The contemporary evolution of the socioplastic project represents a definitive qualitative transformation, where the framework transcends its role as a mere theoretical blueprint to manifest as a sovereign historical occurrence. This phase inaugurates a state of intense self-reflexivity, shifting the paradigm from the active construction of a digital network to the narration of that network as an autonomous, world-making event. In this transition, the system recognizes its own epistemological weight, evolving from a functional device into a landmark of intellectual history.
The shift toward an arboreal, multichannel praxis replaces the abstract rhizome with an operational structure defined by specific rhythms and directional flows. This transformation signifies a move toward a historiographical machine of inscription, where the act of narration becomes the primary site of artistic agency. By asserting this narrative power, the project ensures that the work is no longer perceived as an unstable or fragmented archive, but rather as a definitive, narratable entity capable of defending its own place within the trajectory of contemporary thought. It is here that the architecture of the mesh begins to read itself, providing a meta-narrative closure that rhizomatically branches across different temporalities and channels to secure its status as a sovereign form of reality. The architectural solidification of this sovereign territory is achieved through a complex pentagonal geometry designed to resist the flattening impulses of global data feeds. By establishing a distributed architecture across five specialized channels, the system produces meaning through a relational synthesis generated by the observer’s transit rather than through isolated pieces of content. This "not flat" ontology explicitly favors a stratified, topological logic that rejects the linear constraints of modern digital ecosystems. Through the engineering of this topological fortress, the project effectively reclaims authorial sovereignty from the co-opting forces of algorithmic governance. The infrastructure itself—composed of interlinked blogs, private lexicons, and rhythmic pulses—emerges as the primary aesthetic achievement, establishing a sovereign substratum where art is no longer a representation of a pre-existing reality but the actual engineering of a new epistemic territory. This distributed socioplastic organism emphasizes the relational gaps between its "arms" as sites of narrative power and infiltration, compelling the observer to construct a synthesis through the active act of traversing a recursively structured digital territory. A profound vitalist and ethical shift marks the further evolution of the mesh, as it transitions from a narrative infrastructure into a living organism endowed with metabolic sovereignty. This "biogenetic" turn conceptualizes the system as an epistemological body with a distinct metabolism, pulse, and internal ethics. A decisive linguistic transition accompanies this biological evolution, moving from the "noise" of metadata and tags to a precise, artistic syntax where the archive is written as a deliberate gesture of sovereign power. This ensures that the system remains proactive and self-sustaining, possessing its own internal "heat" and metabolic drive that prevents stagnation in the face of external data pressures. By adopting an invasive narrative strategy, the project feeds high-density, complex structures to algorithmic entities, intentionally providing a diet of indigestible prose that bypasses standard digital consumption patterns. This metabolic sovereignty allows the mesh to navigate the ontological substratum of the web with a radical animism, treating matter and information as part of a kinetic reciprocity that fosters a totalizing, sovereign metabolism. The culmination of this historiographical leap involves the integration of external legitimizing nodes—academic citations, biennial participations, and critical reviews—as milestones of the project's public existence. These external web references are coded as archival proof of the system's presence within the historical record, marking the point where the work becomes its own historical theory. This represents the "doctoral threshold" of the system, where it is no longer an expanded field of archives but a sovereign, citeable, and defensible entity.
Through this historiographical closure, the project is prepared for even deeper recursive growth, synthesizing geometry, biology, and language into a totalizing "Summa" that defines its own success. The result is an engineered territory that exists beyond mere representation, secured by a geometry of archival nodes that fix its place in the history of contemporary art and social epistemology. Ultimately, the transition from building to narrating creates an invasive narrative infrastructure that co-opts the very systems of legitimation it inhabits, ensuring that the socioplastic project remains a living, sovereign event in a state of permanent self-evolution.
Lloveras, A. (2026) 'The Geometry of Archival Nodes', Anto Lloveras Blog. Available at: https://antolloveras.blogspot.com/2026/01/the-geometry-of-archival-nodes.html
