THE READER WATCHES

Watch an
idea change.

Some explanations are easier to understand when they happen. First, watch the same four pieces become a different reading.

NOW SHOWING / TRANSFORMATION

01LOOK
02ASK
03TEST
04SAY

A sequence: the connections can be read.

THE COMPLETE SEQUENCE / TEXT RECORD
  1. A pile: the same pieces overlap.
  2. Reorganisation: identities travel, nothing is replaced.
  3. A sequence: the connections can be read.
INSPECT THE FORM ↗

ROOM 01 / PERFORMANCES

Change the reading.

The pieces stay themselves. Their arrangement makes a different argument.

A STUDY IN UNFOLDING

The parts arrive before the conclusion.

A closed argument opens into its parts. Only then does the assembled reading take its place.

The parts of an argument.

01 / LOOK

Notice the material.

02 / ASK

Name the uncertainty.

03 / TEST

Inspect the support.

04 / SAY

State what follows.

A conclusion you can retrace.

The parts resolve into a conclusion you can retrace.

THE COMPLETE SEQUENCE / TEXT RECORD
  1. A whole argument, still closed.
  2. LOOK, ASK, TEST and SAY become individually visible.
  3. The parts resolve into a conclusion you can retrace.

The same whole–parts–result progression as Decomposition, with a staged, finite playback.

ENTER UNFOLDING / SPECIMEN, SELECTION & REACT ↗
AI-generated exhibition study: towering translucent silk panels form a dark passage towards a distant copper-lit opening.
03 / SILK · PASSAGE

The approach is part of the story.

Not everything arrives at once. A glimpse, an interval, another glimpse. The sequence changes what the ending means.

HAUSE VISUAL STUDY · AI-GENERATED, NOT A REAL INSTALLATION

ROOM 02 / PERFORMANCES

Follow the passage.

One thing travels; what it passes through becomes part of the explanation.

A STUDY IN PROCESSION

One thing carries the journey.

Follow a single request through its stages. Each passed stage remains part of its history.

01ReceivePASSED
02InterpretPASSED
03ComposePASSED
04DeliverREQUEST 07

Deliver: the same request reaches its reader.

THE COMPLETE SEQUENCE / TEXT RECORD
  1. Receive: one request enters.
  2. Interpret: the request acquires a selected act.
  3. Compose: the selected act is given a form.
  4. Deliver: the same request reaches its reader.

The token is the same throughout. The illustration traces passage, not a measured latency or live pipeline.

ENTER PROCESSION / SPECIMEN, SELECTION & REACT ↗

ROOM 03 / PERFORMANCES

Change the frame.

Scale and precision determine which differences you can see.

A STUDY IN MAGNITUDE

The world rescales around the next thing.

A square that filled the room becomes small when the next scale arrives. Watch area—not just the label.

1AREA UNITS
100AREA UNITS
10,000AREA UNITS

Magnitude 10,000: the first square is one ten-thousandth of the area.

THE COMPLETE SEQUENCE / TEXT RECORD
  1. Magnitude 1 fills its reference square.
  2. Magnitude 100: the first square is one hundredth of the area.
  3. Magnitude 10,000: the first square is one ten-thousandth of the area.

Synthetic magnitudes 1, 100 and 10,000. Square areas are proportional; the smallest remains visible without a minimum-size clamp.

ENTER MAGNITUDE / SPECIMEN, SELECTION & REACT ↗

ROOM 04 / PERFORMANCES

Give the subject time.

A film is a published object, not a decorative background.

FROM VISUAL STUDY TO REAL PUBLICATION

The subject
comes first.

The silk passage above is an imagined space. This is an actual film: Chris Hay explaining a technical idea, with chapters and a transcript you can operate. It demonstrates the separate publication player; the original Film form remains a labelled storyboard, not this video.

FILM / CHRIS HAY · 2026-04-13
Poster for LLMs Are Databases - So Query Them

LLMs Are Databases - So Query Them

A real film from Chris Hay’s channel. Press play to enter the original YouTube screening; choose a chapter or timestamp to jump into the conversation.

IN THE FILM

Transcript.

Three opening passages from automatic English captions. Unreviewed: names and technical terms may contain errors. This is an excerpt, not a complete transcript.

READ THE TIMED TRANSCRIPT

What if I said every single large language model was a database? Specifically, a graph database. Not metaphorically, but physically. If we looked underneath the hood at the weights, it was an actual database with real edges, with real entities, with real nodes. That's how it was physically represented. What would that mean? Well, it would mean that we could query it. We

SOURCE ↗

could insert new knowledge. We could compile down to weights because it's just a database. And if it's just a database, then we could have query languages like SQL over the top of it. We could programmatically work with the model if that were true. But the good news is it is true. So, let's do it. So, we're going to query it with a language called Larql, which allows us to query

SOURCE ↗

large language models. So, I'm going to connect it up to the weights of the Gemma 34B model. Believe me, I will connect it up to Gemma 4, but that will be a future video. So, I've now connected up here and you can kind of see there that that model has got 34 layers or 348,000 features. And in fact, if I just run stats against the model there, there you see Google Gemma 3, you see the number of features, and then as you can see

SOURCE ↗
WATCH THE ORIGINAL ON YOUTUBE ↗
INSPECT THE PUBLICATION RECORD ↗

READ. OPERATE. WATCH.

Now give it words.

ENTER STATEMENTS ↗CHOOSE A FORM ↗BUILD WITH HAUSE ↗

PUBLISHED 29 AUG 2026 · REVISED 9 SEP 2026 · VERSION 0.1.0

CITE

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CITE THIS

Web page · 0.1.0

Hay, C. (2026). Performances — watch an idea change (Version 0.1.0). hause.design. https://hause.design/performances

HAUSE · THE SPECIMEN BOOK / 2026

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