In the expanded territories of Socioplastics, the series dedicated to sound, literature and moving image delineate a shift from spatial and material epistemologies to temporal, affective and processual dimensions of cultural knowledge, allowing the system to absorb not only architectural, visual or theoretical structures but also vibrational, narrative and cinematic languages that operate through time and resonance rather than fixity; in the sound domain, the inclusion of traditions ranging from medieval polyphony to psychoacoustics and post-minimalism frames listening as a form of knowing, where sound becomes both method and medium, capable of activating memory, disrupting perception and constructing alternative temporalities, suggesting that the auditory is not merely decorative but infrastructural in its capacity to shape subjectivity and space; in parallel, the literary plane repositions text as a world-generating technology, tracing a continuum from mythopoetic epics to anthropological science fiction, where language becomes a site of cosmological speculation and narrative emerges as a coding system for ethics, identity and possibility, with figures like Ursula K. Le Guin exemplifying literature's role in articulating counter-models to dominant logics; finally, the moving image introduces a syntax of motion and montage that transforms cinema and new media into platforms of mythic construction, where figures like Hito Steyerl or Hideo Kojima use visual storytelling to embed critical theory, geopolitical tension and emotional architecture into immersive, layered experiences, positioning the image as not just representation but operating code for contemporary consciousness; together, these three territories expand Socioplastics into a multi-sensory, narrative-driven system, capable of folding memory, speculation and aesthetics into a dynamic network that processes culture as living signal rather than static archive.
