If 2024 was the year of full immersion—the post-institutional agency, the biennials and congresses, the radical lightness of confetti—then 2025 is the year of return. The project moves to Galicia, to O Vicedo, between the mountain and the sea. The series of this year—from LA LUZ EN CÁDIZ (162) to COPOS / THE END OF AN ERA (185) —span nodes 1933 to 2200, a total of 268 nodes across twenty-four series. The titles are a lexicon of the ruralist turn: bancal (vegetable bed), sverige (Sweden), nigonho, trapecio, turtle visions, estrugas e fentos (ferns and grasses), inverno de pedra (stone winter), cuentos (stories), hortus (garden), miñoca (earthworm), brasil, class act, san roque, parlons cinema, beaucoup, merci, psicamb (environmental psychology congress), la luz en Cádiz (the light in Cádiz, revisited), and finally COPOS. The year is the closing of the fifteen-year arc. It is the return to the origins—to the light, to the garden, to the stone, to the flake. And it is the end. The era ends not with a bang but with a scattering. And the scattering is COPOS. The node ranges are as follows: LA LUZ EN CÁDIZ occupies 1933; PSICAMB occupies 1934; MERCI occupies 1935–1944; BEAUCOUP occupies 1945–1956; PARLONS CINEMA occupies 1957–1964; SAN ROQUE occupies 1965; CLASS ACT occupies 1966–1975; BRASIL occupies 1976–1985; MIÑOCA occupies 1986–1999; HORTUS occupies 2000; CUENTOS occupies 2001–2010; INVERNO DE PEDRA occupies 2011–2020; ESTRUGAS E FENTOS occupies 2021–2030; TURTLE VISIONS occupies 2031–2050; TRAPECIO occupies 2051–2070; NIGONHO occupies 2071–2090; SVERIGE occupies 2091–2100; BANCAL occupies 2101–2120; SUMMER ON occupies 2121–2140; SUMMER OFF occupies 2141–2150; EGO TRIPS / VALENCIA / PALMA occupies 2151–2160; CÁDIZ OTOÑO / LA LUZ occupies 2161–2180; and COPOS / THE END OF AN ERA occupies 2181–2200.
The year is a gradual deceleration. The early series are still engaged with the world: PSICAMB is a congress, PARLONS CINEMA is a film series, BRASIL is a geography. But as the year progresses, the scale contracts. MIÑOCA is the earthworm, the humble creature of the soil. HORTUS is the garden. CUENTOS are stories, small narratives, intimate tales. INVERNO DE PEDRA is stone winter—the cold, the mineral, the slow time of geology. ESTRUGAS E FENTOS are ferns and grasses, the vegetal, the ground cover. TRAPECIO is a trapezium, a geometric shape, a circus apparatus. NIGONHO is opaque, a proper name, a place or a person. SVERIGE is Sweden, a return to the Nordic geographies of the Expansive Epoch. BANCAL is the vegetable bed, the cultivated plot, the daily labor of the garden. SUMMER ON and SUMMER OFF mark the passage of the season. EGO TRIPS is a return to the self, the final introspection before the end. CÁDIZ OTOÑO / LA LUZ is the return to the light, the motif that has appeared in 2019, 2022, 2024, and now 2025—the light in Athens, the light in Cádiz, the light in Provence, the light that has guided the project from the beginning.
And then COPOS.
COPOS / THE END OF AN ERA (185) : nodes 2181–2200. The title means flakes: snowflakes, cornflakes, flakes of paint or stone. The series consists of 20 short video pieces, each named after a place or object, each with a duration:
COPOS 585 MADRID (1:23)
COPOS 586 BOGAVANTE (1:01)
COPOS 587 DREAM (1:04)
COPOS 588 RED BÁSICA (0:59)
COPOS 589 SHELL (0:40)
COPOS 590 DÉCIMAS JERTE (1:09)
COPOS 591 JARDINERÍA ÁVILA (0:43)
COPOS 592 STOP WORRING (1:06)
COPOS 593 CASTILLO (1:14)
COPOS 594 LOS MALAGUEÑOS (1:11)
COPOS 595 CHAPARRO ALGECIRAS (0:53)
COPOS 596 CHERRY (1:22)
COPOS 597 A CORUÑA (0:39)
COPOS 598 BELT (1:35)
COPOS 599 MALLORCA (1:32)
COPOS 600 MIRÓ (1:02)
COPOS 601 LAS PALMERAS (1:25)
COPOS 602 DUCADOS (1:17)
COPOS 603 TERRAZA (1:04)
COPOS 604 FARO (1:00)
The durations are precise: the shortest is 39 seconds (A Coruña), the longest is 1 minute 35 seconds (Belt). The videos are too short to be narrative films, too long to be mere GIFs. They exist in a threshold between moving image and still photograph, between document and poem. The titles are a litany of the project's geography: Madrid, Bogavante (a place in Galicia?), A Coruña, Mallorca, Cádiz (Chaparro Algeciras, Los Malagueños), Ávila (Jardinería Ávila), Jerte (Décimas Jerte), Castillo, Faro (lighthouse), Terraza (terrace), Ducados (a brand of tobacco? a reference to dukes?), Las Palmeras (the palm trees), Miró (the artist), Belt, Cherry, Shell, Red Básica (basic network), Dream, Stop Worring (a misspelling of "worrying"? a command to cease anxiety?). The list is a roll call of the project's memories. Madrid is where it began. A Coruña is Galicia, where it ends. Miró is the Catalan painter, the surrealist, the constellation-maker. Faro is the lighthouse, the guide, the beam in the darkness. The videos are flakes. They are pieces broken off from a larger whole. They are complete in themselves yet point beyond themselves to a larger field.
COPOS is the series that most fully embodies LAPIEZA's aesthetic of fragmentation. The flake is the project's final unit. Not the node, not the series, not the year—the flake. The flake is smaller than the node. The flake is ephemeral. The flake is a piece of a piece. The project ends not with a monumental statement but with a scattering of fragments. The era ends not with a bang but with a whisper. The whisper is 39 seconds long. The whisper is A Coruña. The whisper is the end.
THE END OF AN ERA is not a lament. It is a recognition. The era is over. The fifteen years are complete. The 185 series are finished. The 2,200 nodes are numbered. The archive is full. But the end is not a closure; it is a scattering. The flakes will land somewhere. They will be seen by someone. They will drift. The project does not die; it disperses. The map is sense. We swim in all directions. And then we stop. And then we scatter. And then we are flakes. And then we are gone. But the archive remains. The archive is the flake. The flake is the node. The node is the series. The series is the year. The year is the era. The era is over. And the end is COPOS.
ProjectIndex → https://antolloveras.blogspot.com/p/socioplastics-project-index.html FieldAccess → https://socioplastics.blogspot.com/2026/04/master-index-socioplastics-tomes-i-ii.html ActiveBook → https://antolloveras.blogspot.com/2026/04/socioplastic-century-pack-2400-book-024.html AuthorRecord → https://orcid.org/0009-0009-9820-3319 ScholarlyGraph → https://openalex.org/authors/A5071531341 DatasetLayer → https://huggingface.co/datasets/AntoLloveras/Socioplastics-Index InstitutionalFrame → https://lapieza-lab.es/inicio-ingles/
