THE BOOK · MODE THREE
PERFORMANCES
Cinematic forms — they play themselves. In-view start, a designed resting state, REPLAY where a piece runs once, a gentle loop where a scrolling reader must never find it finished. Reduced motion always lands on the finished composition.
One rule governs all of them: never a crossfade between two physical forms of one thing. A crossfade depicts a conversion. These forms stage a swap — exit, a held beat, enter — or they move the same pieces continuously. The distinction is the design language's deepest conviction, borrowed from the exhibition that forced it into existence.
Transformation
performance
@chrishayuk/hause/components/forms/Transformation
Comparison's cinematic sibling — identical argument, performed instead of dragged.
ONE DESIGN SYSTEM — TWO INTERPRETATIONS
the same four commitments, either way
- Rendered by the real forms
- Cannot drift — it is the code
- Visited, and operated
the same four commitments, either way — as a style guide: described in prose, drifts from the code, read once, then trusted. As a specimen book: rendered by the real forms, cannot drift — it is the code, visited, and operated.
Unfolding
performance
@chrishayuk/hause/components/forms/Unfolding
Decomposition's cinematic sibling — same props, so the two are interchangeable per chapter.
AN ARGUMENT — UNFOLDED
the record
An argument a reader can audit.
one argument — a thing worth saying, before it is organised. It unfolds into observe, claim, test, concede; the record assembles them: an argument a reader can audit.
Compilation
performance
@chrishayuk/hause/components/forms/Compilation
Inputs compiled through named stages into an artifact that no longer needs them — with the discard beat at the end.
AN EXHIBITION — COMPILED
Start from the notes. Compile down.
the working material
the notes may now rest — the exhibition stands alone
collect ↓
judge ↓
compose ↓
set ↓
prove ↓
the exhibition — set, then proven
proven — every claim carries its receipt
Working material — notes, interviews, measurements — is collected, judged, composed, set, and proven. Then the notes may rest: the exhibition stands alone. That is the whole passage, and it is crossed once.
Procession
performance
@chrishayuk/hause/components/forms/Procession
One thing through every stage, in order — loops while in view, so a scrolling reader never finds it finished.
draft → edit → typeset → stage → prove → publish — one idea — every stage, in order, every time.
Magnitude
performance
@chrishayuk/hause/components/forms/Magnitude
A powers-of-ten zoom-out, area-true — each arrival rescales the world.
an exhibition — ~60,000 characters
to scale by characters — the glyph is still there, two pixels wide
To one scale: a glyph (one character) · a statement (~90 characters) · a chapter (~4,000 characters) · an exhibition (~60,000 characters) — each drawn area-true to its magnitude.
Channel
performance
@chrishayuk/hause/components/forms/Channel
Throughput through a fixed conduit — when the payload narrows, the same channel delivers more often.
author → reader, through the page — a fixed reading pace. long paragraphs — ideas arrive slowly, heavily loaded. short statements — same page, ideas arrive sooner.
Quantisation
performance
@chrishayuk/hause/components/forms/Quantisation
Values snapping to representable levels — on a fine grid the move is invisible; on a coarse one, every value steps, and the ghosts remember.
a coarse grid — every value moves to the nearest level
small moves compound — which is why a coarsened thing must be measured, not assumed
the values as given — every one exact. a fine grid — the error is invisible. a coarse grid — every value moves to the nearest level. small moves compound — which is why a coarsened thing must be measured, not assumed.
AND FILM
The eighth performance is Film: real video, poster-first, playing once in view, an explicit PLAY under reduced motion — and a designed placeholder frame when no film exists yet, so a slot can be laid out before its piece is produced. It is not shown here because the book ships no placeholders; it appears the day the first film does.
Back through the book.