If dilation defines experience then it plays that same defining role in art.

In Handmade Pixels Juul writes that certain theorists worry goals and optimization "shift the player's focus away" from other things and I argue this is explicitly a concern about dilation.

~ Handmade Pixels, "dual worries" about goals and optimization in games

The more specific problem is that of artwork rather than all experience.
I will focus there.

A decision "is" or defines its game equal to the decision's dilation.

An experience or subexperience "is" to a degree that equals its dilation.

I am willing to accept this not as a threshold but some other nearly mathematical trick.

Dilatedness and interestingness are spectra not binaries yet I can only find their usage in "is" above distinctly binary.

Then it follows: Experience is a series of dilations.

The quote describes games as its interesting decisions rather than defined by them.

Games are full of uninteresting moments and nondecisions but Meier elides these as nonexistent.

"Games are a series of interesting decisions"

Interestingness is effectively synonymous with dilation and comes with all its baggage.

That answer is ontologically and semantically unclear to me but as dilation determines how we experience experiences it plays a pivotal role if not the superlatively most role.

Does dilation act upon experience, or produce it?

We may be able to find a more precise understanding of this dilation through analysis, but it will remain true throughout that process, exclusively, determines the dilation.

In collaborative storytelling we collaborators decide how the story dilates: why do some events take months to tell, and others minutes?

Art dilates, governed by process.