Thanks @Gernot – this is helpful. So I guess this means that because my OS Issue is Wisdom, I should be trying to think of Unproven mainly in that context?
My first thought on reading this was to wonder if maybe I need to rethink my illustrations in this context, but I wonder if that’s necessary, as I have also tried to illustrate Wisdom. So maybe just having that context will take care of it (I hope).
Yes, the context is important especially looking from of issue, concern and domain. Asking questions is helpful for me as well “seeing the story” instead just an element:
For example for wisdom:
Hunch: Why do they need to use hunch something showing it? A young girl believes everything what she is told by her very best friend
Proven: What do they need to prove to get it? A teenage must handle a difficult situation to prove they are old enough for something
Theory: What should they know without having facts? Buy cheap but buy twice or buy expensive but buy once – is it all theory?
Unproven: What needs to be proven before something else happens? Being a dramatica expert doesn’t mean anything until you finish a first draft
It all depends on whether or not you think it makes your story better.
Even if you don’t put it into context of the Issue above (like Unproven in terms of Wisdom - which, @Gernot, that is a great list!), the Audience will be able to make the connection themselves and be able to understand the message of your argument.
It’s the old thing about whether or not you need to specifically encode the Problem in context of the Issue in context of the Concern in context of the Genre and whether or not these can be four completely separate things, or do they all have to connect.
The storyform makes all the connections for you–by virtue of the way the model was constructed. The idea that your story’s Problem is Unproven and the Issue Wisdom - the Audience will naturally make that connection, even if your storytelling is vastly different and doesn’t mix together well at all.
That’s why theoretically you could have a Relationship Story Throughline between a MC and a character who is not the Influence Character, because it is the storyform that reigns supreme, not the story.
In short, you really don’t need to worry about it to that amount of detail, let the storyform make the connections for you and just follow your intuition on what sounds fun to write.
It’s actually kind of weird/amazing how this works – I’m writing along (not consciously thinking about Dramatica) but all these things are coming up which just seem to fit. Well, at least that’s how if feels now. We’ll see what my readers say when I’m done. 
Probably this is for another thread by I’ve been wondering for a while if this was possible, especially in the case of an IC handoff situation. (Note to self, start another thread…)