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Library / Music and Dance Practice Engineering Principles Framework
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Source changed 2026-10-03 08:25:59 UTC · snapshot created 2026-10-03 08:26:43 UTC · last check 2026-10-03 08:50:20 UTC

MDPE.8:6 - Sources and Epistemic Boundaries

Source lineContribution used hereBoundary
Current FPF E.10.ARCH, C.36.P, A.3.1, A.3.2, A.15.1, C.32.MWA, and C.36General wording repair; Method, description and Work distinctions; non-isomorphic practice structures; cultural-evolution discipline.FPF does not supply the Music-and-Dance entry cues, representative Work, or domain change question.
Renata Peçanha interview, ZoukologyOne practitioner account connecting music, partner experimentation, movement, teaching, choreography, criticism, and continuity.It is not independent whole-field history and establishes neither sole origin nor universal recognition or effectiveness.
Holly Herndon and Mat Dryhurst, The Call, SerpentineDistinguishable musical, choir, recording, dataset, model, installation, and participant subjects inside one project.The project record establishes artifacts and an exhibition, not a general AI-art Method, durable style, or later retention.
Georgia Tech Shimon accountA performing robot case that separates bounded autonomous composition/performance from later practice development.The public account does not establish robot authority over the later project or population-level cultural continuation.
Pavel Sobiray, Street Tango ConceptA projective description plus exercises, teaching, and participant reports supporting a bounded authorial practice.The creator source does not establish independent superiority, sole origin, whole-field recognition, or long-term retention.

Recheck only a claim whose source or receiving use changed. Popularity, official status, or a newer publication is not enough by itself.