vireglass 2.3.0 → 3.0.0

package/README.md

@@ -165,6 +165,35 @@ your choreography; the material only knows how two silhouettes join.
 | `--vireglass-radius`, `--vireglass-radius-min` | for concentric children (§11) |
 | `--vireglass-ink`, `--vireglass-tint`, `--vireglass-body-density` | the model's raw numbers |
 
+### Telling the glass what is behind it
+
+A host that knows its backdrop — an image, a gradient, a video's average colour — supplies it as a
+`BackdropSample` and changes it whenever the backdrop changes, without re-attaching:
+
+```ts
+import { attachGlass, statsFromSamples } from 'vireglass/dom';
+
+const cover = statsFromSamples([{ r: 198, g: 92, b: 40 }, { r: 210, g: 120, b: 60 }]); // 0..255
+const glass = attachGlass(el, { material, sample: cover });
+glass.setSample(statsFromSamples([{ r: 20, g: 30, b: 60 }])); // next track
+glass.setSample(null); // back to probing declared backgrounds
+```
+
+The sample drives the body, the rim's colour and strength, the ink polarity and the shadow.
+`statsFromSamples` turns a handful of colours into one; a hand-written object with `luma`,
+`busy`, `lo`, `hi`, `r`, `g`, `b` (0..1) works as well.
+
+### Body and rim
+
+The body is drawn as the element's `background-color` on the refracting path too, composed from the
+same law the shaders apply (tint, matte lift, the medium's pull, concentration of light), so over a
+dark surround it reads lighter than the surround. `--vireglass-body-color` carries the same colour.
+Pass `body: false` if the host paints the background itself.
+
+The rim is a thin light line round the whole contour, brighter toward the key light, over a dark
+edge. Its strength follows the lightness around the element (faint over dark, plain over bright)
+and the medium's reflectance; it is no longer white at full strength everywhere.
+
 The three system accessibility settings are read from the browser's own media queries and
 followed while the page is open — reduced transparency frosts the glass, increased contrast takes
 the element by its silhouette, reduced motion holds it still. A system setting outranks the
@@ -185,8 +214,8 @@ Three things to know before you reach for it:
   same optics — detected by measurement, never by user-agent string.
 - **There is no pixel probe, so adaptation reads declared styles.** The grid under the element is
   sampled through `elementsFromPoint` and the background stack is composited. That is exact for
-  colour-defined surfaces and blind to images, video and canvas — pass your own `sample` there,
-  since your app already knows its cover-art accent.
+  colour-defined surfaces and blind to images, video and canvas — tell it what is there instead,
+  since your app already knows its cover-art accent (below).
 
 ## Android / React Native
 
@@ -225,9 +254,11 @@ described by a plane, so density rises as a whole, driven by the lightness range
 real glass does with roughness: it stops being a window.
 
 **Presence.** Over a uniform backdrop there is nothing to refract, and the glass honestly
-disappears. Correct for a piece of background, wrong for a control. `presence` sets a minimum
-lightness separation from the backdrop, and the sign is taken from the *backdrop*: lighter over
-dark, darker over light.
+disappears. Correct for a piece of background, wrong for a control. `presence` is a floor on the
+body's density, tinted toward light and fading as the backdrop nears the light pole, so there is no
+veil or seam near white: the reference body is lighter than its surroundings from dark video to sky, whatever the glyph on
+it. What sends it to the ink's own pole is the ink's legibility over texture, a system setting
+(reduced transparency, increased contrast), or a density past `BODY.inkPoleTo`.
 
 Ink polarity is decided by the **cost of holding it**, not by contrast: how much body density
 it would take to keep light ink legible. Above the threshold the element would stop being glass
@@ -321,7 +352,7 @@ timestamp so the claims can be checked. No Apple code, assets or footage is incl
 distributed with this package.
 
 Every calibrated number lives in `src/law.ts` with its provenance, and `check:law` names the ones
-that have none: **43 of 121** today. See [`docs/law.md`](docs/law.md).
+that have none: **51 of 130** today. See [`docs/law.md`](docs/law.md).
 
 ## License
 

package/dist/{adapters-DugC6Qri.d.cts → adapters--bXcGvhW.d.cts}

@@ -1,7 +1,9 @@
-import { V as VireGlassGeometry } from './geometry-RhKd7CM5.cjs';
-import { V as VireGlassOptics, o as VireGlassDebugMode } from './material-CnUmdKg1.cjs';
+import { V as VireGlassGeometry } from './geometry-ip9WSlZv.cjs';
+import { V as VireGlassOptics, o as VireGlassDebugMode } from './material-D9m1EN47.cjs';
 
-/** Smooth union with a second shape — bench morphing experiment only. */
+/** A second shape joined to the element by a smooth union: the geometry that merges and growth
+ *  transitions are built on (a capsule drawn into a drop, then grown into its menu). Offsets from
+ *  the element's centre and sizes in dp. */
 type VireGlassMorph = {
     offsetX: number;
     offsetY: number;

package/dist/{adapters-BfeAopGO.d.ts → adapters-BlMhc6pI.d.ts}

@@ -1,7 +1,9 @@
-import { V as VireGlassGeometry } from './geometry-GvXtt-_S.js';
-import { V as VireGlassOptics, o as VireGlassDebugMode } from './material-CnUmdKg1.js';
+import { V as VireGlassGeometry } from './geometry-pabkYV7w.js';
+import { V as VireGlassOptics, o as VireGlassDebugMode } from './material-D9m1EN47.js';
 
-/** Smooth union with a second shape — bench morphing experiment only. */
+/** A second shape joined to the element by a smooth union: the geometry that merges and growth
+ *  transitions are built on (a capsule drawn into a drop, then grown into its menu). Offsets from
+ *  the element's centre and sizes in dp. */
 type VireGlassMorph = {
     offsetX: number;
     offsetY: number;

package/dist/{chunk-MMPK6DCK.js → chunk-CPSIY2DZ.js}

@@ -23,7 +23,47 @@ var RIM = {
    */
   darkEdge: 0.22,
   /** Width of the hairline, CSS px. "About a point, not a band and not a bevel" (§2). */
-  widthPx: 1
+  widthPx: 1,
+  /**
+   * How strongly the line is drawn, by the lightness around the element. The rim is a reflection
+   * of the surroundings, so it is faint over a dark one and plain over a bright one, not white at
+   * full strength everywhere (§2, §6).
+   *
+   * MEASURED off the controls of A 2:17 (over dark video), M 2:52 (over sky) and A 2:18 (over
+   * grass), as the brightest rim bin's OKLab lightness over the surround's: 0.24 to 0.27 over dark,
+   * 0.25 over sky, 0.37 over grass. Through the DOM path onto the same backdrops these land within
+   * 0.08 of the smooth rows (docs/dom.md); a line white at full strength reads 0.70 to 0.80 over the
+   * dark frames.
+   */
+  strengthDark: 0.37,
+  strengthLight: 0.95,
+  /**
+   * The surround lightness between which the strength moves from one to the other. UNMEASURED: the
+   * two ends are, and the controls in between were not looked for.
+   */
+  ambientFrom: 0.15,
+  ambientTo: 0.45,
+  /**
+   * The share of the line's width, from the silhouette inward, that the light line leaves to the
+   * dark edge. UNMEASURED: without it the line covers the dark edge and an element over a bright
+   * flat backdrop loses the one mark that holds it there.
+   */
+  lineInset: 0.3,
+  /**
+   * The share of the peak that the line keeps along the whole contour, away from the key light.
+   * MEASURED: the reference line goes all the way round. Its dimmest bin sits 0.06 to 0.12 of
+   * lightness over the surround on the dark frames, against a peak of 0.24 to 0.27 (A 2:17).
+   */
+  contour: 0.3,
+  /** How far the line's colour is lifted from the surroundings' toward white. UNMEASURED: the
+   *  lens always had 0.75 here, and this is that figure with a name. */
+  whiteShare: 0.75,
+  /**
+   * The reflectance (`fresnelStrength`) at which the line is drawn at the strengths above: that
+   * of ordinary glass, index 1.5. A denser medium does not draw it brighter than they say; a
+   * thinner one draws it fainter. UNMEASURED.
+   */
+  reflectanceRef: 0.7
 };
 var BODY = {
   /** Lightness ceiling for the body when legibility is loose. */
@@ -37,10 +77,14 @@ var BODY = {
   busyEdge: 0.75,
   /** Fine texture the body has to stop being a window for. */
   groundSpan: 0.06,
-  /** Where the tint flips direction, by the element's AVERAGE lightness — a local threshold cuts
-   *  a diagonal step across the body on a gradient. */
-  darkSideFrom: 0.42,
-  darkSideTo: 0.58,
+  /**
+   * The spread under the element at which the ink's legibility requirement starts to bind, and the
+   * spread where it binds fully. Over a flat backdrop polarity flips before the ink drowns, so
+   * the body does not darken under a light glyph there; over texture it does. UNMEASURED: the
+   * reference shows a lighter body under a white glyph over sky, nothing about texture.
+   */
+  inkBusyFrom: 0.02,
+  inkBusyTo: 0.12,
   /** Ceiling on any single demand, so one requirement cannot make the glass opaque on its own. */
   maxDemand: 0.92,
   /**
@@ -49,7 +93,13 @@ var BODY = {
    * 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
+  presenceDemand: 0.5,
+  /**
+   * The density at which the body is wholly the ink's own pole. Between `presenceDemand` and this
+   * the body moves from the light a thin body carries to the pole: a density no presence floor
+   * reaches is one the ink's legibility, or a system setting, has asked for. UNMEASURED.
+   */
+  inkPoleTo: 0.8
 };
 var SHADOW = {
   /**
@@ -459,5 +509,5 @@ var SCROLL_EDGE = {
 };
 
 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 };
-//# sourceMappingURL=chunk-MMPK6DCK.js.map
-//# sourceMappingURL=chunk-MMPK6DCK.js.map
+//# sourceMappingURL=chunk-CPSIY2DZ.js.map
+//# sourceMappingURL=chunk-CPSIY2DZ.js.map

package/dist/chunk-CPSIY2DZ.js.map

@@ -0,0 +1 @@
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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  /**\n   * How strongly the line is drawn, by the lightness around the element. The rim is a reflection\n   * of the surroundings, so it is faint over a dark one and plain over a bright one, not white at\n   * full strength everywhere (§2, §6).\n   *\n   * MEASURED off the controls of A 2:17 (over dark video), M 2:52 (over sky) and A 2:18 (over\n   * grass), as the brightest rim bin's OKLab lightness over the surround's: 0.24 to 0.27 over dark,\n   * 0.25 over sky, 0.37 over grass. Through the DOM path onto the same backdrops these land within\n   * 0.08 of the smooth rows (docs/dom.md); a line white at full strength reads 0.70 to 0.80 over the\n   * dark frames.\n   */\n  strengthDark: 0.37,\n  strengthLight: 0.95,\n  /**\n   * The surround lightness between which the strength moves from one to the other. UNMEASURED: the\n   * two ends are, and the controls in between were not looked for.\n   */\n  ambientFrom: 0.15,\n  ambientTo: 0.45,\n  /**\n   * The share of the line's width, from the silhouette inward, that the light line leaves to the\n   * dark edge. UNMEASURED: without it the line covers the dark edge and an element over a bright\n   * flat backdrop loses the one mark that holds it there.\n   */\n  lineInset: 0.3,\n  /**\n   * The share of the peak that the line keeps along the whole contour, away from the key light.\n   * MEASURED: the reference line goes all the way round. Its dimmest bin sits 0.06 to 0.12 of\n   * lightness over the surround on the dark frames, against a peak of 0.24 to 0.27 (A 2:17).\n   */\n  contour: 0.3,\n  /** How far the line's colour is lifted from the surroundings' toward white. UNMEASURED: the\n   *  lens always had 0.75 here, and this is that figure with a name. */\n  whiteShare: 0.75,\n  /**\n   * The reflectance (`fresnelStrength`) at which the line is drawn at the strengths above: that\n   * of ordinary glass, index 1.5. A denser medium does not draw it brighter than they say; a\n   * thinner one draws it fainter. UNMEASURED.\n   */\n  reflectanceRef: 0.7,\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  /**\n   * The spread under the element at which the ink's legibility requirement starts to bind, and the\n   * spread where it binds fully. Over a flat backdrop polarity flips before the ink drowns, so\n   * the body does not darken under a light glyph there; over texture it does. UNMEASURED: the\n   * reference shows a lighter body under a white glyph over sky, nothing about texture.\n   */\n  inkBusyFrom: 0.02,\n  inkBusyTo: 0.12,\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  /**\n   * The density at which the body is wholly the ink's own pole. Between `presenceDemand` and this\n   * the body moves from the light a thin body carries to the pole: a density no presence floor\n   * reaches is one the ink's legibility, or a system setting, has asked for. UNMEASURED.\n   */\n  inkPoleTo: 0.8,\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/{chunk-PM2SWCSF.js → chunk-RWUR3OV6.js}

@@ -1,5 +1,5 @@
-import { VG_SDF, VG_FALLOFF } from './chunk-H5QTBF67.js';
-import { MEDIUM, SHADOW_GAP, INK } from './chunk-MMPK6DCK.js';
+import { VG_SDF, VG_FALLOFF } from './chunk-YAN2OK4H.js';
+import { MEDIUM, SHADOW_GAP, INK } from './chunk-CPSIY2DZ.js';
 
 // src/surface-shader.ts
 var SURFACE_SHADER = `
@@ -332,6 +332,26 @@ function convertEvalCalls(src) {
   out += src.slice(cursor);
   return out;
 }
+function stripComments(src) {
+  let out = "";
+  let i = 0;
+  while (i < src.length) {
+    if (src.startsWith("//", i)) {
+      const end = src.indexOf("\n", i);
+      i = end < 0 ? src.length : end;
+    } else if (src.startsWith("/*", i)) {
+      const end = src.indexOf("*/", i + 2);
+      if (end < 0) throw new Error("vireglass/targets/glsl: unterminated block comment");
+      const stop = end + 2;
+      out += src.slice(i, stop).replace(/[^\n]/g, "");
+      i = stop;
+    } else {
+      out += src[i];
+      i += 1;
+    }
+  }
+  return out;
+}
 function convertReturns(mainBody) {
   return mainBody.replace(/\breturn\s+([^;]+);/g, "fragColor = $1; return;");
 }
@@ -362,7 +382,7 @@ function addPrologue(src) {
   return "#version 300 es\nprecision highp float;\n\nout vec4 fragColor;\nuniform vec2 u_resolution;\n\n" + src;
 }
 function toGLSL(shaderSource) {
-  let out = shaderSource;
+  let out = stripComments(shaderSource);
   out = convertEntryPoint(out);
   out = convertShaderUniforms(out);
   out = convertEvalCalls(out);
@@ -372,6 +392,6 @@ function toGLSL(shaderSource) {
   return out;
 }
 
-export { SURFACE_SHADER, addPrologue, convertEntryPoint, convertEvalCalls, convertHalfTypes, convertReturns, convertShaderUniforms, convertVecTypes, toGLSL };
-//# sourceMappingURL=chunk-PM2SWCSF.js.map
-//# sourceMappingURL=chunk-PM2SWCSF.js.map
+export { SURFACE_SHADER, addPrologue, convertEntryPoint, convertEvalCalls, convertHalfTypes, convertReturns, convertShaderUniforms, convertVecTypes, stripComments, toGLSL };
+//# sourceMappingURL=chunk-RWUR3OV6.js.map
+//# sourceMappingURL=chunk-RWUR3OV6.js.map

package/dist/chunk-RWUR3OV6.js.map

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A separate layer from the ink\n *  mask: that one is single-channel and colored by polarity, this one carries its own color\n *  as-is. */\nuniform shader u_overlay;\n\nuniform float2 u_center;\nuniform float2 u_halfSize;\nuniform float  u_corner;\nuniform float  u_bevel;\nuniform float  u_thickness;\nuniform float2 u_morphOffset;\nuniform float2 u_morphHalf;\nuniform float  u_morphCorner;\nuniform float  u_morphK;\nuniform float2 u_morph2Offset;\nuniform float2 u_morph2Half;\nuniform float  u_morph2Corner;\n\nuniform float  u_press;\nuniform float  u_active;\n/* 0 — the element sinks in under the finger, 1 — it rises into glass (reference §5). */\nuniform float  u_lift;\n\nuniform float  u_edgeDensity;\nuniform float  u_dispersion;\nuniform float  u_refraction;\nuniform float4 u_tint;\nuniform float  u_shadow;\nuniform float  u_shadowReach;\nuniform float3 u_ambient;\nuniform float  u_presence;\nuniform float  u_progress;\nuniform float  u_appear;\nuniform float  u_debug;\n\nuniform float  u_iconOn;\nuniform float  u_overlayOn;\nuniform float  u_iconScale;\nuniform float4 u_inkIdle;\nuniform float4 u_inkActive;\nuniform float2 u_touch;\nuniform float2 u_pull;\nuniform float  u_touchPress;\nuniform float  u_touchRadius;\nuniform float2 u_wave;\n\n${VG_SDF}\n\nconst float VG_FALLOFF = ${VG_FALLOFF};\n\n// Tint density in the flat middle; at the bevel it's multiplied by u_edgeDensity.\nconst float VG_BODY_DENSITY = ${MEDIUM.bodyDensityFlat};\n/* Fraction of the ambient hue in the shadow. The shadow has to stay a shadow, not a colored\n *  blob. */\nconst float VG_SHADOW_TINT = ${SHADOW_GAP.tint}.0;\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 right at it.\nconst float VG_GAP_LIGHT = ${SHADOW_GAP.light};\nconst float VG_GAP_REACH = ${SHADOW_GAP.reach};\n/* Depth of the ink beneath the surface, dp. The normal displaces it by exactly this much right\n *  at the rim. */\nconst float VG_INK_DEPTH = ${INK.depth}.0;\n/* Ink defocus under the finger (reference §6): a glyph loses its edge and drowns in milk. Given\n * as a FRACTION of the touch blob, not a number: the blob already arrives in device units, so\n * the radius automatically follows both screen density and the element's size. 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Strength is set by how much light there is around: over a nearly black backdrop\n// there's nothing to bleed into the shadow.\n// JS twin in shadow-tint.ts, which the DOM renderer reads: same derivation, same reason.\nfloat3 vgShadowTint(float3 ambient) {\n  float peak = max(max(ambient.r, ambient.g), max(ambient.b, 0.001));\n  float3 hue = ambient / peak;\n  float lumaWeights = dot(ambient, float3(0.2126, 0.7152, 0.0722));\n  return (hue - dot(hue, float3(0.2126, 0.7152, 0.0722))) * lumaWeights;\n}\n\nhalf3 vgHeat(float v) {\n  float x = clamp(v, 0.0, 1.0);\n  return half3(half(clamp(x * 2.2 - 0.2, 0.0, 1.0)),\n               half(clamp(1.0 - abs(x - 0.5) * 2.2, 0.0, 1.0)),\n               half(clamp(1.2 - x * 2.4, 0.0, 1.0)));\n}\n\nhalf4 main(float2 xy) {\n  float2 p = vgTouchWarp(xy - u_center, u_touch, u_pull, u_touchPress, u_touchRadius, u_wave.x, u_wave.y);\n\n  // Inverse deformation: stretch A along the pull vector, compression 1/sqrt(A) across it. This\n  // exact law mirrors the transform of the live backdrop under the canvas, otherwise the two\n  // would drift apart. There's NO motion geometry here — no pull, no press-driven bulge. All of\n  // that is done by a single wrapper transform, the same one that carries the native lens: the\n  // shader doesn't touch it, and two pipelines driving one motion would drift apart by a frame,\n  // making the layers visible as separate.\n\n  float halfMin = max(min(u_halfSize.x, u_halfSize.y), 1.0);\n  float bevel = max(u_bevel, 1.0);\n\n  float sd = vgScene(p, u_halfSize, u_corner, u_morphOffset, u_morphHalf, u_morphCorner, u_morphK,\n                u_morph2Offset, u_morph2Half, u_morph2Corner);\n  float t = vgBevelT(sd, bevel);\n  float2 n = vgSceneNormal(p, u_halfSize, u_corner, u_morphOffset, u_morphHalf, u_morphCorner, u_morphK,\n                u_morph2Offset, u_morph2Half, u_morph2Corner);\n  float3 N = normalize(float3(n * vgBevelSlope(t), 1.0));\n\n  // Progress is an active state turned into a field: the played fraction shines and glows\n  // exactly as much as an active element shines whole. This does NOT touch ink: recoloring text\n  // as the track advances would mean changing it mid-word.\n  float lit = max(u_active, vgProgress(p, u_halfSize, u_progress));\n\n  // The highlight and the rim are computed by the lens: reflection is a function of the\n  // surroundings, and only the lens can see them.\n\n  if (u_debug > 0.5) {\n    float inMask = 1.0 - smoothstep(-1.0, 1.0, sd);\n    if (u_debug < 1.5) {\n      float band = abs(fract(sd / (halfMin * 0.22)) - 0.5) * 2.0;\n      half3 c = sd < 0.0 ? half3(0.20, 0.62, 1.0) : half3(1.0, 0.42, 0.22);\n      return vgPack(c * half(0.25 + band * 0.75), 1.0);\n    }\n    if (u_debug < 2.5) { return vgPack(half3(1.0), inMask); }\n    if (u_debug < 3.5) { return vgPack(vgHeat(t), inMask); }\n    // Fresnel now lives in the lens; here we show its SHAPE — how grazing the view is.\n    if (u_debug < 4.5) { return vgPack(vgHeat(1.0 - clamp(N.z, 0.0, 1.0)), inMask); }\n    if (u_debug < 5.5) {\n      float push = pow(t, VG_FALLOFF) * u_refraction;\n      return vgPack(vgHeat(push), inMask);\n    }\n    if (u_debug < 6.5) { return half4(0.0); }\n    if (u_debug < 7.5) { return half4(0.0); }\n    // Dispersion is computed by the lens; here is the field it grows along.\n    if (u_debug < 8.5) { return vgPack(vgHeat(u_dispersion * t * t), inMask); }\n    if (u_debug < 9.5) { return vgPack(half3(N * 0.5 + 0.5), inMask); }\n    // spectral and adapt are shown by the LENS — the surface has to get out of the way.\n    return half4(0.0);\n  }\n\n  // The shadow and the halo live OUTSIDE the shape: inside, their place is taken by the glass\n  // itself. Separation from the content rests entirely on the shadow — without it the surface\n  // would sit ON the picture, not above it. The shadow only lives at the rim and outside it: at\n  // sd < −1 the outside multiplier is already zero. Computing it deep inside the shape would be\n  // a wasted FULL SDF evaluation for every such pixel, and the body covers almost the whole\n  // area. The branch here is on the coordinate, but only the threads right at the rim actually\n  // diverge.\n  float shade = 0.0;\n  float halo = 0.0;\n  if (sd > -1.0) {\n    float outside = smoothstep(-1.0, 1.0, sd);\n    // Under the finger a button moves TOWARD the backdrop, and the shadow tightens: it's exactly\n    // the gap between the two. A control rising into glass (a switch knob, a slider handle —\n    // reference §5) moves AWAY from it, and then the shadow spreads out instead. Only the app\n    // knows which one applies, so the direction arrives as a fraction: 0 is sinking in, the way\n    // every element behaved before this rule existed.\n    float reach = u_shadowReach * (1.0 + mix(-0.25, 0.55, u_lift) * u_press);\n    // The shadow is soft and wide, shifted downward (M 11:58): it's what holds the element's\n    // separation from the content.\n    float sdDrop = vgScene(p - float2(0.0, reach * 0.35), u_halfSize, u_corner,\n                           u_morphOffset, u_morphHalf, u_morphCorner, u_morphK,\n                u_morph2Offset, u_morph2Half, u_morph2Corner);\n    float amb = 1.0 - smoothstep(-reach * 0.3, reach, sdDrop);\n    // THE GAP UNDER A RAISED ELEMENT IS LIT: right at the outline the shadow is WEAKER than\n    // further down. Otherwise the minimum sits right against the silhouette — both parts of the\n    // shadow are monotonic in distance.\n    float gap = smoothstep(0.0, max(reach * VG_GAP_REACH, 1.0), max(sd, 0.0));\n    shade = amb * amb * 0.13 * mix(VG_GAP_LIGHT, 1.0, gap) * outside * u_shadow * u_appear;\n    halo = 1.0 - smoothstep(0.0, reach * 0.30, max(sd, 0.0));\n    halo = halo * halo * lit * 0.10 * outside * u_appear;\n  }\n\n  if (sd > 1.0) {\n    // Ambient light bleeds into the shadow (219 @8:22): it isn't a black hole, it's tinted by\n    // whatever lies nearby. Otherwise an element over colored content would hang over a gray\n    // blob.\n    half3 spill = max(half3(half(halo)) + half3(vgShadowTint(u_ambient)) * half(VG_SHADOW_TINT * shade * (1.0 - halo)), half3(0.0));\n    return half4(spill, half(halo + shade * (1.0 - halo)));\n  }\n\n  float density = u_tint.w;\n  float inner = clamp(-sd / halfMin, 0.0, 1.0);\n  half3 col = half3(u_tint.rgb);\n\n  // The tint is LIGHT and weak, not dark: dark glass over dark content disappears, and has to be\n  // held together with a heavy rim — which makes the surface read as a chrome bead. Tint density\n  // at the bevel is a separate value: physically the bevel bends light harder, but it doesn't\n  // get hazier. Coupled together, the two produced a milky ring around the whole outline.\n  float body = mix(VG_BODY_DENSITY, VG_BODY_DENSITY * u_edgeDensity, smoothstep(0.10, 0.62, t)) * density;\n  float vignette = smoothstep(0.15, 1.0, inner) * 0.19 * density;\n  // There's NO density boost on press here. It was meant as \"the element stands out more under\n  // the finger,\" but it pulls the body toward the tint, and the tint depends on polarity: over a\n  // light backdrop (dark polarity) press ended up DARKENING the element. Presence is shown\n  // instead by the vgTouchWarp field's deformation and the highlight blooming below — neither\n  // cares about the sign of polarity.\n  float a = max(body, vignette);\n\n  // Active state does NOT touch the body's color. Mixing in a fixed gray here flipped the\n  // effect's sign depending on the backdrop: over dark the element lightened, over light it\n  // darkened, for the exact same state. Active state is shown instead by the highlight and rim\n  // lighting above: neither cares about the backdrop.\n\n  // THE ICON SITS BENEATH THE SURFACE, it isn't stuck on top of it: it used to be mixed in last,\n  // over the highlight, and read as a flat sticker on volumetric glass. At the rim the normal\n  // displaces it, like everything seen through the glass, while the highlight sits ON TOP — it\n  // lives on the surface itself.\n  //\n  // There is NO shadow under the icon here. It used to be made from the difference of two offset\n  // mask samples and produced a second outline along the edge — the icon's borders looked\n  // ragged.\n  // THE INK'S SHIFT IS SET BY ITS OWN DEPTH, NOT BY BEVEL WIDTH. The ink sits right at the\n  // surface, and it's displaced by exactly the thin layer of glass above it — not by how wide a\n  // bevel this particular piece of glass happens to have. It used to be a fraction of the bevel:\n  // on thin glass the shift came out to 4 dp and everything lined up, but on thick glass it was\n  // 8, and cover art inset from the edge by 6 stretched toward the rim and spilled past its\n  // bounds. The ceiling is absolute: ink has one depth regardless of the glass.\n  float2 inkShift = n * (min(u_bevel * 0.5, VG_INK_DEPTH) * t);\n  float2 inkUv = u_center + p - inkShift;\n\n  // INK LOSES SHARPNESS UNDER THE FINGER (reference §6): in the reference, a glyph under\n  // pressure drowns in milk rather than simply getting lighter. This branch is uniform across\n  // the whole element: press arrives as a uniform, so defocus costs nothing while the element\n  // isn't being touched.\n  float defocus = VG_INK_DEFOCUS * u_touchRadius * u_touchPress;\n  float2 inkDx = float2(defocus, 0.0);\n  float2 inkDy = float2(0.0, defocus);\n\n  half4 ink;\n  half4 over;\n  if (defocus > 0.01) {\n    // A cross around the center with double weight in the middle: the ink mask is\n    // high-contrast, and four samples are enough for a stroke to stop holding its edge.\n    ink = (u_icon.eval((inkUv - inkDx) * u_iconScale)\n         + u_icon.eval((inkUv + inkDx) * u_iconScale)\n         + u_icon.eval((inkUv - inkDy) * u_iconScale)\n         + u_icon.eval((inkUv + inkDy) * u_iconScale)\n         + u_icon.eval(inkUv * u_iconScale) * 2.0) * half(u_iconOn / 6.0);\n    // Colored content lives in the same plane as the ink and blurs together with it: different\n    // sharpness for two layers in one plane would read as a defect, not a press.\n    over = (u_overlay.eval((inkUv - inkDx) * u_iconScale)\n          + u_overlay.eval((inkUv + inkDx) * u_iconScale)\n          + u_overlay.eval((inkUv - inkDy) * u_iconScale)\n          + u_overlay.eval((inkUv + inkDy) * u_iconScale)\n          + u_overlay.eval(inkUv * u_iconScale) * 2.0) * half(u_overlayOn * u_appear / 6.0);\n  } else {\n    ink = u_icon.eval(inkUv * u_iconScale) * half(u_iconOn);\n    over = u_overlay.eval(inkUv * u_iconScale) * half(u_overlayOn * u_appear);\n  }\n\n  // The backing under the ink is held by the LENS (body density from the probe), not the\n  // surface: legibility is a property of the material, and computing it here a second time\n  // would give two different answers to one question.\n\n  // Layers are composited premultiplied-over: in straight alpha, a nearly transparent dark body\n  // used to pull the color of semi-transparent ink and the finger's light toward itself — letter\n  // edges grayed out, pressing darkened things.\n  half3 pm = col * half(a);\n  half inkA = ink.g * half(mix(0.82, 1.0, u_active) * u_appear);\n  half3 inkCol = mix(half3(u_inkIdle.rgb), half3(u_inkActive.rgb), half(u_active));\n  pm = pm * (1.0 - inkA) + inkCol * inkA;\n  a = a + float(inkA) * (1.0 - a);\n\n  // COLORED CONTENT LIVES IN THE SAME PLACE AS THE INK — inside the material, at the same\n  // coordinate. Otherwise deformation would carry them apart: on press, the title and artist\n  // name would shake together with the surface while the cover art stayed put, because it used\n  // to be a separate layer on top of the glass. Polarity doesn't touch it — it has its own\n  // color, and there's nothing to swap it for.\n  pm = pm * (1.0 - over.a) + over.rgb * over.a;\n  a = a + float(over.a) * (1.0 - a);\n\n  // Light from the finger is gathered by the LENS: it's a concentration of the surroundings, not\n  // the glass's own whiteness. The surface is left with only what the glass spills outward — the\n  // halo above.\n\n  float mask = 1.0 - smoothstep(-1.0, 1.0, sd);\n  pm = clamp(pm, half3(0.0), half3(1.0)) * half(mask);\n  a *= mask;\n  pm = max(pm + half3(vgShadowTint(u_ambient)) * half(VG_SHADOW_TINT * shade * (1.0 - a)), half3(0.0));\n  return half4(pm, half(a + shade * (1.0 - a)));\n}\n`;\n","// WebGL2 target. Translates the same AGSL text (SDF + body, see `targets/agsl.ts`) into GLSL\n// ES 3.0. Each conversion rule is its own function with its own test in\n// `__tests__/targets.test.ts`. Three spots are NOT mechanical: the coordinate origin, units of\n// measure (settled in the web renderer's own setup, not here), and sampler filtering (also the\n// renderer's concern). What's here is text conversion only.\n\n/**\n * The sampler-size uniform's name, for translating `NAME.eval(coord)` → `texture(NAME, coord / SIZE)`.\n * A new uniform — there's no equivalent in AGSL: `.eval()` has the size implicitly known to the\n * shader, while GLSL's `texture()` needs a normalized coordinate. One per `uniform shader`/\n * `uniform sampler2D`, its name derived from the sampler's name rather than hardcoded.\n */\nfunction sizeUniformName(sampler: string): string {\n  return sampler.startsWith('u_') ? `${sampler}Size` : `u_${sampler}Size`;\n}\n\n/** float2/float3/float4 → vec2/vec3/vec4. */\nexport function convertVecTypes(src: string): string {\n  return src.replace(/\\bfloat([234])\\b/g, 'vec$1');\n}\n\n/** half/half2/half3/half4 → float/vec2/vec3/vec4, including half(x) → float(x) casts. */\nexport function convertHalfTypes(src: string): string {\n  return src.replace(/\\bhalf([234])\\b/g, 'vec$1').replace(/\\bhalf\\b/g, 'float');\n}\n\n/** `uniform shader NAME;` → `uniform sampler2D NAME;` + a new `uniform vec2 <sizeUniform>;`. */\nexport function convertShaderUniforms(src: string): string {\n  return src.replace(/uniform\\s+shader\\s+(\\w+)\\s*;/g, (_match, name: string) => {\n    return `uniform sampler2D ${name};\\nuniform vec2 ${sizeUniformName(name)};`;\n  });\n}\n\n/**\n * `NAME.eval(coord)` → `texture(NAME, (coord) / <sizeUniform>)` for each declared\n * `uniform sampler2D`. The bounds of `coord` are found by scanning parens, not with a regex: the\n * arguments are nested calls (`content.eval(vgInContent(s + dR - e))`) with commas and\n * parentheses inside.\n */\nexport function convertEvalCalls(src: string): string {\n  const samplers = new Set<string>();\n  const declRe = /uniform\\s+sampler2D\\s+(\\w+)\\s*;/g;\n  for (let m = declRe.exec(src); m; m = declRe.exec(src)) samplers.add(m[1]);\n  if (samplers.size === 0) return src;\n\n  const callRe = /(\\w+)\\.eval\\(/g;\n  let out = '';\n  let cursor = 0;\n  for (let m = callRe.exec(src); m; m = callRe.exec(src)) {\n    const name = m[1];\n    if (!samplers.has(name)) continue;\n    const argStart = m.index + m[0].length;\n    let depth = 1;\n    let i = argStart;\n    while (i < src.length && depth > 0) {\n      if (src[i] === '(') depth += 1;\n      else if (src[i] === ')') depth -= 1;\n      i += 1;\n    }\n    const args = src.slice(argStart, i - 1);\n    out += src.slice(cursor, m.index);\n    out += `texture(${name}, (${args}) / ${sizeUniformName(name)})`;\n    cursor = i;\n    callRe.lastIndex = i;\n  }\n  out += src.slice(cursor);\n  return out;\n}\n\n/** Comments are prose, and the rewrites here are regexes over raw text: a comment mentioning\n *  \"return\" became one, and a brace in a comment ended the entry point early. Newlines inside\n *  block comments survive, so a compile error still points at the source line. */\nexport function stripComments(src: string): string {\n  let out = '';\n  let i = 0;\n  while (i < src.length) {\n    if (src.startsWith('//', i)) {\n      const end = src.indexOf('\\n', i);\n      i = end < 0 ? src.length : end;\n    } else if (src.startsWith('/*', i)) {\n      const end = src.indexOf('*/', i + 2);\n      if (end < 0) throw new Error('vireglass/targets/glsl: unterminated block comment');\n      const stop = end + 2;\n      out += src.slice(i, stop).replace(/[^\\n]/g, '');\n      i = stop;\n    } else {\n      out += src[i];\n      i += 1;\n    }\n  }\n  return out;\n}\n\n/**\n * Early `return <expression>;` inside `main` → `fragColor = <expression>; return;`. Takes ONLY\n * the body of main (see `convertEntryPoint`) — ordinary `return`s in helper functions live\n * outside this text and are untouched. Expressions never contain a `;` of their own (shaders have\n * none — the only `;` lives inside `for(...)`, which isn't a return), so `[^;]+` is safe once\n * comments are gone (`stripComments`).\n */\nexport function convertReturns(mainBody: string): string {\n  return mainBody.replace(/\\breturn\\s+([^;]+);/g, 'fragColor = $1; return;');\n}\n\nconst ENTRY_RE = /half4\\s+main\\s*\\(\\s*float2\\s+(\\w+)\\s*\\)\\s*\\{/;\n\n/**\n * `half4 main(float2 xy) { ... }` → `void main() { vec2 xy = <Y-flipped coordinate>; ...; }`.\n * AGSL gives `xy` in screen pixels, top-left origin, y down; `gl_FragCoord` is bottom-left\n * origin, y up. The flip via `u_resolution.y - gl_FragCoord.y` restores the original convention\n * (both coordinate systems center the pixel at `+0.5`, so no X shift or constant is needed).\n * `out vec4 fragColor` and `uniform vec2 u_resolution` are declared in the prologue (`addPrologue`).\n *\n * `xy` and `.eval()` are flipped together — but only inside a shader THIS function translates. A\n * `VireGlassBackdropPass` (`web/renderer.ts`) that reads its own previous frame from an FBO is raw\n * `gl_FragCoord`, unflipped; reusing AGSL-style helpers there needs an explicit flip of its own.\n */\nexport function convertEntryPoint(src: string): string {\n  const match = ENTRY_RE.exec(src);\n  if (!match) {\n    throw new Error('vireglass/targets/glsl: entry point \"half4 main(float2 xy)\" not found');\n  }\n  const bodyStart = match.index + match[0].length;\n  let depth = 1;\n  let i = bodyStart;\n  while (i < src.length && depth > 0) {\n    if (src[i] === '{') depth += 1;\n    else if (src[i] === '}') depth -= 1;\n    i += 1;\n  }\n  const bodyEnd = i - 1;\n  const param = match[1];\n  const body = convertReturns(src.slice(bodyStart, bodyEnd));\n  const head = src.slice(0, match.index);\n  const tail = src.slice(i);\n  return (\n    `${head}void main() {\\n` +\n    `  vec2 ${param} = vec2(gl_FragCoord.x, u_resolution.y - gl_FragCoord.y);\\n` +\n    `${body}}${tail}`\n  );\n}\n\n/** `#version 300 es` + `precision highp float;` — no equivalent in AGSL, WebGL2 requires them as\n *  the file's first lines. `out vec4 fragColor` and `uniform vec2 u_resolution` ride along here\n *  too: both new, with no counterpart in the source, needed by exactly one entry point\n *  (`convertEntryPoint`). */\nexport function addPrologue(src: string): string {\n  return (\n    '#version 300 es\\n' +\n    'precision highp float;\\n\\n' +\n    'out vec4 fragColor;\\n' +\n    'uniform vec2 u_resolution;\\n\\n' +\n    src\n  );\n}\n\n/** Full translation AGSL/SkSL → GLSL ES 3.0. Order matters: the entry point is found by its\n *  literal AGSL signature BEFORE type conversion, otherwise `half4 main(float2 xy)` can't be\n *  found. */\nexport function toGLSL(shaderSource: string): string {\n  let out = stripComments(shaderSource);\n  out = convertEntryPoint(out);\n  out = convertShaderUniforms(out);\n  out = convertEvalCalls(out);\n  out = convertVecTypes(out);\n  out = convertHalfTypes(out);\n  out = addPrologue(out);\n  return out;\n}\n"]}

package/dist/{chunk-CTTZNZFV.js → chunk-VLDD655U.js}

@@ -1,5 +1,5 @@
 import { CONFIRMATIONS, FLIP_LUMA, RETURN_LUMA } from './chunk-JNRZNMJJ.js';
-import { SCALE, SCROLL_EDGE, ACCENT, ACCESSIBILITY, BODY, SPRING } from './chunk-MMPK6DCK.js';
+import { SCALE, SCROLL_EDGE, ACCENT, ACCESSIBILITY, BODY, SPRING } from './chunk-CPSIY2DZ.js';
 
 // src/accent.ts
 var clamp01 = (v) => v < 0 ? 0 : v > 1 ? 1 : v;
@@ -356,5 +356,5 @@ function createGroupState(sink) {
 }
 
 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 };
-//# sourceMappingURL=chunk-CTTZNZFV.js.map
-//# sourceMappingURL=chunk-CTTZNZFV.js.map
+//# sourceMappingURL=chunk-VLDD655U.js.map
+//# sourceMappingURL=chunk-VLDD655U.js.map