The main problem I find with this kind of “commandments” is that I would like them to be expanded. Sometimes I am not sure that I am understanding correctly what the author is saying, and that my disagreement is superficial and could easily turn into agreement if the author was allowed to expand on it with comments and examples. Anyway, I mostly agreed with everything, but with those I disagreed:
Think primarily in terms of fingers and keys rather than arm.
To me this is similar to the proper way to punch. If you focus on your fist you are likely to punch weakly and injure yourself. A powerful punch must come from the hips. So concentrate on the hip movement and the fist will take care of itself. Likewise, fingers are very important as the ultimate point of contact with the key, but they need the whole support of the playing apparatus (from the shoulder girdle down). So I would say very much the opposite: think primarily of arm motion and the fingers and keys will take care of themselves.
What happens at the end of the fingertip is what is important.
Yes, it is important, and it may even be the most important, but it is not the only important thing. To me, the forearm is just as important, and so are the arm and the shoulder. The problem is that their motions are mostly invisible, we are not really fully aware of their inestimable contribution.
The greatest finger activity is in the knuckle joint. The fingers are prepared for both the black and white keys by the first two finger joints.
There is just as much activity at the forearm level (I am a big believer in forearm rotation).
Practice is arranging things in your mind until they become automatic.
I would say that this is the smallest part of practice ( but of course, very important). The bulk of practice (timewise and effortwise) is always investigative practice: figuring out the best, easiest and most comfortable motions to bring out the musical conception one desires.
With everything else I agreed wholeheartedly.

Best wishes,
Bernhard.