@Pallas - I read your experience and thoughts. The principle itself is something I worked out for myself some time ago. Your adventures with Minuet in G - you had a first visit with the "everything" of the piece, wisely stopped when it went south, and then returned when you were ready. You didn't actually entrench anything bad. For ornaments and such you got a blurry outline and general idea, so that when you returned, you could then refine all that. Supposing that you had worked stubbornly as a novice, got into all kinds of habits of tension through the strain - that's the kind of thing.
I worked for a short period with a teacher who said everything had to be learned perfectly the first time round or you're condemned to a lifelong poor habits. The teacher I'd been with went with a student's evolving nature but had also not dared to give much guidance so I'd fallen into a hole that way. I weighed these two. I rejected the "perfection" after considering how babies grow up. Toddlers don't walk elegantly and pronounce words in well-formed sentences. It's a bit of a wreck, honestly, but cute. 🙂 What toddlers do is, their skills gradually refine and come into focus. That seemed a good model. 2) There seem to be some core things amidst all that first bumbling about. Balance yourself in gravity, experience gravity and your body in it, and whatnot.
Meanwhile personally I have things to unlearn - lots. As a child I played piano self-taught without ever seeing anyone play the piano ever (1960's - no internet); the music I played influenced one single hand shape and a static posture. I formed wrong associations like loud is forceful, staccato is a stiff-fingered attack. We went to music that was different than what I had played: Chopin with wide hand spans and chords, pedal to coordinate the whole body. Getting to familiar patterns and changing what I do there was the hardest part because immediately the old habits kick in. So here's an example of that principle.
When I studied violin I was brought into a super-tight grip of the bow that was supposed to be a kind of first step (which I didn't know) when in fact the bow should float in the hand with flexible responsive fingers. Undoing that was hard, because the minute my hand felt the surface, it went into that grip.
Solfege, which was my only musical reference for decades. I ended up hearing diatonic music from the page, but in relative pitch. If the music was the likes of Clementi, Mozart, I'd hear it off the page, predicting much of it - but could not associate this notehead on a line with that piano key. Being in the framework of only one world blocked other abilities. I had to learn to hear along different paths, and to perceive notes and chords in a broader framework. I can now read music at the piano that has any kinds of notes in it, but had to change my whole perception. What I had originally is useful, but it's part of the toolbox now.
Supposing you started piano sitting on a low stool and shoved up against the piano. Your natural habit of playing would be full of all kinds of physical compromises. You'd still be able to play slow, simple music, and the awkwardness and strain would simply be "normal" to you. But as music gets more complex, the poor habits from that position would get in the way. Then you get a teacher who fixes the low and too close sitting. You'll still have the physical compensations that you developed and a decent height and distance may actually feel weird - you have to redo and undo, and that is hard. ........ Otoh, if you start with a teacher who has you sit at a good distance and height, tells you to have a relaxed hand, seek comfort and good sound, then you playing apparatus might evolve in the right direction, like that toddler.
Those are my loose thoughts on the matter.