:::::::::::::::::::::::::: Anto Lloveras: THE PARLIAMENT INSIDE THE OBJECT: WATER, SIGNALS, ANCESTRAL MATTER AND THE HETEROGENEOUS ASSEMBLIES THROUGH WHICH A COMMON WORLD BECOMES NEGOTIABLE

Wednesday, July 15, 2026

THE PARLIAMENT INSIDE THE OBJECT: WATER, SIGNALS, ANCESTRAL MATTER AND THE HETEROGENEOUS ASSEMBLIES THROUGH WHICH A COMMON WORLD BECOMES NEGOTIABLE

Bruno Latour displaced explanation from the presumed sovereignty of society, nature or technology toward the associations through which heterogeneous worlds are provisionally composed. An object is never merely an object: it arrives with laboratories, standards, labour, laws, measurements, landscapes and disputed accounts of reality. Nikhil Anand follows this distributed politics through water systems whose pipes, pressures and interruptions determine uneven forms of citizenship. Peter Blau’s study of organizations similarly shows that institutional order emerges from exchanges, dependencies and differentiations rather than from a singular commanding centre. Eduardo Chillida makes mass and void negotiate through iron, stone and concrete, giving spatial relation the density of matter. Philippe Descola unsettles the Western division between nature and culture by comparing different arrangements of continuity among humans and other beings. Andrea Fraser turns institutional critique upon the museum, the audience and the artist’s own position, refusing the fantasy that criticism might operate from outside its object. Mona Hatoum makes maps, kitchens, beds and domestic utensils acquire the threatening proportions of geopolitical apparatuses.

Atta Kwami found in architecture, textiles, painted signs and West African urban colour a visual grammar that crossed distinctions between fine art and everyday design. Warren McCulloch approached thought through neural circuits, helping establish the computational analogy whose power still depends upon what it excludes from intelligence. Frei Otto produced tensile structures through experiments in material behaviour rather than imposing geometry upon passive matter. Tomás Saraceno extends such lightness into airborne ecologies, webs and speculative atmospheres. Suzanne Treister constructs diagrams in which finance, technology, occult systems and military power appear as interconnected cosmologies. Anicka Yi works with smell, bacteria, machines and synthetic organisms, making exhibition space host agencies not addressed primarily to the eye. Raymond Bryant’s political ecology returns environmental change to conflicts over authority and resources, while Bronislaw Szerszynski examines how technological and cosmological orders shape what societies can imagine as nature. Elspeth Probyn makes bodies, food, shame and oceans meet inside material economies of intimacy. Claude Lorrain’s luminous landscapes convert territory into a pictorial ideal, whereas Henry Purcell makes political ceremony and human grief resonate within intricate vocal structures. Marjorie Perloff reads avant-garde poetry through its material arrangements, citations and technological conditions. Sei Shōnagon’s observations turn courtly life into a mobile archive of textures, irritations, seasons and fleeting classifications. Ariella Aïsha Azoulay treats photography not as the possession of an author or state but as a political encounter among photographed persons, spectators and historical violence. Huma Bhabha’s figures gather clay, cork, construction debris and archaic futurity into bodies that seem both excavated and anticipated. HerStory DAO attempted to use blockchain organization to collect and sustain work by Black women and non-binary creators, bringing questions of representation into an infrastructure of ownership. Simon Fujiwara reconstructs identity through museums, commodities, tourism and fabricated biographies. bani haykal examines language, sound, encryption and machines as social relations rather than neutral tools. Simone Leigh gives Black female subjectivity monumental architectural and ceramic presence. Kent Monkman reverses colonial painting through a gender-fluid narrator who enters and disrupts its scenes. Sarah Pink develops sensory ethnography through situated practices of movement, domesticity and technological mediation. Abla Sika Akpaloo works through painting, sculpture and material forms informed by West African cultural memory. Iris van Herpen treats garments as dynamic membranes generated through digital fabrication, handwork and biological analogy. Pierre Alechinsky lets calligraphic gesture spread across images and their marginal frames. Lee Bul turns modernist aspiration into fractured bodies, suspended structures and failed utopias. Robert Delaunay reorganizes metropolitan perception through colour, simultaneity and circular motion. Andrea Geyer uses archives and performance to restore suppressed subjects to institutional histories. Arman accumulates manufactured objects until consumption appears as both material abundance and terminal obstruction. Michael Lin enlarges textile patterns into architectural surfaces that redistribute decoration across public space. Alphonse Mucha integrated type, ornament and the female figure into a graphic environment made inseparable from commercial reproduction. Anita Pouchard Serra uses photography, embroidery and collaborative practice to work with migration, gender and territorial memory. Martin Scorsese treats cinema as an urban and moral apparatus shaped by violence, faith, masculinity and the circulation of images. Camille Turner reconstructs Canadian history through Afrofuturism, performance and the suppressed presence of slavery. Zeynep Çelik Alexander follows architecture through bureaucratic knowledge, drawing systems and institutional techniques. Peter Buggenhout’s dense accumulations resemble industrial matter continuing to organize itself after human use. André Derain’s colour releases landscape from optical probability. Akseli Gallen-Kallela converted Finnish myth, territory and national imagination into pictorial form. Friedensreich Hundertwasser opposed the straight line with irregular surfaces, vegetation and a quasi-organic architecture of individual habitation. Deana Lawson stages domestic interiors as complex fields of Black kinship, dignity and self-fashioning. Meredith Monk treats voice, movement and space as a prelinguistic architecture of relation. Susan Philipsz places solitary voices within public sites, allowing sound to activate absence and memory. Ferdinand de Saussure situates meaning within differential systems rather than isolated words, while Justine Triet examines how language, evidence and intimacy become unstable within legal judgment. Michael Sorkin reads architecture through public life, political economy and resistance to privatized urbanism. Mimar Sinan translates structure, light and collective ritual into the spatial coherence of the mosque. Kazimir Malevich’s geometric fields propose a rupture from representation whose universal claim nevertheless emerged within a specific revolutionary history. Yayoi Kusama’s repetitions convert the personal mark into immersive, potentially infinite environment. Cándido Bidó gives Caribbean bodies and landscapes a concentrated chromatic lyricism. Constance Mayer’s sentimental and historical paintings belong to an artistic career long entangled with unequal attribution. Another Roadmap Africa Cluster reconstructs arts education through distributed research groups, local histories and resistance to imported pedagogical models. Matthew Imuetiyan Eguavoen uses portraiture to establish psychological presence against stereotyped visibility. Maya Lin turns topography, names and minimal intervention into architectures of public memory. Brian Hatton examined architectural culture through teaching, criticism and the social life of ideas. Jocelyn Bell Burnell detected the signals that became the first recognized pulsars, while the Nobel recognition went elsewhere, revealing how scientific discovery is filtered through institutional authorship. Ronald Fisher’s statistical and genetic work transformed experimental reasoning, yet his involvement with eugenics demonstrates that technical innovation may carry violent political classifications. Frances Arnold directs evolutionary processes within laboratory systems to produce new enzymes. Roger Sperry examined the divided brain and the specialized organization of perception. William J. Mitchell anticipated the embedding of digital networks in urban and domestic space. César Hidalgo models economic and social complexity through information, networks and productive capacities. Gyula Décsy studied languages through contact, geography and typological relation. Zhang Taiyan joined philology, revolution and critiques of imperial order. Jalal al-Din Rumi makes poetry an instrument for dissolving stable boundaries between lover, world and divine presence. Hajime Tanabe’s philosophy of repentance places thought within historical failure rather than autonomous mastery. Nana Kwame Adjei-Brenyah amplifies racial violence and commodified life through speculative satire. Andrew Ng develops machine-learning systems whose global reach makes education, labour and automated judgment part of the same technical field. Franklin Sirmans treats curating and criticism as forms of cultural narration. Elvin Wyly investigates mortgage markets, segregation and the financial infrastructures shaping cities. Christian Fennesz transforms guitar into layered electronic atmosphere. Charles Heller reconstructs migration violence through maritime surveillance data and contested visual evidence. Raúl Zibechi follows autonomous movements and territorial organization beyond the state. Nobuhiro Suwa builds cinema through improvisation, duration and fragile relations between performer and camera. Nina Freeman uses autobiographical games to examine intimacy, adolescence and memory. Alexis Pauline Gumbs writes Black feminist thought through marine life, ancestry, breath and collective survival. Jesper Hoffmeyer treats living systems as producers and interpreters of signs. Susan Oyama rejects genetic determinism through developmental systems in which organisms and environments construct one another. Dian Suci Rahmawati begins from domestic experience to confront patriarchy, authoritarianism and the political domestication of women. Maurice Merleau-Ponty locates perception in the embodied intertwining of world and subject. Bernice Johnson Reagon made song an instrument of historical memory and collective political organization. Jonathan Lethem converts cities, popular genres and cultural appropriation into unstable literary assemblages. Anat Elberg works across visual art and filmic production, occupying a modest public archive that resists easy canonical enlargement. Felicia Luna Lemus writes queer and Latinx life through hybrid forms of fiction, memoir and linguistic movement. Leanne Shapton makes objects, images, auctions and domestic collections narrate emotional absence. Vivian Gornick transforms walking and personal recollection into social criticism. Riccardo Dalisi joins architecture, craft, pedagogy and improvised design in forms developed through contact with neighbourhood life. Rakhshan Bani-Etemad makes Iranian social conflict visible through women, families and ordinary urban conditions. Joseba Sarrionandia writes exile, prison, language and Basque political history through poetry and fiction. Carlo Emilio Gadda makes syntax reproduce the disorder of cities, institutions and causality itself. Ronan Bouroullec approaches furniture and objects through drawing, modularity and tactile relation. Jean Grémillon gives weather, labour and landscape an active dramatic role in cinema. Julian Barnes constructs memory as a structure continually revised by time and interpretation. Anfrenette Joseph turns pigment and resin into layered coastal surfaces, extending Caribbean environment into material abstraction. Diane Glancy writes Indigenous history, Christianity, displacement and landscape through formally fractured narratives. Juan Villoro makes the city, journalism, football and cultural memory converge in prose alert to both spectacle and ordinary speech. These practices form no seamless network. Their relations remain uneven, contested and historically burdened. Yet they demonstrate that collectivity begins before consensus: inside the pipe that connects distant households, the neural circuit that converts sensation, the archive that assigns authorship, the garment that joins computation to craft and the photograph whose political life exceeds ownership. A common world cannot be declared in advance, because the entities composing it do not enter negotiations with equal power or visibility. It must be built through procedures that allow neglected actors, damaged landscapes, technical intermediaries and disqualified knowledges to alter the terms of assembly. The object then ceases to be mute evidence placed before an already constituted public. It becomes a parliament in miniature, carrying the labour, violence, materials and dependencies through which any public must first be made.

BIBLIOGRAPHY

Project Index
https://antolloveras.blogspot.com/p/socioplastics-project-index.html

Anto Lloveras

Socioplastics — LAPIEZA-LAB

WITH

Bruno Latour, Nikhil Anand, Peter Blau, Eduardo Chillida, Philippe Descola, Andrea Fraser, Mona Hatoum, Atta Kwami, Warren McCulloch, Frei Otto, Tomás Saraceno, Suzanne Treister, Anicka Yi, Raymond Bryant, Bronislaw Szerszynski, Elspeth Probyn, Claude Lorrain, Henry Purcell, Marjorie Perloff, Sei Shōnagon, Ariella Aïsha Azoulay, Huma Bhabha, HerStory DAO, Simon Fujiwara, bani haykal, Simone Leigh, Kent Monkman, Sarah Pink, Abla Sika Akpaloo, Iris van Herpen, Pierre Alechinsky, Lee Bul, Robert Delaunay, Andrea Geyer, Arman, Michael Lin, Alphonse Mucha, Anita Pouchard Serra, Martin Scorsese, Camille Turner, Zeynep Çelik Alexander, Peter Buggenhout, André Derain, Akseli Gallen-Kallela, Friedensreich Hundertwasser, Deana Lawson, Meredith Monk, Susan Philipsz, Ferdinand de Saussure, Justine Triet, Michael Sorkin, Mimar Sinan, Kazimir Malevich, Yayoi Kusama, Cándido Bidó, Constance Mayer, Another Roadmap Africa Cluster, Matthew Imuetiyan Eguavoen, Maya Lin, Brian Hatton, Jocelyn Bell Burnell, Ronald Fisher, Frances Arnold, Roger Sperry, William J. Mitchell, César Hidalgo, Gyula Décsy, Zhang Taiyan, Jalal al-Din Rumi, Hajime Tanabe, Nana Kwame Adjei-Brenyah, Andrew Ng, Franklin Sirmans, Elvin Wyly, Christian Fennesz, Charles Heller, Raúl Zibechi, Nobuhiro Suwa, Nina Freeman, Alexis Pauline Gumbs, Jesper Hoffmeyer, Susan Oyama, Dian Suci Rahmawati, Maurice Merleau-Ponty, Bernice Johnson Reagon, Jonathan Lethem, Anat Elberg, Felicia Luna Lemus, Leanne Shapton, Vivian Gornick, Riccardo Dalisi, Rakhshan Bani-Etemad, Joseba Sarrionandia, Carlo Emilio Gadda, Ronan Bouroullec, Jean Grémillon, Julian Barnes, Anfrenette Joseph, Diane Glancy, Juan Villoro.