THE VAULT IS THE COMMONS. ANYONE CAN STORE A LOOP HERE, NO WALLET, NO NAME, DNA INCLUDED. TAP A THUMB TO RESURRECT THE EXACT LOOP. THE HOUSE PRUNES WHAT ROTS.
YOUR WALLET IS YOUR SHELF. PLANT WITHOUT LIMIT: EVERY SAVE IS SIGNED, PUBLIC, AND CURATED BY YOU ALONE. WHAT GROWS HERE MINTS IN THE NEXT ERA. PLANT NOW, MINT LATER.
DNA cards resurrect the exact loop: seed, colorway, source, corruption, frames, all sigils, motion. The public vault keeps them for everyone. Your garden keeps them in your name.
The engine runs LIVE, always: the loop animates continuously in a dedicated preview core and every control — dials, sigils, gains, bodies, dice, mutate, resurrect — lands within a frame. The preview runs the REAL algorithms at a resolution your device sustains (auto-adapts; the badge shows it). RENDER produces the exact master GIF at the size the raster implies; saves come only from that.
Any number from 48 to 1080, not just the rungs. Typing here does BOTH things at once: it sets the raster the master GIF is built from, AND it pins the live preview to the same number — so what is on this screen is not an approximation of the render, it IS the render, running. The badge will read EXACT and there is nothing left to settle. Out-of-range numbers are clamped and the label says so.
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The size the loop is actually DRAWN at — and now the size everything else is derived FROM. The master GIF is no longer fixed at 1080²: it is the multiple of this raster nearest 1080, so every block in it is a square of exactly the same size (192 → 1152², 300 → 1200², 360 → 1080²). The 𝕏 rungs are the multiples that fit under 𝕏’s 1080px ceiling. The multiplier on each button is that button’s block size, and it is always a whole number now — there is no “uneven” raster any more. FULL is the old 1080² behaviour. Changing this rebuilds the render pool and respawns the preview, and the preview is never allowed finer than the raster.
ON shrinks the shading field and march grid with the raster — this is the geometry the live preview always used, and the look you said you preferred. OFF marches the full 448² field into the small raster: finer structure, harsher aliasing, slower.
The rung you tune on, capped at the render raster. When it SITS at the raster the preview is not an approximation of the GIF — it is the GIF, live, with nothing to settle. Below the raster it is still a different picture and SETTLE TO TRUTH covers the gap. AUTO picks a rung your device sustains at 25fps and steps down within a quarter-second if a scene turns heavy.
Tune fast, settle true. While you are moving a control the fast rung answers instantly; the moment you stop, the loop is re-rasterised at the render's exact geometry and swapped in, byte for byte. If the preview is already sitting at the render raster there is nothing to settle and the badge reads EXACT instead. Touch anything and it drops back to fast.
The modifier bends the space the body is measured in, so one skeleton and one primitive can come out twisted, tapered, terraced, hollowed or split in two. It multiplies the vocabulary rather than adding to it.
Every render used to be the same move: one revolution, always the same way round, from the same height, at the same distance. This is the move itself. AUTO lets the seed choose; each gesture returns exactly to its start, so the loop always closes.
THE GRAFT — your own graphic, entered into the transmission
The image never leaves your device — it is decoded in the page, capped at 512px on its longest side, and handed to the render workers as raw bytes. It is also hashed at ingest, and that hash is written into every verdict, so a loop made with a graft can always be traced back to the exact graphic that made it. Note the fork: the engine can rebuild any loop from its seed alone, but it cannot rebuild YOUR graphic from a seed. Grafted loops are workbench work for now, not mint-safe DNA.
OVER is the layer — but placed inside the signal, not on top of it. UNDER lays it into the empty space behind the mass, drawn in the artwork’s own tone ramp, so the body occludes it and the void eats it. FLOOR lies it flat on the mirror plane — it perspective-projects and slides as the camera orbits, and the fog swallows its far edge. GOBO puts it in front of the LIGHT: the body is lit through your picture, so the image appears as shadow cast across the geometry. STENCIL cuts the whole transmission away wherever the graphic is dark, and the cut level breathes once per revolution. SLICE sends a scan head down the frame exactly once per loop, carrying the graphic in the band behind it. WARP turns its luminance gradient into a displacement field and drags the finished frame through it. GRAIN never draws the image at all — it replaces the ordered-dither threshold, so the picture exists only as a bias in the halftone. PALETTE steals the graphic’s own colours and rebuilds the artwork’s ramp from them (the house NO-WHITE cap still applies, so stolen palettes come back darker than the source).
THIS SEED — reading the surfaces…
Three roles depend on what the seed actually grew, so the row above marks them live. FLOOR needs a mirror plane and roughly half of all seeds do not have one — an IDOL never does. UNDER needs empty space in frame; a body that fills the raster leaves it nothing to lie in. GOBO needs a body to be lit. A struck-through role is not broken: arm it anyway and it comes alive the moment you reroll into a seed that has the surface.
Blending happens in RGB, before quantisation — so the result is dithered into the artwork’s 64 colours by the same pass that dithers the artwork. Affects OVER.
WITHIN puts the graft into the chain BEFORE the void carves, the chroma caps and the DCT ghosts — the transmission damages your graphic exactly as it damages its own body. ABOVE puts it after all of them, clean. WITHIN is the interesting one.
BLOCK is nearest-neighbour: at low raster it turns any graphic into hard pixel blocks that agree with the dither grid instead of fighting it.