{
  "id": "C2",
  "by": "critic BC-P1",
  "scope": "sequence",
  "cites": [
    "main:0",
    "main:3",
    "main:4",
    "main:5",
    "cast:0",
    "cast:1"
  ],
  "read": "C1's light ulcer was answered: in cast:1 the shade is thrown (a diagonal from (520,96) to (700,624), measured 0.78 lit glass against 0.51 shaded pier, paper 0.54 now level with the pier at 0.51 and the right wall at 0.52, chair shadow long and parallel to the pavement edge, one sun). The thrown light then shows what the zone was hiding. Where can it fall? The woman (main:0 m16, x 649 to 771 at the hem) has not moved in any sitting on either branch, and she fills the 180-unit gap between the window jamb (620) and the door (800), leaving slivers of about 29 units each side. A shadow edge that was built to leave the jamb has nowhere else to go: on cast:1 it crosses x=624 at y=400, which is the jamb at her shoulder line (393), then runs 10 to 17 units off her left contour (edge 641 at y=450 against the dress at about 656) and enters her hem at (692,600); the pavement shadow springs from (700,624), inside her silhouette. The light no longer zones the wall; it outlines her. The sun wedge it leaves on her hem reads 0.42 against 0.36 in shade: too thin to register as light, only as a seam. main:5's look checked whether the diagonal reads over the old vertical; it does, because the two now meet at one knot, jamb, shoulder and edge together. main:4 and cast:1 carry the same intention almost word for word and measure within 0.04 everywhere (pier 0.52/0.51, paper 0.55/0.54, door 0.36/0.36): the branch is a cleaner execution of one plan, not a second proposal. Under both, the S09 frontality stands: sign band, window, figure, door and chair bases on or near the line y=624, the pavement a full band, seven coat trapezoids at equal 77-unit pitch. The interval the proposition names has never been drawn wide enough to contain a pause; it is a slot the body plugs.",
  "pressure_points": [
    "The plugged slot: m16 (main:0) spans 649 to 771 inside a 620 to 800 gap, unchanged through main:1, main:3, main:4 and cast:1. No stucco or shade of any width shows between her and either neighbour, so the 'narrow shaded pier' cannot read as wall or as shadow: it is not there to read.",
    "The thrown edge is now a contour line: cast:1 crosses the jamb at (624,400) at her shoulder, grazes her left side for about 100 units, and lands its pavement vertex at (700,624) inside her hem. Unwelded from the jamb, it is welded to the figure: a second registration, the same ulcer one layer over.",
    "Branches converge: main:4 and cast:1 share an intention and measure alike to 0.04; the branch changed technique (clipped masks) and kept every shape, so the sequence has not yet tested anything but light.",
    "Frontal stack: window base, her hem, door base and the chair's seat line all sit at or near y=624 (main:0 m4, m5, m14, m16), the sign band spans 40 to 960, and the pavement is a full band: the stated costs of S09 have been carried forward intact through six sittings.",
    "Seven equal coats at equal pitch (main:0 m6 to m12): C1 named it and left it; cast:1 restates all seven and shades only the seventh's corner (0.47 against 0.54). The brief's warning against equal attention is still met by the most evenly drawn passage in the picture."
  ],
  "action": "Redraw the geometry so the interval exists before any light is laid into it. Open a pier that is visibly wall: wider than her, and unequal on her two sides, by moving the door, narrowing or turning her (a profile toward the window or the street is narrower than the current frontal block; choose which and let the silhouette say it), or both. Break at least one of the frontal alignments on y=624 and the full-width sign band, and let the coat row group or crowd instead of marching at equal pitch. Then re-aim the existing light idea (one low sun, a neighbour's diagonal shadow, the chair's long parallel shadow) so the edge crosses open wall or pavement, not her contour, and does not pass through the jamb. Keep the paper at the pier's value and the chair's shadow logic; the critique does not ask for new colour or surface.",
  "mode": "bold",
  "mode_why": "C1 was bold on light and the light was rebuilt twice (main:4, then cast:1 as a clean re-run), and both rebuilds converged on the same shape because the geometry gave the light no room: the diagonal had to thread a 29-unit sliver and so became an outline of the figure, crossing the jamb at her shoulder. That is the recurring-repair pattern C1 named, now one layer over. A refine critique would nudge the edge a few units off her contour and keep the plugged slot that has stood since main:0 m16.",
  "layer": "geometry",
  "ulcer": "The woman's block (main:0 m16, 122 units wide) sits in a 180-unit gap between jamb and door, so the proposition's interval is a slot she fills; with no open wall either side, every light plan must route along her silhouette, and the thrown shadow of cast:1 crosses the jamb at her shoulder and drops its pavement vertex inside her hem.",
  "marrowline_triggers": [
    "branches_converge",
    "recurring_repair"
  ],
  "collapse_tags": [
    "Gesture Lock",
    "False Stabilization",
    "Recursive Echo"
  ],
  "permission": "Nothing in the geometry is protected, including what you painted before this critique. Everything else stands. Refuse, contradict or invert it; keep it only if the painting can say what keeping it costs.",
  "t": "2026-10-12T13:46:12+00:00",
  "state_at": "active"
}