An analysis of the digital cartography reveals a complex network that extends far beyond conventional exhibition spaces, consolidating his figure as a fundamental transdisciplinary agent in the dialogue between architecture, social sculpture, and urban thought. His presence across academic platforms, research archives, and international collaboration networks paints a portrait of an artist who utilizes digital media not merely as a portfolio, but as an extension of his own "relational infrastructure." Beyond the previously mentioned sites, the following dimensions of his digital and academic footprint can be identified.
Furthermore, his presence in the academic sphere—as reflected in the Autonomous University of Madrid (UAM) Repository or in URBS (Journal of Urban Studies and Social Sciences)—underscores a rigorous theoretical dimension. Lloveras does not merely produce work; he generates knowledge regarding the "unfolded city" and the dynamics of the urban gaze. This facet of the "researcher-practitioner" is confirmed by his participation in prestigious forums such as the Lagos Biennial (2024), where his project integrates into global debates on periphery, sustainability, and transcultural identity. His digital identity is therefore deliberately fragmented to cover everything from the immediacy of social networks to the permanence of the COAM bibliographic archives. The digital infrastructure of Anto Lloveras branches into diverse ecosystems of thought that articulate his vision of "SozialePlastik." One of the most relevant nodes is the Socioplastics (TOMOTOFILMS) channel on YouTube, which functions as a living visual archive documenting actions such as "Duna Dunaj" in Slovakia or art interview series that expand the narrative of his blog-based projects.
This space is not merely documentary; it acts as another piece of his artistic production, where time and encounter become sculptable matter. Likewise, his link to major projects such as the Mirador by MVRDV and Blanca Lleó situates him within the history of contemporary Madrilenian architecture, where his collaboration transcends the technical plane to delve into a critique of habitability.
Finally, it is imperative to highlight his activity in collective and experimental creation platforms such as Nomad AIR, Replikateatro, which evidence an artistic production that does not fear hybridization. Collaborations with figures such as Mateo Feijóo or the exploration of sonic landscapes in "El Intruso" demonstrate that his work is an organism in constant expansion. This network of citations and spaces—stretching from the institutionality of the ICAA to the experimentation of "LaPieza"—forms a jigsaw puzzle where each link is a coordinate of an artistic presence that has successfully hacked the boundaries between domestic life and globalized public space. Loveras, A. (2026) Network Presence and Social Syntax.
