diff --git a/method/paper/paper.md b/method/paper/paper.md
index b469468..fff9356 100644
--- a/method/paper/paper.md
+++ b/method/paper/paper.md
@@ -1,10 +1,11 @@
 # Two Languages, Two Tracks: A Live Public-Advocacy Deployment of LLM-Mediated Pattern Language Synthesis
 
-Bruno Postle¹ and Nikos A. Salingaros²,³
+Bruno Postle¹, Nikos A. Salingaros²,³, and Nicolás Lofredo-Rota⁴
 
 ¹ Union Street Research, Sheffield, UK
 ² Department of Mathematics, The University of Texas, San Antonio, TX, USA
 ³ Thrust of Urban Governance and Design, Hong Kong University of Science and Technology (Guangzhou), Guangzhou, China
+⁴ Independent researcher, Quito, Ecuador
 
 *Draft — target venue: Buildings (sequel to Postle, B.; Salingaros, N.A. "LLM and Pattern Language Synthesis: A Hybrid Tool for Human-Centered Architectural Design." Buildings 2025, 15, 2400).*
 
@@ -28,9 +29,10 @@ complementary, jointly necessary instruments. We generalize the bespoke
 prompting used to produce this project's form-language grammar into a
 reusable, placeholder-driven template, and validate that it generalizes to
 an unrelated typology, region, and climate. From a shared narrative root
-and a shared pattern subset and form-language grammar, the two authors
-produced two divergent elaborations — two narratives and two illustrated
-image sets (13 watercolor-register images; 25 photo-realistic images)
+and a shared pattern subset and form-language grammar, two of the paper's
+authors (Postle and Salingaros) produced two divergent elaborations — two
+narratives and two illustrated image sets (13 watercolor-register images;
+25 photo-realistic images)
 — that converge on compatible design moves while diverging sharply in
 visual register, a divergence we attribute partly to a deliberate
 difference in requested image medium and partly to a difference in how
@@ -78,7 +80,7 @@ project of the new National Museum of Ecuador, on an approximately
 sustained public objection over its failure to serve the people who will
 actually use it, and — at the time of writing — is on hold and may be
 abandoned. Independently of that competition, a small informal team,
-including both authors of this paper, used the method described in [1],
+including all three authors of this paper, used the method described in [1],
 extended as described below, to write and illustrate a complete
 counter-proposal: not a competition entry, but a public-advocacy document
 intended to influence the outcome of the debate while the winning
@@ -177,10 +179,11 @@ required both.
 
 For this project, Salingaros produced a project-specific form-language
 grammar, the *Ecuadorian Form Language Grammar*, developed after
-discussion with a Quito-based designer and self-builder and synthesized
-by an LLM, using real web search, from open-source reference material —
-though see §3.3 for a caveat on how much of that synthesis was likely
-text-mediated rather than genuine visual analysis of imagery. Rather than a set of
+discussion with Nicolás Lofredo-Rota, a Quito-based designer and
+self-builder, and synthesized by an LLM, using real web search, from
+open-source reference material — though see §3.3 for a caveat on how much
+of that synthesis was likely text-mediated rather than genuine visual
+analysis of imagery. Rather than a set of
 historical facades to imitate, it is written as a *generative* vocabulary:
 a stratified tectonic sequence from dark Ecuadorian andesite at the
 plinth, through thick limewashed tapial and adobe at the lower and middle
@@ -364,13 +367,14 @@ provide, that the pattern subset and form-language grammar meaningfully
 constrain the output beyond what shared text alone would explain.
 
 The two tracks diverge sharply, however, in visual register: Track B's
-images are, in the authors' own judgment, markedly more photo-realistic
-and — subjectively — more visually compelling than Track A's
-watercolor/gouache-register images. This judgment has not been evaluated
-externally on a like-for-like basis: the symposium reported in §5
-discussed Track B's images only, and Track A's images were not presented
-there, so it should be read as the authors' own assessment, not as
-corroborated outside reception. We attribute the divergence to at least
+images are, in Postle and Salingaros' own judgment, markedly more
+photo-realistic and — subjectively — more visually compelling than Track
+A's watercolor/gouache-register images. This judgment has not been
+evaluated externally on a like-for-like basis: the symposium reported in
+§5 discussed Track B's images only, and Track A's images were not
+presented there, so it should be read as those two authors' own
+assessment, not as corroborated outside reception. We attribute the
+divergence to at least
 two factors, neither yet isolated from the other or from any residual
 generator-quality difference: first, it is partly a deliberate,
 requested difference — Track A's prompts explicitly specify a watercolor
@@ -556,13 +560,14 @@ design rather than only advocacy communication.
 
 ### 6.3 Partly-Explained Divergence in Image Register
 
-As reported in §4.4, Track B's photo-realistic images are, in the
-authors' own assessment, more compelling than Track A's watercolor-register
-images — a judgment the authors have made themselves, not one
-corroborated by outside reviewers evaluating both sets side by side. We
-attribute the divergence partly to a deliberate difference in requested
-medium (photo-realistic vs. watercolor/gouache) and partly to a
-difference in image-prompt content (the full pattern-subset and
+As reported in §4.4, Track B's photo-realistic images are, in Postle and
+Salingaros' own assessment, more compelling than Track A's
+watercolor-register images — a judgment those two authors have made
+themselves, not one corroborated by outside reviewers evaluating both
+sets side by side. We attribute the divergence partly to a deliberate
+difference in requested medium (photo-realistic vs. watercolor/gouache)
+and partly to a difference in image-prompt content (the full
+pattern-subset and
 form-language documents fed inline to each Track B prompt, versus a
 short distilled style guide for each Track A prompt), on the working
 hypothesis that ChatGPT's greater tolerance for long, dense prompts
@@ -612,10 +617,11 @@ input, the form language, following Salingaros' theoretical distinction
 between the human/organizational and geometric/tectonic languages of
 architecture — which we generalized from a bespoke, project-specific
 prompting process into a reusable template and validated on an unrelated
-project. Run by two authors from a shared narrative root and shared
-pattern subset and form language, the method's two divergent elaborations
-converged on compatible design moves in their genuinely independent
-material, while producing a qualitatively different image register, a
+project. Run by two of the paper's authors from a shared narrative root
+and shared pattern subset and form language, the method's two divergent
+elaborations converged on compatible design moves in their genuinely
+independent material, while producing a qualitatively different image
+register, a
 difference we can partly, though not yet fully, account for. Presented
 to informal peer scrutiny, the work drew a substantive critique, not
 only praise: that the method, as deployed, produces images without a