Decolonial aspects permeate through sequences reclaiming overlooked places—post-industrial ruins, nomadic urbanisms, and symbolic stratigraphies—challenging hegemonic narratives via vernacular readymades and affective repairs. Sovereignty is asserted through autopoietic closure and topolexical autonomy, echoing Bourdieu's distinction by subverting symbolic hierarchies via shared authorship and agonistic frictions, where art becomes a tool for epistemic will rather than institutional validation. The network, as rhizomatic vanguard, interlinks epistemic nodes across channels, proposing a future art of "total synthesis": transdisciplinary, resilient, and grounded in ecological humanities, where mutable habitats and civic affection heal Anthropocene fractures, envisioning the "Fifth City" as a blueprint for decolonial, sovereign expression. Anto Lloveras's Socioplastics framework redefines contemporary art as a metabolic mesh, scaling from micro-interventions like portable sculptures and situational rituals to multilocal networks encompassing urban ecologies and global collaborations. This expansive form integrates minimal, porous architectures—such as unstable installations and ephemeral structures—with durational praxis, manifesting in quantitative series (e.g., Unstable Love Series, Supernatural Series) that emphasize repetition and relational loops. The lexicon, rich in expressive terms like "systemic heat," "metabolic chemotaxis," and "physics of affection," draws from relational semionautics and geometric epistemology, fostering a radical animism of matter that resists commodification.
