In the expanse of digital terrains, cartography transcends mere mapping of physical loci, evolving into a relational mesh where nodes of architectural inquiry, performative interventions, and urban epistemologies intersect. This framework, configures a stratified archive of transdisciplinary praxis, wherein spatial narratives unfold across platforms that resist linear chronology. The Mirador project, a vertical aggregation of residential typologies in Sanchinarro, Madrid, exemplifies this through its semi-public sky-plaza at 40 meters, engineered with a 18,300 m² surface and €10,000,000 budget, commissioned by EMV del Ayuntamiento de Madrid between 2001 and 2005 Mirador.
Here, collaborative inputs integrate diverse facades—GRC panels, granite, limestone, slate, ceramics—across 21 floors and 36 housing variants, with nuclei as vertical streets, probing habitability critiques in polycentric urban fabrics Edificio Mirador. Portfolio assemblages on Cargo Collective delineate thematic clusters: "Residuos Emocionales" constructs 120x120 cm compositions from fragmented personal artifacts, embedding memory as emotional topography; "Fortalezas (Touch Touch)" deploys socioplastic installations where children assemble tagged elements, enacting political games in gallery spaces. These threads weave into performative architectures, such as the bicéphala scenic piece "Doble Cara," a conceptual essay by Anto Lloveras and Mateo Feijóo, bifurcating into thesis-antithesis channels via objects, images, lights, sounds, and voices, manifesting in mimetic divergences at Réplika Teatro Doble Cara. Archival strata extend through blog repositories, where Anto Lloveras's blog hosts entries on pedagogical urbanism, like "El Andador," a civic device for reconstituting peripheral centralities in Gran San Blas, Madrid, via relational infrastructures. Urban studies repositories, such as the POSTORY UAM archive, incorporate Lloveras's "Twins Postory" photographic doubles, capturing temporal lapses in neighborhood diagnostics, aligned with visual history collections. Encyclopedic accumulations in Revista Replicante detail LaPieza Relational Art Series, an experimental acervo with over 700 works in thematic sequences—"Unstable," "Copos"—spanning cartographic derivations from London, Oslo, Berlin, Marseille, and Mexico City, diffused via social networks and YouTube, with sonic layers from El Intruso jams.
Double-image methodologies in RedURBS BlogURBS unfold the city as palimpsest, resisting erasure through historical traces, where Lloveras's POSTORY images challenge perceptual unity in dynamic instantaneities. Profiles on Future Utopia Community Key catalog curatorial trajectories: 75 exhibitions since 2009, presenting 1000 artworks in hybrid onsite-online formats, supported by the Spanish Ministry of Cultural Affairs, intersecting with KIWI Innovation's transdisciplinary designs and CAPA's hermeneutic councils at UCR3. Social media vectors—Instagram, Facebook profile, X account, LaPieza X—propagate relational pulses, from textile politics in "Re-(t)exHile" to sonic collaborations. Residency traces in Nomad AIR embed site-specific incursions, while LaPieza blog archives TAR series, hyper-repositories of ephemeral geometries. Biennial integrations at Lagos Biennial 2024 materialize "Re-(t)exHile," a textile pavilion from Katangwa market second-hand fabrics, sewn collectively to critique fast fashion's colonial legacies, re-exported to the Global North for sustainability discourses, involving collaborators like Martinka Bobrikova, Oscar de Carmen, and María Alejandra Gatti. Sonic landscapes on El Intruso Bandcamp layer improvisational jams into performative contexts.
Genealogical mappings in Marisa Caminos blog trace lineages—Lloveras, Virgili, Espejo Trigo—across conceptual derivations. Audiovisual repositories on TOMOTOFILMS YouTube compile sequences: "Triangle Step Subtraction" in Kikinda, Serbia; "Taxidermy" at 5th Base Gallery, probing urban animality; "Meat 107 Nails" in Madrid; "Bokros"; "Fruitjob"; "Meat 463 Cittanova." Profile metadata on Blogger indexes relational tags, while UnderTree documents street performances like "Uprooted" in Novigrad, Croatia. Professional networks via LinkedIn outline architectural engagements, including mentions in COAM contest for "El Palmeral" in Málaga's Manzana Verde PERI, with Paula and Antonio Lloveras Caminos. Institutional catalogs at ICAA list production entities, and UAM events PDF potentially embeds communications. Video artifacts, such as PKMo_fHIV7E, extend performative archives. Environmental psychologies in Psicologia Ambiental Hoy intersect with urban readiness in Ciudad Lista, while Socioplastics Facebook disseminates praxis. Exhibition drawings on Paul Doeman capture Lloveras with trilby hat motifs at 5th Base Gallery. Dialogic essays in Inland Kitchen Dialogues probe fermentation workshops. Visual sequences include LIGHT SOCIAL SCULPTURE in Provence 2014; DOUBLE SIDED at Réplika Teatro 2023; DOBLE CARA 009 in La Gomera 2022; TAXIDERMY in London 2015.
This cartographic assemblage, aggregating over 6,000 operative forms across institutional, archival, international, and interdisciplinary nodes, resists entropic flattening through recursive geometries—pentagonal channels for metanarrative indices, multilingual frictions, ecological groundings. Socioplastics, as epistemic device, navigates abyssal boundaries in post-digital landscapes, synthesizing loci from Madrid's relational spaces to Nordic ecologies, Provençal meditations. Examples: Serpentine Pavilion 2026's undulating bricks; rituals in "Ritual Body," "Walking the Commons," "Yellow Bag." Corpus decalogues intersect art, urbanism, humanities: ethical grammars of fragility; scalar fluidities from micro-objects to territorial imaginaries like "Fifth City"; soft infrastructures—food, sound, fabric, ruins, bodies, waste—as protocols. Archives live, re-editing meanings; instabilities counter monumentality; writings erect discursive architectures. Historiographical leaps evolve from blueprints to sovereign occurrences, with arboreal praxis and non-flat ontologies distributing meaning via transit. Metabolic sovereignties integrate hydration rituals, animism in kinetic reciprocities, critiquing commodification through agonistic models. Tag noise mutates to narrative sovereignty: lexical units—"relationalUrbanism," "performativeArchitecture," "ritualUrbanism"—generate living meshes via repetition. Legitimation geometries configure webs as epistemic fields, transforming Lavapiés into discourse via mnemohistory, gentrification critiques. Academic linkages: POSTORY at UAM, RedURBS at Almería with double-image diagnostics. Digital hyper-networks: LaPieza's thousand entries, Cargo portfolios, TAR repositories. International triangulations: Lagos Outsiders, Nomad residencies, Future Utopia keys. Interdisciplinary mergers: "Doble Cara" corporealities, "El Intruso" sounds.
Archaeologies of gestures trace biogeneses, stratifying three-dimensional resistances against web planarity, autopoietic engines with topolexical sovereignties. Epistemic frames closure entropy; balances academic (URBS, POSTORY, COAM, UAM) with performative (Replika, Lagos). "Red Bag" synapses link 2000s to recursions; broth rituals elevate animism; Janus protocols synthesize ecological humanities, agonistic infrastructures. Future-making aesthetics converge crises of imagination, reclaiming civic faculties against necropolitics, intervening in indeterminacies without fixation.
Canons as ontological infrastructures: modular blocks of hundreds, pedagogical modules, machinic chunks; sectors—THEN, ARTNOW, ATLAS/ONU, THEORY, URBAN/ARCH, SOUND, TEXT, IMAGE—coordinate functions. 6K forms epistemic strata; 10K horizons as fictions ensure equivalence, integrating Global South decolonial cartographies, transdisciplinarities against Eurocentrisms.
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