vireglass 2.1.0 → 2.3.0

package/dist/index.d.cts

@@ -288,6 +288,10 @@ declare function convertReturns(mainBody: string): string;
  * origin, y up. The flip via `u_resolution.y - gl_FragCoord.y` restores the original convention
  * (both coordinate systems center the pixel at `+0.5`, so no X shift or constant is needed).
  * `out vec4 fragColor` and `uniform vec2 u_resolution` are declared in the prologue (`addPrologue`).
+ *
+ * `xy` and `.eval()` are flipped together — but only inside a shader THIS function translates. A
+ * `VireGlassBackdropPass` (`web/renderer.ts`) that reads its own previous frame from an FBO is raw
+ * `gl_FragCoord`, unflipped; reusing AGSL-style helpers there needs an explicit flip of its own.
  */
 declare function convertEntryPoint(src: string): string;
 /** `#version 300 es` + `precision highp float;` — no equivalent in AGSL, WebGL2 requires them as

package/dist/index.d.ts

@@ -288,6 +288,10 @@ declare function convertReturns(mainBody: string): string;
  * origin, y up. The flip via `u_resolution.y - gl_FragCoord.y` restores the original convention
  * (both coordinate systems center the pixel at `+0.5`, so no X shift or constant is needed).
  * `out vec4 fragColor` and `uniform vec2 u_resolution` are declared in the prologue (`addPrologue`).
+ *
+ * `xy` and `.eval()` are flipped together — but only inside a shader THIS function translates. A
+ * `VireGlassBackdropPass` (`web/renderer.ts`) that reads its own previous frame from an FBO is raw
+ * `gl_FragCoord`, unflipped; reusing AGSL-style helpers there needs an explicit flip of its own.
  */
 declare function convertEntryPoint(src: string): string;
 /** `#version 300 es` + `precision highp float;` — no equivalent in AGSL, WebGL2 requires them as

package/dist/index.js

@@ -1,9 +1,9 @@
-export { SURFACE_SHADER, addPrologue, convertEntryPoint, convertEvalCalls, convertHalfTypes, convertReturns, convertShaderUniforms, convertVecTypes, toGLSL } from './chunk-BZC2WHCK.js';
-export { GLASS_SCALE_DEFAULT, GRADIENT, NO_ACCESSIBILITY, SCROLL_EDGE_ENGAGE_DP, SETTLE, SMOOTH, accentAmount, accentTone, aggregate, applyAccessibility, applyAppear, applyGlassScale, concentricFit, concentricInset, concentricRadius, contrastRimLuma, createDeform, createGroupState, elasticAllowed, probeValuesAt, raiseIntoGlass, resolveShape, scrollEdgeReachDp, scrollEdgeStrength, scrollEdgeStyle, shadowTint, smoothPlane } from './chunk-3PGYF2NK.js';
+export { SURFACE_SHADER, addPrologue, convertEntryPoint, convertEvalCalls, convertHalfTypes, convertReturns, convertShaderUniforms, convertVecTypes, toGLSL } from './chunk-PM2SWCSF.js';
+export { GLASS_SCALE_DEFAULT, GRADIENT, NO_ACCESSIBILITY, SCROLL_EDGE_ENGAGE_DP, SETTLE, SMOOTH, accentAmount, accentTone, aggregate, applyAccessibility, applyAppear, applyGlassScale, concentricFit, concentricInset, concentricRadius, contrastRimLuma, createDeform, createGroupState, elasticAllowed, probeValuesAt, raiseIntoGlass, resolveShape, scrollEdgeReachDp, scrollEdgeStrength, scrollEdgeStyle, shadowTint, smoothPlane } from './chunk-CTTZNZFV.js';
 export { CONFIRMATIONS, FADE_MS, FLIP_LUMA, INK_DARK, INK_LIGHT, RETURN_LUMA, ambientFrom, decisiveLuma, shouldInkBeLight } from './chunk-JNRZNMJJ.js';
-export { ACCENT_AMOUNT, ADAPT_RADIUS, ALL_EFFECTS_ON, DEBUG_MODES, DYNAMIC_UNIFORMS, EFFECTS, FRESNEL_EXPONENT, ICON_UNIFORMS, LEGACY_NAMES, LEGACY_OPTICS, LENS_SHADER, MATERIAL_PRESETS, MATERIAL_RANGES, OVERLAY_UNIFORMS, PRESET_NAMES, PRODUCT_DIM, REST_LIGHT, SURFACE_LENGTH_UNIFORMS, VG_FALLOFF, VG_SDF, VIREGLASS_CLEAR_MATERIAL, VIREGLASS_CONTROL_MATERIAL, VIREGLASS_LYRICS_MATERIAL, VIREGLASS_MATERIAL, VIREGLASS_MATERIAL_V4, VIREGLASS_MATERIAL_V5, VIREGLASS_SHEET_MATERIAL, absorption, activeMaterial, applyToggles, blur, bodyDensity, colorPickup, debugIndex, diffraction, dispersion, edgeDensity, edgeLight, fresnelF0, fresnelStrength, gatherRadius, iorSpread, iridescence, lensMagnify, materialForInk, mediumTint, morphBetween, morphOutOf, neckToBridge, refractionScale, refractionStrength, resolveMaterial, resolveOptics, sceneDistance, sceneGradient, sdfRoundedRect, sdfRoundedRectGradient, smin, specularPower, specularStrength, toDeviceSurfaceUniforms, toLensProps, toSurfaceUniforms, touchWarp } from './chunk-FL5UZPY5.js';
-export { MAX_BEVEL_FRACTION, MAX_STRETCH, RIM_FRACTION, bevelDp, bevelFraction, capsuleGeometry, circleGeometry, halfMinDp, lensPadDp, morphReachDp, rimDp, roundedRectGeometry, shadowOpacity, shadowOpacityFrom, shadowReachDp, sizeDp, sizeGain, surfacePadDp, thicknessDp } from './chunk-P2ZOODXD.js';
-import './chunk-TTOKBARR.js';
+export { ACCENT_AMOUNT, ADAPT_RADIUS, ALL_EFFECTS_ON, DEBUG_MODES, DYNAMIC_UNIFORMS, EFFECTS, FRESNEL_EXPONENT, ICON_UNIFORMS, LEGACY_NAMES, LEGACY_OPTICS, LENS_SHADER, MATERIAL_PRESETS, MATERIAL_RANGES, OVERLAY_UNIFORMS, PRESET_NAMES, PRODUCT_DIM, REST_LIGHT, SURFACE_LENGTH_UNIFORMS, VG_FALLOFF, VG_SDF, VIREGLASS_CLEAR_MATERIAL, VIREGLASS_CONTROL_MATERIAL, VIREGLASS_LYRICS_MATERIAL, VIREGLASS_MATERIAL, VIREGLASS_MATERIAL_V4, VIREGLASS_MATERIAL_V5, VIREGLASS_SHEET_MATERIAL, absorption, activeMaterial, applyToggles, blur, bodyDensity, colorPickup, debugIndex, diffraction, dispersion, edgeDensity, edgeLight, fresnelF0, fresnelStrength, gatherRadius, iorSpread, iridescence, lensMagnify, materialForInk, mediumTint, morphBetween, morphOutOf, neckToBridge, refractionScale, refractionStrength, resolveMaterial, resolveOptics, sceneDistance, sceneGradient, sdfRoundedRect, sdfRoundedRectGradient, smin, specularPower, specularStrength, toDeviceSurfaceUniforms, toLensProps, toSurfaceUniforms, touchWarp } from './chunk-H5QTBF67.js';
+export { MAX_BEVEL_FRACTION, MAX_STRETCH, RIM_FRACTION, bevelDp, bevelFraction, capsuleGeometry, circleGeometry, halfMinDp, lensPadDp, morphReachDp, rimDp, roundedRectGeometry, shadowOpacity, shadowOpacityFrom, shadowReachDp, sizeDp, sizeGain, surfacePadDp, thicknessDp } from './chunk-SLRPHDV7.js';
+import './chunk-MMPK6DCK.js';
 
 // src/targets/agsl.ts
 function toAGSL(shaderSource) {

package/dist/law.cjs

@@ -44,7 +44,14 @@ var BODY = {
   darkSideFrom: 0.42,
   darkSideTo: 0.58,
   /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */
-  maxDemand: 0.92
+  maxDemand: 0.92,
+  /**
+   * And a tighter one for presence specifically. It is a FLOOR on visibility, not a licence to go
+   * opaque: wherever the body's tint sits close to the backdrop, the density that would deliver the
+   * separation is the ceiling, and glass at `maxDemand` has stopped being a window. Better to
+   * separate as far as transparency allows and no further. UNMEASURED.
+   */
+  presenceDemand: 0.5
 };
 var SHADOW = {
   /**

package/dist/law.cjs.map

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* THE LAW: every calibrated number the material obeys, in one place.\n *\n * A value here is written ONCE and read by everything that needs it — the shader text interpolates\n * it, the JS twins import it. The alternative is what this file replaces: the same number typed\n * into a GLSL string and again into a TypeScript function, drifting apart the first time one side\n * is tuned. `VG_FALLOFF` already worked this way; the rest now does too.\n *\n * Each entry carries where it came from. `§N` is a section of `docs/reference.md`, which is itself\n * drawn from Apple's public sessions; `M 2:32` and the like are the timestamps those sections cite.\n * A number with no provenance is marked as such, and that marking is a debt, not a decoration.\n *\n * Structural constants — 0, 1, 0.5, 2, π — are not laws and do not belong here.\n */\n\n/** Rim optics: the silhouette's light (§2). */\nexport const RIM = {\n  /**\n   * The key-light lobe's exponent. Two opposing arcs come out of one expression, which is why\n   * they are opposed rather than placed: `pow(max(facing, 0), n) + 0.45 * pow(max(-facing, 0), n)`.\n   *\n   * MEASURED off two close-ups of real end caps, frames/crops/cap158-left and cap158-right. The\n   * bright arc's full width at half its peak is 53 degrees in the first and 30 in the second; this\n   * exponent's own width is `2·acos(0.5^(1/n))`, so they imply 6 and 20. It was 3, whose arc is 75\n   * degrees wide — broader than either measurement, and the error is in the same direction in both.\n   *\n   * 6 is the conservative end: it reproduces the wider crop exactly, and a broader arc is the more\n   * forgiving error. One exponent cannot serve both, and that is not noise — a specular lobe's\n   * width depends on the light's angular size as well as the surface, and those are two different\n   * scenes. The model has no term for the light's size.\n   */\n  lobeExponent: 6,\n  /** The far arc, weaker than the one facing the light (§2). */\n  opposingArc: 0.45,\n  /**\n   * The dark edge along the whole silhouette, as a multiplicative darkening. iOS 27 made it a\n   * layer of its own, and it does not rule out the highlight sitting on top of it (§2).\n   */\n  darkEdge: 0.22,\n  /** Width of the hairline, CSS px. \"About a point, not a band and not a bevel\" (§2). */\n  widthPx: 1,\n} as const;\n\n/** How the medium stands between the backdrop and the eye (§3). */\nexport const BODY = {\n  /** Lightness ceiling for the body when legibility is loose. */\n  capLoose: 0.62,\n  /** …and when it is strict. The model is calibrated at these two, not in between (E-43). */\n  capTight: 0.38,\n  /** The two ends the body tints toward. Glass has no colour of its own (HIG \"Color\"). */\n  tintDark: 0.07,\n  tintLight: 0.94,\n  /** How far the backdrop's spread reaches past its mean when deciding what the ink needs. */\n  busyEdge: 0.75,\n  /** Fine texture the body has to stop being a window for. */\n  groundSpan: 0.06,\n  /** Where the tint flips direction, by the element's AVERAGE lightness — a local threshold cuts\n   *  a diagonal step across the body on a gradient. */\n  darkSideFrom: 0.42,\n  darkSideTo: 0.58,\n  /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */\n  maxDemand: 0.92,\n} as const;\n\n/** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */\nexport const SHADOW = {\n  /**\n   * Measured off reference frames 711–723: 4.0% over a flat light backdrop, 19.9% over text.\n   *\n   * REPRODUCED independently off frames/verify/m-707 and m-711 — the same capsule in the same scene\n   * at the same scale, once below the text over plain background and once scrolled up over it.\n   * Comparing the rows under the capsule against the same rows far to either side, so the\n   * background's own gradient cancels: 3.5% and 19.2%, peaking about 140 px below the capsule.\n   * Two passes, different frames and a different method, agreeing to within 0.7 of a point.\n   */\n  alphaFlat: 0.04,\n  alphaBusy: 0.199,\n} as const;\n\n/** Dispersion: the channels refract at different indices (§1, Cauchy). */\nexport const DISPERSION = {\n  /** Red bends less than the base index, blue more — and not symmetrically. */\n  redShift: -0.4,\n  blueShift: 0.6,\n} as const;\n\n/** Response to a finger (§5). The springs and decay live in `touch-response.ts`; these shape the\n *  field the finger deforms. */\nexport const TOUCH = {\n  /**\n   * The element grows under pressure (M 3:51; HIG: interactive \"expands\").\n   *\n   * CHECKED, not measured: across frames/knob/switch-press, a 4x5 sheet of one switch being\n   * pressed, the control's extent runs 764 px in the three settled frames and 787 to 822 under the\n   * finger — 3 to 8 per cent. This value sits inside that, which is a consistency check and not a\n   * derivation: the measurement cannot separate the knob stretching from the track growing, and the\n   * settled frames agreeing to the pixel is the only part of it that is tight.\n   */\n  pressGrow: 0.06,\n  /** The ridge around the contact blob: material displaced from under the finger ends up\n   *  somewhere. Without it the shape balloons, and a dense medium does not do that. */\n  ridge: 0.42,\n  /** How far press pulls the field toward the finger. */\n  pressPull: 0.16,\n  /** Wavelength and decay of the ripple, as fractions of its span. Short and quick: in a dense\n   *  medium ripples are frequent and small; long shallow swells are water. */\n  waveLength: 0.17,\n  waveDecay: 0.7,\n  /** The ripple's span, as a multiple of the contact radius. It has to reach the far edge, or it\n   *  reads as jitter under the finger rather than a wave across the surface. */\n  waveSpan: 2,\n  /**\n   * Contact radius as a fraction of the element's half-size. UNMEASURED: §5 says the response has\n   * to be visible UNDER the finger, which is why the blob is wide, but gives no figure.\n   */\n  radiusOfHalfSize: 1.1,\n  /**\n   * Wave impulse as a fraction of the travel limit. UNMEASURED: the core carries the ripple's\n   * decay and frequency, but nothing says how hard a finger strikes it.\n   */\n  waveOfTravel: 0.18,\n  /** The lift-off ring is weaker than the one from touching down (§5). UNMEASURED ratio. */\n  releaseWave: 0.6,\n  /**\n   * How far a glow reaches past the element it started on, as a multiple of that element's\n   * half-size. UNMEASURED: §5 says the glow spreads \"onto any Liquid Glass elements nearby\" and\n   * names no distance. This is the reach at which a neighbour in a tab bar still lights and one\n   * across the screen does not.\n   */\n  glowReach: 3,\n  /**\n   * How much of an element's \"active\" state a touch alone raises — the fraction the glow and the\n   * ink lift ride on when nothing else is driving them. UNMEASURED.\n   *\n   * It was a private constant on the Android surface whose comment said it matched the web's, and\n   * nothing enforced that: the web renderer takes `active` from the host as a field and has no\n   * constant to match. Two renderers agreeing by a comment is exactly what this file is for.\n   */\n  activeOnTouch: 0.3,\n} as const;\n\n/** The bevel's profile — spherical, like a cap: `t / sqrt(1 - t² · k)`, clamped. A plain `t²` kept\n *  the slope near zero through most of the bevel and then shot up at the edge, so the optics\n *  bunched into a ring and the element read as a puck. */\nexport const BEVEL = {\n  sphere: 0.94,\n  floor: 0.02,\n  slopeMax: 3.2,\n} as const;\n\n/** Where two shapes meet head-on their normals cancel exactly and the blend lands on zero. */\nexport const EPSILON = 1e-5;\n\n/** What the medium does to light passing through it (§3). */\nexport const MEDIUM = {\n  /** The lightness content under the glass is pulled toward, and how hard. The medium both removes\n   *  light and mixes scattered light back in: over a light backdrop the body darkens, over a dark\n   *  one it lightens. A layer that only ADDED light pushed the body the wrong way over light\n   *  backdrops (M 2:35). */\n  luma: 0.4,\n  pull: 0.07,\n  /** Ambient light reaching the body on top of that pull. */\n  ambientSpill: 0.01,\n  /** Glass concentrates light: the body is a touch lighter than what lies beneath it (M 2:29). */\n  concentrate: 0.01,\n  /** Scattered light on a frosted element is an ADDITION over the backdrop, not a fraction of the\n   *  way to the tint — a fraction goes to zero once the backdrop reaches the tint's lightness and\n   *  darkens past it (docs/benchmarks.md). */\n  matteLift: 0.1,\n  /** How far scattering reaches, as a fraction of the gather radius, over a busy backdrop under\n   *  ink. Set against the reference: structure under the capsule fades by a factor of nine or ten\n   *  there, not thirty (M 11:47). */\n  scatterMax: 0.2,\n  scatterBase: 0.1,\n  /** The response to structure saturates early: what competes with the ink is not the AREA of\n   *  foreign text but the fact of it — a line under a tile measures about 0.12 of busy. */\n  structureGain: 20,\n  /** Tint density in the flat middle; the bevel multiplies it by the edge density. */\n  bodyDensityFlat: 0.19,\n} as const;\n\n/** The lens itself (§1). */\nexport const LENS = {\n  /** Backdrop compression at the rim goes to infinity at the silhouette, so the radius correction\n   *  is capped. */\n  footprintMax: 1.8,\n  /** Same reason, for the profile's slope. */\n  slopeMax: 40,\n  /** Every thin film on glass sits around this index. */\n  filmIor: 1.35,\n  /** Reference channel wavelengths in nm — red, green, blue — for diffraction and interference. */\n  lambdaR: 610,\n  lambdaG: 550,\n  lambdaB: 460,\n} as const;\n\n/** The shadow's shape in the gap under the element (§4). */\nexport const SHADOW_GAP = {\n  /** How much weaker the shadow is right at the outline than under the middle of the gap, and what\n   *  fraction of the offset it takes to reach full depth. In the reference the shadow's minimum\n   *  sits BELOW the rim, not at it. */\n  light: 0.76,\n  reach: 0.2,\n  /** Fraction of the ambient hue the shadow carries. It has to stay a shadow, not a coloured blob. */\n  tint: 1,\n} as const;\n\n/** Ink drawn inside the material (§5). */\nexport const INK = {\n  /** Depth beneath the surface, dp. The normal displaces it by exactly this much at the rim. */\n  depth: 4,\n  /** Defocus under a finger, as a FRACTION of the touch blob rather than a length: the blob\n   *  already arrives in device units, so this follows both screen density and element size. At\n   *  rest it is zero and the sample stays a single one. */\n  defocus: 0.08,\n} as const;\n\n/** The spectral edge (§1): dispersion, diffraction and interference are one cause — a dependence\n *  on wavelength — and one hue multiplier, normalised to its own mean. They colour the reflection\n *  without brightening it. */\nexport const SPECTRAL = {\n  /** How far into the bevel the fringes reach, as a fraction of it measured from the silhouette.\n   *  Diffraction is an EDGE effect; past this the bevel is plain glass. */\n  diffractionOnset: 0.45,\n  /**\n   * The same window for interference, which had none. §2 puts the iridescence on the opposing ARC —\n   * \"the opposing arc carries an iridescent fringe\" — and a fringe is a thing at an edge.\n   *\n   * Without it the term applies wherever the surface angle puts it, and across the inner bevel the\n   * angle barely changes, so a film that should read as a fringe reads as a flat colour filter.\n   * Measured on a 680x64 bar with the default preset: a multiplier of 1.68, 1.26, 0.05 held CONSTANT\n   * from a third of the way through the bevel to its inner edge — red boosted by two thirds and blue\n   * removed outright. UNMEASURED window; wider than diffraction's because interference reaches\n   * further in than the fringes do.\n   */\n  iridescenceOnset: 0.25,\n  /** Fringes across the bevel. Denser as the bevel sharpens, which is what the phase term does. */\n  diffractionFringes: 4,\n  /** The channel the hue is measured against, nm. Green is the eye's own reference. */\n  referenceLambda: 550,\n} as const;\n\n/** Tinting (§7): a colour that is a property of the medium, not a fill over it. */\nexport const ACCENT = {\n  /** The tone the colour takes over a dark backdrop and over a light one. \"A range of tones mapped\n   *  to content brightness underneath\", rather than one flat colour. */\n  deep: 0.88,\n  light: 1.08,\n  /** How much of the medium the colour occupies by default. Short of one, because the content has\n   *  to keep coming through: a fill \"breaks the visual character of Liquid Glass\" (@17:03). */\n  amount: 0.8,\n} as const;\n\n/**\n * The system accessibility settings (§9). They are modifiers on the material's layers, so their\n * calibration belongs in the law next to the layers they move — not as private constants in the\n * module that happens to apply them.\n */\nexport const ACCESSIBILITY = {\n  /** Frost floor under reduced transparency: the glass gets \"frostier\" (§9). */\n  frostMinDp: 14,\n  /**\n   * Body floor under reduced transparency. B @10:07 is the stricter statement of the two — a bar\n   * \"gets a background when reduce transparency is enabled\" — so this is a background, not a\n   * thicker haze. UNMEASURED: neither source gives a figure.\n   */\n  obscureMin: 0.82,\n  /** Under increased contrast the element is \"predominantly black or white\" (§9): the body goes to\n   *  whichever pole its ink already points at, at a density that leaves it reading as that pole. */\n  contrastDensity: 0.94,\n  /** …and separates from the backdrop on its own, whatever is behind it. */\n  contrastPresence: 0.5,\n  /**\n   * The contrasting border §9 asks for, in units of lightness away from the body's own pole. The\n   * rim stops taking its colour from the environment and takes it from the element instead — an\n   * ambient hairline is not a contrasting border. UNMEASURED.\n   */\n  contrastRim: 0.85,\n  /**\n   * Press that survives reduced motion. §9 \"decreases the intensity of some effects and disables\n   * any elastic properties\": the spring and the ripple are elastic and go to zero, the press is an\n   * ease that carries the element's light, so it is damped rather than removed — an element that\n   * stops answering a finger altogether is not reduced motion, it is no feedback. UNMEASURED.\n   */\n  stillPress: 0.6,\n} as const;\n\n/**\n * Morphing (§5). Apple's design leads name their own model for it out loud (S 1:25:30, fireside\n * chat with the Apple design team): \"we also had a refresher from biology class. It's called\n * mitosis and meiosis. When these things are coming together or materialization and\n * dematerialization and morphing.\"\n *\n * Which is the right physics and not a metaphor: a dividing cell is one body throughout. It never\n * has a moment of being two bodies that happen to touch, and it never pops a second body into\n * existence beside the first. The neck is continuous from start to finish, and it is the neck that\n * carries the whole transition.\n */\nexport const MORPH = {\n  /**\n   * Width of the neck between two lobes, as a fraction of the smaller one's half-size. On a large\n   * element the bridge has to be wider or the seam keeps a sharp corner, which a liquid does not\n   * have. UNMEASURED: the reference names the behaviour and no figure.\n   */\n  neck: 0.35,\n  /**\n   * How far past merely touching a completed fusion goes, as a multiple of the bridge width that\n   * just closes the gap. At exactly the bridge width the two surfaces meet at a point, which is two\n   * shapes kissing rather than one body.\n   *\n   * MEASURED, frames/morph/s03, the one panel where the necks are still attached. Apple's\n   * silhouette there: lobes 72 and 82 px with their centres 92 px apart — 15 px of space between\n   * their surfaces — joined by a neck 28 px tall. Rendering the same geometry through this model\n   * gives 29.0. The measurement discriminates: 1.2 gives 23.5, 1.4 gives 33.5, and at 1.0 the neck\n   * closes to nothing.\n   */\n  fuse: 1.3,\n} as const;\n\n/**\n * CAUSE TO EFFECT. The normalisations that turn what the medium IS — index, thickness, bevel,\n * roughness, film — into what a renderer needs. They lived as literals inside `optics.ts`, half of\n * them not even named, which meant the heart of the model was the one part of it the law could not\n * see.\n *\n * Almost all of them are stylisations and say so. Literal physical values put every effect at the\n * threshold of visibility: real glass reflects four per cent at normal incidence, and a rim drawn\n * at four per cent is not a rim. Each is monotonic in its own cause, so \"denser medium, brighter\n * rim\" holds whatever the constant is; what no one has measured is where on the scale Apple's\n * material sits. Hence UNMEASURED on nearly all of it — that is the honest state of this file, and\n * the gate now says so out loud instead of the number hiding in a module.\n */\nexport const DERIVE = {\n  /** Physical 4% reflectance into the render's working range. UNMEASURED. */\n  fresnelGain: 17.5,\n  /** Schlick's exponent. A constant of the approximation, not a knob. */\n  fresnelExponent: 5,\n  /** The index at which ray bending is at full strength, measured from air. UNMEASURED. */\n  iorFullBend: 0.6,\n  /** Magnification behind a plane-parallel plate, per dp of thickness. UNMEASURED. */\n  magnifyPerDp: 0.006,\n  /** In ordinary glasses the Abbe number falls as the index rises, so dispersion grows with it.\n   *  UNMEASURED slope. */\n  dispersionPerIor: 1.1,\n  /** Index spread between the red and blue channels. The physical value (~0.01 at an Abbe number\n   *  of 55) is at the threshold of visibility. UNMEASURED. */\n  iorSpreadPerDispersion: 0.045,\n  /** Beer–Lambert absorption per dp of path. UNMEASURED. */\n  absorbPerDp: 0.017,\n  /** Ceiling on how much denser the bevel may read than the body. The rim's ray travels further\n   *  through the medium; past this the rim is milk rather than glass. UNMEASURED. */\n  edgeDensityMax: 4,\n  /**\n   * Frost ceiling, dp. Deliberately low: blur is a SUPPORTING device here, and past about a dozen\n   * dp letters under the glass stop being letters. Separating content from ink is the body's job.\n   *\n   * UNMEASURED, and an attempt is recorded here so the next one does not repeat it.\n   * frames/verify/m-711 has the same paragraph sharp beside the capsule and behind it, which looks\n   * like the measurement: match the blur that takes the sharp patch's detail down to the glassed\n   * one's. It gives 2 to 3 px at that frame's scale, and the figure is not trustworthy. Detail is\n   * lost to three things at once there — the frost, the magnification (`refractionScale` lowers the\n   * text's spatial frequency without blurring anything), and the body veiling its contrast — and\n   * the method cannot separate them. What it does bound is the total: the text behind the glass\n   * keeps 68% of the detail it has beside it.\n   *\n   * A clean measurement needs a frame where the glass does not magnify, or a feature of known size\n   * behind it to normalise the magnification out.\n   */\n  blurMaxDp: 12,\n  /** Highlight width from a smooth surface and from a fully rough one, as a specular exponent.\n   *  UNMEASURED. */\n  specularPowerSmooth: 160,\n  specularPowerRough: 8,\n  /** How much roughness damps the highlight's brightness. UNMEASURED. */\n  specularRoughDamping: 0.6,\n  /**\n   * The medium's own hue by density. Water absorbs red and skews cool, ordinary glass is nearly\n   * neutral with a faint green, dense high-index media skew warm. Glass has no colour of its own\n   * (HIG \"Color\"), so this is never set by hand — it is tied to the index.\n   */\n  hueCool: [0.86, 1.0, 1.08],\n  hueNeutral: [1.0, 1.02, 0.99],\n  hueWarm: [1.08, 1.0, 0.88],\n  /** The index range the hue sweeps across, and where it starts. UNMEASURED. */\n  hueFromIor: 1.2,\n  hueSpan: 0.55,\n  /** Body lightness follows reflectance: the denser the medium, the more of its surroundings it\n   *  returns. UNMEASURED base and slope. */\n  bodyLiftBase: 0.34,\n  bodyLiftPerF0: 2.4,\n  /**\n   * How far past the bevel the rim gathers its surroundings, as a multiple of the bevel. At a\n   * grazing angle the eye receives the vicinity rather than what is under the glass, and without\n   * this, glass on an empty black background has no source at all. UNMEASURED.\n   */\n  gatherPerBevel: 4,\n  /** Floor and ceiling on that radius, dp. Unbounded, a wide bevel gathers from fifty dp away and\n   *  a READABLE copy of the neighbourhood appears inside the glass — eight samples cannot blur a\n   *  disc that large (E-33, E-37). */\n  gatherMinDp: 4,\n  gatherMaxDp: 28,\n  /** The body's own density from absorption through its thickness. Small: the body only moves\n   *  toward the tint under the legibility requirement, otherwise it dims the content. UNMEASURED. */\n  bodyDensity: 0.05,\n  /**\n   * Rim light on the physical scale rather than the rim highlight's. `fresnelGain` saturates at one\n   * for dense media, and applying it here too would raise body lightness harder than the glass had\n   * just separated it from the ink — eating its own legibility work. UNMEASURED.\n   */\n  edgeLightGain: 6,\n  /**\n   * Iridescence rides the REFLECTED ray, so it is tied to Fresnel and has no knob of its own.\n   *\n   * MEASURED against how coloured a real rim is. In frames/crops the brightest rim pixels have a\n   * channel spread — (max − min) / max — of 13% in cap158-left and 20% in cap158-right, against\n   * their own backdrops' 14.6% and 14.3%. So the rim is no more coloured than the scene it stands\n   * in: §2's \"iridescent fringe\" adds a few points at most, and in one of the two crops it adds\n   * nothing measurable.\n   *\n   * At 1.6 this put ordinary glass at 0.945 iridescence and the spectral multiplier reached a 97%\n   * channel spread — red boosted by two thirds and blue removed. Rendered over a coloured page that\n   * is a neon tube around every control, which is what sent me to measure it.\n   */\n  iridescencePerFresnel: 0.042,\n  /** Edge diffraction shares dispersion's λ-dependence, at the stylised amplitude: at the physical\n   *  one the fringes are not visible at all. MEASURED with the same crops and the same target as\n   *  iridescence — on its own it was reaching a 93% channel spread. */\n  diffractionPerDispersion: 0.05,\n  /** Multiple internal reflection — the denser the medium, the more light it circulates and the\n   *  more it is tinted by its surroundings. UNMEASURED slope. */\n  colorPickupPerFresnel: 0.9,\n  /**\n   * The ceiling, which keeps it a medium rather than a fill.\n   *\n   * MEASURED, frames/concentric/shadow-zoom: the same sidebar twice, over a yellow cover and over a\n   * pink one, so the difference between the panels is the pickup with the sidebar's own colour\n   * subtracted out. Sampling a band of rows clear of the text, the bar's hue offset against the\n   * cover's own reaches 0.31 of it at the edge nearest the content in the yellow panel and 0.28 in\n   * the pink one. It was 0.42, which nothing measured.\n   *\n   * Reality is not uniform: the bleed falls to nothing about ninety pixels in, and both panels show\n   * the same falloff. The DOM path has one backdrop sample per element and cannot reproduce that,\n   * so it applies the ceiling across the whole body — right at the edge, too strong in the middle.\n   * That limit is in docs/dom.md rather than papered over with a lower number.\n   */\n  colorPickupMax: 0.3,\n} as const;\n\n/**\n * SIZE AND SHADOW. What changes when an element gets bigger, and how dense its shadow reads over\n * what is behind it. 219 @6:36: as glass \"flexes and morphs to larger sizes, it simulates a\n * thicker material with deeper shadows and more pronounced lensing and refraction\".\n */\nexport const SIZE = {\n  /** Half-size at which bevel and thickness are specified as given; they grow as its square root\n   *  from there. UNMEASURED reference size. */\n  referenceDp: 24,\n  /** Floor and ceiling on that growth. UNMEASURED. */\n  gainMin: 0.8,\n  gainMax: 2.4,\n  /** A bevel wider than this fraction of the half-size breaks the SDF — the roundings converge in\n   *  the middle. A property of the geometry, not a taste. */\n  maxBevelFraction: 0.65,\n} as const;\n\n/**\n * Shadow density by what is behind the element. 219 @11:47, verbatim: it \"increases the opacity of\n * its shadow when it is over text… lowers the opacity of its shadow when it is over a solid light\n * background.\" About content BEHIND the element, so one value per element rather than a field over\n * the shadow's area. Endpoints checked against the reference by the depth of the dip under the\n * element (docs/benchmarks.md).\n */\nexport const SHADOW_DENSITY = {\n  /** Over a flat background. */\n  flat: 0.8,\n  /** How fast it rises with structure behind the element, and how far it may rise. */\n  busyGain: 6,\n  busyRise: 1.2,\n  /** Quantisation of the emitted value: a shadow that changes on every pixel of scroll re-lays-out\n   *  the native view every frame. */\n  step: 0.05,\n} as const;\n\n/**\n * THE MEDIUM'S RESPONSE TO A FINGER (§5). Part of the material, exactly as `ior` is: keeping these\n * with the consumer would mean web and Android ended up with two different glasses under one name.\n *\n * Press is viscous — it dents shallow and releases slowly. Drag is thick: the body noticeably lags\n * the finger, travel is short, and on release it snaps back fast with almost no overshoot, because\n * a wide springy overshoot would be liquid jelly rather than dense glass.\n */\nexport const SPRING = {\n  /** Stiffness and damping while the finger is down. UNMEASURED. */\n  holdStiffness: 260,\n  holdDamping: 46,\n  /** …and after it lifts. Stiffer, and damped hard: a dense medium snaps back without ringing. */\n  releaseStiffness: 420,\n  releaseDamping: 34,\n  /** Time constants for the press dent, in and out, seconds. UNMEASURED. */\n  pressAttack: 0.07,\n  pressRelease: 0.16,\n  /** How fast the touch point catches up to the finger. Not instant: an instant jump tears the\n   *  deformation, and on rapid taps that reads as jitter. */\n  pointFollow: 0.045,\n  /** …and how fast the element registers as being touched at all, which is what the glow rides. */\n  activeFollow: 0.09,\n  /** The ripple decays within a quarter second rather than oscillating: in a viscous medium ripples\n   *  are short and weak. UNMEASURED. */\n  waveDecay: 0.22,\n  waveTurnsPerSecond: 3,\n  /** Ceilings on the accumulated ripple, as multiples of a single impulse. Impulses add up rather\n   *  than restart — restarting cuts a running wave mid-period, which is what jolts on rapid taps. */\n  waveCapOnGrab: 1.6,\n  waveCapOnRelease: 2,\n} as const;\n\n/** The user's clear-to-tinted preference (§3). */\nexport const SCALE = {\n  /** Where on the scale the material stays exactly as it is by default. */\n  default: 0.35,\n  /** Body density at the fully tinted end: content under the glass has to be hidden. UNMEASURED. */\n  tintedDensity: 0.9,\n} as const;\n\n/**\n * The scroll edge (§10). 219 @9:16: as content scrolls under a glass element \"the effect gently\n * DISSOLVES the content into the background, lifting the glass visually above the moving content,\n * and allowing floating elements like titles to always remain clear.\"\n *\n * 356 @11:32 says what it is not, and the first implementation here did exactly that: \"they don't\n * block or darken like overlays. They simply clarify where UI and content meet.\"\n */\nexport const SCROLL_EDGE = {\n  /** How far the content has to slide under the panel for the effect to fully engage, dp. */\n  engageDp: 24,\n  /**\n   * How far the blur reaches BELOW the bar's lower lip, as a multiple of the bar's own height.\n   *\n   * MEASURED, frames/scroll-edge/z576 at 320x413. High-frequency energy (mean |laplacian| per row,\n   * which a brightness gradient in the content cannot fake) reads 1.4 through the zone under the\n   * bar and 14 in the sharp content below — a factor of ten. The bar's lip is at y≈45 and the zone\n   * runs to y≈130, so the reach is about 1.9 times the bar's own height.\n   *\n   * The same frame confirms 219 @9:22 in passing: the floating title sits inside that zone at 32,\n   * twenty times its surroundings. Titles stay crisp while everything behind them dissolves, which\n   * is why the effect belongs behind the glass in the stack rather than over the content.\n   */\n  reachOfBarHeight: 1.9,\n  /** The blur the content dissolves into at the edge, dp. This is the effect itself — the content\n   *  goes out of focus into the background rather than being covered by anything. UNMEASURED. */\n  dissolveBlurDp: 10,\n  /**\n   * Over dark content the glass turns dark and 219 @9:33 switches the effect \"to apply a subtle\n   * dimming instead\". Dimming is a reduction in luminance: dark content under dark glass merges\n   * with it, and pushing the content down is what lets the glass sit above it. UNMEASURED.\n   */\n  dimAlpha: 0.1,\n  /** A pinned view under the panel (column headers) gets a flat band instead of a gradual fade\n   *  (219 @9:41) — \"a stronger, more opaque boundary\" (356 @12:12). UNMEASURED. */\n  hardBlurDp: 14,\n  hardAlpha: 0.18,\n} as const;\n"]}
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* THE LAW: every calibrated number the material obeys, in one place.\n *\n * A value here is written ONCE and read by everything that needs it — the shader text interpolates\n * it, the JS twins import it. The alternative is what this file replaces: the same number typed\n * into a GLSL string and again into a TypeScript function, drifting apart the first time one side\n * is tuned. `VG_FALLOFF` already worked this way; the rest now does too.\n *\n * Each entry carries where it came from. `§N` is a section of `docs/reference.md`, which is itself\n * drawn from Apple's public sessions; `M 2:32` and the like are the timestamps those sections cite.\n * A number with no provenance is marked as such, and that marking is a debt, not a decoration.\n *\n * Structural constants — 0, 1, 0.5, 2, π — are not laws and do not belong here.\n */\n\n/** Rim optics: the silhouette's light (§2). */\nexport const RIM = {\n  /**\n   * The key-light lobe's exponent. Two opposing arcs come out of one expression, which is why\n   * they are opposed rather than placed: `pow(max(facing, 0), n) + 0.45 * pow(max(-facing, 0), n)`.\n   *\n   * MEASURED off two close-ups of real end caps, frames/crops/cap158-left and cap158-right. The\n   * bright arc's full width at half its peak is 53 degrees in the first and 30 in the second; this\n   * exponent's own width is `2·acos(0.5^(1/n))`, so they imply 6 and 20. It was 3, whose arc is 75\n   * degrees wide — broader than either measurement, and the error is in the same direction in both.\n   *\n   * 6 is the conservative end: it reproduces the wider crop exactly, and a broader arc is the more\n   * forgiving error. One exponent cannot serve both, and that is not noise — a specular lobe's\n   * width depends on the light's angular size as well as the surface, and those are two different\n   * scenes. The model has no term for the light's size.\n   */\n  lobeExponent: 6,\n  /** The far arc, weaker than the one facing the light (§2). */\n  opposingArc: 0.45,\n  /**\n   * The dark edge along the whole silhouette, as a multiplicative darkening. iOS 27 made it a\n   * layer of its own, and it does not rule out the highlight sitting on top of it (§2).\n   */\n  darkEdge: 0.22,\n  /** Width of the hairline, CSS px. \"About a point, not a band and not a bevel\" (§2). */\n  widthPx: 1,\n} as const;\n\n/** How the medium stands between the backdrop and the eye (§3). */\nexport const BODY = {\n  /** Lightness ceiling for the body when legibility is loose. */\n  capLoose: 0.62,\n  /** …and when it is strict. The model is calibrated at these two, not in between (E-43). */\n  capTight: 0.38,\n  /** The two ends the body tints toward. Glass has no colour of its own (HIG \"Color\"). */\n  tintDark: 0.07,\n  tintLight: 0.94,\n  /** How far the backdrop's spread reaches past its mean when deciding what the ink needs. */\n  busyEdge: 0.75,\n  /** Fine texture the body has to stop being a window for. */\n  groundSpan: 0.06,\n  /** Where the tint flips direction, by the element's AVERAGE lightness — a local threshold cuts\n   *  a diagonal step across the body on a gradient. */\n  darkSideFrom: 0.42,\n  darkSideTo: 0.58,\n  /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */\n  maxDemand: 0.92,\n  /**\n   * And a tighter one for presence specifically. It is a FLOOR on visibility, not a licence to go\n   * opaque: wherever the body's tint sits close to the backdrop, the density that would deliver the\n   * separation is the ceiling, and glass at `maxDemand` has stopped being a window. Better to\n   * separate as far as transparency allows and no further. UNMEASURED.\n   */\n  presenceDemand: 0.5,\n} as const;\n\n/** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */\nexport const SHADOW = {\n  /**\n   * Measured off reference frames 711–723: 4.0% over a flat light backdrop, 19.9% over text.\n   *\n   * REPRODUCED independently off frames/verify/m-707 and m-711 — the same capsule in the same scene\n   * at the same scale, once below the text over plain background and once scrolled up over it.\n   * Comparing the rows under the capsule against the same rows far to either side, so the\n   * background's own gradient cancels: 3.5% and 19.2%, peaking about 140 px below the capsule.\n   * Two passes, different frames and a different method, agreeing to within 0.7 of a point.\n   */\n  alphaFlat: 0.04,\n  alphaBusy: 0.199,\n} as const;\n\n/** Dispersion: the channels refract at different indices (§1, Cauchy). */\nexport const DISPERSION = {\n  /** Red bends less than the base index, blue more — and not symmetrically. */\n  redShift: -0.4,\n  blueShift: 0.6,\n} as const;\n\n/** Response to a finger (§5). The springs and decay live in `touch-response.ts`; these shape the\n *  field the finger deforms. */\nexport const TOUCH = {\n  /**\n   * The element grows under pressure (M 3:51; HIG: interactive \"expands\").\n   *\n   * CHECKED, not measured: across frames/knob/switch-press, a 4x5 sheet of one switch being\n   * pressed, the control's extent runs 764 px in the three settled frames and 787 to 822 under the\n   * finger — 3 to 8 per cent. This value sits inside that, which is a consistency check and not a\n   * derivation: the measurement cannot separate the knob stretching from the track growing, and the\n   * settled frames agreeing to the pixel is the only part of it that is tight.\n   */\n  pressGrow: 0.06,\n  /** The ridge around the contact blob: material displaced from under the finger ends up\n   *  somewhere. Without it the shape balloons, and a dense medium does not do that. */\n  ridge: 0.42,\n  /** How far press pulls the field toward the finger. */\n  pressPull: 0.16,\n  /** Wavelength and decay of the ripple, as fractions of its span. Short and quick: in a dense\n   *  medium ripples are frequent and small; long shallow swells are water. */\n  waveLength: 0.17,\n  waveDecay: 0.7,\n  /** The ripple's span, as a multiple of the contact radius. It has to reach the far edge, or it\n   *  reads as jitter under the finger rather than a wave across the surface. */\n  waveSpan: 2,\n  /**\n   * Contact radius as a fraction of the element's half-size. UNMEASURED: §5 says the response has\n   * to be visible UNDER the finger, which is why the blob is wide, but gives no figure.\n   */\n  radiusOfHalfSize: 1.1,\n  /**\n   * Wave impulse as a fraction of the travel limit. UNMEASURED: the core carries the ripple's\n   * decay and frequency, but nothing says how hard a finger strikes it.\n   */\n  waveOfTravel: 0.18,\n  /** The lift-off ring is weaker than the one from touching down (§5). UNMEASURED ratio. */\n  releaseWave: 0.6,\n  /**\n   * How far a glow reaches past the element it started on, as a multiple of that element's\n   * half-size. UNMEASURED: §5 says the glow spreads \"onto any Liquid Glass elements nearby\" and\n   * names no distance. This is the reach at which a neighbour in a tab bar still lights and one\n   * across the screen does not.\n   */\n  glowReach: 3,\n  /**\n   * How much of an element's \"active\" state a touch alone raises — the fraction the glow and the\n   * ink lift ride on when nothing else is driving them. UNMEASURED.\n   *\n   * It was a private constant on the Android surface whose comment said it matched the web's, and\n   * nothing enforced that: the web renderer takes `active` from the host as a field and has no\n   * constant to match. Two renderers agreeing by a comment is exactly what this file is for.\n   */\n  activeOnTouch: 0.3,\n} as const;\n\n/** The bevel's profile — spherical, like a cap: `t / sqrt(1 - t² · k)`, clamped. A plain `t²` kept\n *  the slope near zero through most of the bevel and then shot up at the edge, so the optics\n *  bunched into a ring and the element read as a puck. */\nexport const BEVEL = {\n  sphere: 0.94,\n  floor: 0.02,\n  slopeMax: 3.2,\n} as const;\n\n/** Where two shapes meet head-on their normals cancel exactly and the blend lands on zero. */\nexport const EPSILON = 1e-5;\n\n/** What the medium does to light passing through it (§3). */\nexport const MEDIUM = {\n  /** The lightness content under the glass is pulled toward, and how hard. The medium both removes\n   *  light and mixes scattered light back in: over a light backdrop the body darkens, over a dark\n   *  one it lightens. A layer that only ADDED light pushed the body the wrong way over light\n   *  backdrops (M 2:35). */\n  luma: 0.4,\n  pull: 0.07,\n  /** Ambient light reaching the body on top of that pull. */\n  ambientSpill: 0.01,\n  /** Glass concentrates light: the body is a touch lighter than what lies beneath it (M 2:29). */\n  concentrate: 0.01,\n  /** Scattered light on a frosted element is an ADDITION over the backdrop, not a fraction of the\n   *  way to the tint — a fraction goes to zero once the backdrop reaches the tint's lightness and\n   *  darkens past it (docs/benchmarks.md). */\n  matteLift: 0.1,\n  /** How far scattering reaches, as a fraction of the gather radius, over a busy backdrop under\n   *  ink. Set against the reference: structure under the capsule fades by a factor of nine or ten\n   *  there, not thirty (M 11:47). */\n  scatterMax: 0.2,\n  scatterBase: 0.1,\n  /** The response to structure saturates early: what competes with the ink is not the AREA of\n   *  foreign text but the fact of it — a line under a tile measures about 0.12 of busy. */\n  structureGain: 20,\n  /** Tint density in the flat middle; the bevel multiplies it by the edge density. */\n  bodyDensityFlat: 0.19,\n} as const;\n\n/** The lens itself (§1). */\nexport const LENS = {\n  /** Backdrop compression at the rim goes to infinity at the silhouette, so the radius correction\n   *  is capped. */\n  footprintMax: 1.8,\n  /** Same reason, for the profile's slope. */\n  slopeMax: 40,\n  /** Every thin film on glass sits around this index. */\n  filmIor: 1.35,\n  /** Reference channel wavelengths in nm — red, green, blue — for diffraction and interference. */\n  lambdaR: 610,\n  lambdaG: 550,\n  lambdaB: 460,\n} as const;\n\n/** The shadow's shape in the gap under the element (§4). */\nexport const SHADOW_GAP = {\n  /** How much weaker the shadow is right at the outline than under the middle of the gap, and what\n   *  fraction of the offset it takes to reach full depth. In the reference the shadow's minimum\n   *  sits BELOW the rim, not at it. */\n  light: 0.76,\n  reach: 0.2,\n  /** Fraction of the ambient hue the shadow carries. It has to stay a shadow, not a coloured blob. */\n  tint: 1,\n} as const;\n\n/** Ink drawn inside the material (§5). */\nexport const INK = {\n  /** Depth beneath the surface, dp. The normal displaces it by exactly this much at the rim. */\n  depth: 4,\n  /** Defocus under a finger, as a FRACTION of the touch blob rather than a length: the blob\n   *  already arrives in device units, so this follows both screen density and element size. At\n   *  rest it is zero and the sample stays a single one. */\n  defocus: 0.08,\n} as const;\n\n/** The spectral edge (§1): dispersion, diffraction and interference are one cause — a dependence\n *  on wavelength — and one hue multiplier, normalised to its own mean. They colour the reflection\n *  without brightening it. */\nexport const SPECTRAL = {\n  /** How far into the bevel the fringes reach, as a fraction of it measured from the silhouette.\n   *  Diffraction is an EDGE effect; past this the bevel is plain glass. */\n  diffractionOnset: 0.45,\n  /**\n   * The same window for interference, which had none. §2 puts the iridescence on the opposing ARC —\n   * \"the opposing arc carries an iridescent fringe\" — and a fringe is a thing at an edge.\n   *\n   * Without it the term applies wherever the surface angle puts it, and across the inner bevel the\n   * angle barely changes, so a film that should read as a fringe reads as a flat colour filter.\n   * Measured on a 680x64 bar with the default preset: a multiplier of 1.68, 1.26, 0.05 held CONSTANT\n   * from a third of the way through the bevel to its inner edge — red boosted by two thirds and blue\n   * removed outright. UNMEASURED window; wider than diffraction's because interference reaches\n   * further in than the fringes do.\n   */\n  iridescenceOnset: 0.25,\n  /** Fringes across the bevel. Denser as the bevel sharpens, which is what the phase term does. */\n  diffractionFringes: 4,\n  /** The channel the hue is measured against, nm. Green is the eye's own reference. */\n  referenceLambda: 550,\n} as const;\n\n/** Tinting (§7): a colour that is a property of the medium, not a fill over it. */\nexport const ACCENT = {\n  /** The tone the colour takes over a dark backdrop and over a light one. \"A range of tones mapped\n   *  to content brightness underneath\", rather than one flat colour. */\n  deep: 0.88,\n  light: 1.08,\n  /** How much of the medium the colour occupies by default. Short of one, because the content has\n   *  to keep coming through: a fill \"breaks the visual character of Liquid Glass\" (@17:03). */\n  amount: 0.8,\n} as const;\n\n/**\n * The system accessibility settings (§9). They are modifiers on the material's layers, so their\n * calibration belongs in the law next to the layers they move — not as private constants in the\n * module that happens to apply them.\n */\nexport const ACCESSIBILITY = {\n  /** Frost floor under reduced transparency: the glass gets \"frostier\" (§9). */\n  frostMinDp: 14,\n  /**\n   * Body floor under reduced transparency. B @10:07 is the stricter statement of the two — a bar\n   * \"gets a background when reduce transparency is enabled\" — so this is a background, not a\n   * thicker haze. UNMEASURED: neither source gives a figure.\n   */\n  obscureMin: 0.82,\n  /** Under increased contrast the element is \"predominantly black or white\" (§9): the body goes to\n   *  whichever pole its ink already points at, at a density that leaves it reading as that pole. */\n  contrastDensity: 0.94,\n  /** …and separates from the backdrop on its own, whatever is behind it. */\n  contrastPresence: 0.5,\n  /**\n   * The contrasting border §9 asks for, in units of lightness away from the body's own pole. The\n   * rim stops taking its colour from the environment and takes it from the element instead — an\n   * ambient hairline is not a contrasting border. UNMEASURED.\n   */\n  contrastRim: 0.85,\n  /**\n   * Press that survives reduced motion. §9 \"decreases the intensity of some effects and disables\n   * any elastic properties\": the spring and the ripple are elastic and go to zero, the press is an\n   * ease that carries the element's light, so it is damped rather than removed — an element that\n   * stops answering a finger altogether is not reduced motion, it is no feedback. UNMEASURED.\n   */\n  stillPress: 0.6,\n} as const;\n\n/**\n * Morphing (§5). Apple's design leads name their own model for it out loud (S 1:25:30, fireside\n * chat with the Apple design team): \"we also had a refresher from biology class. It's called\n * mitosis and meiosis. When these things are coming together or materialization and\n * dematerialization and morphing.\"\n *\n * Which is the right physics and not a metaphor: a dividing cell is one body throughout. It never\n * has a moment of being two bodies that happen to touch, and it never pops a second body into\n * existence beside the first. The neck is continuous from start to finish, and it is the neck that\n * carries the whole transition.\n */\nexport const MORPH = {\n  /**\n   * Width of the neck between two lobes, as a fraction of the smaller one's half-size. On a large\n   * element the bridge has to be wider or the seam keeps a sharp corner, which a liquid does not\n   * have. UNMEASURED: the reference names the behaviour and no figure.\n   */\n  neck: 0.35,\n  /**\n   * How far past merely touching a completed fusion goes, as a multiple of the bridge width that\n   * just closes the gap. At exactly the bridge width the two surfaces meet at a point, which is two\n   * shapes kissing rather than one body.\n   *\n   * MEASURED, frames/morph/s03, the one panel where the necks are still attached. Apple's\n   * silhouette there: lobes 72 and 82 px with their centres 92 px apart — 15 px of space between\n   * their surfaces — joined by a neck 28 px tall. Rendering the same geometry through this model\n   * gives 29.0. The measurement discriminates: 1.2 gives 23.5, 1.4 gives 33.5, and at 1.0 the neck\n   * closes to nothing.\n   */\n  fuse: 1.3,\n} as const;\n\n/**\n * CAUSE TO EFFECT. The normalisations that turn what the medium IS — index, thickness, bevel,\n * roughness, film — into what a renderer needs. They lived as literals inside `optics.ts`, half of\n * them not even named, which meant the heart of the model was the one part of it the law could not\n * see.\n *\n * Almost all of them are stylisations and say so. Literal physical values put every effect at the\n * threshold of visibility: real glass reflects four per cent at normal incidence, and a rim drawn\n * at four per cent is not a rim. Each is monotonic in its own cause, so \"denser medium, brighter\n * rim\" holds whatever the constant is; what no one has measured is where on the scale Apple's\n * material sits. Hence UNMEASURED on nearly all of it — that is the honest state of this file, and\n * the gate now says so out loud instead of the number hiding in a module.\n */\nexport const DERIVE = {\n  /** Physical 4% reflectance into the render's working range. UNMEASURED. */\n  fresnelGain: 17.5,\n  /** Schlick's exponent. A constant of the approximation, not a knob. */\n  fresnelExponent: 5,\n  /** The index at which ray bending is at full strength, measured from air. UNMEASURED. */\n  iorFullBend: 0.6,\n  /** Magnification behind a plane-parallel plate, per dp of thickness. UNMEASURED. */\n  magnifyPerDp: 0.006,\n  /** In ordinary glasses the Abbe number falls as the index rises, so dispersion grows with it.\n   *  UNMEASURED slope. */\n  dispersionPerIor: 1.1,\n  /** Index spread between the red and blue channels. The physical value (~0.01 at an Abbe number\n   *  of 55) is at the threshold of visibility. UNMEASURED. */\n  iorSpreadPerDispersion: 0.045,\n  /** Beer–Lambert absorption per dp of path. UNMEASURED. */\n  absorbPerDp: 0.017,\n  /** Ceiling on how much denser the bevel may read than the body. The rim's ray travels further\n   *  through the medium; past this the rim is milk rather than glass. UNMEASURED. */\n  edgeDensityMax: 4,\n  /**\n   * Frost ceiling, dp. Deliberately low: blur is a SUPPORTING device here, and past about a dozen\n   * dp letters under the glass stop being letters. Separating content from ink is the body's job.\n   *\n   * UNMEASURED, and an attempt is recorded here so the next one does not repeat it.\n   * frames/verify/m-711 has the same paragraph sharp beside the capsule and behind it, which looks\n   * like the measurement: match the blur that takes the sharp patch's detail down to the glassed\n   * one's. It gives 2 to 3 px at that frame's scale, and the figure is not trustworthy. Detail is\n   * lost to three things at once there — the frost, the magnification (`refractionScale` lowers the\n   * text's spatial frequency without blurring anything), and the body veiling its contrast — and\n   * the method cannot separate them. What it does bound is the total: the text behind the glass\n   * keeps 68% of the detail it has beside it.\n   *\n   * A clean measurement needs a frame where the glass does not magnify, or a feature of known size\n   * behind it to normalise the magnification out.\n   */\n  blurMaxDp: 12,\n  /** Highlight width from a smooth surface and from a fully rough one, as a specular exponent.\n   *  UNMEASURED. */\n  specularPowerSmooth: 160,\n  specularPowerRough: 8,\n  /** How much roughness damps the highlight's brightness. UNMEASURED. */\n  specularRoughDamping: 0.6,\n  /**\n   * The medium's own hue by density. Water absorbs red and skews cool, ordinary glass is nearly\n   * neutral with a faint green, dense high-index media skew warm. Glass has no colour of its own\n   * (HIG \"Color\"), so this is never set by hand — it is tied to the index.\n   */\n  hueCool: [0.86, 1.0, 1.08],\n  hueNeutral: [1.0, 1.02, 0.99],\n  hueWarm: [1.08, 1.0, 0.88],\n  /** The index range the hue sweeps across, and where it starts. UNMEASURED. */\n  hueFromIor: 1.2,\n  hueSpan: 0.55,\n  /** Body lightness follows reflectance: the denser the medium, the more of its surroundings it\n   *  returns. UNMEASURED base and slope. */\n  bodyLiftBase: 0.34,\n  bodyLiftPerF0: 2.4,\n  /**\n   * How far past the bevel the rim gathers its surroundings, as a multiple of the bevel. At a\n   * grazing angle the eye receives the vicinity rather than what is under the glass, and without\n   * this, glass on an empty black background has no source at all. UNMEASURED.\n   */\n  gatherPerBevel: 4,\n  /** Floor and ceiling on that radius, dp. Unbounded, a wide bevel gathers from fifty dp away and\n   *  a READABLE copy of the neighbourhood appears inside the glass — eight samples cannot blur a\n   *  disc that large (E-33, E-37). */\n  gatherMinDp: 4,\n  gatherMaxDp: 28,\n  /** The body's own density from absorption through its thickness. Small: the body only moves\n   *  toward the tint under the legibility requirement, otherwise it dims the content. UNMEASURED. */\n  bodyDensity: 0.05,\n  /**\n   * Rim light on the physical scale rather than the rim highlight's. `fresnelGain` saturates at one\n   * for dense media, and applying it here too would raise body lightness harder than the glass had\n   * just separated it from the ink — eating its own legibility work. UNMEASURED.\n   */\n  edgeLightGain: 6,\n  /**\n   * Iridescence rides the REFLECTED ray, so it is tied to Fresnel and has no knob of its own.\n   *\n   * MEASURED against how coloured a real rim is. In frames/crops the brightest rim pixels have a\n   * channel spread — (max − min) / max — of 13% in cap158-left and 20% in cap158-right, against\n   * their own backdrops' 14.6% and 14.3%. So the rim is no more coloured than the scene it stands\n   * in: §2's \"iridescent fringe\" adds a few points at most, and in one of the two crops it adds\n   * nothing measurable.\n   *\n   * At 1.6 this put ordinary glass at 0.945 iridescence and the spectral multiplier reached a 97%\n   * channel spread — red boosted by two thirds and blue removed. Rendered over a coloured page that\n   * is a neon tube around every control, which is what sent me to measure it.\n   */\n  iridescencePerFresnel: 0.042,\n  /** Edge diffraction shares dispersion's λ-dependence, at the stylised amplitude: at the physical\n   *  one the fringes are not visible at all. MEASURED with the same crops and the same target as\n   *  iridescence — on its own it was reaching a 93% channel spread. */\n  diffractionPerDispersion: 0.05,\n  /** Multiple internal reflection — the denser the medium, the more light it circulates and the\n   *  more it is tinted by its surroundings. UNMEASURED slope. */\n  colorPickupPerFresnel: 0.9,\n  /**\n   * The ceiling, which keeps it a medium rather than a fill.\n   *\n   * MEASURED, frames/concentric/shadow-zoom: the same sidebar twice, over a yellow cover and over a\n   * pink one, so the difference between the panels is the pickup with the sidebar's own colour\n   * subtracted out. Sampling a band of rows clear of the text, the bar's hue offset against the\n   * cover's own reaches 0.31 of it at the edge nearest the content in the yellow panel and 0.28 in\n   * the pink one. It was 0.42, which nothing measured.\n   *\n   * Reality is not uniform: the bleed falls to nothing about ninety pixels in, and both panels show\n   * the same falloff. The DOM path has one backdrop sample per element and cannot reproduce that,\n   * so it applies the ceiling across the whole body — right at the edge, too strong in the middle.\n   * That limit is in docs/dom.md rather than papered over with a lower number.\n   */\n  colorPickupMax: 0.3,\n} as const;\n\n/**\n * SIZE AND SHADOW. What changes when an element gets bigger, and how dense its shadow reads over\n * what is behind it. 219 @6:36: as glass \"flexes and morphs to larger sizes, it simulates a\n * thicker material with deeper shadows and more pronounced lensing and refraction\".\n */\nexport const SIZE = {\n  /** Half-size at which bevel and thickness are specified as given; they grow as its square root\n   *  from there. UNMEASURED reference size. */\n  referenceDp: 24,\n  /** Floor and ceiling on that growth. UNMEASURED. */\n  gainMin: 0.8,\n  gainMax: 2.4,\n  /** A bevel wider than this fraction of the half-size breaks the SDF — the roundings converge in\n   *  the middle. A property of the geometry, not a taste. */\n  maxBevelFraction: 0.65,\n} as const;\n\n/**\n * Shadow density by what is behind the element. 219 @11:47, verbatim: it \"increases the opacity of\n * its shadow when it is over text… lowers the opacity of its shadow when it is over a solid light\n * background.\" About content BEHIND the element, so one value per element rather than a field over\n * the shadow's area. Endpoints checked against the reference by the depth of the dip under the\n * element (docs/benchmarks.md).\n */\nexport const SHADOW_DENSITY = {\n  /** Over a flat background. */\n  flat: 0.8,\n  /** How fast it rises with structure behind the element, and how far it may rise. */\n  busyGain: 6,\n  busyRise: 1.2,\n  /** Quantisation of the emitted value: a shadow that changes on every pixel of scroll re-lays-out\n   *  the native view every frame. */\n  step: 0.05,\n} as const;\n\n/**\n * THE MEDIUM'S RESPONSE TO A FINGER (§5). Part of the material, exactly as `ior` is: keeping these\n * with the consumer would mean web and Android ended up with two different glasses under one name.\n *\n * Press is viscous — it dents shallow and releases slowly. Drag is thick: the body noticeably lags\n * the finger, travel is short, and on release it snaps back fast with almost no overshoot, because\n * a wide springy overshoot would be liquid jelly rather than dense glass.\n */\nexport const SPRING = {\n  /** Stiffness and damping while the finger is down. UNMEASURED. */\n  holdStiffness: 260,\n  holdDamping: 46,\n  /** …and after it lifts. Stiffer, and damped hard: a dense medium snaps back without ringing. */\n  releaseStiffness: 420,\n  releaseDamping: 34,\n  /** Time constants for the press dent, in and out, seconds. UNMEASURED. */\n  pressAttack: 0.07,\n  pressRelease: 0.16,\n  /** How fast the touch point catches up to the finger. Not instant: an instant jump tears the\n   *  deformation, and on rapid taps that reads as jitter. */\n  pointFollow: 0.045,\n  /** …and how fast the element registers as being touched at all, which is what the glow rides. */\n  activeFollow: 0.09,\n  /** The ripple decays within a quarter second rather than oscillating: in a viscous medium ripples\n   *  are short and weak. UNMEASURED. */\n  waveDecay: 0.22,\n  waveTurnsPerSecond: 3,\n  /** Ceilings on the accumulated ripple, as multiples of a single impulse. Impulses add up rather\n   *  than restart — restarting cuts a running wave mid-period, which is what jolts on rapid taps. */\n  waveCapOnGrab: 1.6,\n  waveCapOnRelease: 2,\n} as const;\n\n/** The user's clear-to-tinted preference (§3). */\nexport const SCALE = {\n  /** Where on the scale the material stays exactly as it is by default. */\n  default: 0.35,\n  /** Body density at the fully tinted end: content under the glass has to be hidden. UNMEASURED. */\n  tintedDensity: 0.9,\n} as const;\n\n/**\n * The scroll edge (§10). 219 @9:16: as content scrolls under a glass element \"the effect gently\n * DISSOLVES the content into the background, lifting the glass visually above the moving content,\n * and allowing floating elements like titles to always remain clear.\"\n *\n * 356 @11:32 says what it is not, and the first implementation here did exactly that: \"they don't\n * block or darken like overlays. They simply clarify where UI and content meet.\"\n */\nexport const SCROLL_EDGE = {\n  /** How far the content has to slide under the panel for the effect to fully engage, dp. */\n  engageDp: 24,\n  /**\n   * How far the blur reaches BELOW the bar's lower lip, as a multiple of the bar's own height.\n   *\n   * MEASURED, frames/scroll-edge/z576 at 320x413. High-frequency energy (mean |laplacian| per row,\n   * which a brightness gradient in the content cannot fake) reads 1.4 through the zone under the\n   * bar and 14 in the sharp content below — a factor of ten. The bar's lip is at y≈45 and the zone\n   * runs to y≈130, so the reach is about 1.9 times the bar's own height.\n   *\n   * The same frame confirms 219 @9:22 in passing: the floating title sits inside that zone at 32,\n   * twenty times its surroundings. Titles stay crisp while everything behind them dissolves, which\n   * is why the effect belongs behind the glass in the stack rather than over the content.\n   */\n  reachOfBarHeight: 1.9,\n  /** The blur the content dissolves into at the edge, dp. This is the effect itself — the content\n   *  goes out of focus into the background rather than being covered by anything. UNMEASURED. */\n  dissolveBlurDp: 10,\n  /**\n   * Over dark content the glass turns dark and 219 @9:33 switches the effect \"to apply a subtle\n   * dimming instead\". Dimming is a reduction in luminance: dark content under dark glass merges\n   * with it, and pushing the content down is what lets the glass sit above it. UNMEASURED.\n   */\n  dimAlpha: 0.1,\n  /** A pinned view under the panel (column headers) gets a flat band instead of a gradual fade\n   *  (219 @9:41) — \"a stronger, more opaque boundary\" (356 @12:12). UNMEASURED. */\n  hardBlurDp: 14,\n  hardAlpha: 0.18,\n} as const;\n"]}

package/dist/law.d.cts

@@ -58,6 +58,13 @@ declare const BODY: {
     readonly darkSideTo: 0.58;
     /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */
     readonly maxDemand: 0.92;
+    /**
+     * And a tighter one for presence specifically. It is a FLOOR on visibility, not a licence to go
+     * opaque: wherever the body's tint sits close to the backdrop, the density that would deliver the
+     * separation is the ceiling, and glass at `maxDemand` has stopped being a window. Better to
+     * separate as far as transparency allows and no further. UNMEASURED.
+     */
+    readonly presenceDemand: 0.5;
 };
 /** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */
 declare const SHADOW: {

package/dist/law.d.ts

@@ -58,6 +58,13 @@ declare const BODY: {
     readonly darkSideTo: 0.58;
     /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */
     readonly maxDemand: 0.92;
+    /**
+     * And a tighter one for presence specifically. It is a FLOOR on visibility, not a licence to go
+     * opaque: wherever the body's tint sits close to the backdrop, the density that would deliver the
+     * separation is the ceiling, and glass at `maxDemand` has stopped being a window. Better to
+     * separate as far as transparency allows and no further. UNMEASURED.
+     */
+    readonly presenceDemand: 0.5;
 };
 /** Shadow (§4). The density law lives in `geometry.ts`; these are its measured ends. */
 declare const SHADOW: {

package/dist/law.js

@@ -1,3 +1,3 @@
-export { ACCENT, ACCESSIBILITY, BEVEL, BODY, DERIVE, DISPERSION, EPSILON, INK, LENS, MEDIUM, MORPH, RIM, SCALE, SCROLL_EDGE, SHADOW, SHADOW_DENSITY, SHADOW_GAP, SIZE, SPECTRAL, SPRING, TOUCH } from './chunk-TTOKBARR.js';
+export { ACCENT, ACCESSIBILITY, BEVEL, BODY, DERIVE, DISPERSION, EPSILON, INK, LENS, MEDIUM, MORPH, RIM, SCALE, SCROLL_EDGE, SHADOW, SHADOW_DENSITY, SHADOW_GAP, SIZE, SPECTRAL, SPRING, TOUCH } from './chunk-MMPK6DCK.js';
 //# sourceMappingURL=law.js.map
 //# sourceMappingURL=law.js.map

package/dist/reference.js

@@ -1,5 +1,5 @@
-import { roundedRectGeometry, capsuleGeometry, circleGeometry } from './chunk-P2ZOODXD.js';
-import './chunk-TTOKBARR.js';
+import { roundedRectGeometry, capsuleGeometry, circleGeometry } from './chunk-SLRPHDV7.js';
+import './chunk-MMPK6DCK.js';
 
 // src/reference-scene.ts
 var REFERENCE_SHAPES = {