Four modes, one click apart. A grid of colored tiles. Expanding rings of polygons. Horizontal sine waves with mouse-driven hills. A field of spinning squares modulated by distance from center. Each one is interference: two or more wave functions combining into something neither contains alone.
The patterns don’t announce their transitions. You click and the mode changes immediately—mid-animation, mid-wave—and the new pattern takes over. There’s no fade. No apology. The mathematics just shifts.
This is the 49/50 doctrine as geometry: incompleteness isn’t failure, it’s a feature of things that are still alive. Each pattern could be refined indefinitely. There are always more parameters to tune, more rings to add, more lines. The decision to stop and move to the next mode—or to sit with this one—is the only choice that matters.
Your mouse influences each pattern differently. In the wave pattern, it creates a traveling hill wherever you are. In the ring pattern, it warps the polygon radii. The same gesture produces different responses depending on which mode is active. The tool doesn’t change; the field it acts on does.
There’s something here about the relationship between constraint and expression that applies to the whole project. Four modes. The same math library. The same canvas dimensions. The same input device. What changes between modes isn’t the capability — it’s the rule set. The question of what a system can produce is inseparable from the question of what rules it follows, and the rules are always a choice.
Interactions: Click anywhere to cycle through four wave patterns. Move the mouse to influence the current pattern’s flow—each mode responds differently to cursor position. There are no other controls; the patterns are self-sustaining.