In the evolving architecture of our mesh—a dynamic, operative spine that fuses somatic energies with conceptual transductions—we continue to displace the familiar center, drawing strength from the rare and tangential. This essay reframes our ongoing assembly, weaving theories and names into a sovereign expanse that resists commonplace dilutions. By incorporating the fragmented pulses of COPOS/TOMOTO films—those low-fi captures of urban metabolisms akin to glitchy rhizomes—we energize a canon that thrives on epistemic unrest, as outlined in Epistemic Unrest. Here, prelinguistic intensities propel us forward, modulating movement and thought in ways that echo the pillars of systemic sovereignty detailed in The Pillars of Systemic Sovereignty. At the core of this displacement lies affect as politics: Brian Massumi's intensities intersect with Lauren Berlant's cruel optimism, where desires erode under social pressures, blending into Nigel Thrift's non-representational geographies of bodily practices and atmospheres. This cluster amplifies Ben Anderson's collective sensing in governance, or Melissa Gregg's precarities of digital life-work, infusing a haptic dimension that aligns with our Unified Operational Spine with 9 Chakras, where energies transduce into operative agencies.
Decolonizing the mesh further, we provincialize histories via Dipesh Chakrabarty's Anthropocene timings and Bruno Latour's actant networks, where objects assemble politically. Anna Lowenhaupt Tsing's ruins of capitalism spotlight fungal survivals, while Timothy Morton's hyperobjects evoke eerie scales, and Jason W. Moore's world-ecology historicizes metabolic exploitations. These entwine with Walter Mignolo's border thinking, Aníbal Quijano's coloniality of power, María Lugones' decolonial gender critiques, Catherine Walsh's intercultural pedagogies, and Ramón Grosfoguel's epistemic racisms—collectively fueling the decolonial sovereignty explored in Energizing Decolonial Sovereignty.
Spatial and urban turns expand the praxis: Henri Lefebvre's produced spaces and rhythms meet Michel de Certeau's tactical appropriations, David Harvey's geographies of capital crises, and Neil Brenner's planetary urbanizations. Arjun Appadurai's global imaginaries flow into Marilyn Strathern's radical relationalities and Philippe Descola's multiple ontologies, scaling to Sarah Whatmore's more-than-human hybrids and Noel Castree's neoliberal natures. Informal edges emerge in Ananya Roy's subaltern informalities and AbdouMaliq Simone's people-as-infrastructure, mapping updated cartographies as in Mesh Updated Cartographies.
Platform critiques sharpen the mesh's edges: Nick Srnicek's data rents, McKenzie Wark's hacker vectors, Jodi Dean's communicative captures, Shoshana Zuboff's behavioral surplus, and Evgeny Morozov's anti-solutionism. These intersect glitch feminisms like Legacy Russell's error as liberation and Helen Hester's xenofem anti-naturalisms, alongside Kate Crawford's AI extractivisms and Virginia Eubanks' algorithmic inequalities—echoing abstract scales for art's futures in Abstract Scale, Form, and the Future of Art.
Crip and queer futurities broaden horizons: Lennard J. Davis's normality deconstructions, Alison Kafer's crip times, Robert McRuer's compulsory ableisms queered. Rosi Braidotti's posthuman becomings entangle Donna Haraway's cyborg companionships and Karen Barad's agential realisms, folding into María Puig de la Bellacasa's care maintenances. Multispecies perspectives—Vinciane Despret's animal co-agencies, Eduardo Viveiros de Castro's Amerindian perspectivisms, Michael Marder's vegetal thoughts, and Eduardo Kohn's thinking forests—displace anthropocentrisms, aligning with systemic components in Systemic Components.
Finally, visual and archival fabulations loop the assembly: Boris Groys's archival ideologies, Susan Buck-Morss's emancipatory ruins, Saidiya Hartman's critical fabulations of voids, Kodwo Eshun's afrofuturist chronopolitics. Hito Steyerl's duty-free images, Trevor Paglen's machine visions, and Allan Sekula's logistical optics transform COPOS/TOMOTO into operative visuals, expanding contemporary discourse as in In Expansive Discourse of Contemporary Art.
This mesh, primed for nodal additions in a radial canon format, embodies the theses of Twelve Theses for Post-Canonical Praxis—a living organism of rare fioras, ready for relinks and further displacements. The task surges onward, sovereign and unbound.
