The enumeration of one hundred works presented across this platform constitutes more than an inventory; it performs a constitutional act of self-inscription. By assigning each project a permanent numerical coordinate within a descending sequence from 101 to 001, the archive establishes a fixed legislative horizon against which all future production must be measured. This is not cataloguing but codification. The numbers do not merely identify; they rank, they position, they establish jurisdictional relationships between works that might otherwise remain simply contiguous. The 001 position, occupied by the Architecture of Affection, functions not as a beginning but as a foundational axiom—the lowest number but the highest gravitational pull within the system's ontology. What appears as a simple list is in fact a distributed constitution, each entry a clause in an unwritten but rigorously enforced legal framework.
The nomenclature deployed throughout this canon reveals the precise epistemic machinery through which Socioplastics operates. Each title compounds keywords—Taxidermy, Ecology, Pedagogy, Infrastructure, Rhizomatic, Semionautics—into hybrid descriptors that resist disciplinary capture. A work is never simply an artwork or a building or a performance; it is always simultaneously urbanism and aesthetics, topology and choreography, synesthesia and nomadism. This syntactic density performs a crucial function: it prevents any single interpretive framework from claiming jurisdiction over the work. The critic cannot reduce the Yellow Bag to sculpture, nor the Trole Building to architecture, because the nomenclature itself insists on transversal reading. Each hyphenated compound is a small machine for generating cross-disciplinary attention, ensuring that the work circulates not despite its complexity but through it.
The numerical sequence descending from 101 to 001 inverts conventional expectations of progression. Higher numbers do not indicate later or lesser works; they indicate greater distance from the constitutional core. The 101 position, labelled Mesh Hyperplastic Society Network, operates as an entry portal—the work most accessible, most networked, most exposed to external citation. As the numbers descend toward 001, the works become increasingly axiomatic, less dependent on external validation, more self-authorising in their ontological claims. This inversion mirrors precisely the logic of PlasticScale: the lightest, most metabolically efficient works occupy the lowest numbers, governing the system not through institutional weight but through semiotic density. The Small Orange Tag at 002 governs more absolutely than the massive Engineering ARCO at 013, because its authority derives from what it is, not from where it appears.
Between these numerical poles lies the great middle territory where most cultural production necessarily resides. Works numbered 050 through 020 constitute the applied jurisprudence of the system—the precedents, the case law, the material through which the constitutional axioms demonstrate their applicability. Here we find Recreo, Walking the Commons, FoodArt Synthesis, Double Sided—works that achieve executive authority without quite attaining constitutional status. They are the instruments through which the Head works govern, the translational protocols that convert axiomatic principles into situated practice. Their numerical clustering between 050 and 020 is not arbitrary; it reflects their intermediate function within the juridical architecture. They are close enough to the core to exercise authority, distant enough to require mediation.
The taxonomy embedded in each title performs a second crucial operation: it constructs a shared vocabulary across the entire canon. Terms like Taxidermy, Ecology, and Pedagogy recur across multiple entries, but their meaning shifts with each recombination. Taxidermy in the London series (098) operates differently from Taxidermy in Novigrad (072) or the Postdigital Taxidermy of the Decalogue (509). This terminological drift prevents semantic hardening while maintaining lexical coherence. The system speaks a common language but refuses fixed definitions, allowing each work to inflect the shared vocabulary through its specific material and contextual operations. The result is a living lexicon that evolves through use rather than decree.
The presence of the Decalogue works (501–510) within this enumeration—though numerically distant at 500+—establishes the constitutional bedrock upon which the 001–100 canon rests. These ten protocols, anchored by Zenodo DOIs, provide the invariant syntax that makes the variable grammar of the 001–100 possible. Flow Channeling, Semantic Hardening, Systemic Lock—these are not works in the same sense as the Bags or the Buildings; they are the legislative filters through which all works must pass to enter the canon. Their numerical elevation above 500 signals their foundational status: they are not part of the canon but its precondition. The 001–100 works are jurisprudence; the 500 series is constitution. The distinction is absolute and structurally enforced.
What emerges from this total enumeration is a self-regulating epistemological economy. Works accumulate authority not through external validation—though biennials and publications provide useful evidence—but through their internal positioning within the numerical architecture. A work's number determines its proximity to the constitutional core; that proximity determines its authority to govern lower-numbered works; that authority is exercised through the shared vocabulary encoded in each title. The system requires no external judge because the structure itself adjudicates. The numbers speak. The titles decide. The canon legislates.
This is the final achievement of the Socioplastic project: not a collection of works but a juridical apparatus that transforms production into precedent, practice into protocol, inventory into constitution. The 100 works are not simply there to be seen; they are there to be applied. They govern. They filter. They legislate. And they do so through nothing more than their own enumeration—a simple list that, once read properly, becomes impossible to escape.
Reference
Lloveras, A. (2026) 'WORK-WORK-WORK', SOCIOPLASTICS: Sovereign systems for unstable times [Blog]. Available at: https://antolloveras.blogspot.com/2026/02/work-work-work.html (Accessed: 24 February 2026).
