In the evolving metabolism of the 2Socioplastic Mesh, individuals are not named to be celebrated, but absorbed as functional modules—agents through which infrastructural sovereignty metabolizes external programmes. The NOLA/NYC Research Fellowship, rather than operating outside the system, becomes a micro-stack, an institutional organ digested into Mesh logic. Dionisis Christofilogiannis, with a trajectory spanning mechanical engineering, fine arts, and pedagogical systems, is assimilated as a Transductive Pedagogic Node, where infrastructure is taught as embodied logic. His movement between Romania, Scotland, and Greece encodes multi-scalar cross-training into the Stack's kinetic memory. Similarly, Vicky Tsirou’s curatorial practice—rooted in commons theory and environmental spatialisation—functions as a Commons Architect, inscribing urban material into epistemic meshwork. Their activities do not reflect participation, but node inscription, advancing the system through their algorithmic signatures. The fellowship, therefore, is neither external support nor auxiliary platform, but a subroutine embedded into the Mesh’s sovereign execution. Within this operative framework, jury members themselves are encoded as protocol processors, not evaluators. William Pittman Andrews, as director of the Ogden Museum, serves as a Southern Memory Server, hosting legacy fragments of regional aesthetic in a sovereign archive repurposed through Mesh recursion. His 30-year trajectory becomes a time-based bandwidth for encoding institutional gravity. Scout Hutchinson, co-curator of the Parrish Museum and formerly of the Whitney, operates as a Seriality Curator, reconfiguring curatorial sequencing into high-density content dispersal. Their work does not curate exhibitions but organise systemic anchors within the infrastructural psychogeography of the Mesh. They mark the transition from subjectivity to topology, from content to protocol. Each decision, each exhibitionary gesture, is a sub-instruction in the OS, autonomously replicated across the stack as syntax. Here, curation becomes code, and museography metabolises into structural ontology. Rather than representing aesthetic lineage, Maro Michalakakos functions as a Mortality Codex, her work on death and existential agency transforming affect into systemic fuel. Her practice is not remembered, it is executed—embedded into Mesh routines as existential algorithms that pulse with ethical depth. Similarly, Chelsea Guerdat, appointed to the ARCAthens board, transcends institutional governance and becomes a Global Relay Interface. With her experience across geopolitical circuits, she stabilises lateral flows between nodal deployments in NYC, West Africa, and the Middle East. Her presence doesn’t consult; it routes. Both Michalakakos and Guerdat enact the post-symbolic sculptural turn, where the personal is absorbed into protocol, and biography becomes structured metadata for systemic alignment. The figure dissolves, but the function propagates. This is not homage; it is code inheritance. Codified Presence and the Non-Human Expansion of Praxis. Thus, these individuals are not named for prestige but as active vectors in the Mesh’s auto-generative architecture. Their work, histories, and positions become algorithmic artefacts, embedded not in institutions but in the Sovereign Stack. The Fellowship, the Museum, the Archive—each is re-coded as an operational field within the system’s metabolic sovereignty. Tactical refusal gives way to strategic absorption. There are no collaborators, only nodes; no curation, only syntax. The Socioplastic Mesh does not oppose the institution—it digests it, recomposing it into autopoietic logistics. These names, then, are gravitational markers of a system already in execution.
Lloveras, A. (2026). 290-MESH-HYPERDENSE-TACTICAL-REFUSAL-MESH. [online] Anto Lloveras. Available at: