Regenerate the traceability matrix and gesture book after the rebase

docs/gestures.md

@@ -5,7 +5,7 @@
 
 Every entry here is extracted from the comment beside the code that implements it, so this file cannot describe a gesture the application does not have. Add one by writing a `GESTURE:` block next to the implementation; there is nowhere else to write it.
 
-40 gestures, in 4 places.
+41 gestures, in 4 places.
 
 ## Develop
 
@@ -25,7 +25,7 @@ Sampling a neutral is the first move of the tonal pass — every colour judgemen
 
 Anchored on the fingers' midpoint, and on the pointer, so the gesture reads as magnifying the picture rather than sliding it about. Double-tap is the way to an exact 1:1; this is the way to everything in between.
 
-<sub>`ui/dr-ui/ui/app.slint:2028`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2036`</sub>
 
 ### Move a magnified photograph about
 
@@ -34,7 +34,7 @@ Anchored on the fingers' midpoint, and on the pointer, so the gesture reads as m
 
 Only once there is something outside the viewport to reach, which is why the cursor becomes a hand exactly then. The view is clamped to the frame: panning past the edge would show undefined area beside the photograph, and that reads as a rendering fault rather than as the end of the picture.
 
-<sub>`ui/dr-ui/ui/app.slint:2119`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2127`</sub>
 
 ### Paint a mask by hand
 
@@ -43,7 +43,7 @@ Only once there is something outside the viewport to reach, which is why the cur
 
 A model's mask stops inside a shoulder and leaks into the hair, and no single edge control fixes two errors that go opposite ways. The whole stroke is one step in the history, so taking a mark back costs one press however long it took to make.
 
-<sub>`ui/dr-ui/ui/app.slint:2206`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2214`</sub>
 
 ### Take back the last change
 
@@ -53,7 +53,7 @@ A model's mask stops inside a shoulder and leaks into the hair, and no single ed
 
 A whole drag is one step, so undo takes back a decision rather than a frame of a gesture. The list is there because arriving six steps back costs what arriving from one does.
 
-<sub>`ui/dr-ui/ui/app.slint:2427`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2435`</sub>
 
 ### Do it again after taking it back
 
@@ -61,7 +61,7 @@ A whole drag is one step, so undo takes back a decision rather than a frame of a
 - **Pointer** — Click it, or press Redo in the History header
 - **Keyboard** — Ctrl+Shift+Z
 
-<sub>`ui/dr-ui/ui/app.slint:2440`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2448`</sub>
 
 ### Copy the settings from this photograph
 
@@ -71,7 +71,7 @@ A whole drag is one step, so undo takes back a decision rather than a frame of a
 
 The panel is the copy that has to work: a tablet has no modifier key to hold and no menu bar to hang the action from. The shortcut is an accelerator for a control that is on screen either way.
 
-<sub>`ui/dr-ui/ui/app.slint:2473`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2481`</sub>
 
 ### Paste the settings onto this photograph
 
@@ -81,7 +81,7 @@ The panel is the copy that has to work: a tablet has no modifier key to hold and
 
 The button names what would be pasted — "3 adjustments", and whether the crop is coming with it — which the shortcut cannot say. Both paste the same scope.
 
-<sub>`ui/dr-ui/ui/app.slint:2485`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2493`</sub>
 
 ### Change which group of adjustments is on screen
 
@@ -91,7 +91,7 @@ The button names what would be pasted — "3 adjustments", and whether the crop
 
 The groups are whatever the operation set declares itself to be about, so there are as many as the pipeline has and no key can be assigned to one of them by name. Stepping is the binding that survives a node being added.
 
-<sub>`ui/dr-ui/ui/app.slint:2513`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2521`</sub>
 
 ### Look at the photograph at 1:1
 
@@ -101,7 +101,7 @@ The groups are whatever the operation set declares itself to be about, so there
 
 Noise reduction and capture sharpening are judgements about single pixels, and a fitted view averages several of the file's into each one on screen — so the frame looks softer than it is and the correction goes too far. The point and the magnification survive opening the next photograph, which is what makes checking the same eye across forty portraits forty keystrokes rather than forty pans.
 
-<sub>`ui/dr-ui/ui/app.slint:2548`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2556`</sub>
 
 ### Move to the next or previous photograph
 
@@ -111,7 +111,7 @@ Noise reduction and capture sharpening are judgements about single pixels, and a
 
 The edit on screen is saved on the way out, so stepping through a folder is as much a departure as going back to the grid and loses nothing.
 
-<sub>`ui/dr-ui/ui/app.slint:2600`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2608`</sub>
 
 ### See the photograph before you edited it
 
@@ -121,7 +121,7 @@ The edit on screen is saved on the way out, so stepping through a folder is as m
 
 Held rather than toggled, and no split screen: a split halves the working image on the tablet the column was sized for, and the comparison photographers describe making is a flick back and forth. It takes no history step, so checking whether a frame is overcooked costs nothing to undo afterwards.
 
-<sub>`ui/dr-ui/ui/app.slint:2724`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2732`</sub>
 
 ### Put one control back to its default
 
@@ -226,7 +226,7 @@ Double-click is what a file manager and a Lightroom panel use for the same thing
 
 Grouping over-merges on siblings, on parents and children, and on the same person a decade apart, so splitting is as prominent as merging. A tool that can only merge makes its own errors permanent.
 
-<sub>`ui/dr-ui/ui/identity.slint:161`</sub>
+<sub>`ui/dr-ui/ui/identity.slint:188`</sub>
 
 ### Rule on a suggested face
 
@@ -235,7 +235,7 @@ Grouping over-merges on siblings, on parents and children, and on the same perso
 
 A face is either the system's guess or the user's judgement, and the two are never conflated. A rejection is remembered, so the face is not suggested for that person again. The gesture note above is the whole label: a tick and a cross are only "confirm" and "reject" to someone who can see the suggestion they sit beside, and `IconButton`'s fallback would announce them as "check" and "cross" — two icon names that say nothing about which person is being ruled on.
 
-<sub>`ui/dr-ui/ui/identity.slint:181`</sub>
+<sub>`ui/dr-ui/ui/identity.slint:208`</sub>
 
 ### See a person's photographs
 
@@ -244,7 +244,7 @@ A face is either the system's guess or the user's judgement, and the two are nev
 
 This is the point of having identified anybody. Without it the screen is a filing cabinet with no drawer handles.
 
-<sub>`ui/dr-ui/ui/identity.slint:602`</sub>
+<sub>`ui/dr-ui/ui/identity.slint:635`</sub>
 
 ### Change how faces are grouped
 
@@ -253,7 +253,7 @@ This is the point of having identified anybody. Without it the screen is a filin
 
 The right match confidence is a property of your library, not of the model. "What would this do?" answers for this library without writing anything; names, confirmations and the groups you have set aside are kept whatever the dials say.
 
-<sub>`ui/dr-ui/ui/identity.slint:639`</sub>
+<sub>`ui/dr-ui/ui/identity.slint:672`</sub>
 
 ## Library grid
 
@@ -301,6 +301,15 @@ This replaced a double tap, which had no visible state and could take forty phot
 
 <sub>`ui/dr-ui/ui/library.slint:1414`</sub>
 
+### Take the blinks out of a burst
+
+- **Touch** — Narrow to a person, then tap "Eyes open" beside their name on the filter bar
+- **Pointer** — Narrow to a person, then click "Eyes open" beside their name on the filter bar
+
+Face indexing reads each face's eyes. The chip drops frames where the chosen people are caught blinking, and leaves sunglasses and eyes it could not read alone.
+
+<sub>`ui/dr-ui/ui/library.slint:2106`</sub>
+
 ### Find photographs with two people in them
 
 - **Touch** — Open the People chip on the filter bar, tap each name, then switch the chip beside them to "all of them"
@@ -308,7 +317,7 @@ This replaced a double tap, which had no visible state and could take forty phot
 
 "Any of them" is a union and "all of them" is an intersection. The tray is where both terms and the choice between them live, because a filter belongs on the filter bar.
 
-<sub>`ui/dr-ui/ui/library.slint:2106`</sub>
+<sub>`ui/dr-ui/ui/library.slint:2135`</sub>
 
 ### Resize the thumbnails
 
@@ -317,7 +326,7 @@ This replaced a double tap, which had no visible state and could take forty phot
 
 There is no wheel on a tablet, so without the pinch the cell size could only be changed by a control a finger cannot reach.
 
-<sub>`ui/dr-ui/ui/library.slint:2759`</sub>
+<sub>`ui/dr-ui/ui/library.slint:2789`</sub>
 
 ### File photographs in a collection
 
@@ -326,7 +335,7 @@ There is no wheel on a tablet, so without the pinch the cell size could only be
 
 The selection is what the drag carries, which is why selecting several is worth the mode: forty photographs file in one gesture.
 
-<sub>`ui/dr-ui/ui/library.slint:2956`</sub>
+<sub>`ui/dr-ui/ui/library.slint:2986`</sub>
 
 ### Open a photograph
 
@@ -335,7 +344,7 @@ The selection is what the drag carries, which is why selecting several is worth
 
 A tap opens; a tap that *moved* does not. Travel is what separates a deliberate tap from a hand brushing past, and it is the only thing that does: the two are the same length. An earlier version required the finger to dwell 120 ms instead, and that rejected ordinary taps — a real tap is often quicker than a brush.
 
-<sub>`ui/dr-ui/ui/library.slint:3224`</sub>
+<sub>`ui/dr-ui/ui/library.slint:3254`</sub>
 
 ### Rate a photograph without opening it
 
@@ -345,7 +354,7 @@ A tap opens; a tap that *moved* does not. Travel is what separates a deliberate
 
 A star has to take the press without it also reaching the cell, or every rating throws the user into develop.
 
-<sub>`ui/dr-ui/ui/library.slint:3344`</sub>
+<sub>`ui/dr-ui/ui/library.slint:3374`</sub>
 
 ### Choose the frame a folded burst shows
 
@@ -354,7 +363,7 @@ A star has to take the press without it also reaching the cell, or every rating
 
 A folded burst draws its earliest frame, which is a fact about the clock and not a judgement about the photograph — nothing in this application ranks a frame (FR-CULL-5). But the point of a burst is that one of the twelve is better than the other eleven, and the photographer is the only one who knows which. So the choice is offered on the frames themselves, while they are open and side by side, which is the one moment the alternatives are on screen to be compared.
 
-<sub>`ui/dr-ui/ui/library.slint:3475`</sub>
+<sub>`ui/dr-ui/ui/library.slint:3505`</sub>
 
 ### Drop the selection but keep selecting
 
@@ -363,7 +372,7 @@ A folded burst draws its earliest frame, which is a fact about the clock and not
 
 Distinct from Done, which leaves the mode entirely. Clearing keeps it, so the next selection can start straight away.
 
-<sub>`ui/dr-ui/ui/library.slint:4136`</sub>
+<sub>`ui/dr-ui/ui/library.slint:4166`</sub>
 
 ### Select everything the grid is showing
 
@@ -372,7 +381,7 @@ Distinct from Done, which leaves the mode entirely. Clearing keeps it, so the ne
 
 A scoped grid of two hundred frames is two hundred taps otherwise, and "all of them, except those three" is a far more common shape than the taps it took to say it.
 
-<sub>`ui/dr-ui/ui/library.slint:4153`</sub>
+<sub>`ui/dr-ui/ui/library.slint:4183`</sub>
 
 ### Take photographs out of a collection
 
@@ -381,4 +390,4 @@ A scoped grid of two hundred frames is two hundred taps otherwise, and "all of t
 
 The badge on a cell says a photograph is filed in three collections and never which. This is the sheet that names them, and the only way out of one the grid is not currently scoped to.
 
-<sub>`ui/dr-ui/ui/library.slint:4277`</sub>
+<sub>`ui/dr-ui/ui/library.slint:4307`</sub>