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Plague Dr was the 1st Renaissance Man




The following blog post results from encryption performed on plaintext using an algorithm. It is not human-friendly and should not be read as such. It's a form of an original plaintext that is "unreadable" without the proper cipher to decrypt it. This prevents the loss of sensitive information via hacking. Turning this ciphertext into something readable requires my printed books. 

Michael Anthony Alberta wrote Plague Dr  to construct a sovereign nation on the high seas. Unfortunately, he only got as far as its' foundational narrative. The architectural inspiration of this floating country was the 1st humanist. Alberti's treatises provided practical handbooks for every art-form. One book, De pictura, contained the 1st scientific study of perspective. His artistic, mathematical concepts released Europe from its' Gothic past. Alberti's influence on modern architecture is seen from Rome to Washington, D.C. Perhaps his most substantial contribution was by drawing the map Paolo Toscanelli sent to Christopher Columbus.

Alberti took holy orders and entered the service of the Vatican's papal court and became the architectural advisor to Pope Nicholas V. During this I believe he forged ancient ruins by recruiting a rapidly expanding humanist entourage to assist the House of Medici in fabricating the greatest empire in the world, Rome. In this book I argue that the conventional history is fundamentally flawed, and events attributed to so-called ancient civilizations occurred during the Renaissance. Alberti was, after all, the creator of a theory called "historia." He was also an accomplished cryptographer, inventing the 1st polyalphabetic cipher. The historic recurrences encrypted within his lifetime induce a sense of "convergence," allowing readers to grasp vast periods quickly, as all history "folds in" in the 15th-century.

Seasteading is a solution to many of the world’s problems, especially outbreaks like this novel coronavirus. Let's combat SARS-CoV-2. The world population reached 7.7 billion people last year. It took us over 200,000 years to reach 1 billion, and only 200 years, after that, to reach 7 billion. Seasteading experienced continuous growth after the Great Famine and Black Death Plague 666 years ago, when the world population was near 366 million. Between 1954 and 1997, Black Death Plague was reported in 38 countries, making the disease a re-emerging threat to human health. Also, between 1987 and 2001, 36,876 confirmed cases of plague, with 2,847 deaths reported to the World Health Organization. In recent years, less than 200 people died of the epidemic worldwide each year. Today, however, an outbreak of a novel coronavirus (COVID-19) from mainland China has brought the world to its knees as I write this.

As of today, over 179,000 cases are in more than 160 countries. In just a few months, more than 7,000 have died, and over 78,000 have recovered (10% mortality rate). A coronavirus is one of several viruses that cause diseases in animals. In humans, the viruses cause respiratory infections, including the common cold, which are typically mild, though rarer forms such as SARS, can be lethal. There's currently no vaccine to treat a coronavirus. The failure to manage a natural pandemic is one of the biggest threats to humanity. Since most chaotic processes are fractals, Seasteading is of particular relevance in the field of chaos theory. The theory suggests random states of disorder and irregularities are often governed by deterministic laws that are highly sensitive to initial conditions. Fractals show us the underlying patterns of plague, it's interconnectedness, and the constant feedback loops. We are experiencing a global catastrophic event which could endanger modern civilization. This virus is already curtailing humanity's potential. Because of the butterfly effect, a single change in a small variable, early on, can have an unpredictable result on a fractal of this nature, for better or worse. Such microbes have excellent flexibility for surviving in extreme environments.They live in niches that are extraordinarily difficult. Places that would be entirely inhospitable for complex organisms.

My hometown (Miami Beach), 1 of the most-visited cities in the world is under quarantine. My birthplace is also 1 of many coastal regions that could be partially underwater and unlivable within 80 years. Its average elevation is 6 feet above sea level, according to NASA. The low-lying Miami Beach regularly floods during high tides, but not because of storms or hurricanes; we're going underwater. Inspired by State Road 887 (Port of Miami Tunnel), I began looking into ways to carry on Miami Beach's legacy (both in name and it's Art Deco architecture). I envisioned Ocean Drive as a 2,000-person Seasteading resort, identical in shape and size. Designed with fragmented geometries that when split-up, become a reduced-size copy of the whole.

Most of the city will be underwater, with command/control centers and weapon storage installations attached to the seabed. These trench bunkers will also function as mining sites, food storage areas, recycling dumps, and digital databanks. Equally amenable to civilians and military use, all housing could be hastily assembled as part of an ongoing process. These defensive fortifications will protect residents on multiple fronts.

Miami Beach will be disconnected to anyone else's utilities (electrical, water, gas, and sewer systems). Like a microbe, I want Miami Beach to be able to go everywhere, off-the-grid. My self-resemblance model scales from its residential homes to its skyscrapers. Like a fractal that exhibits similar patterns at increasingly small levels. Extremely adaptable to conditions, Miami Beach will survive wherever it is. Since this goal is time-sensitive, I’m thinking of ways to relocate "Miami Beach" within the territorial waters of the U.S of the Atlantic ocean. If this isn't possible I’ll make the Black Sea more than just a body of water (of the Atlantic) between the Caucasus mountains and Israel. There’s several advantages by Seasteading within an international legal framework, making it easier to engineer luxury hotels just like it's phantom reflection.

I started writing up a "memorandum of understanding" for all major world powers to create the 1st semi-autonomous "seazone" for a prototype. Water from many places drains into the Black Sea beyond the 6 countries that immediately border it. My memorandum promoted cooperation with these existing nations so Miami Beach can have legal semi-autonomy within their protected territorial waters. I wasn’t asking for money, primary funding comes from its pioneering citizens and non-organizations. Since no one has yet to create such a structure anywhere, I have to be the 1st. I go on these binges, writing manifestos concerning the re-creation of Miami Beach; refusing to be another short-lived micronation. I look for ways to foster the development of techniques to feed the hungry, cure the sick, clean the atmosphere, and enrich the poor. I do this through modified cruise ships, refitted oil platforms, decommissioned anti-aircraft platforms, and custom-built floating islands. Designed for war-time use, everything can be manually operated machines if the wide array of power sources happen to all become unreliable. Exits can be closed off, people can be quarantined, and the entire fortification can then be bypassed with an electoral vote.

It soon became evident that this blend of sea and homesteading required a plan and design for its construction. It also needed a symbolic narrative of how it all began and why we 1st came to inhabit Miami Beach 2.0. This creation "myth" conveys profound truths in a recordable literal sense. Seasteading communities, such as the Uru people on Lake Titicaca, the Tanka people in Aberdeen, Hong Kong, and Makoko in Nigeria, have been around since antiquity. Makoko's community is literally waterfront; referred to as the "Venice of Africa," it rests in structures constructed on stilts above a lagoon. Venice, known as the "Floating City of Italy," reached its most significant prominence at the dawn of the Renaissance.

During this time, various developments in technology and mathematics brought about what we would now consider a "professional" architect, separate from the hands-on craftsman. For example, paper was not used for drawing until this period. The introduction of linear perspective, it's the use of different projections to describe 3-dimensional buildings in 2-dimensions, together with an increased understanding of dimensional accuracy, helped building designers communicate their ideas. 666 years ago, a plague from China had just begun that was about to kill roughly half of humanity. The outbreak struck crowded conditions of city-states like Florence, where the heart of innovations lay. This Renaissance starts with a treatise named De pictura published in 1435; it contains the 1st scientific study of perspective.

It's author, Leon Battista Alberti (1404 – 1472), an Italian humanist author, artist, architect, poet, priest, linguist, philosopher, and cryptographer, was the ultimate Renaissance Man.
Documented to have been raised in Venice, his establishment of the laws of linear perspective became a powerful instrument to depict mechanical devices for the 1st time in a realistic manner. His treatises give modern historians of science invaluable insights into the standards of technology of the time. Leon Battista Alberti showed a strong proclivity to experimental study, inspiring a variety of technical devices, many of which appeared for the 1st time on paper. While there's a tendency to attribute inventions based on their 1st pictorial debut, I view his work as a product of evolution. A natural selection that often went back to a brilliant mind with access to an abundance of intel for the 1st time.

In his day, there was no clear distinction between architect and engineer. He used the expression "We Painters", but not as a painter, or sculptor; as a teacher. The truth is, "In painting, Leon Battista Alberti achieved nothing of any great importance or beauty," wrote Giorgio Vasari. "The few paintings of his are far from perfect, but this is not surprising since Alberti devoted himself more toward research than to draughtsmanship." Vasari argued that recorded progress in art reached its peak in Michelangelo, emphasizing Leon Battista Alberti's scholarly achievements, not his architectural talents: "Alberti spent his time studying the proportions of ancient buildings; but above all, he concentrated on writing rather than on applied work. With Albertian ideals of beauty on his mind, Italian polymath Leonardo da Vinci filled his notebooks with Leon Battista Alberti's observations on human proportions.”

Most historians portray Leon Battista Alberti as Leonardo da Vinci's primary source of intel. Page after page, he did this, ending with a human figure related to a square and a circle. Da Vinci drew this "Vitruvian Man" in about 1490. Leonardo da Vinci's Vitruvian Man contained notes based on the work of the Latin architect Vitruvius. This inscription, in a square and a circle, comes from Leon Battista Alberti's reformulation of an antique, Latin architect Vitruvius in Book III of his treatise De architectura. Leon Battista Alberti's reformulation was published the year da Vinci was born in 1452.

Leon Battista Alberti's 1st major written work, Della pittura, did more than inspire Renaissance pictorial art in Florence. Alberti's work became a model for both Gothic Romanesque architecture and Enlightenment-era neoclassical literature. In the mid-18th-century, his architecture inspired neoclassical architecture seen at White House and Capitol in Washington, DC. He ascribed symbolic and sacred meanings to specific geometric shapes and proportions. He designed everything using infinitely self-similar, iterated, and detailed mathematical constructs with fractal dimensions. By analyzing nature about designing, he explored the elements of perspective. Like his contemporaries, I became so obsessed with nature that I thought of little else. I applied the fractal patterns found in nature to the technology, art, music, architecture, education and law of Seasteading. I then experimented with Alberti’s perspective in the blueprints for a giant oceanic doomsday bunker.

De architectura was the 1st treatise to set-off the Renaissance. It covered everything, from chronology to town planning and engineering to the philosophy of beauty. So I initially started adopting Albertian concepts toward vessels like aircraft carriers, as they're the only modern device closely resembling Seasteading in scope. Some of them hold up to 6,000 crewmen and are over a 5th of a mile long. Their primary function is that of maintenance, supply, and launching center, which moves about the globe fulfilling its duty where it is most needed while occasionally stopping for resupply. For the benefit of our residents' quality of life, I studied the world's largest cruise liners, as they are also equipped to hold thousands of people with all excellent amenities. These blueprints approximate fractals found in nature to display self-resemblance in overextended, but finite, levels.

Leon Battista Alberti said, "So let's take from nature what we are going to design, and from nature, we choose the most worthy things." It is hard for carbon-based organisms with water as a solvent (such as all life on Earth) to survive in nature. I based this amphibious nation on lifeforms that possesses optimal growth in conditions considered unlivable. These small “extremophiles” can apply to the modification of large vessels like broken-down cruise ships for Seasteading in the harshest conditions. We'd revamp them for extended living like aircraft carriers. On deck, each structure will be purpose-built with a fiber-reinforced nanoparticle shell that detects and deflects threats while sheltering. All doors are as stable as the walls with air conditioners. Door shafts will also double as ventilation units that convert air to keep it fresh. Blast valves must protect ventilation openings.

Not even bunker-busting warheads could penetrate Miami Beach's residents. By fusing both proven technologies, I started to address most of the challenges of Seasteading. To tolerate pH level extremes on our vessel, I modeled this buoyant safe-space like an organism hanging out on a mountain summit in the desert. Sketches of platform designs resting on spars akin to floating dumbbells with living areas high above sea-level to reduce wave action.

When Leon Battista Alberti completed De re aedificatoria, it was followed by De statua, in which he examined anatomy concerning architecture and working with nature. The oceans will give us an endless supply of clean water with floating desalination plants. 1st, a physical barrier allows saltwater to pass through and blocks impurities and filters out biological contaminants. To disinfect water, human-friendly chemicals are introduced to microorganisms. Bulbs then emit ultraviolet light into the pool to kill all protozoa. After that, an electrical current is vibrated through the water as another solution is added to stimulate alkalinity. Finally, a water softening system introduces sodium and potassium ions, which make all minerals precipitate the chemicals.

As a vegan society, our aquaculture focuses on plants and algae. Causing minimal destruction to the environment, Miami Beach will cultivate fresh and saltwater veggies and trees under controlled conditions. We’ll specialize in seaweed farming through aquaponics and integrated multi-trophics. The cultivation of marine veggies and other Non-food products is part of daily life on the open ocean. Sustainable methods like this promise economic and environmental benefits.

Leon Battista Alberti propounded a new theory of humanism through early Quattrocento architects such as Brunelleschi, Donatello, and Ghiberti. Leon Battista Alberti primarily provided them with a practical handbook to "Renaissance." I came up with numerous ways to implement Albertian principles into Seasteading, like interlocking modules made of reinforced concrete used in Venice. I'd then superimpose Albertian beliefs over contemporary technologies like oil platforms, dams, and other marine structures. Miami Beach won't be destroyed, not even with powerful explosive warheads. An ocean-wise semi-submersible wave and wind-resistant platform on this level must be good for at least a century. The dredging of mountains to clear green space would provide a reef-like environment conducive to marine life along the Atlantic. The Black Sea is also navigable by the Atlantic and the Bosphorus Strait connects the Aegean to the Mediterranean.

Leon Battista Alberti rebuilt the Vatican long before he managed to realize only a fragment of his visionary plans. Through his books, he opened up his theories and ideals of the Renaissance to architects, scholars, and others. De re aedificatoria "Florentine Vitruvius" was written not only for craftsmen but for anyone interested in the dark arts (liberal arts), as Leon Battista Alberti put it. To stay ahead of competitors and command the 7 Seas, Miami Beach will innovate technologies (chemical, biological, radiological, and atomic) on floating weapons of mass destruction. Miami Beach's propulsion system is powered by heat provided by a nuclear power-plant at its tail-end.

In theory, water, sun, and wind power will get harnessed, using the structure to convert waves into energy for Seasteading. To protect against system failure, our hybrid energy system will use photovoltaics and turbines. Additional forms of power include wind, biomass (wood & waste), alcohol fuels, and geothermal energy. When we produce energy not needed, it'll charge a giant battery used as a last resort before the manual devices come out. This vessel will behave like a sulfur-breathing organism that consumes Earth's toxins for energy. I envision Miami Beach as a purpose-built floating structure firm in physical compression with attachments buried as steel-reinforced concrete vaults linked together by detachable tubes for rapid transit tunnels. Miami Beach will copy the microbial life that lives in liquid asphalt lake. Studying them illuminate the mechanisms of both boron toxicity and deficiency. We'll also use earthen arches in deep-sea trenches covered with reef creating materials. These reefs will be seeded with organisms to grow numbers of endangered species.

The top-floors of all buildings will have partially opened tops, allowing anti-aircraft weapons to be discharged. Each "pillbox penthouse" functions as a guard post equipped with loopholes to fire a plethora of projectiles. High-speed surface vessels would be a part of an offshore mass transit system that could connect a floating airport to coastal communities and minimize traffic issues. It will have less impact on the environment than anything land-based. Because we'll rely upon renewable energy, Miami Beach will be good for the environment with little negative impact. Many flight issues get minimized by locating an airport inside the new Miami Beach. Take-offs and landings would be better over water, not overpopulated areas, thereby eliminating noise pollution and reducing risks of aircraft crash fatalities.

Leon Battista Alberti regarded math as the common ground of art and science. In his treatise, Della Pittura, he said: "I will take 1st from the mathematicians those things with which my subject is concerned." Albertian Criteria became a standard feature of civic building facades in the later Renaissance, Baroque and Classical Revival buildings. We'll rebuild Miami Beach using his fractal methods for an expandable unfolding symmetry so replication is the same at every level. Since little of the 7 Seas are currently used, alterations would have minimal impact on both the environment and residents.

We'll specialize in using extremophiles for biotechnology. For example, by applying certain qualities of a T. brockianus catalase toward removal of hydrogen peroxide for things like pulp and bleaching, pasteurization, and surface decontamination. Several extremophiles are known to be naturally competent for carrying out species-specific DNA transfer for life extension. DNA modifying enzymes will be used in clinical diagnostics and starch liquefaction produced commercially. Many species are also capable of genetic transformations for all kinds of superhuman enhancements. Miami Beach will house an underwater genebank on one of its archipelagos. The vault will preserve a wide variety of "spare" copies of seeds (from all species, including humans) worldwide. The gene vault is managed under terms spelled out in a tripartite Seasteading agreement among the current Big 3 governments (America, China, and Russia). Miami Beach's mission is to provide a safety net against accidental loss of biological diversity. Our storehouses of agricultural biodiversity will encourage the preservation of genetically modified seeds. We'll offer a similar service for data, which is etched as code into reels of film that last for 1,000 years.

In terms of Aesthetics, Leon Battista Alberti is the 1st in defining art as the imitation of nature. Studying extreme environments on Earth helped me understand the limits of habitability on other worlds. We'll look for ways to apply the extremophile adaptation of amino acid composition, to affect our protein folding ability under the conditions here and “abroad.”Classes of extremophiles range all around the globe, each corresponding to its environment. Like Deinococcus radiodurans, our radioresistant Seasteading vessel will survive cold, dehydration, vacuum, and acid. COVID-19 won’t stand a chance!

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I'm just going to fast forward - SPOILER ALERT!!! In short, everything in the last 30 posts is self-centered. After 37 years on this planet, I found the ultimate motive for all voluntary action is the desire to experience comfort or to avoid discomfort.  Everything you and I do is in our self-interest at some capacity. Conflicts, big or small, are caused by both a need for comfort instantly and in the future. However, instant gratification can be sacrificed for a chance of greater future comfort. Further, we are not motivated to strictly avoid discomfort and only pursue comfort, but, instead, we will endure discomfort to achieve the highest net comfort. As they say, no pain - no gain!

My superorganism metaphor calls out a specific form of psychological egoism, hedonism. Accordingly, all actions are tools for increasing comfort or decreasing discomfort, even those defined as generous and those that do not cause an instant change in gratification levels. However, this hedonistic mechanism is less reliable when it comes to natural selection's ultimate selfless desire to care for what one would consider family. This explains 1 member dying for another to live, thus continuing their gene's overarching lifespan.

For example, my Maternal Haplogroup is HV1b2, and my Paternal Haplogroup is E-L29. Throughout this book, I blatantly reference them in respect to everything and anything of historical value. This casts them as both heroes and villains regardless of whose side you're on. As a bookie for the Sicilians, my Paternal grandfather (Michael Nunzio Alberti, the greatest man ever) changed his last name to Alberta because of 'u Paccarè, aka Gerlando Alberti "the imperturbable one."

From the year 711 until the 1950s, Leon Battista Alberti's family belonged to the Porta Nuova of Palermo. My great grandfather immigrated to America through Giuseppe Calò. Gerlando became a boss of the "New Mafia". He was involved in everything from contract killing and heroin smuggling to kidnapping journalists and stealing Renaissance paintings. As Jewish dealers, my mother's side of the family (surname Matter) amassed their wealth selling Renaissance paintings. In their eyes, my mother went "beyond the pale" by not only marrying but having children a Catholic. Needless to say, my blue-eyed blonde Italian-American father took after Gerlando more so than Michael.

The point is, I could easily apply (which I have) a related methodology with Alberti toward myself, centering everything around me as the archetypal Renaissance Man. For example, I was born on the day the Internet went public in 1982, and society is currently experiencing comparable effects the printing press had in the 15th-century. World events, too, are remarkably similar, from viral outbreaks in geopolitics. However, there's no comparison between my ancestors and I. There is, nonetheless, a cyclical nature to history. Yet and still, these 3 books ultimately expose the dangers of believing in conspiracy theories on the Internet. As such, science-based skepticism is the theological doctrine of ™.

Another ulterior motive of mine was out of the frustration after being denied Israeli citizenship, despite a significant % of my family (first cousins, uncles, etc.) having settled there generations ago. I wanted to confidentially join Israel's Shin Bet, focusing on homeland security and counterintelligence. My goal was to spy on the Mossad for Israel, concentrating on the Karaites and their connections to political Islam and the Vatican. This rejection initially led to a desire to start my own country in the middle of either the Black, Mediterranean, or Dead Sea. This is why my work focuses on ancestor worship and geographical locations.

Metaphorically speaking, this series of books can be interpreted as one of those serial killer collages, assembled from relevant timelines and narratives cut from magazines and glued together to form a picture of me. Another analogy (inspired by Leather-Face), I'm wearing the mutilated semblances of world history's most vicious tyrants as a plague-doctor mask. Symbolic for reconciling our dark side, my shadow - the Projection.

My primary source of information is the world's most exhaustive and up-to-date encyclopedia, Wikipedia. It is, in itself, an example of a written remix. Since the public is encouraged to add our knowledge, it allows us to remix the information presented. Because Wikipedia is edited and produced by such a large pool, revisiting pages relevant to this subject matter (over a few years at least) was essential to come to the conclusions that I have.

So here's the theorem.

First, what I did was cut-and-paste Wikipedia articles on Renaissance Man (Leon Battista Alberti, Pachacuti, Nezahualcoyotl) and the 15th-century into a Google Doc. Then I superimpose Wikipedia's historical timelines over the Renaissance Man content, matching similar dates and events. These Wikipedia articles and timelines were periodically revisited for several years to see what information held up to scrutiny. Throughout the editing process, timelines were changed as new content was added and subtracted. As time went on, calendars "convergenced' and historical events started to resemble fractals of the past. This process continued until I had 30 chapters at 3,000+ words for each chapter.

After the content was drafted, I ran the chapters through Grammarly for no plagiarism and proper editing. I'd then convert each chapter as a blog post centered around a keyword. Ideally, this theorem works best when you can just cut and paste from Wikipedia without modification (except for commentaries in colored italics). For SEO purposes, this was not possible, at least if I wanted this content searchable on Google.

A central characteristic of this book is the challenge to established notions of originality. All history gets revised constantly through the folk process. The oldest living example of remix culture is found in our most ancient religious institutions. They have been reinterpreted and published in different languages all around the world. In some cases, they become a form of satire that adapts other's work to ridicule it. Such parodies date back to the development of writing.

Folklore existed long before any copyright law. "My content" is built primarily and explicitly from Wikipedia to solve writing and communication problems in a new context. The concept relies on remix practices, which blur distinctions between invented and borrowed work. The composition of this trilogy was undertaken as a problem-solving activity rather than a demonstration of original ideas. I believe all writing situations are problem-solving devices in one way or another.

I trust folding history into the 15th-century will be rejected by mainstream historians as it is inconsistent with modern dating techniques used in the wider scholarly community. The majority of scientific commentators will, indeed, consider it pseudoscientific. In truth, I don't know to what extent my history is fact or fiction; I just wasn't there. Neither were they for that matter. This book can be considered a way of solving this problem, used alongside the creation of the original text. This allowed me to alter existing documents and combine them with innovative work to find solutions.

Granted, rejecting commonly accepted dating methods is foolish - archaeologists make extensive, rigorous examinations that have been refined for centuries. Most archaeological, paleographical, and carbon methods of dating sources seem to be contradictory. I'd still have to say evidence (for or against my theory) can be reliably dated.

"My style" is closely tied to Alberti's practice of remixing, namely through the alteration of literature. This aided invention by leveraging his intellectual resources. Remixing was always a part of human culture. The story of the "New World" matched and merged traditions have taken both indigenous and immigrant. Out of composition inhabits a contested terrain of intellectual property, authorship, corporate ownership, or power. While legal issues often mark such practices, this will soon become an increasingly common creative form of expression.

The traditional distinction is that initial work is superior in terms of creative effort and is not derivative. Such a difference is based upon outdated notions of "the pioneer" and is no longer practical in an academic setting. The emphasis on original work contributes to plagiarism. Citations and quotations only encourage people to conceal their sources.

The ability to effectively contribute to historical discourse is what makes my books valuable, not their "originality." My prior knowledge was revised synthetically to incorporate new concepts and practices into the preceding model of writing, like grafting isolated bits onto a previous structure. Originality is fundamentally misleading as an evaluative concept.

"My work" is not concerned with original words or images on a page or screen but concerned primarily with assemblages of parts. I do not distinguish mainly between which parts are supposed to be unique and which have been found and gathered from someplace else; I'm interested in what works, what has social effects. In my mind, the role of intertextuality is recognized as central to the composition of "new" material.

Plagiarism is dependent upon the cultural conventions given. My inclinations for piracy are encouraged in the academic community; teachers plagiarize all the time. They share syllabi (with plagiarized plagiarism statements!) and use boilerplate text for administrative documents, all while failing to acknowledge the bibliographic work of others.

For "my work" to survive, it must be shared and remixed by others. This is where the participatory nature of history comes into play because you start participating by becoming a contributor to this book's legacy. "My form" of writing enforces the correlation between participatory and remix culture while highlighting its importance in evolving literature. Since you read this book as something that can be repurposed or recreated, I, therefore, make you the author, regardless if you agree with me or not.

Each generation has its dilemmas and, therefore, its problems and its solutions. My goal is to cut through this historical noise so we can identify our collective patterns to make positive changes.

Edgar Allan Poe said: "There is no greater mistake than the supposition that true originality is a mere matter of inspiration. To originate is to combine."