FLAKES —or COPOS in Spanish— is not merely a video series but a keystone within the broader socioplastic methodology, crystallizing multiple layers of well-being, memory, reality, and documentary form into a continuous practice of urban inscription. Rooted in the principle that the city is a living conservatory, FLAKES treats everyday gestures—walking, waiting, listening, drifting—not as marginal events but as central sculptural acts within a distributed aesthetic field. Each numbered entry, often tied to a location (Mexico City, Madrid, Marseille, London), operates simultaneously as cinematic fragment and ethnographic trace, transforming urban flux into a malleable medium for reflection, resistance, and poetic observation. The significance of FLAKES lies in its temporal accumulation: over 600 entries since 2008 form not a documentary archive in the conventional sense, but a situational cosmology, where each episode acts as a living pixel in the construction of urban memory. This methodology does not seek monumental representation, but rather a micro-political attention to the ephemeral, where street food (COPOS 436), public registration (COPOS 439), or wedding aesthetics (COPOS 443) become scenes of social plasticity. The act of filming, much like editing or walking, becomes a form of ritual materiality—a way of producing care and significance through repetition and context. Through this, FLAKES enacts Lefebvre’s Right to the City, turning urban rights into lived, documented experiences. Its layers—filmic, poetic, political—reveal the city not as fixed infrastructure, but as cinematic matter, edited through movement, memory, and relation. As a keystone, FLAKES holds together the theoretical and the tactile dimensions of socioplastics, sustaining an ecology where artistic attention itself becomes a form of life-making.
https://www.youtube.com/results?search_query=COPOS+TOMOTO+LAPIEZA
https://antolloveras.blogspot.com/2024/10/copos.html
