The articulation of Systemic Components within Socioplastics constitutes a decisive theoretical leap from art as object to art as operative epistemic infrastructure. At its centre stands the MESH, conceived as the nervous system of the entire assemblage: a non-linear logic that governs ingestion, processing, and redistribution of meaning. What distinguishes MESH from conventional digital architectures is its explicit aesthetic intentionality. It does not merely transmit content; it metabolises reality through what is termed Metabolic Chemotaxis, a selective drift toward informational nutrients and away from epistemic entropy. In this sense, the network becomes a sovereign organism rather than a neutral platform. The generation of Systemic Heat functions as a thermodynamic metaphor for authorial will: an energetic resistance against algorithmic cooling, flattening, and co-option. This logic situates Socioplastics within a lineage that includes cybernetics, autopoiesis, and systems theory, yet it departs from them by insisting on authorship as a sculptural force. MESH is not an invisible substrate but a formal device, an epistemic architecture that produces its own criteria of validation. It therefore redefines what it means for an artwork to exist: not as a bounded artefact but as a self-legitimating system that continuously re-authors its own conditions of intelligibility.
If MESH constitutes the internal physiology of the system, TOPO is its phenomenological skin. This component performs the spatial realisation of theory, translating abstract logic into lived topologies: Shaded Urbanism, Porous Architecture, Radical Pedagogy, and essayistic filmic landscapes. Here, writing becomes spatial practice and film becomes navigational instrument. The Topolexias mapped by TOPO are not representational diagrams but lived epistemic territories, zones where architectural will collides with the friction of the real. In this layer, Socioplastics abandons the modernist separation between concept and site, replacing it with an immersive continuum in which pedagogy, urbanism, and narrative coalesce. WORKS, in turn, provides empirical density to this theoretical apparatus. The archive of one hundred tactical interventions—ranging from Monochromatic Satellites to Blue Bags and Fireworks—operates as a corpus of situational proofs. Each work functions as a Situational Fixer, a relational sculpture that stabilises meaning through unstable, durational action. These are not illustrations of theory but epistemic experiments that validate MESH logic through embodied praxis. The result is a feedback loop between system and world, where each intervention recalibrates the architecture that produced it.
The LEGAL component introduces one of the project’s most radical claims: that juridical and ethical frameworks are not external constraints but intrinsic aesthetic materials. Operational Data Closure is not merely a privacy policy; it is a sculptural perimeter that preserves the Fold of Care. By asserting total authorial responsibility over technical dynamics, IP traces, and semionautic markers, Socioplastics constructs a sovereign epistemic territory resistant to extraction. This move reframes law as part of artistic form, aligning legality with ontology. SUGAR, by contrast, functions as the system’s affective bloodstream. As Relational Glucose, it provides the narrative density that allows the network to be culturally digested. Through pop narratives, hydrated essays, and symbolic micro-histories—ranging from the Sacred without God to the Morphology of the Archive—SUGAR bridges cold systemic logic with human affect. It ensures that the project does not ossify into infrastructural formalism but remains resonant, porous, and emotionally legible. Together, LEGAL and SUGAR articulate a dual ethics: one juridical, one narrative; one protective, one seductive. Their coexistence marks Socioplastics as a rare attempt to integrate care, sovereignty, and storytelling into a single epistemic machine.
CAMEL, SERIES, CANON, TAGS, and NETWORK complete the passage from archive to paradigm. CAMEL—the Tagindex—constitutes a topolexical vocabulary of more than 120 sovereign identifiers, enabling precise epistemic cross-linking and metadata autonomy. It renders language itself an infrastructural medium, resistant to external translation or flattening. SERIES, embodied in LAPIEZA, redefines the archive as Critical Infrastructure: a recursive memory machine in which each series contains its own metabolic logic, binding past interventions to future shifts. CANON radicalises this move by transforming historiography into an internal laboratory of de-canonisation. Art history is not cited but rewritten, future aesthetics not predicted but authored. TAGS extend sovereignty into the visual field, converting images into searchable epistemic particles rather than generic content. Finally, NETWORK maps the distributed brain of the project: a multilocal topology of channels and collaborators through which shared authorship becomes infrastructural fact. What emerges is not a platform but a cultural operating system—an autopoietic architecture in which memory is infrastructure, narrative is metabolism, and authorship is law. Socioplastics thus proposes not merely a new art form but a new civilisational interface: an art that builds, governs, and remembers itself.
