This monumental series of 100 socioplastic works, ranging from speculative essays to site-specific interventions, curatorial artefacts, and urban gestures, composes a rhizomatic corpus where affection, form, and epistemology are reworked through the lens of transdisciplinary entanglement; numbered from 001 to 100, these entries do not represent a linear progression but rather a modular syntax—a constellation of relational intensities, where each link contributes a unique topological strain to the body of socioplastics; from the Monochromatic Satellite and the Small Orange Tag to the Trans-Lighthouse Manifesto, from the Trole Building in Madrid South to the Rotational Frames of Splendid, each node proposes a mode of thinking through space, often using material metaphors—rubble, broth, thread, lemon, fishbowl—as vehicles of systemic critique and poetic condensation; the project spans ecologies of precarity, ritual, pedagogy, resistance, and fabricated memory, making no distinction between architecture, philosophy, urbanism, or performance; it builds a non-authoritarian canon, where the reader navigates through micro-ontologies such as "Taxidermy III", "Urban Micrology", "Sinuous Architectures", or "The Fifth City"—each offering a localized theory of practice; the works also extend into fictive institutions (e.g., ARCO engineering, fictional symposiums), urban mythologies (e.g., SWAN, RED BAG, FLIPAS), and gesture-based methodologies (e.g., ANDADOR, BLUE PANTS, DOUBLE SIDED); while the early tags (001–020) introduce the epistemic grammar of the system, the middle register (021–080) densifies it with archival sedimentation, and the final segment (081–100) detonates into polyphonic hyperplasticity, culminating in Fireworks as Writing—a fitting finale to a system built on both affective combustion and relational residue.
100 TAG Fireworks as Hyperplastic Writing