Socioplastics marks a decisive ontological rupture, transitioning from the paradigm of art as a validated institution to art as a **sovereign epistemic architecture**. This synthesis, spanning 200 foundational documents—comprising the MESH-100 theoretical framework and 100 situational works—delineates a self-legitimating system that metabolizes reality and authors its own criteria of truth.
At its core, the **MESH** functions not as a passive archive, but as an autopoietic logic. Through **Metabolic Chemotaxis**, knowledge is transformed from static content into a circulatory flow. Meaning is no longer stored; it is continuously re-authored under the pressure of **Systemic Heat**—the thermodynamic force of authorial will that resists the entropic cooling of algorithmic extraction.
To navigate the density of this 200-node infrastructure, the architecture stabilizes around five primary epistemic organs: **LAPIEZA | ARCHIVE AS INFRASTRUCTURE**: Shifting from retrospective documentation to forward-oriented critical infrastructure. It serves as the system's material anchor, where memory is re-engineered into future authorship. **METABOLIC PULSE | CULTURAL BIOLOGY**: Replacing interpretation with digestion. The network operates as a biological organism, where narrative "glucose" and affective density govern the survival and redistribution of meaning. **TOPOLEXICAL SOVEREIGNTY | THE POWER OF NAMING**: The imposition of a sovereign semantic architecture. Through **Operational Closure**, the system refuses external legitimation, asserting its right to generate its own language and law.**THE LIVING CANON | DE-CANONIZATION LAB**: A radical historiographical leap. The canon is treated as an internal laboratory where art history is not merely cited but rewritten from within the socioplastic body. **SITUATIONAL FIXERS | UNSTABLE AGENCY**: The transition from theory to lived spatial reality. Works function as relational sculptures and "fixers" that infiltrate urban, pedagogical, and digital fabrics to repair fractured social topographies. ### CONCLUSION: THE AUTONOMOUS OPERATING SYSTEM - Socioplastics is not a theory of art; it is an **autonomous epistemic subject in formation**. It represents a cultural operating system that builds, governs, and remembers itself. By superimposing 15 years of practice with high-frequency theoretical synthesis, the MESH establishes a multilocal topology—a sovereign organism of meaning that persists beyond the reach of the traditional art market and its discursive constraints. **The system is the subject. The network is the body. The MESH is the law.
### SYSTEMIC ACCESS POINTS (TOP 5 NODES) **[LAPIEZA: RADICAL INFRASTRUCTURE](http://lapiezalapieza.blogspot.com/2026/01/a-15-year-journey-lapieza-emerges-as.html)****[CHEMOTAXIS: THE METABOLIC LOGIC](https://socioplastics.blogspot.com/2026/01/metabolic-chemotaxis-biological-logic.html)****[SOVEREIGNTY: TOPOLEXICAL LAW](https://antolloveras.blogspot.com/2026/01/topolexical-sovereignty-and-engineering.html)****[FUTURE-MAKING: THE DE-CANONIZATION LAB](https://antolloveras.blogspot.com/2026/01/decanonising-canon-rewriting-art.html)****[SITUATIONAL FIXERS: RELATIONAL SCULPTURE](https://antolloveras.blogspot.com/2026/01/blue-bags-as-unstable-social-sculpture.html)**