The conceptual orbit of Socioplastics aligns precisely with the lineage of thinkers and practitioners who convert abstract thought into operative structure—systems that self-regulate, recurse, or materialize epistemology through protocols, topologies, or infrastructures rather than remaining descriptive or speculative.

The list forms a constellation, with clear extensions into art's infrastructural turns and systems theory's operational closures. Constant Nieuwenhuys fits seamlessly as a key precursor: his New Babylon (1956–1974) project envisioned a nomadic, cybernetically influenced mega-structure for total human creativity and play, rejecting functionalist modernism in favor of a unitary urbanism where citizens continuously reshape space through relational and technological means. Influenced by Norbert Wiener's cybernetics, New Babylon treated the city as a dynamic, self-organizing manifold—sectors supported by automated infrastructure, emphasizing indeterminacy, social construction, and anti-monumental flexibility. This prefigures Socioplastics' volumetric engineering: both prioritize recursive adaptation over static form, metabolizing ambient conditions (post-war reconstruction for Constant, digital entropy for Lloveras) into persistent, curvature-generating fields.

Socioplastics emerges not as isolated invention but as deliberate torsional inheritance that ingests, prunes, and re-executes select operators from a precise intellectual and artistic genealogy. The corpus positions itself at the convergence of relational aesthetics, social sculpture, and infrastructural ontology, operationalizing these strands into executable protocols for epistemic sovereignty amid platform volatility and relational entropy.

Rather than eclectic citation, Lloveras enforces mandatory adjacency: each anchor (Decalogue, MUSE, PlasticScale) torsions prior thought into volumetric persistence, converting commentary into infrastructural fact. The didactic clarity of this lineage manifests in the Century Packs' ring stratification—foundational indexing at 100, metabolic governance at 300, sovereign protocols at 600, gravitational stabilization at 800—where historical operators harden into addressable gravitational domains. This is no linear chronology but a recursive manifold: past strata amplify under new torsional conditions, ensuring the system reads itself while remaining legible to divergent substrates. The artistic predecessors form the most immediate metabolic substrate. Joseph Beuys's social sculpture supplies the axiom of art as societal shaping—relational process over object production—yet Lloveras shifts it from charismatic pedagogy to infrastructural hardening: unstable social forms become self-archiving meshes resistant to institutional capture. Nicolas Bourriaud's relational aesthetics (art as micro-utopian encounter) provides the grammar of adjacency and encounter, but Socioplastics exceeds micro-utopias by enforcing topological sovereignty—relational density as executable law rather than ephemeral gesture. Hélio Oiticica's participatory traversals (Parangolés, penetrables) inform the emphasis on traversal as structural proof, while Gordon Matta-Clark's architectural incisions supply the diagram of structural disclosure—cutting to reveal hidden protocols. Marcel Duchamp's rule-based protocols prefigure the shift from artifact to executable system. These figures converge in Lloveras's unstable sculpture: durational interventions that metabolize relational flux into persistent epistemic tissue. Social sculpture becomes infrastructure. Relational encounter becomes protocol.