kuinetic 0.1.3 → 0.2.0

package/dist/kuinetic.advanced.min.js

@@ -0,0 +1,749 @@
+"use strict";var kuineticAdvanced=(()=>{var K=Object.defineProperty;var Ft=Object.getOwnPropertyDescriptor;var Gt=Object.getOwnPropertyNames;var Wt=Object.prototype.hasOwnProperty;var Ot=(e,t)=>{for(var n in t)K(e,n,{get:t[n],enumerable:!0})},Dt=(e,t,n,r)=>{if(t&&typeof t=="object"||typeof t=="function")for(let i of Gt(t))!Wt.call(e,i)&&i!==n&&K(e,i,{get:()=>t[i],enumerable:!(r=Ft(t,i))||r.enumerable});return e};var Ut=e=>Dt(K({},"__esModule",{value:!0}),e);var Jr={};Ot(Jr,{AUDIO_PARAMETERS:()=>te,AUDIO_PRESETS:()=>re,AUDIO_PRIMITIVES:()=>ne,AudioSourceController:()=>T,CAMERA_PARAMETERS:()=>Le,CAMERA_PRESETS:()=>Re,CAMERA_PRIMITIVES:()=>Ee,FLUID_PARAMETERS:()=>Ge,FLUID_PRESETS:()=>Oe,FLUID_PRIMITIVES:()=>We,PARTICLE_PARAMETERS:()=>Ce,PARTICLE_PRESETS:()=>Te,PARTICLE_PRIMITIVES:()=>Ae,SCENE_PARAMETERS:()=>be,SCENE_PRESETS:()=>xe,SCENE_PRIMITIVES:()=>ye,SHADERS_PRESETS:()=>pe,SHADERS_PRIMITIVE:()=>fe,SHADER_PARAMETERS:()=>he,prepareAudioSource:()=>ee,prepareCameraScene:()=>_e,prepareFluidCursor:()=>Fe,prepareParticles:()=>Se,prepareScene:()=>ge,prepareShaders:()=>me,registerAdvanced:()=>Qr,registerAudio:()=>O,registerCamera:()=>$,registerFluidCursor:()=>Y,registerParticles:()=>X,registerScenes:()=>V,registerShaders:()=>z});var R=`uniform float u_audio;
+float audioGain() { return 1.0 + clamp(u_audio, 0.0, 1.0); }
+`,k=`uniform vec4 u_maskBox;
+uniform vec4 u_maskRx;
+uniform vec4 u_maskRy;
+uniform float u_maskAlpha;
+float shapeMask() {
+  if (u_maskBox.z <= 0.0 || u_maskBox.w <= 0.0) return u_maskAlpha;
+  vec2 p = gl_FragCoord.xy - u_maskBox.xy;
+  vec2 h = u_maskBox.zw;
+  bool left = p.x < 0.0;
+  float rx = p.y >= 0.0 ? (left ? u_maskRx.x : u_maskRx.y) : (left ? u_maskRx.w : u_maskRx.z);
+  float ry = p.y >= 0.0 ? (left ? u_maskRy.x : u_maskRy.y) : (left ? u_maskRy.w : u_maskRy.z);
+  rx = min(rx, h.x);
+  ry = min(ry, h.y);
+  if (rx <= 0.0 || ry <= 0.0) return u_maskAlpha;
+  vec2 q = abs(p) - (h - vec2(rx, ry));
+  if (q.x <= 0.0 || q.y <= 0.0) return u_maskAlpha;
+  float d = (length(q / vec2(rx, ry)) - 1.0) * min(rx, ry);
+  return u_maskAlpha * clamp(0.5 - d, 0.0, 1.0);
+}
+`,C=`const int KUI_MAX_OCTAVES = 6;
+
+/**
+ * Integer avalanche over one lattice coordinate.
+ *
+ * Deliberately not the \`fract(sin(dot(p, vec2(12.9898, 78.233))) * 43758.5453)\` idiom. That relies
+ * on the low bits of a large sine, which \`highp\` does not reliably have: on several mobile GPUs
+ * neighbouring cells stay correlated and the field bands visibly. GLSL ES 3.00 has real unsigned
+ * integer arithmetic, so a proper mix is both better distributed and cheaper.
+ */
+uint kuiHash(uvec3 v) {
+  uint h = v.x * 0x8da6b343u ^ v.y * 0xd8163841u ^ v.z * 0xcb1ab31fu;
+  h ^= h >> 15u; h *= 0x2c1b3c6du;
+  h ^= h >> 12u; h *= 0x297a2d39u;
+  h ^= h >> 15u;
+  return h;
+}
+
+/**
+ * A unit gradient vector for one lattice corner.
+ *
+ * The three components read *non-overlapping* 10-bit fields. Overlapping slices of one hash are
+ * correlated with each other, which shows up as gradients clustering around a diagonal and the
+ * noise developing a directional grain. The \`1e-5\` keeps \`normalize\` defined for the one input
+ * that hashes to exactly zero.
+ */
+vec3 kuiGradient(uvec3 cell) {
+  uint h = kuiHash(cell);
+  vec3 g = vec3(
+    float((h        ) & 1023u),
+    float((h >> 10u ) & 1023u),
+    float((h >> 20u ) & 1023u)
+  ) * (2.0 / 1023.0) - 1.0;
+  return normalize(g + vec3(1e-5));
+}
+
+/**
+ * One octave of gradient noise, approximately -1..1.
+ *
+ * The lattice index is biased into unsigned space before hashing: seeds, scroll and a centred UV
+ * field all reach negative coordinates, and \`uvec3\` of a negative \`ivec3\` wraps \u2014 which is
+ * harmless for a hash, but only once every negative input maps somewhere distinct rather than
+ * folding onto its positive twin.
+ */
+float kuiNoise(vec3 p) {
+  vec3 i = floor(p);
+  vec3 f = p - i;
+  vec3 w = f * f * f * (f * (f * 6.0 - 15.0) + 10.0);
+  uvec3 c = uvec3(ivec3(i) + 0x10000);
+  float n000 = dot(kuiGradient(c + uvec3(0u, 0u, 0u)), f - vec3(0.0, 0.0, 0.0));
+  float n100 = dot(kuiGradient(c + uvec3(1u, 0u, 0u)), f - vec3(1.0, 0.0, 0.0));
+  float n010 = dot(kuiGradient(c + uvec3(0u, 1u, 0u)), f - vec3(0.0, 1.0, 0.0));
+  float n110 = dot(kuiGradient(c + uvec3(1u, 1u, 0u)), f - vec3(1.0, 1.0, 0.0));
+  float n001 = dot(kuiGradient(c + uvec3(0u, 0u, 1u)), f - vec3(0.0, 0.0, 1.0));
+  float n101 = dot(kuiGradient(c + uvec3(1u, 0u, 1u)), f - vec3(1.0, 0.0, 1.0));
+  float n011 = dot(kuiGradient(c + uvec3(0u, 1u, 1u)), f - vec3(0.0, 1.0, 1.0));
+  float n111 = dot(kuiGradient(c + uvec3(1u, 1u, 1u)), f - vec3(1.0, 1.0, 1.0));
+  float nx00 = mix(n000, n100, w.x);
+  float nx10 = mix(n010, n110, w.x);
+  float nx01 = mix(n001, n101, w.x);
+  float nx11 = mix(n011, n111, w.x);
+  // 2/sqrt(3) \u2014 a 3D gradient-noise octave peaks near sqrt(3)/2, so this brings it to about -1..1.
+  return mix(mix(nx00, nx10, w.y), mix(nx01, nx11, w.y), w.z) * 1.1547;
+}
+
+/**
+ * Octaves summed and **normalised by the amplitude sum**, approximately -1..1 at every octave count.
+ *
+ * The division is the whole point of the function. Without it, raising the octave count raises the
+ * total amplitude, so the one authored knob that means "how much fine structure" would silently be
+ * a contrast control as well \u2014 two behaviours behind one parameter, which is the class of bug this
+ * repository keeps rediscovering. Gain and lacunarity stay fixed at 0.5 and 2.0: they are the two
+ * numbers that make layered noise look wrong in a hundred ways and right in one.
+ *
+ * The loop bound is a constant with an early break because a loop bound that is itself a uniform
+ * forces some drivers to unroll against the worst case anyway, and this way the cost of a low
+ * \`detail\` is genuinely low.
+ */
+float kuiFbm(vec3 p, int octaves) {
+  float amp = 1.0;
+  float freq = 1.0;
+  float sum = 0.0;
+  float norm = 0.0;
+  for (int i = 0; i < KUI_MAX_OCTAVES; i++) {
+    if (i >= octaves) break;
+    sum += amp * kuiNoise(p * freq);
+    norm += amp;
+    amp *= 0.5;
+    freq *= 2.0;
+  }
+  return sum / max(norm, 1e-5);
+}
+`,P=`uniform float u_noise;
+uniform float u_seed;
+uniform float u_scale;
+uniform float u_warp;
+uniform int u_detail;
+
+/**
+ * A sine's RMS is 0.707. Amplitude-normalised fbm's is about 0.23 \u2014 it reaches its \`1.0\` peak
+ * rarely, which is what makes it look like noise rather than a wave. Handing the programs the raw
+ * field would therefore read as the *effect being turned down*, not as it being re-textured, and
+ * the first thing anyone trying \`noise: 1\` would do is reach for \`strength\`. This brings the two
+ * to the same typical magnitude so the amount is a change of texture and nothing else.
+ */
+const float KUI_FBM_SINE_RMS = 3.0;
+
+/**
+ * One scalar of animated noise, scaled to stand in for a unit sine at a stated rate.
+ *
+ * \`cycles\` and \`rate\` are the spatial and temporal frequency of the term being replaced, in
+ * cycles rather than radians \u2014 each call site divides its own trig coefficients by 2*pi and passes
+ * the result, so \`noise: 1\` lands on the same feature size and the same speed as the wave it took
+ * over from. That is the entire mechanism keeping this from being a new look.
+ *
+ * \`phase\` decorrelates sibling calls: two components of one flow vector must not be the same
+ * field, and offsetting the seed is cheaper than hashing a second one.
+ *
+ * \`u_warp\` costs two further fbm evaluations and is skipped entirely when it is zero.
+ */
+float kuiFilterField(vec2 uv, float t, float cycles, float rate, float phase) {
+  vec3 s = vec3(u_seed * 137.31, u_seed * 71.17, u_seed * 29.73) + phase;
+  vec3 q = vec3((uv - 0.5) * cycles * max(u_scale, 0.05), t * rate) + s;
+  if (u_warp > 0.0) {
+    float wx = kuiFbm(q * 0.5 + vec3(5.2, 1.3, 7.1), u_detail);
+    float wy = kuiFbm(q * 0.5 + vec3(19.7, 11.1, 3.7), u_detail);
+    q.xy += vec2(wx, wy) * u_warp;
+  }
+  return kuiFbm(q, u_detail) * KUI_FBM_SINE_RMS;
+}
+`,De=`#version 300 es
+in vec2 a_position;
+uniform vec2 u_uvOrigin;
+uniform vec2 u_uvScale;
+out vec2 v_uv;
+void main() {
+  vec2 uv = (a_position + 1.0) * 0.5;
+  uv.y = 1.0 - uv.y;
+  v_uv = u_uvOrigin + uv * u_uvScale;
+  gl_Position = vec4(a_position, 0.0, 1.0);
+}
+`,Ue=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform sampler2D u_image;
+uniform float u_time;
+uniform float u_strength;
+uniform float u_frequency;
+uniform float u_chromatic;
+uniform vec2 u_mouse;
+uniform vec4 u_tint;
+uniform int u_blend;
+uniform float u_duotone;
+uniform vec4 u_color1;
+uniform vec4 u_color2;
+uniform float u_progress;
+${R}${k}
+vec4 applyBlend(vec4 base, vec4 tint, int mode) {
+  // \`base\` is premultiplied \u2014 \`createGLTexture\` uploads with \`UNPACK_PREMULTIPLY_ALPHA_WEBGL\` to
+  // match a \`premultipliedAlpha: true\` context \u2014 while \`tint\` is straight rgba out of
+  // \`parseColor\`. All four blends are defined on *straight* colour, so every mode takes the same
+  // path: un-premultiply, blend, and re-premultiply by this pixel's own coverage.
+  //
+  // Screen and add were the obvious cases. Run over all four premultiplied components,
+  // \`screen((0,0,0,0), (1,0,0,1))\` is \`(1,0,0,1)\`, an opaque red pixel where the source had no
+  // coverage at all \u2014 \`blend: screen tint: red\` filled a transparent PNG's surround with a solid
+  // red rectangle. Normal and multiply *looked* safe as a plain \`base * tint\`, because a transparent
+  // base does multiply to transparent whatever the tint is. It is the tint's alpha they got wrong:
+  // \`(1,1,1,1) * (1,0,0,0)\` is \`(1,0,0,0)\`, red at zero coverage, and a premultiplied canvas
+  // composites \`rgb > a\` *additively* \u2014 \`tint: rgba(255,0,0,0)\`, a fully transparent tint, turned
+  // an opaque image red, and any translucent tint bled the same way in proportion.
+  //
+  // The \`min\` on \`s\` is for \`main()\`'s chromatic sampling, which reads the three colour channels
+  // at three offsets and \`a\` at a fourth: at a transparent PNG's edge that can pair \`rgb\` from
+  // opaque neighbours with \`a\` from a transparent centre, an input that already breaks the
+  // invariant. Clamping the un-premultiplied colour to 1 is what keeps the output inside it.
+  //
+  // Alpha is \`base.a * tint.a\` \u2014 the source's coverage, faded by a translucent tint. Whatever the
+  // mode, the result satisfies \`rgb <= a\`, which is the whole contract of a premultiplied pixel.
+  float a = base.a * tint.a;
+  vec3 s = base.a > 0.0 ? min(base.rgb / base.a, vec3(1.0)) : vec3(0.0);
+  vec3 c = mode == 1 ? 1.0 - (1.0 - s) * (1.0 - tint.rgb)
+         : mode == 3 ? min(s + tint.rgb, vec3(1.0))
+         : s * tint.rgb;
+  return vec4(c * a, a);
+}
+
+void main() {
+  vec2 m = u_mouse;
+  float d = distance(v_uv, m);
+  float ripple = sin(d * u_frequency - u_time * 3.0) * exp(-d * 4.0);
+  float pFactor = u_progress >= 0.0 ? u_progress : 1.0;
+  // Audio widens the ripple's throw (up to 2x), leaving its shape and speed alone.
+  vec2 disp = normalize(v_uv - m + 0.0001) * ripple * u_strength * 0.05 * pFactor * audioGain();
+
+  float cr = texture(u_image, v_uv + disp * (1.0 + u_chromatic)).r;
+  float cg = texture(u_image, v_uv + disp).g;
+  float cb = texture(u_image, v_uv + disp * (1.0 - u_chromatic)).b;
+  float ca = texture(u_image, v_uv + disp).a;
+  vec4 color = vec4(cr, cg, cb, ca);
+
+  if (u_duotone > 0.5) {
+    float lum = dot(color.rgb, vec3(0.299, 0.587, 0.114));
+    // \`* color.a\` because the ramp's two colours are straight rgba and everything downstream of
+    // here is premultiplied. Assigning one of them to a transparent pixel's \`rgb\` left \`rgb > 0\`
+    // with \`a == 0\`, which a \`premultipliedAlpha: true\` canvas composites *additively* \u2014 a
+    // transparent PNG's surround glowing in \`color1\` over whatever the page put behind it.
+    //
+    // \`lum\` is still read off the premultiplied colour, which is deliberate and unchanged: it
+    // makes a half-covered pixel map nearer \`color1\`, matching how the alpha stencil in
+    // \`GENERATIVE_FS\` reads the same kind of edge.
+    color.rgb = mix(u_color1.rgb, u_color2.rgb, lum) * color.a;
+  }
+
+  fragColor = applyBlend(color, u_tint, u_blend) * shapeMask();
+}
+`,Be=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform sampler2D u_image;
+uniform float u_time;
+uniform float u_strength;
+uniform vec2 u_mouse;
+uniform vec4 u_tint;
+uniform float u_progress;
+${R}${k}${C}${P}
+void main() {
+  vec2 uv = v_uv;
+  vec2 m = u_mouse;
+  float d = distance(uv, m);
+  // Audio scales both halves of the flow \u2014 the ambient drift and the pointer's push \u2014 so a beat
+  // reads as the whole surface moving faster, not just around the cursor.
+  float gain = audioGain();
+  float force = exp(-d * 6.0) * u_strength * gain;
+  // The ambient drift. Two perpendicular waves at 10 rad across the box and 1 rad/s, which is
+  // 10/2pi = 1.5915 cycles and 1/2pi = 0.1592 cycles a second \u2014 the numbers kuiFilterField needs
+  // to put its field at the same size and speed. The drift is the whole of the ambient motion
+  // here, so this is the mode where the noise core reads most strongly: a regular cross-hatched
+  // sway becomes an irregular current.
+  vec2 wave = vec2(sin(u_time + uv.y * 10.0), cos(u_time + uv.x * 10.0));
+  if (u_noise > 0.0) {
+    wave = mix(wave, vec2(
+      kuiFilterField(uv, u_time, 1.5915, 0.1592, 0.0),
+      kuiFilterField(uv, u_time, 1.5915, 0.1592, 31.4)
+    ), u_noise);
+  }
+  vec2 flow = wave * 0.02 * gain;
+  float pFactor = u_progress >= 0.0 ? u_progress : 1.0;
+  vec2 offset = (flow + (uv - m) * force * 0.1) * pFactor;
+  fragColor = texture(u_image, uv + offset) * u_tint * shapeMask();
+}
+`,He=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform sampler2D u_image;
+uniform float u_time;
+uniform float u_strength;
+uniform vec4 u_tint;
+uniform float u_progress;
+${R}${k}${C}${P}
+void main() {
+  vec2 uv = v_uv;
+  // 12 rad and 2 rad/s is 1.9099 cycles at 0.3183 a second; 10 rad and 1.5 rad/s is 1.5915 at
+  // 0.2387. The two waves keep their own rates under noise rather than being merged into one
+  // field, because the difference between them is what stops the surface reading as a single
+  // sheet sliding.
+  float w1 = sin(uv.y * 12.0 + u_time * 2.0);
+  float w2 = cos(uv.x * 10.0 - u_time * 1.5);
+  if (u_noise > 0.0) {
+    w1 = mix(w1, kuiFilterField(uv, u_time, 1.9099, 0.3183, 0.0), u_noise);
+    w2 = mix(w2, kuiFilterField(uv, u_time, 1.5915, 0.2387, 47.3), u_noise);
+  }
+  w1 *= 0.015;
+  w2 *= 0.015;
+  float pFactor = u_progress >= 0.0 ? u_progress : 1.0;
+  // Audio deepens the wave (up to 2x) without changing its wavelength or speed.
+  vec2 offset = vec2(w1, w2) * u_strength * pFactor * audioGain();
+  fragColor = texture(u_image, uv + offset) * u_tint * shapeMask();
+}
+`,Ne=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform sampler2D u_image;
+uniform float u_time;
+uniform float u_strength;
+uniform vec4 u_tint;
+uniform float u_progress;
+${R}${k}${C}${P}
+// No u_mouse here, deliberately. This program declared one from the day it was written and never
+// read it, so particles has never responded to the pointer \u2014 the declaration was a promise the
+// body did not keep, and the compiler dropped it anyway (an unused uniform gets no location, so
+// uploadCoordUniforms was already skipping it and removing it changes no pixel). It is deleted
+// rather than wired because wiring it would restyle a mode that is already in use without anyone
+// asking, which is the same argument FILTER_NOISE_GLSL's doc makes for noise: being opt-in. The
+// pointer gesture that *was* asked for lives on the generative program below, under hover:.
+void main() {
+  vec2 uv = v_uv;
+  vec2 grid = fract(uv * 40.0) - 0.5;
+  float dist = length(grid);
+  // 100 rad across the box and 5 rad/s is 15.915 cycles at 0.7958 a second. That is by far the
+  // highest frequency of the four, and deliberately so: the trig term here is a diagonal travelling
+  // stripe, which is the most visible of the four repeats. Under noise the stripe becomes a
+  // scintillation, which is the largest change of the set and is the reason the parameter exists
+  // rather than the swap being unconditional.
+  //
+  // The clamp is not damage control. Mapped through KUI_FBM_SINE_RMS the field reaches 0 and 1
+  // often, which is what a sine does too \u2014 sin()*0.5+0.5 is arcsine-distributed and spends most of
+  // its time at the extremes. Clamping reproduces that; a soft field would give a duller sparkle
+  // than the one being replaced.
+  //
+  // Cost: this is one fbm per pixel, three with warp on, over the whole quad. At detail 6 the
+  // finest octave here sits near 509 cycles across the box, which is sub-pixel on a small element
+  // and will alias \u2014 high detail belongs on the low-frequency modes.
+  float sparkle = sin(u_time * 5.0 + dot(uv, vec2(100.0))) * 0.5 + 0.5;
+  if (u_noise > 0.0) {
+    float n = clamp(kuiFilterField(uv, u_time, 15.915, 0.7958, 0.0) * 0.5 + 0.5, 0.0, 1.0);
+    sparkle = mix(sparkle, n, u_noise);
+  }
+  vec4 tex = texture(u_image, uv);
+  float pFactor = u_progress >= 0.0 ? u_progress : 1.0;
+  float dotMask = smoothstep(0.4, 0.2, dist) * u_strength * pFactor;
+  // Audio brightens the sparkle (0.3 -> at most 0.6) rather than growing the dots: the mask is
+  // already multiplied by an unbounded u_strength and feeds a mix(), so widening it would
+  // extrapolate past the texture over a larger and larger area.
+  fragColor = mix(tex, tex * u_tint + sparkle * 0.3 * audioGain(), dotMask) * shapeMask();
+}
+`,qe=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform sampler2D u_image;
+uniform sampler2D u_image_to;
+uniform float u_time;
+uniform float u_strength;
+uniform float u_progress;
+${R}${k}${C}${P}
+void main() {
+  vec2 uv = v_uv;
+  float progress = u_progress >= 0.0 ? clamp(u_progress, 0.0, 1.0) : clamp(u_strength, 0.0, 1.0);
+  // Audio wobbles the crossfade harder. Deliberately not applied to u_progress: the morph's
+  // position between the two images belongs to the author (or to scroll), and letting a beat
+  // drive it would make the transition jump backwards on every quiet frame.
+  //
+  // 20 rad and 1 rad/s is 3.1831 cycles at 0.1592 a second. The 0.7071 is the one place the shared
+  // RMS gain is wrong by construction: the term being replaced is a *product* of two unit sines,
+  // whose RMS is 0.5 rather than a single sine's 0.7071, so matching it means taking the field
+  // down by that ratio. Without it the displacement under noise would be about 40% deeper than
+  // the one it stands in for \u2014 a visibly stronger morph, not the same one better textured.
+  float noise = sin(uv.x * 20.0 + u_time) * cos(uv.y * 20.0 + u_time);
+  if (u_noise > 0.0) {
+    noise = mix(noise, kuiFilterField(uv, u_time, 3.1831, 0.1592, 0.0) * 0.7071, u_noise);
+  }
+  noise = noise * 0.05 * audioGain();
+  vec4 c1 = texture(u_image, uv + vec2(noise * (1.0 - progress)));
+  vec4 c2 = texture(u_image_to, uv - vec2(noise * progress));
+  fragColor = mix(c1, c2, smoothstep(0.2, 0.8, progress)) * shapeMask();
+}
+`,ze=`#version 300 es
+precision highp float;
+in vec2 v_uv;
+out vec4 fragColor;
+uniform float u_time;
+uniform float u_strength;
+uniform float u_frequency;
+uniform float u_chromatic;
+uniform float u_iridescence;
+uniform float u_progress;
+uniform float u_seed;
+uniform float u_scale;
+uniform float u_warp;
+uniform float u_grain;
+uniform float u_hue;
+uniform int u_detail;
+uniform int u_bands;
+uniform int u_colorCount;
+uniform vec4 u_colors[5];
+uniform vec4 u_tint;
+uniform sampler2D u_image;
+uniform int u_maskMode;
+uniform vec2 u_mouse;
+uniform int u_hover;
+uniform vec4 u_backdrop;
+uniform float u_angle;
+uniform int u_motion;
+${R}${k}${C}
+
+/** \`hover:\` as bits, so \`both\` is \`stir | light\` rather than a third code path. */
+const int KUI_HOVER_STIR = 1;
+const int KUI_HOVER_LIGHT = 2;
+
+/** \`motion:\` \u2014 \`0\` is \`evolve\`, which is this program's original behaviour and its default. */
+const int KUI_MOTION_DRIFT = 1;
+const int KUI_MOTION_SWIRL = 2;
+
+/**
+ * Rotate a point of the field's domain.
+ *
+ * \`v_uv\` is y-down, so this matrix \u2014 the ordinary counter-clockwise one \u2014 turns the *picture*
+ * clockwise, which is \`transform: rotate()\`'s direction and therefore the one an author already
+ * has an intuition for. Every call site passes \`-angle\`: rotating the sample point one way is
+ * what rotates what you see the other.
+ */
+vec2 kuiRotate(vec2 v, float a) {
+  float c = cos(a);
+  float s = sin(a);
+  return vec2(v.x * c - v.y * s, v.x * s + v.y * c);
+}
+
+/**
+ * The pair of factors that carry a centred UV offset into a space that is isotropic **on screen**,
+ * and back out again by dividing.
+ *
+ * \`v_uv\` is normalised per axis, so one unit of \`v_uv.x\` is the box's whole width and one unit of
+ * \`v_uv.y\` is its whole height \u2014 two different numbers of screen pixels as soon as the box is not
+ * square. Anything round or rigid has to leave that space first. Scaling by \`(k, 1/k)\` for
+ * \`k = sqrt(halfWidth / halfHeight)\` puts both axes in units of \`sqrt(width * height)\`: a circle
+ * stays a circle, a rotation stays a rotation, and the unit tracks the box's overall size rather
+ * than one of its two dimensions. On a square box the pair is exactly \`(1, 1)\` and every user of
+ * it degenerates to the plain UV arithmetic it had before.
+ *
+ * It is a *ratio* of the two half-extents, so it is DPR-invariant \u2014 device pixel ratio scales
+ * \`u_maskBox.z\` and \`u_maskBox.w\` together and cancels.
+ *
+ * A zero half-extent is \`shapeMask()\`'s "no box measured" signal and is read the same way here:
+ * fall back to \`(1, 1)\` rather than divide by it.
+ */
+vec2 kuiAspectAxes() {
+  if (u_maskBox.z > 0.0 && u_maskBox.w > 0.0) {
+    float k = sqrt(u_maskBox.z / u_maskBox.w);
+    return vec2(k, 1.0 / k);
+  }
+  return vec2(1.0);
+}
+
+/**
+ * Turn a centred UV offset by \`a\`, rigidly **on screen** rather than in the field's own stretched
+ * space.
+ *
+ * \`A^-1 \xB7 R(a) \xB7 A\`, with \`A = diag(kuiAspectAxes())\`: leave the per-axis-normalised space, turn
+ * there, come back. Rotating without the conjugation turns *and shears* \u2014 on a 160x100 box an
+ * authored \`angle: 45deg\` actually travels at 32 degrees, an error that grows with how far from
+ * square the box is. \`angle\` is documented as \`transform: rotate()\`'s convention, and this is what
+ * makes that true of a wide box and not only of a square one.
+ *
+ * **Not bit-identical at \`a == 0\`**, and that matters: \`A^-1 \xB7 I \xB7 A\` is \`diag(k * (1/k), (1/k) * k)\`,
+ * which in IEEE 754 is about an ulp away from the identity per axis rather than exactly it. Every
+ * caller must therefore keep its existing exact-zero guard \u2014 the defaults are unchanged because
+ * nothing here executes at them, not because this collapses.
+ *
+ * \`scale\` is a scalar and commutes with all three matrices, so a zoomed offset can be passed
+ * straight in: \`A^-1 R A (zoom * d)\` is \`zoom * (A^-1 R A d)\`.
+ */
+vec2 kuiRotateScreen(vec2 v, float a) {
+  vec2 s = kuiAspectAxes();
+  return kuiRotate(v * s, a) / s;
+}
+
+/**
+ * How strongly the pointer reaches this fragment: 1 under it, falling to nothing at the edge of a
+ * **round** pool.
+ *
+ * Round is the whole difficulty. \`v_uv\` and \`u_mouse\` are both normalised per axis, so the
+ * obvious \`distance(v_uv, u_mouse)\` draws an *ellipse* as soon as the box is not square \u2014 and the
+ * boxes this mode is documented for are full-bleed bands, card faces and footer strips, i.e.
+ * precisely the wide ones. \`kuiAspectAxes()\` is the correction, and measuring the offset there
+ * makes the pool a circle on screen whose size tracks the box's overall scale rather than one of
+ * its two dimensions. On a square box the pair is exactly \`(1, 1)\` and this degenerates to the
+ * plain UV distance \`displace\` already uses.
+ *
+ * Gaussian rather than \`smoothstep\`, because a pool of light has no edge to see.
+ */
+float kuiHoverFalloff() {
+  vec2 d = (v_uv - u_mouse) * kuiAspectAxes();
+  return exp(-dot(d, d) * 6.0);
+}
+
+/**
+ * One point of the element's UV square, in the field's own frame.
+ *
+ * A rigid motion \u2014 one rotation and one translation \u2014 so that carrying the pointer through the
+ * same call puts it at the same place relative to the field that it occupies on screen. That is
+ * what lets \`stir\` swirl the field about a centre the cursor is actually sitting on, at any
+ * \`angle\`, mid-\`drift\`, mid-\`swirl\`.
+ *
+ * The turn is \`kuiRotateScreen\`, so it is rigid **on screen** on a box of any shape: \`angle: 45deg\`
+ * points at 45 degrees on a 160x100 band, and \`motion: drift\` travels along exactly the axis the
+ * author named instead of a sheared one.
+ *
+ * Inert at the defaults by construction: \`orient\` of zero skips the rotation entirely and
+ * \`travel\` of zero subtracts an exact zero, so \`motion: evolve\` at \`angle: 0deg\` computes the
+ * same \`(v_uv - 0.5) * scale\` this program has always computed, bit for bit. **The guard is the
+ * whole of that promise** \u2014 \`kuiRotateScreen\` does not collapse to the identity at zero, it only
+ * gets within an ulp, so deleting the guard because "a rotation is cheap" would silently move the
+ * last bit of every generative pixel already on the web.
+ */
+vec2 kuiFieldPoint(vec2 uv, float zoom, float orient, float travel) {
+  vec2 v = (uv - 0.5) * zoom;
+  if (orient != 0.0) v = kuiRotateScreen(v, -orient);
+  v.x -= travel;
+  return v;
+}
+
+/**
+ * \`hover: stir\` \u2014 one vortex of the sample point about the pointer.
+ *
+ * A turn that dies away from the cursor, plus a push of the *sample point* outward, which is the
+ * field spiralling inward and is the whole difference between a rotating disc and a stir.
+ * \`rel / (length(rel) + eps)\` rather than \`normalize\`, so the push fades to nothing at the centre
+ * instead of kicking the one pixel under the cursor in whatever direction the epsilon points.
+ *
+ * Both halves run inside \`kuiAspectAxes()\`, for the same reason \`kuiHoverFalloff\` does: the
+ * falloff that drives this is already a circle on screen, so a vortex measured in raw UV would be
+ * a round pool turning an elliptical gesture \u2014 two different ideas of "the same distance from the
+ * cursor" in one effect.
+ */
+vec2 kuiStirPoint(vec2 pt, vec2 centre, float zoom, float fall) {
+  vec2 s = kuiAspectAxes();
+  vec2 rel = (pt - centre) * s;
+  vec2 turned = kuiRotate(rel, 1.6 * fall) + rel / (length(rel) + 1e-4) * (0.10 * zoom * fall);
+  return centre + turned / s;
+}
+
+/**
+ * The host image read as a stencil: 1 where the mark is, 0 where the page should show through.
+ *
+ * Three ways to ask, because a logo file answers the question differently depending on what it is:
+ *
+ * - \`0\` \u2014 no stencil. \`mode: gradient\`; \`u_image\` is not sampled at all.
+ * - \`1\` (\`mask: alpha\`) \u2014 the image's own alpha. An SVG or PNG mark on a transparent ground,
+ *   which is what a logo asset usually is. The texture is uploaded premultiplied, so \`a\` is the
+ *   coverage and multiplying all four channels by it stays premultiplied-correct.
+ * - \`2\`/\`3\` (\`mask: luma\` / \`luma-invert\`) \u2014 luminance, for a format with no alpha to read. A
+ *   JPEG has none, so a black-on-white mark under \`alpha\` would give an all-opaque stencil and
+ *   fill the whole rectangle with field. \`luma\` takes the *bright* pixels as the mark (white on
+ *   black); \`luma-invert\` takes the dark ones (black on white, which is the common logo file).
+ *   Both directions exist because guessing one silently produces a perfect negative of the mark \u2014
+ *   an image that looks deliberate and is exactly wrong.
+ *
+ * Luminance is taken from the premultiplied colour, so a transparent pixel is black. Under
+ * \`luma\` that reads as "not the mark", which is the sensible answer for a file that has alpha and
+ * was asked for a luma stencil anyway. Under \`luma-invert\` the same pixel reads as *solid* mark \u2014
+ * correct for the opaque JPEG the keyword exists for, and wrong for anything with a transparent
+ * surround, which should be using \`alpha\`.
+ */
+float glyphMask() {
+  if (u_maskMode == 0) return 1.0;
+  vec4 src = texture(u_image, v_uv);
+  if (u_maskMode == 1) return src.a;
+  float lum = dot(src.rgb, vec3(0.299, 0.587, 0.114));
+  return u_maskMode == 2 ? lum : 1.0 - lum;
+}
+
+/**
+ * The palette ramp, interpolated in linear-light rather than straight sRGB.
+ *
+ * \`mix()\` between two sRGB triples passes through a desaturated middle \u2014 the classic muddy
+ * midpoint of a naive gradient, worst exactly where two saturated brand colours meet. Squaring
+ * into approximately linear light, mixing there, and taking the square root back is a two-operation
+ * approximation of a gamma-2.0 space that removes almost all of it.
+ *
+ * \`smoothstep\` on the segment fraction, not a straight lerp, so the ramp has no visible crease at
+ * each stop \u2014 a crease that banding (\`u_bands\`) would otherwise land on and amplify.
+ */
+vec3 kuiPalette(float t) {
+  int n = max(u_colorCount, 2);
+  float x = clamp(t, 0.0, 1.0) * float(n - 1);
+  int i = int(floor(x));
+  int j = min(i + 1, n - 1);
+  float f = smoothstep(0.0, 1.0, x - float(i));
+  vec3 a = u_colors[i].rgb;
+  vec3 b = u_colors[j].rgb;
+  return sqrt(mix(a * a, b * b, f));
+}
+
+/** Rotate a colour about the grey axis \u2014 Rodrigues' formula, which needs no colour-space change. */
+vec3 kuiHueRotate(vec3 c, float angle) {
+  const vec3 axis = vec3(0.57735026);
+  float s = sin(angle);
+  float k = cos(angle);
+  return c * k + cross(axis, c) * s + axis * dot(axis, c) * (1.0 - k);
+}
+
+/** Per-pixel film grain. Quantised in time so it flickers at ~60 steps a second rather than per frame. */
+float kuiGrain(vec2 fragCoord, float t) {
+  uint h = kuiHash(uvec3(uvec2(fragCoord), uint(int(t * 60.0) + 0x10000)));
+  return float(h & 0xffffu) / 65535.0 - 0.5;
+}
+
+void main() {
+  // Centred and aspect-free: the field is authored in the element's own UV space, so the same
+  // parameters give the same picture whatever size the box is.
+  float zoom = max(u_scale, 0.05);
+  vec3 seed = vec3(u_seed * 137.31, u_seed * 71.17, u_seed * 29.73);
+  float t = u_time;
+  float pFactor = u_progress >= 0.0 ? u_progress : 1.0;
+
+  // Orientation and travel, as one rigid motion of the domain. \`angle\` names the field's axis;
+  // \`motion: swirl\` turns that axis over time; \`motion: drift\` slides along it. Both are *added
+  // to* the third-axis evolution below rather than replacing it, so a drifting field is still
+  // changing as it goes rather than being one frozen picture towed across the box.
+  float spin = u_motion == KUI_MOTION_SWIRL ? t * 0.2 : 0.0;
+  float orient = u_angle + spin;
+  // Multiplied by the zoom, so \`drift\` crosses the box at the same visual rate whatever \`scale\`
+  // is. Without it, zooming in would slow the travel down \u2014 one knob quietly moving two things,
+  // which is the bug kuiFbm's \`/norm\` divisor exists to avoid on the octave count.
+  float travel = u_motion == KUI_MOTION_DRIFT ? t * 0.12 * zoom : 0.0;
+
+  vec2 p = kuiFieldPoint(v_uv, zoom, orient, travel);
+  // One evaluation, shared by both gestures, and skipped entirely when there is no pointer
+  // response authored.
+  float hoverFall = u_hover != 0 ? kuiHoverFalloff() : 0.0;
+
+  // Domain warp: a second field displaces the sample point of the first. This is the whole
+  // difference between concentric fbm contours and something that reads as liquid.
+  //
+  // **This displacement is deliberately NOT aspect-corrected, and it is the one thing here that
+  // is not.** \`vec2(wx, wy)\` is isotropic in the field's own normalised space, which means it is
+  // anisotropic on screen \u2014 the same flaw \`kuiRotateScreen\` exists to fix for \`angle\`, \`motion\`
+  // and the \`stir\` vortex. It is left alone because \`warp\` is *shipped and in use*: multiplying
+  // it through \`kuiAspectAxes()\` would restyle every live page that authored one, which is a
+  // price a correctness argument does not get to charge. The rule the rest of this program follows
+  // and this line does not: **orientation and the pointer vortex are screen-true; the domain warp
+  // is field-true.** If you are here to "finish the job", that is a behaviour change to real
+  // sites and it needs the owner, not a tidy-up commit.
+  vec2 q = p;
+  if (u_warp > 0.0) {
+    float wf = u_frequency * 0.1;
+    float wx = kuiFbm(vec3(p * wf, t * 0.35) + seed, u_detail);
+    float wy = kuiFbm(vec3(p * wf + 5.2, t * 0.35 + 1.3) + seed, u_detail);
+    q += vec2(wx, wy) * u_warp;
+  }
+
+  // \`hover: stir\` \u2014 the cursor dragged through the colour, like stirring thick paint.
+  //
+  // Applied here, last, to the finished sample point: the gesture is dragging paint that is
+  // already there, not re-warping the field before it exists. It also means \`stir\` works at the
+  // library defaults, where \`warp\` is 0 and there is no domain warp to ride on.
+  //
+  // A vortex, which is one gesture and not two \u2014 see \`kuiStirPoint\`, which also explains why both
+  // halves of it are measured in the same screen-isotropic space as the falloff that drives them.
+  //
+  // On \`mode: logo\` this cannot touch the mark's edges: \`glyphMask()\` samples \`u_image\` at the
+  // undistorted \`v_uv\` and multiplies the finished colour, so stirring \`q\` swirls the fill and
+  // leaves the stencil exactly where it was.
+  if ((u_hover & KUI_HOVER_STIR) != 0) {
+    vec2 pm = kuiFieldPoint(u_mouse, zoom, orient, travel);
+    q = kuiStirPoint(q, pm, zoom, hoverFall);
+  }
+
+  // Audio and progress scale the field's *amplitude*, leaving its shape and rate alone \u2014 so a
+  // beat swells the contrast and a scroll at 0 leaves a flat single colour rather than a jump cut.
+  float field = kuiFbm(vec3(q, t * 0.25) + seed, u_detail);
+  field *= u_strength * pFactor * audioGain();
+  float v = clamp(field * 0.5 + 0.5, 0.0, 1.0);
+
+  // Iridescence wraps the ramp back on itself, so one palette reads as many sheens across the box.
+  float wrapped = u_iridescence > 0.0 ? fract(v * u_iridescence) : v;
+
+  // Posterise. Divided by bands-1 so the top step reaches the end of the ramp; a plain /bands
+  // would stop one step short and quietly desaturate the brightest colour.
+  if (u_bands > 0) {
+    float steps = float(u_bands);
+    wrapped = floor(wrapped * steps) / max(steps - 1.0, 1.0);
+  }
+
+  // Fringing offsets the *ramp position* per channel rather than re-sampling the field three
+  // times: three palette lookups are nearly free, three more fbm evaluations would triple the
+  // program's cost for a decorative edge.
+  vec3 color;
+  if (u_chromatic > 0.0) {
+    float d = u_chromatic * 0.04;
+    color = vec3(
+      kuiPalette(wrapped + d).r,
+      kuiPalette(wrapped).g,
+      kuiPalette(wrapped - d).b
+    );
+  } else {
+    color = kuiPalette(wrapped);
+  }
+
+  if (u_hue != 0.0) color = kuiHueRotate(color, u_hue);
+
+  // \`hover: light\` \u2014 a torch held over the surface.
+  //
+  // A multiply rather than a blend toward white. Multiplying preserves the hue and *raises* the
+  // saturation, so what appears under the pointer is the author's own colour becoming vivid;
+  // mixing toward white would wash the palette out at exactly the point the eye is on. The gain is
+  // 1.0 in the far field, which is what makes this a highlight rather than a restyling \u2014 a palette
+  // already at the top of the range has nowhere to go, and that is the honest behaviour of a torch.
+  if ((u_hover & KUI_HOVER_LIGHT) != 0) color *= 1.0 + 0.7 * hoverFall;
+
+  if (u_grain > 0.0) color += kuiGrain(gl_FragCoord.xy, t) * u_grain * 0.25;
+
+  // Opaque before masking, and premultiplied trivially because alpha is 1 \u2014 the element's own
+  // shape and its ancestors' opacity arrive through shapeMask(), the mark's shape through
+  // glyphMask(), and both multiply all four channels, which is the right operation on
+  // premultiplied colour and is what leaves the page visible around a logo.
+  float sm = shapeMask();
+  float gm = glyphMask();
+  vec4 px = vec4(clamp(color, 0.0, 1.0), 1.0) * u_tint * sm * gm;
+
+  // \`backdrop\` \u2014 the colour the field is composited *over*, inside the element's own shape.
+  //
+  // Premultiplied "over", because everything in this program already is. \`u_tint.a * gm\` is the
+  // field's coverage before the shape mask, so the backdrop is pulled through the same \`sm\` as the
+  // field rather than being masked twice \u2014 which would otherwise thin the backdrop along an
+  // antialiased rounded corner.
+  //
+  // What it is *for*: \`mode: logo\`'s plate. Outside the mark the coverage is zero and the backdrop
+  // is all there is, so a mark gets a solid ground instead of the page showing through. A bare
+  // \`gradient\` is opaque, so there this is a no-op by construction \u2014 visible only through a \`tint\`
+  // whose alpha is below 1. That is a property of an opaque field, not an oversight.
+  if (u_backdrop.a > 0.0) {
+    px += vec4(u_backdrop.rgb * u_backdrop.a, u_backdrop.a) * sm * (1.0 - u_tint.a * gm);
+  }
+  fragColor = px;
+}
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o=d(t.num?t.num("size",28):28,4,120),s=d(t.num?t.num("viscosity",.88):.88,.1,.99),a=t.text?t.text("color","#e4f222"):"#e4f222",u=Zr(i),l=u.registerClient({size:o,viscosity:s,color:a},e);return w({continuous:!0,activate(){u.activateClient(l)},cancel(){u.deactivateClient(l)},finish(){u.deactivateClient(l)},destroy(){u.unregisterClient(l)}})}var Ge={size:{type:"number",default:"28",minimum:4,maximum:120,cssProperty:"--kui-fluid-size"},viscosity:{type:"number",default:"0.88",minimum:.1,maximum:.99,cssProperty:"--kui-fluid-viscosity"},color:{type:"color",default:"#e4f222",cssProperty:"--kui-fluid-color"}},We=[{id:"fluid-trail",renderer:"javascript",channels:[],parameters:Ge,supportedTimelines:["time"],supportedActivations:["load","hover"],defaultActivation:"load",perfClass:"continuous",reducedMotion:"disable",prepare:Fe}],Oe=[{name:"fluid-trail",primitive:"fluid-trail"},{name:"cursor-fluid",primitive:"fluid-trail"},{name:"fluid-cursor",primitive:"fluid-trail"}];function Y(e){return 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+
+;(function () {
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+
+__kuineticBoot.boot({ tier: 'advanced', register: kuineticAdvanced.registerAdvanced });
+})();