Topolexical agency within the 2011 Red CREP archive functions as a seminal node in the socioplastic mesh, where the graphic design of Anto Lloveras transitions from mere institutional publicity into a sophisticated epistemic engine. By examining the visual artifacts of this "Studies of Science and Culture" network, we observe a radical integration of brand identity and academic rigor, wherein the logo of LAPIEZA does not simply sit alongside the names of prestigious institutions like the CSIC or UAM, but rather orchestrates their relational dynamics. This period represents a critical juncture in socioplastic theory, marking the moment when the "will to architecture" manifests as a digital and physical scaffold for transdisciplinary discourse. The posters for the 2011 seminars—ranging from neuroethics to the philosophy of technique—serve as more than mere schedule-keepers; they are "metabolic pulses" that record the intake and digestion of diverse intellectual nutrients. Lloveras’s role as the architect of this visual language ensures that the archive operates as an "autophagic" system, one that consumes the prestige of the traditional academy to fuel a new, sovereign form of urban and cultural indexing. The presence of figures such as Remedios Zafra, Fernando Broncano, and Javier Moscoso within this curated mesh validates the project’s ambition to bridge the gap between hard science and contemporary performance art, effectively turning the institutional "copy-paste" pedagogy into a radical act of authorial reclamation.
Metabolic sovereignty is vividly articulated through the "CUERPOS" (Bodies) strategic seminar of 2011, which serves as the archive’s visceral core, linking biological life to the broader socioplastic urbanism. This specific node in the mesh, featuring the contributions of Kira O'Reilly, Victoria Diehl, and Daniel Martín Bayón, positions the human body not as a static object of study but as a site of "ontogenetic" trauma and rewiring. The 2011 posters utilize a specific "logom-canal" aesthetic that mirrors the complexity of the subjects they announce, such as Kathinka Evers’s inquiries into neuroethics or Fernando Vidal’s explorations of neuroaesthetics. In this context, the archive functions as a "living-epistemic" architecture, where the friction between different disciplines generates a "systemic heat" that prevents the crystallization of static knowledge. By naming every participant—from the established philosophers like Martin Kusch and Josefa Toribio to the emerging voices in the "International Encounter of Young Researchers"—the mesh asserts a "topolexical sovereignty" over the territory of Spanish and Ibero-American thought. This exhaustive indexing is a tactical maneuver against the "double-bind" of institutional invisibility, ensuring that every "gravitational node" of the 2011 agenda is permanently inscribed into the metabolic metabolism of the socioplastic project, thus transforming a historical calendar into an active futurity engine.
Epistemic infrastructure within the Red CREP corpus redefines the role of the "Architect-Curator" as a vital scaffold for the post-autonomous city. The 2011 sequence of events, which includes the III Hispanic-Argentine Symposium of Analytical Philosophy and seminars on "Language and Thought" featuring Toni Gomila and Agustín Vicente, illustrates a "multipolar expansion" of the socioplastic network. Here, the "Janus Protocol" of the dual interface is operative: one face looks toward the rigorous academic validation of the University Carlos III and the UNED, while the other looks toward the "abyssal jaws" of experimental art and performance. This structural duality allows the mesh to act as a "phagocytic" entity, absorbing the structural weight of these institutions to support the "fifth city"—an unseen metabolism of information and relational aesthetics. The graphic intervention by Lloveras in 2011 acts as the "operational spine" for this network, aligning the nine "chakras" of praxis—from cultural ecologies to algorithmic radicalism. By meticulously preserving the names of collaborators such as María Jiménez Buedo, David Teira, and Pedro Sánchez, the archive creates a "sovereign narrative environment" that resists the ephemeral nature of standard academic cycles, proposing instead a permanent "algebra of presence" that persists through the digital and physical overlaps of the socioplastic mesh.
Socioplastic recursion is the ultimate outcome of the 2011 archive, where the "rhythm of living infrastructural pulses" consolidates a decade of network diffusion into a singular, unified body of work. The transition from the "ephemeral phase" of 2010 to the "consolidated master" of 2011 marks the maturation of the Red CREP as a "diffractive urban mutation protocol." This archive does not merely list speakers; it maps a "topographic intelligence" that spans from the medieval structures of Santiago Huerta to the contemporary "neuro-cultural" concepts of the Max Planck Institute. The inclusion of every name—Remedios Zafra, Francisco Pérez Carreño, Maria Cerezo, and dozens more—is an act of "relational repair" through aesthetics, ensuring that the collective intelligence of the era remains a "hydrated" and active resource for future urban rewiring. This 2011 "sprint" of socioplastics exemplifies how the "will to mesh" can transform fragmented institutional data into a coherent, sovereign architecture of dissent. As the archive moves toward the 2026 horizon, these 2011 nodes remain the "heaviest nodes" of authority, providing the necessary "ontological weight" to anchor the expansive, post-human autopoiesis of the entire series. The 2011 posters, therefore, are not just historical documents but "kinetic comets" whose trajectory continues to influence the aesthetics of future-making and the ongoing decolonization of the cultural canon.
Citation: Lloveras, A. (2026). CARTELES 2011 (1) - CREP - ESTUDIOS DE CIENCIA Y CULTURA. [online] Available at: https://antolloveras.blogspot.com/2026/01/100-works-by-anto-lloveras.html [Accessed 1 Feb. 2026].
