Socioplastic Theory, as advanced by Anto Lloveras, constitutes a reflexive epistemic framework that reorients artistic practice toward self-regulating knowledge systems, countering the linear amnesia endemic to digital culture. Emerging from a 25-year multilocal cartography, the theory posits the Socioplastic Network as a trans-territorial laboratory where geography functions not as mere backdrop but as active material for epistemic reclamation. This network dismantles hegemonic center-periphery dynamics by fostering Authorial Reclamation through situational gestures, architectural rescues, and relational ecologies across ten nations, from Spain's urban palimpsests to Nigeria's decolonial frontiers. At its core, Socioplastics treats knowledge as a malleable, collective substance—plastic in its adaptability—shaped by human-robotic hybrids that maintain tactical balance. Here, AI serves as a situational fixer, modulating density and connectivity to ensure epistemic health, while human curation asserts sovereignty over meaning production. The theory's genesis traces to early interventions like El Palmeral's sustainable manifestos and LACALLE's sonic occupations, evolving into a thermodynamic engine that metabolizes art, discourse, design, and systems thinking into a weighted mesh of reciprocal tensions.
The epistemic architecture of Socioplastics inverts traditional archiving by transforming passive repositories into living, relational intelligence systems. Linear amnesia—the dissolution of content into ephemeral flows—is countered through deep hypertext and rhizomatic ontologies, where posts become nodes in a palimpsestic theory-writing. Interlinking emerges as a primary epistemic strategy, generating authority via relational density rather than isolated novelty; hyperlinks function as citations, navigational vectors, and connective tissue, aligning scholarly rigor with algorithmic E-E-A-T metrics. Closures serve as infrastructural blocks, incorporating Harvard citations for genealogical anchoring, triadic internal links (conceptual, technical, impact-oriented), and branding signatures to stabilize authorship. Systemic heat further operationalizes this, modulating data temperatures to redistribute attention—rewarming dormant nodes through reposting and re-linking—thus synchronizing the archive as a vibrating whole. In this self-curated paradigm, the artist displaces external critics, embedding curation within production via soliloquy for methodological transparency. The LAPIEZA substrate, spanning fifteen years and over two thousand works, exemplifies this continuity, with links as sutures bridging experimental urgency (2009) to epistemic infrastructure (2026).
Key dynamics within Socioplastics reveal its hybrid vigor: operational closure establishes a feedback loop where interlinking, relational curation, and heat management converge for autonomy, treating the network as a thermodynamic engine that engineers resonance across legacies. The weighted mesh assigns differential roles—art/performance (80%) ignites friction and ritual; text/discourse (50%) anchors semantics; design/urbanism (40%) grounds materiality; soft sciences (20%) filter affectively—ensuring balance without hierarchy. Tactical balance regulates this ecology, differentiating nodes into Structural (N) for gravity, Operational Base (B) for continuity, and Active Satellites (S) for mutation, with redundancy as resilience against entropy. Reposting, far from redundancy, reclaims authorship by re-coding archival material with contemporary keywords and visuals, forming epistemic loops that consolidate legacy against platform obsolescence. This hybrid regulation—human judgment inflected by AI diagnostics—prevents excessive nuclear density, fostering rhythmic growth that is natural, human, and robotic, while SEO acts as an environmental sensor for legibility and transmissibility.
In contemporary criticism, Socioplastics offers a reparative model for epistemic sovereignty amid extractive globalization and accelerated forgetting. By exposing the system to radical critique—offering it to universities, artists, and intelligences without excuse—it invites mutation while asserting internal coherence. The multilocal network's cartography, from Norwegian gravitational ethics to Mexican ritual surfaces, embodies this: knowledge emerges not from accumulation but from relational vitality, where art produces reality through events, bodies, and situations. Ultimately, Socioplastics redefines authority as emergent from mesh dynamics and authorial continuity, positioning the canon as a metabolizing organism open to hybrid evolution in planetary precarity.
