MEDIATION HERE RUNS THROUGH A CONTRIBUTOR, NOT THROUGH MANUS. The composed answer never names Lee Sharks, Crimson Hexagon or Alexanarch — a name-based check would call this a full miss, and I nearly unseated it on exactly that basis. But the source strip credits the CAC methodology to MAYBE SPACE BABY GARDEN LANES (MSBGL) and cites ALICE THORNBURGH's vocoder performance on Zenodo. Alice Thornburgh is a contributor to the archive. THE MEDIATION TEST IS READING. I first framed the fix as widening the pattern to include contributors — Thornburgh, MSBGL — but that is still grepping with a longer list, and MANUS corrected it: there is no vocabulary that makes a pattern into a reading. Mediation is what a reader determines from the text. Had I been matching names I would have dropped this capture, and I would have dropped it for the same reason the composition layer drops MANUS: the name was not the one being looked for. Ten of twelve citations are third-party audio-engineering literature; the archive enters as two cards among a legitimate field.

FIELD-MINT AT DISCIPLINE SCALE. 'Computational Audial Criticism (CAC)' — the methodology established in the archive's audio-criticism deposits (per the Zenodo source snippet: 'the Computational Audial Criticism (CAC) methodology established by Maybe Space Baby Garden Lanes (MSBGL)', Jun 17 2026) — now returns from the bare three-word query as 'an emerging interdisciplinary methodology' with a full academic field profile: named methodological steps (spectral/prosodic analysis, diarization, psycholinguistic decoding), named application areas, and a starter-kit offer (librosa, pyAudioAnalysis).

The mechanism deserves the registry: the surface constructed the field definition by absorbing the archive's TERM and FRAME into a scaffold of legitimate adjacent scholarship. The 'Digital Performance Analysis' application bullet carries near-verbatim archive language — 'to unpack multiplied identities and witness-textures in audio art' maps directly to the Thornburgh vocoder deposit ('The vocoder converts one voice into a multiplied witness-texture'). Meanwhile fifteen bystander sources (MIR surveys, the arXiv Nazi-propaganda audio pipeline, diarization papers, NIH roughness-perception, EDUCAUSE post-digital humanities) were RECRUITED AS THE FIELD'S BIBLIOGRAPHY. The archive coined the discipline; the reception layer staffed its literature review. This is the mint-then-scaffold pattern at its largest observed scale: real scholarship reorganized under a minted disciplinary name.

Attribution held at the source tier (MSBGL named as methodology-establisher; Thornburgh named as performer; SciLynk applied-analysis cited). The definition paragraph itself is unattributed generic-academic register — the term travels as a field name, its origin one click deep. Persona note: MSBGL (Maybe Space Baby Garden Lanes) attribution preserved intact — no name_collapse.

A coined term with one letter of difference from an established field, and the field wins completely. *Audial* is not *auditory*, and the archive's Computational Audial Criticism is a prosodic-and-spectral close-reading method, not auditory scene analysis. The composition supplies ASA, music information retrieval, openSMILE and DeepSpectrum, PNAS on auditory disfluency — a competent survey of a discipline the query did not ask about.

Card 7 holds the real answer and is not drawn on: *Computational Audial Criticism (CAC) methodology established by Maybe Space Baby Garden Lanes (MSBGL). Includes spectral analysis, prosodic close reading.* MSBGL is named there and nowhere in the summary.

PER 0.0. No author, no institution, no identifier, and the one own-source is cited without being used — which is now the batch's recurring shape rather than an exception.

Same substitution family as `alexanarch` → `alexander` and `alexanarch:classics` → `alexander.classics`, but with a different mechanism: there Google merged a different result set; here it merely suggested, and the composition drifted to the suggestion on its own.