100 Filmed Bodies is not a catalogue of videos; it is a filmed field made visible through enumeration. The sequence from 3600 to 3501 gathers one hundred bodies, voices, gestures, lectures, performances, songs, urban presences and cultural situations into a single positional architecture. The list begins with David Harvey, Jonas Mekas, Iñaki Ábalos, Zaida Muxí, Duquende, Kira O’Reilly, Remedios Zafra and Antoni Miralda, establishing a dense opening where urban theory, experimental cinema, architecture, feminism, flamenco, performance and food-art appear on the same plane. This is the first conceptual gesture: the body is not treated as illustration, but as a carrier of knowledge. Filming becomes a method of capture, but also of care. Each video preserves a presence; each position gives that presence a place inside the larger Socioplastics system.
2. Review as archive
The list allows the maker to review what has been filmed across years of movement through rooms, streets, institutions, theatres, studios and informal situations. The archive includes theoretical and institutional figures such as José Antonio Corraliza, Luis Fernández-Galiano, Pérez de Lama, Fernando Broncano, César Martínez Silva, Agustín Hernández Aja and Javier Moscoso. It also includes intimate, artistic and relational presences such as Paula Lloveras, Mara Berkhout, Luna Miguel, El Intruso and Daniel Martín Bayón. Review, here, is not administrative inspection. It is an act of recognition. Once the clips are placed together, the archive begins to show its own obsessions: city, voice, gesture, flamenco, theory, performance, marginality, urban speech, friendship, institution, improvisation.
3. Absorption and nesting
The strongest operation of this pack is absorption: scattered videos become a structured book-scale body. Earlier blog posts, YouTube clips, art events and filmed encounters are no longer isolated fragments; they are nested into Book 36 · Tome IV as a coherent layer of Socioplastics. Network and collective practices appear through Basurama Mister, Basurama Ben Castro, Tono Camuñas, Fredrik Shetlig, Fredrik Lund, Alberto Acinas, María La Coneja, Ángela León, Maite Dono, Pol Parrhesia and Yanira Castro. This is where the list starts to behave like a living archive. Some bodies become anchors; others become bridges; others become hinges between scenes. The field is not imposed from above. It emerges through adjacency.
4. Bodies, streets and minor intensities
The middle and lower bands of the pack intensify the embodied and urban texture of the project. Krapoola, Sabine Felden, Remedios Heredia, Enric Pol, Manuel Maqueda, Fede Gómez, Galia Eibenschutz / Martin Lanz Landazuri, Hectruso, Carlos Llavata, Manuel Polanco, Tony Fretton, Claudia Faci, Ajo Micropoetisa, Tomeu Vidal, Barullo and Niko show that the archive does not privilege only canonical discourse. It also values the small scene, the local body, the event, the poetic outburst, the flamenco fragment, the street encounter, the minor intensity. This is crucial: Socioplastics becomes credible as a field because it does not reduce knowledge to academic speech. It lets the body, the voice, the room and the pavement think.
5. Enumeration as epistemic infrastructure
The final force of 100 Filmed Bodies lies in its conversion of list into infrastructure. The descent toward Ana Matey, Regina Fiz, Taka Fernández, Marisa Caminos, Miz Metro, María Luisa Ortega, Gema Segura, Don Simón y Telefunken, Orquesta Primera Luz de Día, La Truco, Salvador Rueda, Paco del Pozo y Concha Jareño and Chloe confirms the project’s ethical and archival claim: to number is to give position; to position is to make visible; to make visible is to create future readability. The remaining 2,000 clips can later enter future books as the archive retroactively densifies. This pack is therefore not a closed list. It is a first visible spine. It turns film into archive, archive into field, and field into a machine for rereading cultural presence.
