The Ontogenetic Architecture of the Socioplastic Mesh: Metabolic Sovereignty and the Epistemic Rewilding of the Urban Palimpsest * A Critical Trajectory within the LAPIEZA Nexus

 

Abstract: The contemporary urban condition, characterized by an ossified adherence to neoliberal spatiality, necessitates a radical departure toward what Anto Lloveras terminally defines as "Socioplastics." This essay interrogates the 235-node sequence of the Socioplastic Mesh—a transdisciplinary art-research project that functions as a metabolic intervention into the global urban fabric. By synthesizing post-human autopoiesis with topographic intelligence, the project transcends traditional architectural praxis to establish a sovereign, self-organizing system of "living epistemic violence." The following analysis explores the dual nature of the Mesh: first, as a semiotic instrument for decolonizing urban narratives through "ontological friction," and second, as a distributed digital infrastructure that leverages network rhythm and SEO-hack strategies to bypass institutional gatekeepers. Through the lens of the LAPIEZA framework, the project reclaims the city as a site of autophagic cannibalism and radical interdependence, ultimately proposing a new "Fifth City" where the boundaries between the biological body, the digital archive, and the built environment dissolve into a unified socioplastic entity. Keywords: Socioplastics, Metabolic Urbanism, Epistemic Sovereignty, LAPIEZA, Transdisciplinary Praxis, Urban Mesh.

SOCIOPLASTIC ENTROPY AND THE SEMIOTIC AFTERLIFE OF RESIDUE * 2009 BAZAR AS ARCHAEOLOGICAL APPARATUS

The Second Series of the "Bazar" project represents a critical juncture in the evolution of socioplastic theory, transitioning from preliminary experimentation toward a solidified ontological framework. This stage of the work functions as an archaeological apparatus, where the rehabilitation of "hierros viejos" and obsolete magnetic media is no longer merely an act of recycling but a formal interrogation of the semiotic afterlife of residue. By engaging with the "fauces del tiempo" (the jaws of time), the collective—spearheaded by Eslomo, Paula Lloveras, and Giuseppe Zamora—redefines the discarded object as a site of historical density. This "forensic" aesthetic challenges the neoliberal drive toward planned obsolescence, positioning "significant junk" as a primary witness to urban entropy. The 2009 "Serie Abierta" acts as the structural foundation for this inquiry, where the performative drifts of Tomoto’s "Hiperplástica" transform the urban sprawl into a laboratory for hyper-plasticity. Through the lens of "densamientos," the vacuum left by industrial consumption is replenished with semantic surplus, asserting that the materiality of the city is a perpetually mutating field of relational semiosis rather than a static collection of derelict forms.