MDPE.9:2 - Solution

Generate and compare enough difference to challenge the current commitment. Stop when the next creation decision can be made. Keep capability, production readiness, cultural recognition, and population-wide selection as separate claims that local comparison has not established.

MDPE.9:2.1 - Name the use and incumbent assumption

State the receiving use, intended performer, and decision. Examples include choosing material for an ensemble rehearsal, selecting movement relations for a social-dance exercise, deciding which human–AI interface deserves another prototype, or preserving branches for later choreography.

Then state the incumbent assumption in a form that another candidate can challenge. For example:

• denser doubling is needed to preserve harmonic identity;
• the visible figure carries the partnered timing;
• higher model fidelity gives a dancer more useful control;
• a symmetric duet rule is easier to perform and read;
• the most popular take is the best concert arrangement.

A genre label or request to “be more creative” is not a testable incumbent assumption.

MDPE.9:2.2 - Produce materially different candidates

Apply suitable domain Methods and keep each candidate identifiable. Record only the derivation, edition, configuration, or distinguishing relation needed for the current comparison.

A candidate is materially different when the difference could change the receiving decision. Change rhythm, attack, instrumentation, form, partner relation, body organization, spatial relation, interface, generative rule, constraint, recovery mechanism, or another relevant feature. Renaming a copy or changing an irrelevant parameter does not add useful diversity.

Prefer a few candidates that pull the decision in different directions over many near-duplicates. Preserve a branch when its trade-off or stepping-stone value may matter later; do not force every difference back into one revised identity.

MDPE.9:2.3 - Choose a proportionate performer-involving trial

For each serious candidate, choose the cheapest Work that can expose the relied-on consequence:

• notation, rendering, or simulation can expose range, balance, geometry, latency, or feasibility;
• a listening pass can expose timbre, masking, form, or perceptual distinction;
• an embodied walkthrough can expose reach, weight, effort, contact, balance, or control;
• a rehearsal fragment can expose breath, cueing, ensemble timing, recovery, and instrument interaction;
• a pair, social-floor, battle, class, installation, or audience probe can expose relations that isolated studio Work cannot.

Use the intended performer or performing Agent where practical. A justified proxy can answer a narrower question, but state what it cannot show.

When a candidate is a constraint specification, identify the participants, relations, and conditions it proposes. Observe the later Work to establish whether those relations held. Producing the rule card does not produce the duet relation.

MDPE.9:2.4 - Separate observation from judgement

Keep the trial, observation, and decision apart. A dancer’s felt control, partner report, audio recording, motion trace, rehearsal interruption, listener discrimination, model score, or audience response can each bear on a claim. None automatically supplies the whole judgement.

Interpret the observations for the named use. A candidate can be novel but unusable, technically feasible but artistically wrong, effective for one body but unsafe for another, or valuable only as a branch. Avoid collapsing control, effort, quality, novelty, popularity, fidelity, and cultural recognition into one score.

MDPE.9:2.5 - Give every candidate a next treatment

Return one scoped disposition:

• retain — use or compare the candidate again under the stated conditions;
• revise — change the named feature and retry under a stated condition;
• branch — preserve the difference as a separate line or for another use;
• reject — stop using it for the stated performer, conditions, and purpose.

Do not write “reject globally” unless the claim truly covers all relevant performers and uses. A disposition does not authorize later Work, select a production programme, establish performing capability, or show that a wider practice recognized or retained the candidate.