1 Collapse the superposition
Wheel of Life, a two-act evening: Africa, Francia, Hungary, Japan, Ohio and Brazil, with the Guardian’s mountainside between them. Red and blue dots mark each episode’s two threads. The play stages selected lives of the soul, not every life. Until a sequence is chosen, every story exists at once.
Authorized configurations named by the author
Rejected by the author tested and excluded: the failures define the system’s edges
Director’s Desk: build a sequence yourself
Click modules to add them in order; click a chip in your sequence to remove it. Governance rules on every change.
2 The Wheel: watch the audience learn
The twelve modules sit on the wheel in canon order. The line traces this arrangement through them; the number inside each circle is its place in this evening, and pale modules are lives this evening does not stage. Pick a Recursive Node to follow its thread, then press Play to walk the evening module by module and see what the audience carries into each one.
3 Production workbench: compare two arrangements
Choose two arrangements. The rules engine validates each one; the comparison shows, module by module, what each audience already knows when it arrives and where the same scene will read differently. Save the arrangement you want as a production proposal and prepare a rights inquiry for the author’s review. The address bar always holds a link to the comparison you are looking at.
Save a production proposal
A proposal is a request, not a license: the author reviews every one. Proposals are kept in this browser until you send them.
4 What this arrangement produces
5 Same moment, different play
Pick one moment. The words on the page never change; watch what it means in every authorized configuration that contains it.
6 Audit: where the canon is thin
The engine also reads the canon critically. A module with fewer than two Recursive Nodes has weak Recursive Meaning. And a module performed alone should still carry the work’s DNA: the audit lists which lines go dark when each module stands by itself.
7 The configuration space
Every ordering of every subset of the twelve modules is possible. The canon’s constraints decide which are admissible. Only the author decides which are authorized. This is the whole space, walked live in your browser from the constraint sheet itself: governance by constraints, not lists.
A sample for the author’s review, never for performance: admissible does not mean authorized.
The author’s bench: look inside a family before authorizing it
A family is a predicate, not a list: “any admissible sequence of five or more modules that opens with Module 1 and includes Module 2.” Describe one, and the bench counts every admissible sequence it would pre-authorize and shows where it gets strange, so the author tests the boundary cases, not every member.
Author mode (in the footer) lets the author pre-authorize a family in this browser.
8 Twin audiences
The past is a variable state. Choose one module and two configurations, and see what each audience carries into the room and how the same symbols read there. The words are identical. The play is not.
9 Distinctness audit
The method’s argument standard: configurations must differ in kind, not only in emphasis. For every pair of the author’s named multi-module configurations, this measures how differently the audience meets each module: the share of the company (the modules already seen) that is not the same. 0% is the same play; 100% is a play in which no module is met in the same company. Pairs under 25% deserve a second look: a prompt for the author’s judgment, not a rule.