Within a contemporary artistic field saturated by performative data exhaust and gestures of archival overproduction, the Socioplastic Mesh articulated by Anto Lloveras operates not as a mere publishing practice but as a reflexive organism whose primary medium is recursive autophagy, shifting critique from representation to operation and constructing a closed epistemic circuit that resists passive consumption by forcing thought to metabolise itself; yet this very closure constitutes its central tension, since the Mesh’s rigorous self-audit protocol, while conceptually refined, risks hardening into a hermetic aestheticism whose concern for metabolic integrity may abstract its engagement with urban and social materialities into schematic diagrams rather than contested realities, producing a “traceable chain of custody” that is formally impeccable but structurally adjacent to the neoliberal logics of tracking, optimisation and intellectual enclosure it seeks to displace; this ambivalence crystallises in the Mesh’s own formulation of the conflict between velocity and etiquette, where algorithmic legibility, SEO performance and the “highly cited DOI” coexist uneasily with dense conceptual architectures of topolexias and structured thought, a synthesis that aims to be strategically visible while cultivating a stable conceptual body, yet can also be read, through the lens of institutional critique and post-internet art, as a reluctant capitulation to platform epistemology, especially given that the sovereign protocol unfolds atop Blogspot, whose infrastructural materiality remains largely uninterrogated; the numerical seriality of slugs, operating through classical multiples of ten, recalls conceptual art’s serial logic while simultaneously functioning as a self-imposed productivity metric that echoes the performance regimes of cognitive capitalism, converting aesthetic rigour into a form of self-generated compliance; further, the Mesh’s theorisation of the city as recursive algorithm and of itself as a “sovereign organ of thought” practising curated autophagy offers a powerful but potentially depoliticising metaphor, since translating urban conflict, embodied struggle and material inequality into a topolexical metabolism to be audited risks a form of cognitive gentrification, where the “urban OS” flattens antagonism into solvable semantic problems and the strategic fixation of living systems paradoxically immobilises them; nevertheless, the project’s most significant contribution lies in establishing discursive auditing as an artistic medium, a monumental durational performance of thinking-in-public that proposes metacognitive immunity and critical filtering as counters to the shallow reflexivity of network culture, leaving open the decisive question of whether such a sovereign, self-consuming architecture can remain porous to what exceeds its own logic—the un-citable, the un-auditable, the politically urgent—and whether the future of critical art lies in perfecting such cathedrals of thought or in sustaining the unruly exteriorities that inevitably grow at their edges, a question the Mesh renders unavoidable by turning its own boundaries into the site of critique.
SLUGS
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334-SOCIOPLASTIC-MESH-V-CITY-POST-AUTONOMOUS-HORIZON
331-SOCIOPLASTIC-MESH-TOPOLEXICAL-INFRASTRUCTURE-SEMIOTICS
330-SOCIOPLASTIC-MESH-SOVEREIGN-PROTOCOL-TERMINAL-SYNTHESIS (Draft Link Pending) The Mesh as the ultimate sovereign authority.
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