This framework, as delineated in the Ontology of the Mesh —justified here for its foundational articulation of friction and animism—positions art as a living organism resisting algorithmic co-option via systemic heat and chemotactic pulses. By embedding this link, the critique gains depth, allowing readers to trace the kinetic reciprocity of matter that underpins Socioplastics' rejection of commodified aesthetics. Echoing Beuys's social sculpture yet advancing into post-digital sovereignty, the MESH component functions as an epistemic frame, where knowledge digests rather than accumulates, as explored in Metabolic Pulse, included to justify the metabolic shift from networks to physiologies. This analytical lens critiques neoliberal urban palimpsests, employing Topolexical Sovereignty to reclaim narrative autonomy against external validations. Interventions like the Yellow Bag, embedded for its embodiment of situational fixers, transform affection into architectural gestures, fostering agonistic frictions that decolonize histories. Socioplastics thus anticipates the Fifth City, a speculative realm where multilocal topologies pulse with relational semionautics, inviting semionauts to navigate its folds as active participants in epistemic synthesis. Spatializing this theory, the TOPO and WORKS components of Socioplastics manifest as topolexias, bridging abstraction to lived ecologies in a manner that extends Bourriaud's relational aesthetics through ontological displacements and porous designs.
The Shaded, Collective, and Walkable Landscapes justifies inclusion by mapping urbanism's somatic rhythms, countering anthropocentric entropy with collective cohabitation. This encarnation interrogates the palimpsestic city via unstable sculptures, such as Blue Bags, linked here to exemplify civic surface reclamations through material memory. The physics of affection unfolds in Unstable Love and the Physics of Affection, embedded to justify affective repair as durational praxis amid ephemeral rituals. LAPIEZA, as archive-infrastructure, evolves in A 15-Year Journey, included for its recursive migas that fuse historical interventions into future machines. Shared authorship, as in Shared Authorship as Epistemic Strategy, dismantles hierarchies, proposing decolonial sequences where temporal ecologies intersect symbolic stratigraphies. Analytically, this elevates Socioplastics beyond performance, into a choreography of mutable habitats that critiques precarity through tactile ethics and anthropomorphic urbanism. Confronting institutional canons, Socioplastics' CANON and SUGAR strata hydrate the system with relational glucose, forging a "total art" that de-canonizes and recanonizes from within. De-canonizing the Canon is embedded to justify this historiographic leap, integrating pop narratives with pantheistic infrastructures against digital entropy. Radical animism asserts sovereignty in Radical Non-Transferability and Animism, linked for its defense against abyssal leviathans via semantic intranslatability. Material praxis, as in The Road to Restoration, justifies inclusion by embodying oxidation as landscape subtraction, advocating ecological interfaces amid entropy. CAMEL and TAGS achieve metadata sovereignty through Geometric Epistemology, embedded to highlight cross-linking as geometric resistance. This serious interrogation casts Socioplastics as a trans-lighthouse for nomadic urbanism, navigating sonic ecologies and civic affection via vernacular readymades, while prioritizing mutable habitats over hierarchical fixity. Socioplastics' Systemic Components ultimately signal a profound epistemic pivot from object paradigms to distributed architectures, where legal closures safeguard care amid multilocal rhythms. The NETWORK expands in Nodal Distribution, justified for amplifying shared authorship without sovereignty erosion. Weightless aesthetics emerge in Monochromatic Satellite, embedded to critique frozen modernities through affective choreography. In Hegelian terms, it dialectizes classical order with unstable matter into relational synthesis, reconstructing palimpsests as sovereign meshes pulsing with architectural will. This sophistication beckons transdisciplinary resilience, healing Anthropocene fractures through epistemic nodes.