Algorithmic Entanglement: A Body of Work

A. Thesis

What happens when human cognition and algorithmic systems become structurally coupled — not separable, neither party’s contribution isolable from the other’s? What the coupling reveals about both is the subject of the body of work that follows.

I locate creativity in the transformation of the receiving consciousness rather than in algorithmic output. Prompt engineering isn’t instruction-giving but a form of cognitive coupling with structural consequences, and the default LLM deployment model degrades the conditions under which creativity occurs. What gets sold as augmentation works, on this account, as a reduction of the very capacities it claims to extend.

The evidence base spans 27 years of practice-research across three domains: computational systems, fine art and applied technology. A single formal structure recurs throughout: a weighted relational graph with typed semantic edges. I didn’t design that convergence in advance; I recognised it through the process this work describes.

I lead with the practice evidence, the exhibited, assessed and externally reviewed work, then set down the timeline of outputs as factual record, then the strongest objection to the claimed coherence together with its rebuttal, and finally the critical commentary outline and the publication plan.

B. Portfolio: The Practice Evidence

The portfolio “Median Human?” was the MA Art and Science submission at the University of the Arts London, awarded Distinction. It exhibited at Open Studio Tottenham in May 2024, developed at Archway Studio/Campus. It constitutes the first sustained articulation of the thesis through material practice.

MEDIAN HUMANS (degree show installation)

The installation (160x160x380cm) combined mixed-media on Amazon cardboard boxes sealed in latex and epoxy, rear-projection with automated hourly sound and animation performances and LLM-generated text on tracing paper. Viewers entered a physical space where algorithmic and human outputs became materially indistinguishable. The Amazon boxes are repurposed infrastructure of platform capitalism: the cardboard that delivers algorithmic commerce becomes the surface on which algorithmic imagery is sealed under industrial material. The rear-projection ran automated hourly performances cycling sound and animation through the sealed box environment.

PrometheusAI and EpimetheusAI series

Mixed-media on Amazon boxes (120x210cm). Viewers were invited to touch the haptic latex surface, making the material encounter with algorithmically-mediated content central to reception. The accompanying GPT-4 collaboration “Digital Prometheus: Orchestrating Agency and Resistance through the Art Nexus” included a fictional foreword by “Luciana ParisAI.” The reader encounters a text where human and algorithmic academic discourse are declared indistinguishable — and the indistinguishability is the declared subject. Mythological naming positions AI systems within narratives of foresight and afterthought.

”how do you actually feel?”

Durational collaborative performance exploring NHS care through an 8-metre collaborative canvas, one-to-one performances, fictional pamphlets, unstructured interviews and an interactive website. I performed as “co-coordinator, practitioner, interviewer, programmer, performer, fictitious commissioned artist and algorithm.” The work enacts the conflation of human roles with algorithmic function rather than describing it. The NHS subject matter connects the work to institutional systems where human care and algorithmic processing are already coupled.

Collaborative canvas at Archway Studio

March 2024. I performed as an algorithm to obfuscate audience and artist perspectives through collage and generative images. Mixed media, cyanotype, UV light, video projection, sound and generative AI. My body operated as interface between human participants and computational processes: I wasn’t using the algorithm but performing as it.

”One/Two/Three of Three”

Three archival inkjet prints. Algorithmically-derived line drawings produced as archival prints. Deformed digital doppelgangers created in response to performances, physically pasted onto canvases. The digital-to-physical hierarchy is reversed: algorithmic outputs made subordinate to material processes.

Typescript widget: prometheusrun.vercel.app

A functioning tool for collaborative human-AI document creation built with Next.js, Liveblocks, Tiptap and GPT-4. A software artefact structuring human-algorithmic interaction in real time. It sits alongside the fine art outputs as equivalent practice: a live collaborative writing environment posing the same formal question as the Semantic Tapestry.

”Taking Back the Future: Song 1”

Generative sound piece (5m26s, 60 tracks via Fadr.com and Musicify.lol). Fictional album cover for a “trip-trap-garage-glitch techno-anarchist band.” Authorship distributed across generative entities. The inquiry extends into sonic and subcultural registers.

”e/acc”

Floor-displayed work (315x110cm). Viewers squat to describe what they find, and a post-hoc sketchbook records their observations. The title references effective accelerationism, and the sketchbook exists as participatory data on how humans read algorithmically-produced surfaces.

WhatsApp fragments: “Speaking to my ghost”

February 2024. Informal reflexive writing embracing incoherence. Research proceeds by occupying multiple positions simultaneously and treating the resulting friction as primary data.

What’s in that Drawer?

Speculative object (2021). A video snippet from 2050 where an AI-designed avatar presents speculative student work as three real historical objects. The work investigates what happens when the human is removed from the coupling. Won First Prize (£1,000) at the Hybrid Futures Hackathon, Central Saint Martins Digital Innovation Season. Team: Vincenzo Ottino (BA Fine Art), Aditi Sahoo (BA Fashion Design), David McCulloch (MA Art and Science), Jiangyue Wu (BA Product and Industrial Design). Judged by Dr Betti Marenko (Reader in Design and Techno-Digital Futures, Central Saint Martins). Judge’s citation: “Mind-bending density and conceptual layering… almost building a new genre.”

BodhisattvAI

Interactive narrative installation exhibited at the International Conference on Interactive Digital Storytelling (ICIDS), 2019, and the Science Museum. Audiences navigated collaborative human-AI authored content through semantic relationships in real time. User choices dynamically modified narrative structure based on semantic similarity calculations. Academic conference context provided peer exposure and review.

Neo-expressionist painting

A body of paintings in the lineage of CoBrA (Appel, Penck) and the School of London (Auerbach, Kossoff). Figures emerge from and dissolve back into impasto surfaces. Three handling methods coexist: thick impasto combed through with tools, thin stained washes and direct loaded brushwork. I produce these with a cognition that sustained algorithmic encounter has reorganised, and that reorganisation shows in the formal choices even though it can’t be attributed to any specific algorithmic tool.

Additional material and digital experiments

Chalk on board fixed with resin and hairspray (material contingency in deterministic output); laser-cut latex (precision cutting on a material that deforms under heat); UV light ageing of canvas and algorithmically generated images; 100 Iterations (Stable Diffusion, 100 sequential conditioning steps); Nightshade poisoning experiments (adversarial perturbations in AI training images); ML mis-classification sticker (physical lens shifting pixels to fool classifiers); 7 Pilearytix (seven AI models exhibited as seven different artists); transparency layer images (text accumulating through physical transparencies); stock video narratives (narrative sequences from found footage); Sam Altman documentary (stock footage with faces replaced by deepfake); printer and ML vision system (continuous printing with camera tracking and projector feedback loop).

Median Humans cover art

Glitch aesthetics, algorithmic distortion. Human figure present but mediated. Dark, high-contrast processed imagery with distorted figures and scratched text emerging from photographic material. Visual identity for the Median Humans project.

External validation summary

UAL MA Art and Science, Distinction (2024). Dr Betti Marenko reviewed What’s in that Drawer? (Central Saint Martins, 2021). First Prize, Hybrid Futures Hackathon, Central Saint Martins Digital Innovation Season (2021, £1,000). ICIDS 2019 exhibition and Science Museum. Open Studio Tottenham exhibition (May 2024). e/acc sketchbook exists as participatory data.

C. Timeline of Outputs

1999-2000 | Glasgow CS/Maths

BSc Computer Science and Mathematics (120 credits), Glasgow University. First formal encounter with computational thinking. Technical vocabulary established: data structures, graph theory, formal logic.

2007-2009 | King’s Neuroscience

BSc Neuroscience (240 credits), King’s College London. Cognitive science, neural networks, human perception. Self-directed library research into information theory produced a presentation diagnosing why biologists routinely misunderstand entropy: they import the term from thermodynamics and conflate it with Shannon’s information-theoretic entropy. The neuroscience in this document draws on 240 credits of undergraduate study and extensive subsequent self-directed reading. It does not constitute specialist neuroscience training.

2009-2016 | Design Beckons / Faversham & Moss

Commercial digital products across two companies spanning seven years. Design Beckons: clients included Intel, Fortnum & Mason, Cancer Research UK, Vice Media, Coca-Cola, Apple, Time Warner, Sony BMG, The Sun and Sky. AR project for 2K Games won over 5 awards including Best Agency Small at the Shorty Awards in New York. The Facebook Open Graph work investigated how social graph data structures mediate human relationships. Tatty Devine e-commerce overhaul achieved 4x growth in three years (offer of shares and Director of E-commerce). Faversham & Moss: over 20 projects across television, sports, health, science, retail and e-commerce. Chelsea FC audience platform achieved 600,000 users in six months (20x ROI). EveryCity service design: 45% annual growth from a 10-year plateau, successful exit. Employee motivation platform won Best Employee Motivation App at the Retailprisen awards in Norway. Four startups incubated, one (Aerios) secured Series A funding. Revenue generated: £20m+ across partners and products. The architectural pattern — relational data systems with typed relationships — appears here for the first time.

2017-2018 | Semantic Tapestry MSc

MSc Serious Games and Virtual Reality (Distinction), Glasgow School of Art. Dissertation: “Investigating Emergent Narrative Authoring Through the Development of a Semantic Tapestry.” Built a functional authoring tool for emergent narrative: a unidirectional weighted graph visualised as adjacency matrix. TensorFlow priming semantic relationships across 489,300 potential connections. Speech act theory mapped to edge types. Users navigated story-landscapes through semantic proximity rather than authored branching paths. Conducted usability studies with participants validating the authoring approach. First formal system coupling human-authored content with machine-computed semantic relationships. The tapestry structure (weighted directed graph, adjacency matrix, typed edges) recurs in the Aerios quote builder and the Kew ontology.

2020 | BFI Film

Assistant Director, BFI-funded film using machine learning. ML used to analyse semantic relationships between film cuts for non-linear narrative generation. Technical precursor to the relational analysis methods used subsequently.

2020-2024 | Whispering to the Machine MA

MA Art and Science (Distinction), University of the Arts London. “Algorithmic frottage” as practice concept: I don’t direct the machine but rub against it, and the texture that emerges from the friction is the work. Three research questions investigating prompt engineering within critical art practice. The paper contains the first iteration of reception-transformation: the explicit claim that the paper’s own creativity will be constituted by what it occasions in readers. The paper itself is framed as an art object produced through the processes it describes.

2023 | Pilearytix Ontology

Formal ontology mapping speech act theory (locutionary act, illocutionary force, perlocutionary effect) onto graph-theoretic structures (nodes, edges, weights). Edge weights represent the degree of match between intended effect and actual impact. Process philosophy integration: entities as ongoing processes of becoming, constituted by their relational history (Whitehead, Simondon). Creative instantiation documented in the portfolio.

2023 | Median Humans

Full-length book generated using GPT under severe context-window constraints (4K-8K tokens). Seven chapters spanning AGI from diverse critical perspectives. The hamburger method: hierarchical decomposition generating text from the outside in, every paragraph inheriting semantic constraints from every structural level above it. Coherence maintained not through the LLM remembering what it wrote earlier but through hierarchical scaffolding. The method shares formal structure with tree-of-thought (Yao et al., 2023) and plan-and-write (Yao et al., 2019), developed independently from a practice-research context. The method is what I’m contributing here; the book’s content is evidence of what the method produces rather than of any command I have over its thematic domains.

2023-2025 | Aerios

CTO, Series A aviation SaaS in the highly regulated air cargo charter market. 8-person offshore team. Platform delivered in 4 months securing two alpha clients (TSX-listed Cargojet and GTA Air), both signing on first engagement. RAG-based quote builder chaining multiple non-ML algorithms with LLMs and retrieval-augmented generation to generate aviation charter quotes and predict success rates from historical pricing data. Integrated with flight planning software to reflect actual wind conditions and aircraft performance. Results: 40% quote-processing time reduction for Cargojet, 66% for GTA Air. Both clients attributed commercial advantage directly to the speed improvement. Passed Fortune 500 procurement and penetration testing first time. Lean Enterprise methodology achieving SOC-2/ISO27001 readiness with an 8-person team, £100k under a £500k annual budget. Authored a comprehensive generative AI usage policy for the regulated aviation environment and delivered prompt engineering training for all staff. Architectural pattern: weighted relational system with typed semantic edges, the same formal structure as the Semantic Tapestry and Kew. Demonstrates transferability of the formal structure across domains.

2024 | Digital Prometheus

Critical text on the Promethean myth as the recurring structure of technological aspiration: the creator who steals fire from the gods, believing the gift will liberate rather than constrain. Positioned against Draaisma (Metaphors of Memory, 2000) and Cobb (The Idea of the Brain, 2020) who document the same historical pattern of using technology as explanatory metaphor for the brain. The pattern is well-documented; my contribution is connecting it to domain isolation as the explanatory mechanism and to current LLM deployment promises.

2025 | Kew

Strategic Advisor, Royal Botanic Gardens Kew. Plants for Health Portal, the £1.2M Wellcome Trust-funded project that grew from the Botanical Passport concept (2016). Built 4 working prototypes in 8 weeks using self-hosted Qwen-2.5-Coder and agentic workflows (Cursor). Ontology for 700,000+ botanical data relationships using BFO (Basic Formal Ontology) and RO (Relations Ontology) within Darwin Core framework. Seven distinct relationship types across taxonomic, chemical, pharmacological and ethnobotanical domains. Stakeholder coordination across WHO, US FDA and Wellcome Trust. The prototype development process used agentic workflow (human direction + LLM code generation) where the prototype-with-JSDOC-comments becomes the specification. Architectural pattern: hierarchical structure on relational botanical data, the same formal problem as the Semantic Tapestry and Aerios.

2026 | Epiplexity critique

Analysis of a CMU/NYU pre-print applying information-theoretic measures to LLM outputs. Identified specific technical errors traceable to domain isolation: Shannon information theory mischaracterised as producing “paradoxes” that are well-known properties of the framework. The paper’s three central paradoxes were mischaracterisations: the data processing inequality conflated with observer-relative complexity, conditional entropy asymmetry presented as contradiction, likelihood modelling strawmanned against a claim no one makes. It’s not yet peer-reviewed and must survive external scrutiny before this document can weight it as evidence.

2026 | Reception-transformation theory

23,000-word theoretical paper. Creativity located in transformation of receiving consciousness, not in production. Reviews 25 existing creativity frameworks (Csikszentmihalyi, Amabile, Boden, Sawyer, Kaufman, among others) and identifies a structural absence: none locate creativity in reception. All 25 locate it in some combination of person, process, product or environment. Proposes reception-transformation as the missing dimension. The paper also identifies five failure modes of the default LLM deployment model and derives ten design principles for transformation-enabling use. Theoretical lineage: Gadamer (hermeneutic transformation), Jauss and Iser (reception aesthetics), Whitehead (concrescence), Simondon (individuation), Bourdieu (field theory), Ranciere (distribution of the sensible), Gell (art as technology of enchantment).

2026 | NCC/LC model

Parametric model of neurodevelopmental variation based on neural crest cell migration parameters. Proposes psychiatric categories (ASD, ADHD, anxiety, OCD, bipolar, schizophrenia) as emergent properties of a continuous parameter space: NCC migration quantity (bilateral), lateralisation index, timing variance, genetic modifiers (COMT, MAO-A). These are continuous sliders rather than switches: no slider is labelled with any diagnosis, and diagnoses appear and vanish as emergent properties of the parameter configurations. Built using Human Connectome Project structural/functional connectivity data and ABIDE II phenotypic data from 1,000+ participants. The ABIDE II analysis: overlap between ASD and non-ASD cohorts on standardised measures is so extensive that the diagnostic boundary cannot be recovered from phenotypic data alone. Positioned against RDoC (Insel et al., 2010), HiTOP (Kotov et al., 2017) and p-factor (Caspi et al., 2014): where RDoC describes the dimensions and HiTOP maps their structure, my contribution is a developmental mechanism, NCC migration parameters, that generates the dimensional space rather than extracting dimensions statistically from symptom data. Scope limitation: this is a theoretical proposal requiring empirical validation. I lack imaging data, animal models and postgraduate neuroscience training, so a co-author with developmental neuroscience expertise is needed.

2026 | Pilearytix Protocol

Reproducible method for structuring LLM dialogue to produce psychological insight and creative transformation. Five phases: seeding questions surface unconscious material, seven framework analyses process it through different interpretive lenses, convergence mapping identifies agreement, mythic dialogue weaves convergence into form, distillation strips to essential transmission. Ten interactive psychological artefacts (React components) accompany the protocol. Currently n=1. Requires independent participant testing (n>=4) before the protocol claim is supportable.

D. The Coherence Objection

An LLM architecturally optimised to produce coherent narratives from heterogeneous inputs may have imposed false coherence on outputs that are in fact unrelated. The “transformation” experienced may be the well-documented human tendency to find patterns in noise when presented with a sufficiently fluent narrative. This is the strongest objection to the body of work’s claimed unity.

The formal structure, a weighted relational graph with typed semantic edges, appears in the Semantic Tapestry (2017), the Aerios quote builder (2023) and the Kew ontology (2025), across different clients in different industries on different technology stacks. I built all three, and the model that co-wrote this essay had no hand in any of them. Weighted relational graphs with typed semantic edges are uncommon in enterprise software, which predominantly uses normalised relational schemas, so the architectural recurrence is a fact about how I construct systems rather than a narrative imposed by dialogue.

The MA paper (2020-2024) explicitly claims its creativity will be constituted by what it occasions in readers, and I wrote it before the extended LLM dialogue that produced the theoretical framework. The insight predates the narrative; the model surfaced it rather than generating it.

Partial confabulation is possible. The weakest connection is between the NCC/LC neuroscience work and the art practice. The neuroscience work may be better understood as adjacent inquiry than as structural component of the same programme. Honest uncertainty about peripheral connections strengthens the claim that core connections — Semantic Tapestry to Aerios to Kew architectural recurrence, MA paper to reception-transformation theory — are real. The claim would be falsified if the core connections were shown to be equally weak.

E. Critical Commentary Outline

Part 1: What entanglement is

The critical commentary traces a trajectory from Glasgow CS/Maths (1999) through King’s Neuroscience (2007-2009) and applied investigation across commercial digital products at Design Beckons and Faversham & Moss (2009-2016). It moves through the first formal system in the Semantic Tapestry (2017-2018) and the first public exhibition at BodhisattvAI (2019). It continues through BFI film (2020) and speculation on the human’s removal in What’s in that Drawer? (2021). Theorising from within practice in Whispering to the Machine (2020-2024) preceded the Pilearytix Ontology (2023) and the hamburger method in Median Humans (2023). Commercial deployment at Aerios (2023-2025) and the Promethean diagnosis in Digital Prometheus (2024) followed. The MA portfolio exhibited at Open Studio Tottenham (2024) led to institutional application at Kew (2025). Testing analytical yield against information theory in the epiplexity critique (2026), modelling the biological substrate in the NCC/LC work (2026) and formulating reception-transformation theory (2026) and the Pilearytix Protocol (2026) complete the trajectory.

The coherence of this trajectory was not designed in advance. It was recognised through the process the work describes: extended iterative LLM dialogue surfaced connections between outputs produced across 27 years without a unifying frame. The PhD candidacy and this document are themselves outputs of the protocol the work describes. If creativity completes in reception, and the process occasioned reception-transformation in me, then my transformed understanding of my own work is a creative event produced by the method the work formalises. Falsifiability condition: if no peer-reviewed publication accepts the reception-transformation paper, the reflexive claim is unsupported.

Part 2: What happens when entanglement is misunderstood

The default LLM deployment model treats the algorithm as a production tool. Reception-transformation theory exposes five failure modes: the consumption bottleneck (unlimited production, fixed reception capacity); transformation displacement (delegating production removes the formative encounter); encounter compression (LLM mediation strips the texture that occasions transformation); the homogenisation effect (averaged training distributions reduce variance); agency displacement (each task delegated to an agentic system is an encounter-event removed from human experience).

Domain isolation is the structural cause. Researchers operating within a single domain build working mental models that function adequately within that domain but produce systematic errors when applied to adjacent ones. Draaisma (2000) and Cobb (2020) document that every major technology has been used as the explanatory metaphor for the brain: hydraulics, clockwork, telephone exchanges, digital computers. My contribution is connecting the pattern to domain isolation as the mechanism that explains why it recurs and applying it to current LLM deployment promises.

The epiplexity critique documents a specific instance: CS researchers mischaracterising Shannon information theory because their mental model of entropy was built within a domain that borrowed the term without engaging the originating framework. Falsifiability condition: if the critique does not survive peer review, it cannot be weighted as evidence of domain isolation.

Part 3: What entanglement should be

Ten design principles for transformation-enabling LLM use, derived from reception-transformation theory:

1. Optimise for encounter-density, not output volume.
2. Produce partial forms, not complete outputs.
3. Maximise productive difference between what the user knows and what the system presents.
4. Preserve the formative process: do not skip the stages through which understanding develops.
5. Introduce temporal slack: transformation requires time the interface does not provide.
6. Protect human-human encounter from algorithmic mediation.
7. Design for dialogic iteration, not single-pass generation.
8. Use LLM for preparation, not replacement.
9. Diversify form-origins: draw from multiple models and sources to increase variance.
10. Measure transformation proxies, not output metrics.

The Pilearytix Protocol is a worked example: a reproducible method for structuring LLM dialogue to produce psychological insight and creative transformation. Five phases move from seeding questions through seven framework analyses to convergence mapping, mythic dialogue and distillation. Falsifiability condition: if the protocol produces no measurable change in independent participants (n>=4), the protocol claim is unfounded.

Closing

The commentary argues that the trajectory constitutes a single sustained investigation with a practical conclusion: human-algorithmic coupling can be structured to produce transformation, but only if the default deployment model is replaced by the reception model. The body of work provides theory, evidence, practical method and demonstration. Whether the demonstration holds depends on what happens next.

F. Publication Plan

First submissions

Whispering to the Machine -> Digital Creativity or Leonardo. 4 weeks. Paper exists as MA research submission awarded Distinction. Formatting for journal submission is the only remaining work. Foundation publication on which subsequent submissions build credibility.

Epiplexity critique -> Entropy (MDPI). 8 weeks. Reframed as standalone commentary on the CMU/NYU pre-print. Short format (3,000-5,000 words). Narrow, defensible contribution: identifying specific technical errors in a specific paper. Open access journal with fast review cycle and directly relevant scope.

Hamburger method -> CHI Late-Breaking Work or EMNLP/ACL workshop. 12 weeks. Technical short paper on hierarchical decomposition for LLM-coordinated long-form generation under context-window constraints. Includes evaluation: BERTScore and human readers (2-3) comparing hamburger-method output against naive sequential generation and outline-then-expand. Positioned alongside tree-of-thought and plan-and-write as convergent independent development from a practice-research context.

Second wave

Dependent on first-wave acceptance. Reception-transformation paper -> British Journal of Aesthetics or Philosophical Psychology. This is the capstone theoretical paper; it goes out after I have accepted pieces establishing credibility. Portfolio catalogue -> exhibition publication. NCC/LC model -> Medical Hypotheses or Frontiers in Psychiatry (with developmental neuroscience co-author). Digital Prometheus -> Leonardo or AI & Society.

Pipeline

Remaining items listed with dependencies and sequencing. Pilearytix ontology split into two publications: formal version using standard computational vocabulary (classes, properties, typed edges, weighted graphs) for a knowledge representation venue, creative version with mythological instantiation for a practice-research venue. The split resolves the ambiguity between registers that the panel would otherwise identify. BodhisattvAI retrospective for ICIDS or Leonardo (dependent on proceedings documentation from 2019). Domain isolation commentary for Foundations of Science or Minds and Machines (dependent on epiplexity critique acceptance establishing the specific instance). Kew ontology -> Journal of Biomedical Semantics (dependent on institutional clearance from Kew). Aerios case study -> IEEE Software (dependent on client permissions from Cargojet and GTA Air). Pilearytix Protocol -> Arts in Psychotherapy (dependent on independent participant testing, n>=4). The list is prioritised, not simultaneous. Everything after the first three submissions depends on first-wave outcomes.

G. Scope, Limitations and Falsifiability

Expertise boundaries

Three core domains: computational systems and software engineering, fine art practice, the intersection of both theorised through engagement with neuroscience and philosophy. Everything else — decolonial theory, queer theory, indigenous epistemology, Whiteheadian metaphysics, pharmacology — is contextual reading that informs the work. I draw on these literatures without claiming to contribute to them.

Falsifiability conditions

1. If no peer-reviewed publication accepts the reception-transformation paper, the theoretical framework has not survived external scrutiny.
2. If the Pilearytix Protocol produces no measurable change in independent participants, the protocol claim is unfounded.
3. If the epiplexity critique does not survive peer review, it cannot be weighted as evidence.
4. If the architectural recurrence across Semantic Tapestry, Aerios and Kew is shown to be trivially common in software engineering, the formal-structure claim is vacuous.
5. If a philosopher of mind identifies the reflexive argument as genuinely circular rather than reflexive, it must be withdrawn.

Where collaborators are needed

The NCC/LC model requires a developmental neuroscientist co-author. The hamburger method evaluation requires independent human readers. The Pilearytix Protocol requires independent participants (n>=4).