Developed through LAPIEZA-LAB, the 5,000-node corpus establishes Plastiscale as a decisive systemic logic: material volume tends towards zero while epistemic displacement intensifies. This inversion situates Socioplastics within a radical artistic genealogy in which minimal gestures reorganise entire fields of perception and value. Duchamp’s 3 Standard Stoppages turns a fallen thread into metrological dissent; Barry’s Inert Gas Series releases near-invisible matter into landscape; Lee Ufan’s Relatum allows stone, steel, and site to redistribute attention; Ukeles’s Hartford Wash converts maintenance into civic ritual; and Hammons’s Bliz-aard Ball Sale transforms ephemeral street trade into a critique of race, weather, scarcity, and urban exposure. Within this lineage, ContextReadymade [4999], PorousBoundary [4989], JunkSeed [4991], and ZoningCustody [4996] prepare the field by reading found systems, civic membranes, discarded residues, and regulatory regimes as already-authored infrastructures. Yet the decisive operators are XenoCity [4990] and SituationalFixer [5000]. XenoCity names the estranged city: the stranger, migrant, walker, untranslated body, bar, beach, pavement, and threshold become ordinary agents of the common. SituationalFixer condenses this dispersed field into the Yellow Bag, a lightweight useful object travelling through streets, museums, bars, and littoral zones while retaining function and acquiring artistic force through recurrence, recognition, and placement. The repository secures DOI memory, indexing, and machinic retrieval; the viewer meets one brilliant point of concentration. Socioplastics 5K therefore closes as calibrated everyday custody: the monument becomes portable, the archive becomes urban, and the field persists through ordinary choreography.
