| Performed Work is world-side and bounded | Rehearsal, plan, containing event, file, or programme is called the performance. | Name the performers, U.Work occurrence and interval; name any containing event and artifacts separately. |
| Intended use is visible | “Produce the show” hides what participants or audience members need. | State what they must be able to do and which artistic or participatory relations must survive. |
| Direct Methods remain primary | A generic integration pattern absorbs choreography, sound, venue, safety, recording, or operations. | Use each direct Method for its own result; integrate only at relations that change Music or Dance use. |
| Performer has the useful kind | Every human, robot, tool, and venue is called a performing System. | Name the person, pair, ensemble, or other performing Agent that performs the Work; name the direct Method that the Work enacts, and name equipment and support by their actual contributions. |
| Production does not silently govern art | Venue approval is treated as the artistic decision. | Expose the trade-off and keep artistic authority, safety, permission, feasibility, and participant rights distinct. |
| Social and participatory forms fit | Every case assumes a stage and passive audience. | Let partners or participants both perform and receive; bind the actual containing event. |
| Performed Work and artifacts stay distinct | “The file is the performance.” | Separate the historical Work occurrence, artifact production, publication Work, and access. |
| Availability is not response | Attendance or views are called recognition or success. | Hand the performed Work and artifacts to MDPE.12; use MDPE.13 for recurring selection arrangements. |
| Failure still changes action | “The presentation was unavailable” ends the work. | Name the missing condition, blocked use, and observable retry condition. |
| The pattern adds subject value | A direct production Method already returns everything needed. | Stop; do not add a cross-domain wrapper. |