MDPE.3:4 - Worked Cases

MDPE.3:4.1 - Balboa pair, carrier, and readable event

For one partnered phrase, the pair can be the performing whole. The selected views expose bodily support, continuing movement and contact, partner connection, and discrete pressure, direction, or weight events. The question is when the weight event becomes usable through the connection. Foot contact or a count alone does not settle that question.

A short pair trial tests whether the legato carrier persists, the event is readable in the selected phrase and tempo range, and the pair can recover after redirection. The result remains limited to that pair and configuration.

MDPE.3:4.2 - Shimon, marimba, control, gesture, and people

For a bounded robot-only marimba occurrence, Shimon is the performer. Generation software, controller, actuators, physical robot, marimba interaction, supplied seed, room, and human engineering Work contribute through different relations. The human team selects later development Work; it is not silently a constituent performer of every robot occurrence.

Actuator changes concern speed, dynamics, noise, and strike control. Head and arm gesture conditions concern interaction, attention, synchronization, and interpretation by human musicians. These are different views of different configurations, not one timeless robot architecture.

MDPE.3:4.3 - Jason Barnes as an equipped performer

For selected drumming Work, Barnes with a configured prosthesis can be the performing whole. Barnes, the device, sensing, autonomous-stick controller, audio input, drum kit, and relevant signals remain identifiable. The basis states which are constituents, which interact externally, and which sensing, control, actuation, audio-response, stick-to-drum, stop, and redirection relations obtain.

Neither Barnes’s prior musicianship nor the device specification establishes the whole-level capability. Later finger-control and piano Work use another configuration and reopen only the claims whose holder, connection, control, material, or conditions changed.

MDPE.3:4.4 - Separate performing arrangements in The Call

The project includes a songbook, exercises, choirs, recording protocol, datasets, choral models, spatial-audio installation, and a data-trust experiment. These contribute to different performing arrangements.

A choir-recording occurrence has one performer, recording, material, space, assignment, and protocol arrangement. An interactive installation has another model-running, spatial-audio, visitor-control, signal, response, and venue arrangement. A project description can relate them without making every System a constituent of one performing whole.

MDPE.3:4.5 - JIZAI ARMS before a Dance claim

The co-design Method can return a working wearer–device prototype and observations from embodied role-play. That configuration is useful for engineering and interaction decisions. It does not yet return a Dance performing whole capable of selected Work.

A Dance application must identify wearer, wearable base, robotic arms, partner or ensemble, sensing and control, space, timing, safety, correction, representative Work, and evidence. Until then, report the missing Dance configuration rather than treating extra limbs as capability or style.

MDPE.3:4.6 - Direct-Method stop

A solo musician already has the current instrument, room, material, monitoring, permissions, tested setup, and fallback. The direct instrument and venue Methods return the configuration and evidence needed by the performance decision. No whole-level ambiguity remains; applying MDPE.3 would add only another description.