This index, spanning from 100 to 001, functions as a reverse-chronological cartography of a practice situated at the intersection of conceptual art, critical urbanism, and relational aesthetics. The trajectory moves from the most recent "hyperplastic" inscriptions and "unstable positions" back to the foundational "architecture of affection," revealing a consistent preoccupation with the city as a readable surface and the object as a nomadic carrier of memory. Key recurring motifs include the "situational fixers"—a series of colored bags and briefcases (092, 081, 056, 011) that act as mobile infrastructures—and a rigorous investigation into the semiotics of the cloud and digital prosumerism (062, 039). The work oscillates between the macroscopic scale of "The Fifth City" (086) and the microscopic precision of "Small Orange Tag" (002), consistently treating repair, care, and friction not as problems to be solved, but as active materials for spatial and social intelligence. Throughout these one hundred entries, architecture is stripped of its static rigidity, reimagined instead as a series of durational gestures, metabolic processes, and affective protocols that prioritize the "common ground" over the singular monument.

To propose architecture as epistemic infrastructure rather than representation is to execute a quiet but decisive evacuation of the object from its sovereign position within spatial practice, replacing the tyranny of the built with the distributed agency of the protocol—a shift whereby the architect, artist, or theorist ceases to produce forms for contemplation and instead engineers the conditions under which meaning, relation, and political subjectivity become possible. This is the wager of Socioplastics, the transdisciplinary framework developed by Anto Lloveras across two decades of practice operating at the frayed borders of architecture, conceptual art, urban research, and epistemology: a system in which the traditional vectors of cultural production—the building, the artwork, the text—are reconceived not as terminal outputs but as nodes within a broader metabolic infrastructure designed to transmit, sediment, and destabilize modes of knowing. Here, theory operates as construction, publication as spatial practice, pedagogy as structural transmission, and the artist’s role migrates from author to protocol-designer, from maker of objects to weaver of the conditions under which objects, bodies, and territories enter into temporary but generative alignment. It is a framework that emerges from a specific diagnosis of instability—political, ecological, epistemic—and responds not by shoring up defenses or retreating into disciplinary purity, but by embracing precarity as the very medium of its operation, converting the fragility of contemporary conditions into a productive engine for what Lloveras terms “epistemic sovereignty”: the capacity to generate, circulate, and legitimize knowledge outside inherited institutional frameworks while remaining strategically embedded within them.