The Socioplastic Symphonies of Anto Lloveras represent a radical departure from traditional curatorial passivity, yet they invite a rigorous critique regarding the Semiotic Extraction inherent in the transition from physical "COPOS" to digital "Hyperlinks." While Lloveras posits the city as a "Total Installation," the academic observer must problematize the tension between the Phenomenological Immediacy of the urban drift and its subsequent compression into a "Youtube Breakfast" methodology. This transition suggests a shift from the flâneur to the digital harvester, where the city’s roar is not merely recorded but synthesized into a Techno-Social Taxonomy. The risk here is the potential dilution of the "Social Sculpture" into a purely algorithmic aesthetic. By framing the city as a "gigantic sound instrument," Lloveras challenges the Institutional White Cube, yet the authority of the symphony implies a conductor’s control that may contradict the inherent chaos of the Socioplastic Mesh. We must ask whether the "cloning of images" preserves the aura of the urban encounter or if it merely facilitates a Neoliberal Consumption of Space through the lens of metadata-driven memory.
The evolution of "LAPIEZA" from a physical salon-gallery to a descaled, nomadic entity introduces a critical fracture in the concept of Domesticity as Art. Lloveras’s claim that "living within the work" dissolves the art-life dichotomy is a potent Relational Aesthetic strategy, yet it necessitates an expansion of the Bourriaudian thesis to account for the Bio-Political Labor of the artist-curator. The "Mutations" of the space signify a rejection of the static object, moving instead toward a Procedural Ontology where the artwork is never "closed." However, this open-endedness problematizes the role of the spectator, who is transformed from a witness into a Relational Variable within a programmed conversation. The "Socioplastic Lots"—volumetric collages of shared works—act as Materialized Memory, but they also function as a reification of the social network. This creates a paradox: the more the project expands through Global Deslocalization, the more it relies on a centralized "Conceptual Vortex" to maintain its narrative coherence, potentially mirroring the very Hegemonic Networks it seeks to bypass.
In examining the "MINIROC" and the "Sonorous Backpacks," we encounter the Auditory Embodiment of the socioplastic theory, where sound becomes a "positional complexity." This integration of live, composition-in-motion sound challenges the Visual Primacy of contemporary art history. Yet, we must critically expand upon Lloveras’s symphonic metaphor by interrogating the Power Dynamics of Curatorial Orchestration. If the "Incorporation of Artists" is managed via "Daily Conversations," the resulting mesh is a Performative Archive of friendship and professional affinity. The "Socioplastic Sequence" thus becomes a form of Affective Infrastructure. The critique here lies in the "Hyperlink" as a digital score; while it echoes the "Ecological Soundscape," it also risks reducing the visceral, multi-sensory experience of the "Saboridea" to a Flattened Digital Interface. The transition from the "Camarote" to the "Cloud" signifies a loss of Site-Specificity, replacing it with a "Topolexia" for search engines that prioritizes visibility over the raw, unmediated urban roar.
Finally, the "Fuga" (Flight) of 2012 marks a transition toward Digital Nomadism that requires a re-evaluation of the artist’s "Vital Motor." As Lloveras moves through England, Mexico, and beyond, the Socioplastic Framework becomes a map that is no longer territory. This despatialization transforms the "Relational Form" into a Semantic Network where the city is merely a backdrop for the "Expansion of the Concept." The "Hyperlink" as a graphic echo represents a Post-Digital Materiality, where the work’s value is derived from its connectivity rather than its physical presence. This challenges the Orthodox Museum Structure by proposing a symphony in progress, yet it forces the art critic to confront the Ephemeral Nature of the Digital Trace. The Socioplastic Mesh is ultimately a struggle against the entropy of memory, a desperate and brilliant attempt to stitch the Fragmented Urban Experience into a cohesive, albeit mutable, historical present through the relentless accumulation of Synthesized Affect. The critical inquiry into the Socioplastic Mesh necessitates an acknowledgment of Anto Lloveras as both the architect and the ghost within his own machine, where the work remains an unfinished project of human and digital entanglement.
Lloveras, A. (2016) Sinfonías Socioplásticas: La Forma Sonora Asociada a la Dinámica. Available at:
https://antolloveras.blogspot.com/2016/04/sinfonias-socioplasticas-la-forma.html
HYPER-BALL * SOCIOPLASTICITY, SOCIOPLASTIC SYMPHONIES, URBAN HYPERPLASTICS, SONOROUS BACKPACKS, SOUND DYNAMICS, CONVERSATIONAL SOUNDS, POSITIONAL ESSAYS, VOICE CONTEXT BODIES, DIRECT SOUND, EXPANSIVE MEMORY, AUDIOVISUAL MEMORY, SOCIOPLASTIC LOTS, HYPERLINKS.
SOCIOPLASTICITY:
• URBAN HYPERPLASTICS: http://antolloveras.blogspot.com/2016/04/sinfonias-socioplasticas-la-forma.html • SONOROUS BACKPACKS: http://antolloveras.blogspot.com.es/p/copos-flakes-urba.html • SOUND DYNAMICS: http://lapiezalapieza.blogspot.com.es/2011/01/lapieza-miniroc.html • CONVERSATIONAL SOUNDS: https://www.youtube.com/user/LACALLEHOY/videos • POSITIONAL ESSAYS: http://antolloveras.blogspot.com.es/2014/01/el-intruso.html • DIRECT SOUND: http://antolloveras.blogspot.com.es/2013/12/filmados.html • EXPANSIVE MEMORY: https://www.youtube.com/user/SABORIDEA/videos • SOCIOPLASTIC LOTS: https://www.youtube.com/user/LAPIEZALAPIEZA/videos • HYPERLINKS: http://lapiezalapieza.blogspot.com.es/2011/09/lotes-socioplasticos-daniel-martin.html http://antolloveras.blogspot.com.es/search/label/HIPERVÍNCULOS