MDPE.3:6 - Sources and Epistemic Boundaries
| Source or maintained result | Contribution used here | Boundary |
|---|---|---|
FPF A.1, A.22, A.6.F, A.6.M, A.6.RSIR, A.2, A.2.1, A.2.2, A.15.1, and F.6 | System admission, selected structures, function, module and interface-claim recovery, assignment, capability, Work, and attribution. | They do not supply Music-or-Dance material, performer, carrier, articulation, partner, ensemble, or performance use. |
| SYSE.5 — Develop an Engineered System’s Functional Organization and Bearer Alternatives | General engineered-System functional organization, bearer, allocation, interface, feasibility, and conflict alternatives. | A possible architecture is distinct from the configuration that exists; MDPE specifies the performance relations. |
| Timing examples in the Dance profile and the local Balboa cases | Continuing carrier, discrete articulation, several event locations, pair boundary, partner feedback, and layered coordination. | Method-design input, not one historical definition, universal teaching Method, or capability result. |
| Georgia Tech Shimon project, 2017 account, actuator study, and gesture study | Robotic generation, performance, actuation, gesture, timing, interaction, and performer/developer separation. | The sources do not establish one timeless configuration, robot-held development authority, or cultural retention. |
| Georgia Tech Barnes prosthesis account, finger-control account, and Drumming Arm study | Equipped performer, shared control, device-to-instrument interaction, representative performance, and changing configurations. | One performer/device lineage does not define every equipped performance. |
| Yamamura et al., JIZAI ARMS | Collaborative body-system design, prototype configuration, embodied role-play, and open interaction questions. | Prototype reachability does not establish Dance performance or capability. |
| Serpentine, The Call | Named choirs, recording protocol, datasets, models, installation, and participation arrangements. | The source describes distinct performing arrangements; it supplies no universal Music Method. |
| Whitehead et al., interpersonal coordination in Dance improvisation | Movement relation, directed influence, participant report, and other observations for human dyads. | One synchrony score does not configure a pair or prescribe a partnering Method. |
| Abalde et al., joint music making | Prior knowledge, social relations, goals, strategies, cueing, anticipation, correction, and mutual adaptation as ensemble concerns. | The research framework is not one ensemble configuration or Systems Engineering Method. |
Retain only views that change the configuration or its evidence. Use a direct field Method when it returns the same coordination result with less burden.