawBrow() {
-    const [a, b] = this._brows.range;
-    const f = this._brows.floor;
-    const lo = Math.max(0, -f - a);
-    const hi = Math.max(0, b - f);
-    if (!(f > 0) || lo + hi <= 0) return rand(this._brows.range);
-    return Math.random() * (lo + hi) < lo ? rand([a, -f]) : rand([f, b]);
-  }
-
-  // Decides whether vowel `j` carries a beat or closes its phrase.
-  _weigh(cues, j, at) {
-    let a = j;
-    while (a > 0 && !isPause(cues, a - 1)) a--;
-    let b = j;
-    while (b + 1 < cues.length && !isPause(cues, b)) b++;
-    const complete = isPause(cues, b);
-    const span = cues[b].t - cues[a].t;
-    const vowels = [];
-    for (let k = a; k < b; k++) {
-      const c = cues[k];
-      if (!BEAT.vowels.has(c.v)) continue;
-      const dur = cues[k + 1].t - c.t;
-      // `score` ranks, `i` sizes. They are kept apart deliberately: a missing
-      // loudness still scores as a full one so selection is unchanged, but it
-      // leaves `i` null so the beat below stays exactly as it was authored.
-      vowels.push({ t: c.t, dur, i: c.i, score: dur * (c.i == null ? 1 : c.i) });
-    }
-    const v = vowels.find((x) => x.t === cues[j].t);
-
-    // The last vowel before a pause is long because the phrase is ending, not
-    // because it is stressed: final lengthening marks a boundary, and scoring
-    // it would put a beat on the last word of nearly every phrase. It gets the
-    // settle instead.
-    if (complete && v === vowels[vowels.length - 1]) {
-      if (span >= BEAT.minPhraseMs && v.t - this._lastMove >= SETTLE.gapMs) {
-        this._lastMove = v.t;
-        this._head.moveTo({ headPitch: this._phrasePitch + SETTLE.pitch }, at(v.t) - SETTLE.lead, SETTLE.durMs);
-      }
-      return;
-    }
-    if (complete) vowels.pop();
-
-    if (span < BEAT.minPhraseMs || vowels.length < BEAT.minVowels) return;
-    const mean = vowels.reduce((s, x) => s + x.score, 0) / vowels.length;
-    if (v.dur < BEAT.minDurMs || v.score < BEAT.salience * mean) return;
-    if (vowels.some((x) => x !== v && Math.abs(x.t - v.t) < BEAT.localMs && x.score > v.score)) return;
-    if (v.t - this._lastBeat < BEAT.gapMs) return;
-    this._lastBeat = this._lastMove = v.t;
-
-    let yaw = 0;
-    const vt = at(v.t);
-    if (vt - this._poseAt >= BEAT.swingAfterMs && Math.random() < BEAT.swingP) {
-      this._pose(vt - BEAT.nod.lead, BEAT.swingMs);
-      yaw = this._head.aim.headYaw;
-    } else if (Math.random() < BEAT.nodP) {
-      const add = { headPitch: BEAT.nod.pitch };
-      if (Math.random() < BEAT.yawP) add.headYaw = yaw = this._beatSide * BEAT.yaw;
-      this._head.stroke(add, vt - BEAT.nod.lead, BEAT.nod.attack, BEAT.nod.release);
-    }
-
-    const forms = this._brows.forms;
-    let br = Math.random() * forms.reduce((s, f) => s + f.p, 0);
-    const bf = forms.find((f) => (br -= f.p) < 0) || forms[0];
-    // The whole gesture takes the syllable's size, not the raise alone: the
-    // form's parts keep their proportions to each other, so a loud beat is the
-    // same drawing bigger rather than a different shape.
-    const g = v.i == null ? 1 : BEAT.browGain[0] + BEAT.browGain[1] * v.i;
-    this._moves.push({
-      at: vt, keys: BEAT.brow,
-      add: {
-        browRaiseL: BEAT.browAmp[0] * g, browRaiseR: BEAT.browAmp[1] * g,
-        browInnerL: bf.inner * g, browInnerR: bf.inner * g,
-        // The tilt is the one asymmetric thing here: both outer ends go up on
-        // the side the beat already leans to, which is a shade rather than the
-        // matched pair a symmetric lift would draw.
-        browAngleL: bf.angle * g * (this._beatSide < 0 ? 1 : 0.55),
-        browAngleR: bf.angle * g * (this._beatSide > 0 ? 1 : 0.55),
-        lidL: BEAT.lidAmp * g, lidR: BEAT.lidAmp * g,
-      },
-    });
-    // The trunk takes the same stroke. The two shoulders are deliberately
-    // unequal — `spread` puts more of it on the side the head is going, so a
-    // diagonal beat reads as one body turning rather than two shoulders
-    // shrugging in unison, which is the tell of a rig with no spine.
-    const lead = yaw < 0 ? -1 : 1;
-    this._moves.push({
-      at: vt, keys: BEAT_BODY.keys,
-      add: {
-        shoulderL: BEAT_BODY.shoulder * (1 + lead * BEAT_BODY.spread),
-        shoulderR: BEAT_BODY.shoulder * (1 - lead * BEAT_BODY.spread),
-        torsoLean: BEAT_BODY.lean,
-      },
-    });
-  }
-}