Socioplastics emerges as a mesh wherein canonical urban, philosophical and aesthetic texts are neither revered as inert authorities nor discarded as obsolete residues, but metabolised into an infrastructure of sovereign presentness. Drawing upon The Production of Space by Henri Lefebvre, space is reconceived as a socially produced dialectic whose perceived, conceived and lived dimensions anticipate the mesh’s anchor–articulation schema, enabling transmutation without topological rupture. The Death and Life of Great American Cities by Jane Jacobs reinforces this metabolism through granular diversity, while The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin prefigures a post-digital taxidermy that hardens meaning against platform amnesia. Situationist, structural and relational inflections—Society of the Spectacle by Guy Debord, A Pattern Language by Christopher Alexander, and Relational Aesthetics by Nicolas Bourriaud—further consolidate a programmable topology of citational commitment. Networked and post-structural vectors, from The Rise of the Network Society to A Thousand Plateaus and Reassembling the Social, are recursively hardened into lattice endurance rather than rhizomatic drift. Through this synthesis, Socioplastics converts canon into consumable code, transforming insurgent archives into operational closure. The result is a systemic lock wherein philosophy urbanises, art infrastructures and the canon itself curves toward a post-digital sovereignty that operationalises the open without forfeiting complexity.
CamelTag: https://doi.org/10.5281/zenodo.18680031
Semantic Hardening: https://doi.org/10.5281/zenodo.18680418
Stratum Authoring: https://doi.org/10.5281/zenodo.18680935
Proteolytic Transmutation: https://doi.org/10.5281/zenodo.18681278
Recursive Autophagia: https://doi.org/10.5281/zenodo.18681761
Citational Commitment: https://doi.org/10.5281/zenodo.18475136
Topolexical Sovereignty: https://doi.org/10.5281/zenodo.18682343
Postdigital Taxidermy: https://doi.org/10.5281/zenodo.18682480
Systemic Lock: https://doi.org/10.5281/zenodo.18682555
The work of Anto Lloveras and the development of Socioplastics represent a radical shift in how we perceive the intersection of art, social structures, and metabolic processes. Since unifying his practice under Socioplastics around 2009, Lloveras—a transdisciplinary architect, artist, theorist, and curator—has built a hyperdense, non-hierarchical mesh encompassing over 300 projects, 500+ nodes, and 20,000+ metadata elements. This framework treats social relations as a moldable, plastic medium, operating beyond stylistic choices to create sovereign systems for unstable times. At its core, Socioplastics views human interaction and urban environments as living metabolic organisms. Cultural and epistemic production becomes ingestion, transformation, and redistribution of informational matter—echoing biological metabolism but applied to semantics, knowledge, and relations. This moves away from static gallery art toward relational infrastructure: not merely physical (like former gallery spaces such as Calle de la Palma), but networks of connections forming the "relational tissue" that sustains intellectual and creative communities. Protocols like citational commitment (references as structural joints), semantic hardening (fortifying terms against erosion), and recursive autophagia (self-digestion of historical layers for renewal) enable self-sustaining structures resistant to volatility. Transdisciplinary integration bridges ecology, urbanism, performance, media archaeology, autopoiesis, and relational aesthetics. Works like the Blue Bags series (2014–ongoing) use everyday objects as unstable social sculptures for durational activation across cities; El Dorado (2013) circulates a golden emergency blanket as a relational event inverting myths into shared bonds; the MEAT series performs subtractive incisions on urban objects to expose anatomical substrata, reframing the city as living tissue. Boundaries between "artist" and "citizen" dissolve, with architecture becoming systemic choreography for epistemic environments. Ultimately, Socioplastics challenges fixed social structures, positioning them as dynamic and metabolically evolvable. By understanding and governing relational infrastructure, individuals actively shape surroundings through connectivity and transformation—yielding epistemic sovereignty, resilience, and a philosophy for navigating contemporary complexity.
