SOCIOPLASTICS · CENTURY PACK 10900 · NODES 10801–10900 — BOOK 109 · TOME XI · LAPIEZA-LAB, MADRID · 2026

Book 109 records a dense September–October 2026 research sequence across affect, urban form, planning, attachment, mobility, environmental psychology, everyday infrastructures, pedagogy, open knowledge, biographical methods, music and memory, FAIR data, knowledge graphs and the evidential life of movement. Its structure is intentionally heterogeneous: references, propositions, field notes, visual records and research fragments coexist as equivalent indexed positions. The century is organised as ten chapters of ten nodes. Rather than retrospectively imposing a single thematic taxonomy, Book 109 preserves the temporal and epistemic adjacency through which the material accumulated. The sequence therefore functions as a live research section through Tome XI: affective and spatial evidence, urban governance, social infrastructures, mobile methods, memory, pedagogy and distributed knowledge architecture converge without being reduced to a single disciplinary frame.

100 entries · 100 nodes · 10 chapters · closed
Tome XI · Year 2026 · LAPIEZA-LAB, Madrid
Order: newest material first · current research · September–October 2026

Scale, Time, Evidence and the Politics of Urban Knowledge (Wang, Chai, Deng, Gerlofs, Poon, Falahat, Paiva) · LAPIEZA LAB · Anto Lloveras · Socioplastics · 2026

Comparability is not a property waiting inside urban cases; it is produced through decisions about scale, duration, field boundaries, evidential form and the terms under which difference is permitted to remain legible. A neighbourhood, a mobility trace, a physiological response or a transnational urban comparison becomes comparable only after an apparatus has defined what counts as the same kind of observation across changing circumstances. Wang et al. show that street-view imagery, social-media traces, positioning data, physiological signals and video are not interchangeable windows onto a single urban reality: each data type constructs a specific evidential object, with characteristic gains in scale, granularity or continuity and equally characteristic blind spots, biases and interpretive limits. Gerlofs and Poon make the same problem visible at neighbourhood scale, where cartographic, statistical, photographic, archival, historical, narrative and geospatial records cannot simply be aggregated without confronting commensurability, replication and territorial definition.

The City as an Epistemic Event * Knowledge in Motion (Moudon, Anderson, Carpiano, Evans, Jones, Warren, Peluso, Hand, Sharif, MacMillan) · LAPIEZA LAB · Anto Lloveras · Socioplastics · 2026

Urban knowledge is strongest when the city is allowed to act inside the method. A street, plot, park, route, threshold, darkness, conversation, map or bodily hesitation is not merely the location at which research happens; it is part of the apparatus through which urban reality becomes perceptible. Situated urban knowledge names this epistemic condition. It replaces the image of an observer standing outside the city with a field of transactions in which bodies, forms, instruments, histories and representational technologies continuously modify what can be known. Moudon’s morphology provides one foundation for this position because urban form is understood through buildings, plots, streets and open spaces as historically transformed and mutually dependent elements rather than static geometries. 

Frugal Continuity: Mobile Methods, Everyday Infrastructure and Sufficiency (Hein, Cheng, Moles, Guma, Hall, Bartoletti, Levelt, Stuhlfauth, Yoo) · LAPIEZA LAB · Anto Lloveras · Socioplastics · 2026

Frugal continuity names a condition in which sustained movement becomes possible not through abundance but through the controlled reduction of material and logistical friction. Mobility here is neither a romantic celebration of wandering nor a simple transport variable. It is a research condition produced by the relation between body, route, equipment, ordinary services, attention and time. Mobile-methods scholarship establishes the first part of this argument by refusing to treat movement as a neutral interval between sites. Hein, Evans and Jones place theory, technology and practice inside the methodological problem of mobility itself, while Moles distinguishes mobility as an object of study from mobility as a methodological operation: following people, objects or ideas changes what can be known because knowledge is produced within flows, stoppages, encounters and networks rather than after them. Cheng sharpens this into an embodied epistemology. 

Socioplastics proposes that the city is not merely a physical arrangement of streets, buildings and infrastructures, but a mutable field of flows, interruptions, memories and thresholds. Its central premise is simple yet radical: urban life is produced through movements of people, care, energy, attention, vulnerability, waiting, access and exclusion. A station, a courtyard, a derelict factory or a housing block is therefore never only an object; it is a behavioural condenser, a social archive and a spatial machine.

This approach emerges from architectural practice, urban observation, public pedagogy, photographic analysis, landscape reading and open-access knowledge construction, developed through LAPIEZA-LAB and the long-term research framework of Socioplastics. Rather than treating mobility as transport alone, Socioplastics reads it as a civic metabolism: the way bodies, routines and territories adapt when systems fail, accelerate, exclude or reorganise. Projects such as Trole Building in Madrid, El Palmeral in Málaga, Green City Parameters, LAPIEZA-LAB and the Socioplastics corpus show how spatial research can connect built transformation, public memory, environmental perception and conceptual cartography into one operative method. The case is therefore not institutional but intellectual: Socioplastics becomes a portable engine for reading contemporary urban reality, where resilience is not only technical recovery but the capacity of a place to remain legible, accessible and collectively inhabitable under pressure. Its conclusion is clear: the future city must be understood as an archive in motion, and design must learn to map not only space, but the fragile choreography of life itself.

Interoceanic Relationality and the Dispersed Avant-Garde * LAPIEZA 2013 and the Transnationalisation of Socioplastic Form

 

The 2013 cycle of LAPIEZA constitutes the project’s most explicit articulation of socioplasticity as a transnational, post-site, and interoceanic form of cultural production. With the declaration that new series are edited from Mexico City and that the relational concept now operates as a “dispersed installation,” LAPIEZA completes its passage from a neighbourhood-based experimental ecology into a globally distributed aesthetic infrastructure. The announced Madrid–Mexico axis does not function as a mere logistical coordination between two cities but as a symbolic and operational reorientation of the project’s ontology. LAPIEZA no longer inhabits a space; it inhabits a network. This networked condition, explicitly framed as “interoceanic production,” positions the project within a post-globalisation paradigm of art, in which mobility, translation, and asynchronous collaboration become constitutive formal elements. The socioplastic installation ceases to be spatially anchored and becomes a cartography of relations, affects, and symbolic flows. In this sense, LAPIEZA 2013 realises what might be termed a late-avant-garde synthesis between relational aesthetics, platform logic, and discursive site-specificity. The project’s self-description as an activity dedicated to establishing new connections and meanings between signs—ideas, graphics, works, and artists—confirms that semiosis has become its primary medium. The artwork is no longer the object, nor even the installation, but the continuous recomposition of signifying relations across territories, languages, and cultural economies.

DYNAMIC OBJECTS

Within the framework of the Unstable Installation Series, the project DYNAMIC OBJECTS orchestrated by LLLL Art Agency emerges as a critical intervention into the semiotics of urban movement and spatial occupation, foregrounding the body-object assemblage as an unstable node of friction, visibility, and disruption. Developed across hybrid platforms —online exhibition, site-specific performance, and video installation— the project mobilises absurd, overdimensioned artefacts (banana-shaped structures, metallic ducts, mannequin limbs, and traffic cones) as prosthetic extensions of the body, dislocating their functional logic and reactivating the urban fabric as a terrain for psychogeographic dérive. Drawing upon Guy Debord’s theory of the drift, the artworks subvert spatial normalcy and instrumentalised mobility, inserting ephemeral sculptural presences that expose the latent theatricality of public space. A salient example is the performative procession through central Madrid during the Proyector International Video Art Festival, where bodies encumbered by cumbersome objects enact a silent critique of the ergonomics of control and the choreography of consumption. These interventions —often documented as video-sculptures— propose the city as the final installation, not as a passive container but as a co-constitutive agent in the production of meaning. By situating the object as a satellite of the body, the work destabilises objecthood itself, inviting reconsideration of agency, scale, and performativity within contemporary urban aesthetics. Part of a broader curatorial constellation spanning from 2013 to 2016 —including exhibitions such as Expansivo, Butter Factory, and The Word— this series eschews the static monumentality of sculpture in favour of relational mobility, forging a critical vocabulary of spatial resistance that is both playful and profoundly political.

LLLL ART AGENCY presenta un concepto híbrido y en red. 

La ciudad como instalación total y el objeto como partícula dinámica suficiente. Una nueva serie de VIDEOESCULTURAS que representan el concepto inestable.  

El cuerpo de Paula Lloveras, TOMOTO FILMS, con la música de El intruso. En reestreno contante en la red.  

LLLL LAPIEZA #819

BANANA 

BLANCA

AGUJERO

CHAIR

CONO

DM

DOTS

LEGS

METAL

PORESPÁN

TUBO

WAR

RELATED VITAMIN 019 (III/-) 

No hay duda de que tales esquemas, ejemplos de una poesía moderna capaz de traer consigo vivas reacciones afectivas -en este caso la indignación de que se pueda vivir de esta forma- e incluso la teoría, avanzada por Burgess a propósito de Chicago, del reparto de las actividades sociales en zonas concéntricas definidas, tienen que servir al progreso de la deriva. El azar juega en la deriva un papel tanto más importante cuanto menos asentada esté todavía la observación psicogeográfica. Pero la acción del azar es naturalmente conservadora y tiende, en un nuevo marco, a reducir todo a la alternancia de un número limitado de variantes y al hábito. Al no ser el progreso más que la ruptura de alguno de los marcos en los que actúa el azar mediante la creación de nuevas condiciones más favorables a nuestros designios, se puede decir que los azares de la deriva son esencialmente diferentes de los del paseo, pero que se corre el riesgo de que los primeros atractivos psicogeográficos que se descubren fijen al sujeto o al grupo que deriva alrededor de nuevos ejes habituales, a los que todo les hace volver constantemente.
Teoría de la deriva  Guy Debord 1958

Publicado en el # 6 de Internationale Situationiste (agosto, 1961). Traducción extraída de Internacional situacionista, vol. I: La realización del arte, Madrid, Literatura Gris, 1999.

https://www.facebook.com/pages/Guy-Ernest-Debord/14353419083?fref=ts
Anto Lloveras Lapieza Relational Art Series Marisa Caminos Guy Ernest Debord

    — con Lapieza Relational Art Series y Anto Lloveras.

OPENHOUSE EN ESPACIO NARANJO se postula como un encuentro entre espacios y proyectos culturales. Respondiendo a la constante necesidad de difusión el próximo 23 de noviembre abriremos las puertas del Espacio Naranjo para presentar una selección de iniciativas culturales independientes.

http://proyectorvideoartfestival.blogspot.pt/2013/11/s23-nov-07-dic-2013-espacio-naranjo.html

COPY PASTE SEND

01 TUBO

http://www.youtube.com/watch?v=QoW1oYaRxWI

02 PORESPÁN

http://www.youtube.com/watch?v=xG1rcA8o6aE

03 METAL

http://www.youtube.com/watch?v=wlu3Vqp5h-w

04 DOTS

http://www.youtube.com/watch?v=z4jUan2T-4s

05 WAR

http://www.youtube.com/watch?v=xhIo2J81bN0

06 CONO

http://www.youtube.com/watch?v=lNqHD_SCmPg

07 LEGS

http://www.youtube.com/watch?v=JLUQO5w5ePw

08 GUNS

http://www.youtube.com/watch?v=7t1qoiK21lI

09 CHAIR

http://www.youtube.com/watch?v=OisnVZxYWAM

10 DM

http://www.youtube.com/watch?v=qICgxxRoC8s

"Dynamic Objects" is a hybrid project by LLLL ART AGENCY that presents the city as a total installation and the object as a dynamic and sufficient particle. This video sculpture series captures the essence of instability through a series of performances involving common objects that transform into expressive elements within urban landscapes.

The project stars Paula Lloveras as the main performer, captured through the lens of TOMOTO FILMS, with music by El Intruso. Each object in the series—such as Banana, Chair, Metal, Tube, and War—is used in an unexpected context, challenging the viewer’s perception of the mundane and reinterpreting everyday materials as catalysts for movement and artistic expression.

The piece explores the psychogeographic potential of objects and the human body interacting with the cityscape, transforming spaces through ephemeral actions. Originally premiered at Espacio Naranjo on November 23, 2013, as part of the Proyector International Video Art Festival, this work is in constant re-release online, reflecting its fluid nature and the ability to evolve across digital platforms.

The Experience of the City: Public Space, Nature and the Right to Urban Meaning

The Experience of the City: Public Spaces, Housing and Urban Nature is a multidisciplinary course hosted by the Universidad Autónoma de Madrid, aimed at addressing the challenges and complexities of contemporary public space. The programme critiques how urban environments are often planned using strictly technical parameters, neglecting the social perception, symbolic value and ecological potential of shared spaces. These oversights result in dysfunction: spaces designed to foster interaction and citizenship instead become socially sterile or conflictive, severed from the everyday lives of their users. Through the participation of architects, environmental psychologists, geographers, and biologists, the course unpacks how elements such as vegetation, morphology and collective memory shape public space. The debate encompasses issues like the unequal distribution of green areas, the symbolic poverty of certain urban landscapes, and the tension between infrastructure and emotion. Contributors such as José Antonio Corraliza, Enric Pol, and Agustín Hernández Aja provide critical insights into urban green as more than decoration —as a vehicle for identity, affect, and sustainability. Anto Lloveras introduces the notion of SOCIOPLASTICS to interpret relational art within the urban realm, inviting a rethinking of public space as a performative and epistemic field. The course ultimately argues that reclaiming urban nature and rehumanising public infrastructures is essential not only for environmental reasons, but for restoring urban dignity —the right to inhabit, participate in, and make sense of the city.

Universidad Autónoma de Madrid, 2024. The Experience of the City: Public Spaces, Housing and Urban Nature [humanities course]. 16 Nov–2 Dec 2024. Oficina de Actividades Culturales, UAM.

The experience of the city: public spaces, housing and urban nature ////////// La experiencia de la ciudad: espacios públicos, vivienda y naturaleza urbana____curso de humanidades UAM URBANAS

– José Antonio Corraliza, environmental psychologist, stresses the urgent need to recover meaning in the design of public space, arguing that "urban green must go beyond decoration—it's about turning concrete into something that beats."
– Josep Selga, biologist, remarks on the unnoticed structural role of urban trees: "We’ve grown so used to them that we overlook their power to shape the essence of the city—do we want a city to live in, or one to escape from?"
– Javier Ruiz, architect, defends the communicative nature of public space: "It's the only place where communication unfolds in its most random and vital form. Cities must be imperfect to remain alive; we must resist singular solutions."
– Pedro Molina, geographer, draws attention to marginal green areas: "Small, overlooked lots act as micro-reservoirs of naturalness and should be protected as urban landscape archives."
– Mariano Sánchez, horticulturist at Madrid’s Botanical Garden, underscores that "emotional well-being in green spaces depends not just on design, but on plant quality, genetic integrity, and acoustic comfort."
– Enric Pol, environmental psychologist, highlights structural barriers to sustainable behaviour: "Citizens may wish to act sustainably, but urban dynamics often prevent them. Anchoring sustainability in collective identity is key."
– Enrique Bardají, architect, proposes a reading of public space through typology and urban morphology: "Understanding these patterns can guide the regeneration of old cities and the design of new ones."
– Salvador Rueda, biologist and environmental psychologist, offers a radical urban model: "By liberating the interior of the urban block from traffic, we restore the citizen’s full spatial status."
– Agustín Hernández Aja, architect, critiques the symbolic void of many urban designs: "We’ve created spaces that lack the character or meaning needed for citizens to identify with them. Appropriation is essential—for example, Dehesa de la Villa in Madrid."

The urban spaces, their design and the planning of their use, are subject to an intense public debate that affects both the new urban spaces in non-consolidated areas and the public spaces inserted in consolidated urban networks. This debate refers to the location and location of public spaces, such as the design, equipment and productivity of such spaces. Frequently, the planning of these spaces is done with strictly technical criteria without taking into account the social perception and the use that is made of public spaces. The result is that such spaces designed to be meeting places, crossroads and promoters of social interaction end up becoming unproductive scenarios (ghettos) when not on platforms where irresolvable social conflicts are expressed. The reasons for these imbalances are very varied, ranging from processes of refunctionalization of public spaces, to changes in the typology of users and their demands, including the fact that, in fact, there are inadequacies in the location, design and equipment of the spaces. This course aims to contribute to the debate on urban public spaces, emphasizing the presence of natural elements and the impact that these elements can have on human well-being. For this, it is intended to bring together specialists from different branches (architecture, urban planning, geography, gardening, environmental psychology, etc.) in order to evaluate and make proposals for the improvement of the quality of public spaces, which is a way of make the city more alive and friendly.

Anto Lloveras is an architect, artist and curator based in Madrid, and the director of LAPIEZA, a platform for experimental contemporary art. He trained in architecture at ETSAM (Madrid) and the Delft University of Technology, and has taught in architectural studios and seminars at NTNU (Norwegian University of Science and Technology) and Universidad Rey Juan Carlos III (Madrid). His current research explores the intersection of philosophical hermeneutics and SOCIOPLASTICS, a conceptual device he develops to analyse the epistemological and narrative structures underpinning relational artistic practices.

BLUE PANTS__________________________________________________________UNSTABLE INSTALLATION :________________ CADIZ NORWAY BERLIN CROATIA NEGRADAS 2014 2019______________________IDENTITY SCULPTURE SERIES

Blue Pants operates as a distilled vocabulary of embodied minimalism, using a simple, recurring element —bright blue trousers— to activate an evolving identity code across multiple geographies. The work unfolds between 2014 and 2019 through ephemeral performances and photographic documentation in sites ranging from urban interiors to natural deserts, establishing a mobile sculptural grammar. By placing the artist’s body consistently within varying contexts, always wearing the titular garment, the project becomes a modular exploration of presence, place and authorship. Without relying on textual explanation, the repetition of form and posture generates a symbolic infrastructure that is at once personal and transferable. In works like Dark Blue Pants II and Jungle Hardangen, the gesture is refined to a minimalist tableau: the outstretched arm, the standing body, the vibrant blue. These configurations subtly invoke traditions of conceptual art, land art, and performance, while inserting affective registers linked to displacement and self-representation. Here, clothing becomes object-sign, the body becomes sculpture, and the landscape becomes frame. Blue Pants functions as an open protocol —not a statement, but a presence— where the lack of verbal mediation enhances its visual authority and leaves interpretation in the hands of the viewer.

Lloveras, A., 2014–2019. Blue Pants [installation/performance]. Various locations: Cádiz, Norway, Berlin, Croatia, Negradas. Available at

http://antolloveras.blogspot.com.es/2014/08/blue-bags-2014-madrid-berlin-cadiz.html

http://antolloveras.blogspot.com.es/2015/11/blue-pantswhite-shirtjunglehardangen.html







http://antolloveras.blogspot.com.es/2014/08/new-show-zuccato-gallery-porec-croatia.html