The experimental nine

The far end of the palette: painting movements, genre worlds and pure perception. Same fifteen seconds as the first nine and the second. Three of these do not draw the scene at all: they paint over it, stripe it, or damage its signal, so the beach underneath still decides everything.

A caution: op art and glitch flicker. If flashing images affect you, press Pause, or turn on reduced motion on your device, and every panel holds still.

What each panel shows. The dry sand keeps marks: the record, and nothing on it moves by itself. The wet sand is the mirror, the LLM surface; it can only shine back whoever is walking on it. The people are the only living thing in the picture. The loop then passes through the three ways in, in order of how much of one another you can see.