The expensive loop was waiting for the state to reveal itself.
The project studied why cartoon–texture decomposition takes so long instead of treating slowness as the price of seriousness. The answer led away from prolonged descent and toward a finite construction of the important states. The same mechanism was then placed inside OBS, where decomposition becomes a live visual instrument.
- Everyone assumed
- Cartoon and texture separation belongs to slow iterative image processing.
- I asked
- What part of the iteration discovers real structure, and what part merely waits for the representation to admit it?
- I changed
- Replace long outer descent with a finite structural construction, preserve exact recomposition, and carry the surviving mechanism into native video code.
- Now there is
- A native cartoon, texture, shading, and residual decomposition path that can inhabit an OBS filter instead of an offline notebook.