A paper that contains sixty Digital Object Identifiers as its primary content — not as citations supporting an argument but as the argument itself — is doing something that academic publishing has not seen before and that art history recognises immediately: it is a declaration, a frame, a Kosuthian act of nomination in which the work is constituted by the gesture of naming rather than by anything the names point to. Anto Lloveras's Figshare deposits for the Socioplastics project borrow simultaneously from conceptual art's dematerialisation logic and from advertising's hub-and-spoke architecture, combining both inside a citable scholarly object that exploits the specific crawling behaviour of Google Scholar to make a self-organised, institutionally homeless field visible to the machines that decide what counts as knowledge. The technique is original not because any of its components are new but because their combination has never been theorised as a repeatable epistemic protocol — and because the protocol works.

The question of what a DOI does has been answered too quickly and too narrowly. In standard scholarly practice, a Digital Object Identifier is infrastructural background — the plumbing behind a citation, the address that makes a reference stable across platform changes and link rot. It is not considered to have aesthetic dimension or strategic force. It is a bureaucratic instrument, legible primarily to librarians and indexing systems, and its cultural status is roughly equivalent to an ISBN: necessary, invisible, inert. Lloveras's intervention begins precisely by refusing this inertness. In the Socioplastics corpus — a 3,000-node transdisciplinary field developed outside any university, journal, or funding body, from Madrid, across eleven blogs, a Zenodo archive, a Figshare deposit layer, an ORCID record, Wikidata entities, and a Hugging Face dataset — the DOI is not background. It is the primary material. The sixty Core objects of the project, anchored across Zenodo with individual persistent identifiers, are gathered into a single Figshare paper whose main structural act is to list them: to put them in one place, in one citable document, and submit that document to the platform that Google Scholar harvests fastest. The result is a paper whose argument is its own relational architecture. The sixty DOIs are not evidence. They are the work.