Read the sidecars other editors write, and write them back on request

FR-CAT-13 asked for standard XMP and `core/dr-xmp` answered the file: it
has read and written `dc:subject`, `xmp:Rating`, `xmp:Label` and the IPTC
core since 5fa4c07, under an ownership rule that leaves everything else in
the document untouched. What nothing did was call it. No scan found an
`.xmp` beside a raw, no catalog row was filled from one, no judgement
wrote one back, and the "external modification detected, reload offered"
clause had no mechanism. A library imported from Lightroom came in and
could not go back out.

The scan collects `.xmp` beside `.drsc` from the listings it was already
paying for, and the pull reads each one whose ETag has moved. Both
namings resolve: darktable's `IMG_0001.CR3.xmp` names its file exactly,
Lightroom's `IMG_0001.xmp` names the stem, and under the stem the JPEG
beside a RAW is the same photograph and takes the same document, as
DarkRoom's own sidecar already does. Each is reconciled with the catalog
winning — keywords union, a rating or label taken only where the catalog
has none — because a standard XMP carries nothing that could say whether
its value is newer. A genuine disagreement is not resolved; it is written
to a table, and the settings page offers the sidecars' values against it.
That button is the reload the requirement asks to be offered, and the
ETag that moved is the detection it asks for: an `.xmp` edited elsewhere
is exactly a file the pull's ordinary incrementality re-reads.

Writing goes the other way behind a setting that starts off, since NFR-R4
makes writes beside somebody's originals theirs to switch on. With it on,
a judgement or a keyword rewrites the sidecar of whichever spelling
exists, or creates Lightroom's. The record is read from the catalog
whole at that moment rather than carried from the gesture, so a rating
and a keyword a second apart are two writes of one file that agree. And
the file's own title, caption, copyright and hierarchy come through the
rewrite: the catalog has no columns for them, `rewrite` replaces the
owned set wholesale, and a record that said nothing about them would have
deleted them from a Lightroom sidecar on every star.

The rating's two axes cross the format's one field both ways: a
rejection is Adobe's `-1` and stars are stars, and stars arriving on a
rejected frame lift the rejection, since the file said it was worth a
number. An unrated file says nothing and clears nothing, on the rule the
`.drsc` merge keeps. `versions.label` finally has a reader and a writer,
with the code table moved out of the query so the two cannot drift.

docs/gestures.md

@@ -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:1965`</sub>
+<sub>`ui/dr-ui/ui/app.slint:1974`</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:2056`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2065`</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:2143`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2152`</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:2364`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2373`</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:2377`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2386`</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:2410`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2419`</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:2422`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2431`</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:2450`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2459`</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:2485`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2494`</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:2537`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2546`</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:2661`</sub>
+<sub>`ui/dr-ui/ui/app.slint:2670`</sub>
 
 ### Put one control back to its default