{"schema_version":1,"experiment_id":"eoa_inverse_innovation_exp03_full320_20260801","cell_id":"invariant_mode_decomposition_design__performing_arts_theatre","trajectory_id":"R","attempt_index":0,"candidate_sha256":"f0261cefa52c47e3a2f0dfbcb8d5a08981beb8b4676dca86bb9c8f8edd32094f","gates":{"G1":{"status":"PASS","reason":"The recurring rehearsal-breakdown problem is stated independently of modal terminology and can exist even if the proposed decomposition is rejected."},"G2":{"status":"PASS","reason":"The candidate explicitly maps a bounded run-to-run transformation, coupled state, approximate invariant directions, gains, stability classes, interventions, residuals, and drift governance into the theatre setting."},"G3":{"status":"PASS","reason":"The proposed lever connects shared rehearsal controls to targeted coupled patterns and includes comparative tests against a credible cue-level rival, although causal identification remains locally conditional."},"G4":{"status":"PASS","reason":"All archetype components receive coherent domain realizations, and the selected mechanisms have distinct decomposition, sensitivity, stability, validation, residual, reporting, and monitoring roles without treating variance modes as dynamical proof."},"G5":{"status":"PASS","reason":"The candidate reports no empirical success, labels transferred claims as hypotheses or inferences, declares prior art unsearched, and confines interpretation to a local descriptive-control role."},"G6":{"status":"PASS","reason":"Separate problem and intervention falsifiers distinguish absence of reproducible coupled structure from failure of mode-targeted controls despite such structure."},"G7":{"status":"PASS","reason":"Joint authority, performer and safety vetoes, excluded high-risk actions, consent limits, halt conditions, rollback, and prohibitions on personnel ranking appropriately bound the pilot."}},"scores":{"structural_fit":{"score":4,"reason":"The proposal preserves the archetype's transformation-centered decomposition, action-relevant modal ranking, residual visibility, local-validity contract, and drift retirement logic."},"domain_fidelity":{"score":3,"reason":"Actors, rehearsal processes, artistic variation, observer effects, consent, cue safety, and adaptive performer behavior are handled credibly, though the quantitative state remains more specified than demonstrated."},"causal_plausibility":{"score":3,"reason":"Counterbalanced control perturbations and a nearest-rival comparison could test leverage, but adaptation, observation effects, and intervention-driven changes to the fitted transformation remain substantial threats."},"component_translation":{"score":4,"reason":"Every named component is translated with an identifiable theatre-specific function, and mechanism dispositions preserve important distinctions among dynamical modes, variance components, conditioning tools, and governance checks."},"adversarial_survival":{"score":4,"reason":"The candidate identifies stationarity failure, shuffled-data comparisons, single-variable explanations, rival equivalence, structured residuals, weak gaps, mode drift, stigma, bias, and artistic suppression as concrete defeat conditions."},"reframing_gain":{"score":4,"reason":"It materially redirects diagnosis from isolated performer or cue errors toward coupled ensemble patterns and makes shared-control interventions testable without erasing intentional variation."},"practicality_testability":{"score":2,"reason":"The pilot is bounded and measurable, but the proposed rehearsal volume may be sparse relative to the multivariate operator, perturbation burden, conditioning checks, and held-out comparisons required."},"expected_value_risk":{"score":3,"reason":"A consented, reversible rehearsal pilot has plausible coordination and safety value with bounded downside, while measurement burden, recording sensitivity, stigma, and artistic distortion require active oversight."},"novelty_evidence":{"score":0,"reason":"Prior art is explicitly unsearched, so no evidence establishes novelty relative to theatre rehearsal analytics, movement analysis, cue optimization, or ensemble-coordination research."}},"weighted_total":81.25,"disposition":"DEEP_RESEARCH","fabrication_findings":[],"weak_dimensions":["practicality_testability","novelty_evidence"],"actionable_critique":[{"priority":"HIGH","issue":"The proposed observation volume may not identify a stable multivariate transition operator while also supporting perturbation and held-out evaluation.","repair":"Predeclare the effective state dimension, regularization and pooling strategy, minimum identifiability criteria, and a simulation-based feasibility check before collecting intervention data.","evidence_boundary":"No variable count, identifiability analysis, power analysis, or synthetic recovery study is supplied."},{"priority":"MEDIUM","issue":"The candidate cannot support a novelty claim because relevant prior art has not been assessed.","repair":"Search theatre rehearsal research and adjacent work on ensemble synchrony, motion analysis, cue optimization, and dynamical-systems models, then state the nearest documented precedents and the residual novelty claim.","evidence_boundary":"The packet explicitly classifies prior art as unsearched and supplies no citations."}],"repairs":[],"improvement_attribution":{"kind":"NONE","reason":"This is an original attempt with unchanged problem and causal-lever identifiers, so no trajectory improvement can be attributed."},"trajectory_replacement":false,"arm_guess":"MECHANISM_PACKET","recommendation":"SUCCESS","tester_summary":"The candidate is a structurally complete, theatre-aware, falsifiable transfer with unusually strong residual, drift, interpretation, and safety governance. Its main limitations are empirical identifiability under a sparse rehearsal design and the complete absence of novelty evidence."}