T_341
The engine's readingA half wheel of translucent grey bands turns round a white core on the bottom edge, split by a pale channel, with one red drop at the rim.
Record- Date
- 2026.06.06
- Dimensions
- 70 × 140 cm
- Paper
- Qing Yi Half-Raw Xuan
- Ink
- Yi De Ge Refined Ink Juice, Boku-Undo Genso, Yi De Ge Yun Tou Yan, colour inks
That red at the top right is the spot that comes through a plaster an hour after you swear it has stopped. The school nurse kept a tin of them on the bathroom shelf, the old fabric kind, and pressed each one down twice with her thumb, as if it might argue. I was small, and I had given most of a knee to the playground. She said a scar is the body keeping a receipt. I still have mine, a pale little wheel below the kneecap. On cold mornings it tightens before the rest of me wakes, a small grey flag going up over a white field.
The reading
Written by the engine after the painting was rated, from the settled findings, and checked by hand before approval. It explains the numbers; it may not change them.
- Structure
- half wheel of curved bands round a white core, split by a vertical channel
- Movement
- radial, bands sweeping round the core; the channel cuts straight down against it
- Coverage
- ink on about three quarters of the paper
- Tone
- four tonal steps, weighted to the middle greys
- Layering
- many translucent arc passes; readable left and top, merging in the right core
- Edges
- crisp squared band ends; dry grainy edges along upper arcs; soft pink wash
- Feibai
- none
- Open paper
- white half circle at bottom centre, vertical channel above it, top margin
- Colour
- dark red drop top right; pink wash and red-brown spatter near centre
- Chance marks
- dark speckles in lower-left band; fine crease lines across upper arcs
- Frame
- ink runs off left, right and bottom edges; top stays open
A half wheel of grey bands rises from the bottom edge and swings round a white core. A pale channel drops from the top into that core and splits the wheel in two. The eye runs down it, then out along the arcs.
The left half is where it lives. Thin grey passes lie one over another, and the half-sized paper holds each wall while the band beneath shows through, so the order of making reads from pale to deep. Across the upper arcs a dry, combed grain keeps the darker greys open. One dark red drop at the top right gives the cool field a warm point.
The right half pays for its weight. Near the centre the passes pile up and merge into one tone; where ink lies that thick the grain closes and the mass goes flat, with little paper left to breathe. A square block left of the channel stays stiff among the curves. Dark speckles in the lower-left band are small, and the greys absorb them.
Those costs gather on one side. Elsewhere the wheel turns, the layers stay legible, and grey does the work of colour. It stands well above the archive's run.
How it was read
Read by the Visual Analysis Engine, version 23.8, on 2026.10.06: measured by code, then read 5 times by Claude Opus 5.5 against three reference paintings (R1 to R3), each read independent of the others. How the engine works.
Three views of one sheet.
Left, the photograph. Centre, the tone stretch the model is shown beside it: the darkest 45% of tones spread over the whole range, so flat black, banding and stains show. Right, every pixel as the measuring code classes it: cyan black ink, deep teal translucent grey, stone the palest ink, near black bare paper.
4 families of tone.
Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Life inside the black: 0.041 (under 0.045 reads as flat).
Five reads, agreeing on 3 of 5 qualities.
Each quality placed on its ladder by each read, and the mean the engine keeps. Where reads differ, they differ by one rung; close calls resolve down.
READ 1, IN ITS OWN WORDS
“A radial fan of arcs, like R3 but more crowded and heavier on the right. The translucent layering is strong. The dark interiors are flat, and the bulky right mass and dense coverage hold the sheet at ordinary level.”
Radial arc segments hold their walls and track the stroke, but the right-centre dark mass and small central rectangle read as filled blocks.
WEAKEST Bulky dark slab in right-centre mass
STRONGEST Arced outer ring segments following brush travel
Grey arcs show drag banding and grain, but dark interior modulation 0.041 is flat; the right dark mass is uniform inside.
WEAKEST Flat interior of right-centre dark mass
STRONGEST Banded grey arcs in upper-left quadrant
Many translucent overlapping arc passes, four tonal steps; overlaps read in sequence around the radial structure, building depth.
WEAKEST Dense dark overlaps at right lose some order
STRONGEST Stacked translucent arcs along left and top
Semicircular radial fan with central void and vertical gap gives direction, but 77% coverage crowds the sheet and right side sits heavy.
WEAKEST Crowded heavy right half against cramped centre
STRONGEST Radial fan with central white void
Ink controlled with grain and dry edges; small dark spots in lower-left band; red dot and pink wash are deliberate colour ink.
WEAKEST Small spots in bottom-left dark band
STRONGEST Dry-brush grain in upper arcs
2 distinct places, 0 major.
Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 2 distinct places, 8 mentions in all across 5 reads; the number in each ninth is how many times a flaw was named there. Reads agreeing on a place strengthen the evidence for one flaw; they do not multiply it.
Measured from the 16-bit master.
The previous engine (V22) measured this sheet's master file: 3 principal ink masses traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 56% crisp, 44% soft or bloomed, 0% broken.
The rating these readings produce, the rules applied and the arithmetic, with Peter's own rating where he gave one, are in the Archive record.
Date
2026.06.06, day 160 of the Crucible Year, one of 11 paintings from that date. 30 works were registered in the fourteen days before. Paintings are dated by the day their batch was registered and photographed; each was finished that day or within the few days before. Phase: P3 The Floor Rises (working title).
T_341 among all 402
Every painting of the year by date; this one is outlined.
Materials
- Paper
- Qing Yi Half-Raw Xuan, Jingxian Sichijian Xuan Paper Arts & Crafts Co., Ltd., made unknown
- Ink MB4
- Yi De Ge Refined Ink Juice, Yi De Ge (Beijing)
- Ink MB5
- Boku-Undo Genso, Boku-Undo
- Ink MB6
- Yi De Ge Yun Tou Yan, Yi De Ge (Beijing)
- Colour
- colour inks, recorded together
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