The Addressable Concept: Compression, Translation and Machine Legibility (Williams, Bowker & Star, Bal, Cassin, Hogan, Consolati) · LAPIEZA LAB · Anto Lloveras · Socioplastics · 2026

A concept becomes addressable when a field can point to it without pretending to exhaust it. This apparently modest operation contains the full violence and utility of lexical infrastructure. Williams’s historical semantics shows why the problem begins before metadata: a word such as culture already contains incompatible temporal deposits, disciplinary migrations and social conflicts, so any stable label is a cut across semantic thickness rather than a transparent pointer to an essence. His method refuses the fantasy that terminological precision can simply remove semantic history; the difficulty of the word is itself evidence. Bal intensifies that instability by treating concepts as travellers whose analytical force emerges through movement between disciplinary situations, and Cassin radicalises it through translation, where the very terms most worth preserving are often those that resist clean equivalence. From this side, conceptual knowledge appears mobile, stratified and permanently vulnerable to simplification. 

UNSTABLE RELATIONAL INSTALLATION - MADRID 2010

TOMOTO

CORTINAS - MANUEL MAQUEDA ________#733 KISS 2013 MEXICO DF

SABLE - MANUEL MAQUEDA | 2014 CÁDIZ ________ #813 FRESH MUSEUM

CLIP
https://www.youtube.com/watch?v=KqKu-18fQQI
CLIP

ART SERIES | 67 BANK ACCOUNT _______ MEXICO MADRID LONDON CROATIA FRANCE LISBOA OSLO _______________GALAXY SYSTEM 11.2014

867 JESÚS LEÓN – NIGHT WINDS –  MEX DF
868 PAULA LLOVERAS – HANGERS (3) NORWAY
869 PLANCTON – TÓTEM - MADRID
870 RAMÓN SANMIQUEL – ESFINGES -----BBB--------- LISBOA
871 BILL VIOLA | LIMBER VILORIO - THE FUTURE IS NOW – MADRID
872 GORO SHIMANO – SKYPE PORTRAITS - LONDON
873 DANINO BOZIC – FUMER TUE | MICROGALLERY - CROATIA
874 MANUEL MAQUEDA – PENUMBRAS -------BBB------- CÁDIZ
875 CLAUDE CHUZEL - ET AU MARCHÉ - PARIS
876 ANTO LLOVERAS – BLUE BAGS_____UNSTABLE SOCIAL SCULPTURE
877 KJELL VARVIN - VARIABLES____OSLO : NORWAY
878 TOÑO CAMUÑAS | LIFE IS GOOD -----BBB-------- MEX DF OAXACA

SOCIOPLASTICS

BY

ANTO LLOVERAS

EL LARGO BESO ------------ MANUEL MAQUEDA (MMM) ---------------------#932----------------- CÁDIZ 2015

  

MAQUEDA

https://www.google.es/search?q=MANUEL+MAQUEDA+LAPIEZA&biw=1280&bih=664&source=lnms&tbm=isch&sa=X&ei=i_9FVa_ZIsyrU5S_gbgK&ved=0CAYQ_AUoAQ&dpr=1#tbm=isch&q=MANUEL+MAQUEDA+LAPIEZA+ART

ART BY MAQUEDA

MIEL_______MANUEL MAQUEDA_________VEJER_____976 ------------------------------ WILD FLOWERS 2015

EL LINAJE PICTÓRICO SENTIMENTAL

TEXT BY LLOVERAS

http://antolloveras.blogspot.com.es/2015/08/manuel-maqueda-y-el-linaje-pictorico.html

 ART BY MAQUEDA

UNA DE CAL________________________MANUEL MAQUEDA ´´´´´´´´´´´´´´´´´´´CÁDIZ-------------------------_______________________-------------- 944 EXFOLIATION 2015

El pintor MMM * (ManuelMaquedaMerino) trabaja desde Vejer de la Frontera, en Cádiz con una sensibilidad que une tradición y vida cotidiana. Su pintura no busca el impacto inmediato, sino una cercanía pausada. Invita a mirar despacio, a reconocer emociones simples —afecto, equilibrio, fragilidad— sin artificio. La influencia del paisaje andaluz, especialmente la claridad de la costa, se percibe en las formas en que las figuras parecen respirar dentro del cuadro. En el contexto de LapiezaArtSeries, su trabajo aporta una dimensión humana y accesible. Frente a propuestas más conceptuales, MMM mantiene viva la fuerza de la pintura figurativa, demostrando que el gesto tradicional sigue siendo actual cuando nace de una experiencia auténtica. Sus escenas y rostros conectan con el espectador porque hablan de vínculos y de presencia. Sus cuadros ofrecen un espacio de contemplación donde cada mirada puede encontrar algo propio.

I THINK OF YOU

ART BY MAQUEDA



CLOUD
https://www.google.es/search?q=maqueda+lapieza&biw=1280&bih=616&source=lnms&tbm=isch&sa=X&sqi=2&ved=0CAYQ_AUoAWoVChMIh6Ktifv4xgIVgZEUCh224gym

LAPIEZA * SEXTA MUTACIÓN ***** SALES 2010

Access is a governed relation between an entity and the system it seeks to enter. A right, a street, an archive and a digital identity system can all appear formally available while remaining practically inaccessible. The decisive distinction is therefore between nominal openness and operative access. Access becomes real only when paths can be found, interfaces can be used, categories can be understood and participation can continue after entry. Infrastructure determines these conditions before any individual encounter takes place.

The epistemic ground of governed access is plurality. Griffiths shows that authority is rarely concentrated in one normative source; multiple orders coexist and regulate conduct simultaneously. Pineo reveals an analogous plurality inside information access, where discoverability, usability and readability cannot be reduced to one measure. Pineda adds bodily and spatial heterogeneity: environments distribute possibilities differently according to embodied conditions, histories of exclusion and institutional conventions. Access is therefore relational because neither the user nor the system possesses it independently. Politically, this transforms inclusion from invitation into institutional redesign. A city that admits disabled residents only through exceptional accommodations preserves exclusion as its default architecture. A legal order that recognises customary norms only when the state authorises them reproduces centralism under a plural vocabulary. A digital service that is technically online but unusable by significant publics mistakes deployment for publicness. Governed access requires the rules of participation themselves to become objects of design.

OECD (2024) Digital Public Infrastructure for Digital Governments. OECD Public Governance Policy Papers, No. 68. Paris: OECD Publishing.

The OECD report defines digital public infrastructure as shared, secure and interoperable systems that enable broad access to public and private services. Digital identity, payments, data-sharing systems, registries, notifications and gateways are treated as reusable building blocks rather than isolated applications. The report’s theoretical importance lies in relocating digital government from service digitisation to infrastructural composition: administrative capacity depends upon common protocols that permit multiple institutions to coordinate at scale. Methodologically, comparative country cases are used to identify recurrent governance requirements around funding, public-private collaboration, interoperability, privacy, security, resilience and cross-border cooperation. Efficiency is therefore inseparable from safeguards. The report explicitly warns that common systems can produce exclusion or dependence if governance is weak. Its broader bridge is to platform studies and public administration: “government as a platform” becomes an institutional architecture in which technical components, legal authority and public values must remain aligned for digital systems to function as genuinely public infrastructure.

Pineo, E.A. (2025) ‘Discoverability, usability, and readability: a framework for assessing accessibility for disabled users of online archives’, Archival Science, 25, 25. https://doi.org/10.1007/s10502-025-09495-9.

Pineo gives digital accessibility an unusually precise archival grammar by separating three conditions often collapsed under the general term access: discoverability, usability and readability. An archival object may technically be online while remaining practically unavailable because navigation paths are opaque, interfaces violate accessibility standards or descriptive text creates unnecessary cognitive barriers. The study operationalises this distinction across fifty-five online archives, assessing routes to target material, Web Content Accessibility Guidelines, alternative access points and textual readability. Its theoretical contribution is to redefine information access as an achieved relation between user, interface, description and institutional design rather than a binary property of open or closed content. Methodologically, the DUR framework converts accessibility into inspectable components without pretending that metrics exhaust lived experience. The bridge to information architecture and disability studies is exact: interfaces distribute epistemic opportunity, and the design of retrieval becomes part of the politics of cultural participation.

Pineda, V.S. (2024) Inclusion and Belonging in Cities of Tomorrow: Governance and Access by Design. Singapore: Palgrave Macmillan.

Pineda transforms accessibility from a technical accommodation into a theory of urban agency. Radical inclusion names a condition in which physical, informational, legal, regulatory and attitudinal barriers are addressed at the level of systems rather than corrected after exclusion has already been produced. The book’s iconic move is to link disability justice to spatial justice: because social relations are spatially organised, exclusion is materially reproduced through streets, buildings, transport, information systems and planning procedures. Methodologically, Pineda combines disability studies, urban governance, universal design and policy analysis to argue that accessibility must enter project definition, institutional standards and participatory processes from the outset. Belonging therefore exceeds formal presence; it requires the capacity to participate, choose and influence. The wider bridge is to capability theory, design justice and rights-based urbanism, where environments are evaluated not only by what they contain but by the agency they distribute among differently situated bodies.

Griffiths, J. (1986) ‘What is Legal Pluralism?’, Journal of Legal Pluralism and Unofficial Law, 18(24), pp. 1–55.

Griffiths’s decisive intervention is to dismantle legal centralism: the assumption that law is a single, unified and hierarchically organised system emanating from the state. Legal pluralism instead describes social fields in which multiple normative orders coexist, overlap and compete for practical authority. The theoretical contribution is therefore not simply a multiplication of legal sources but a redefinition of law as socially distributed regulation. Methodologically, Griffiths distinguishes weak forms of pluralism, in which non-state orders remain subordinated to state recognition, from a stronger descriptive conception capable of analysing normativity without presuming a sovereign centre. This shift makes authority observable in practices, institutions and semi-autonomous social formations rather than only in formal doctrine. The wider bridge reaches anthropology, political sociology and urban governance: land, access, property, custom and everyday regulation become intelligible as products of interacting normative regimes whose boundaries are negotiated rather than given.

Bippus, E. (2013) ‘Artistic Experiments as Research’, in Schwab, M. (ed.) Experimental Systems: Future Knowledge in Artistic Research. Leuven: Leuven University Press, pp. 121–134.

Bippus dismantles the inherited opposition between the reproducible scientific experiment and the singular, risky artistic experiment by showing that both operate through historically situated mixtures of control, resistance, repetition and contingency. Her iconic proposition is that experimental knowledge arises neither from pure spontaneity nor from methodological certainty, but from an organised exposure to what cannot be fully devised in advance. Artistic experimentation works through colours, forms, conventions, instruments, technologies and modes of representation; it therefore makes aesthetic thinking materially operative rather than treating aesthetics as an autonomous sphere of judgement. Bippus’s method is genealogical and comparative: she tracks shifting meanings of experiment, scrutinises the laboratory–studio analogy and uses conceptual art to resist the mystification of creative unpredictability as genius. The resulting account makes systematic repetition compatible with artistic research while recognising contradiction and incompleteness as epistemically productive. Its wider bridge is to science and technology studies, especially the study of how apparatuses, discourses and institutional contexts distribute legitimacy among heterogeneous forms of knowledge.

Chair of Architectural Behaviorology and Chair of Circular Engineering in Architecture (2023) Re-Use Huber Pavilion’s Materials: Reader, Focus Work FS23. Zurich: ETH Zurich.

The ETH reader turns reuse from an environmental intention into a design epistemology governed by the prior existence of materials. Architectural Behaviorology supplies the conceptual frame: ethnographic attention is directed toward the behaviours of both human actors and resources, with design seeking to uncover barriers, recover latent values and construct new forms of accessibility. The Huber Pavilion project makes this operation concrete by beginning from dismantled components—trusses, panels, windows, doors, stairs and finishes—and allowing their dimensions, weight, availability and connection problems to condition architectural form. Inventory, scanning, digital platforms, computational design, fabrication and full-scale construction are assembled as one continuous research process. The project’s most important methodological inversion is therefore from specification to negotiation: design follows an available stock rather than commanding matter through an abstract bill of requirements. Its wider bridge joins circular construction to ethnography, digital material tracking and commons-oriented design, making resource histories and technical constraints active participants in architectural decision-making.

Yaneva, A. (2009) ‘Making the Social Hold: Towards an Actor-Network Theory of Design’, Design and Culture, 1(3), pp. 273–288. doi:10.2752/174967809X12556950208826.

Yaneva argues that design does not merely represent an already constituted society but materially participates in making social relations durable. Her exemplary staircase, elevator and coded door lock show how scripts, affordances and technical features distribute action between bodies and artefacts, obliging, enabling, redirecting and differentiating conduct. The theoretical contribution lies in shifting design analysis from symbolic interpretation toward mediation: an object is not evidence of a social structure located elsewhere but an actor whose associations continually recompose the social. Methodologically, Yaneva adopts a pragmatic, ethnographic attention to mundane trajectories, asking what objects do before assigning them hidden meanings. This permits design to be read as a connector through which moral, political, psychological and institutional worlds are enacted at the scale of handles, widths, buttons and access protocols. The argument makes a precise bridge between architectural studies and Actor-Network Theory, while also intersecting ecological accounts of affordance by showing that environments are neither passive settings nor neutral containers but active distributions of possible action.

FACADES AS PUBLIC INTERFACES — Architecture · Media · Urbanism

Facades mediate between interior systems and public perception, functioning as interfaces through which structure, programme, regulation, identity and urban context become selectively visible. The Factory Becomes an Urban Signal provides the first material test through the Trole Building, where a former coffee factory in southern Madrid is transformed into twenty-four atelier and office units; the white zinc skin deliberately contrasts with the surrounding brick industrial fabric, while reuse, fire regulations, existing structure and collective identity are negotiated within the same architectural operation · AtmospherePosture · https://antolloveras.blogspot.com/2026/01/the-trole-building-madrid-south-white.html. A Renovation Can Reveal the System provides the second through CJCM, where an existing Madrid building is reworked through precise structural and spatial adjustments; the double-donut anatomy and tectonic austerity make adaptation itself legible, showing how an existing system can be transformed without being replaced · AuthorityFragment · https://antolloveras.blogspot.com/2017/11/cjcm-reforma-integral.html. These works gain density across the field through Urban Taxidermy 027 · SOCIOPLASTICS-8474 · https://www.youtube.com/watch?v=zTZIBXrJngY; the Anto Lloveras archive of September 2023 · SOCIOPLASTICS-6081 · https://antolloveras.blogspot.com/2023/09; Matricaria chamomilla · SOCIOPLASTICS-6427 · https://holaverdeurbano.blogspot.com/2026/07/matricaria-chamomilla-manzanilla-comun.html; Smith — Toward a Theory of Uneven Development · SOCIOPLASTICS-6618 · https://tomototomoto.blogspot.com/2026/07/smith-n-1979-toward-theory-of.html; Bibliography Operates as Architecture · SOCIOPLASTICS-4013 · https://antolloveras.blogspot.com/2026/05/the-socioplastics-bibliography-operates.html; Ten Instruments Toolkit · SOCIOPLASTICS-1397 · https://antolloveras.blogspot.com/2026/03/the-toolkit-comprises-ten-instruments.html; Edward Relph · SOCIOPLASTICS-2638 · https://ciudadlista.blogspot.com/2019/09/edward-relph.html; and Copos 607 Urban Series · SOCIOPLASTICS-5292 · https://www.youtube.com/watch?v=QUESHXm-wWo Across these returns, Trole Building and CJCM establish the proposition through two adaptive-reuse conditions: one uses a visibly differentiated envelope to construct a new collective urban identity, while the other relies on structural and spatial precision to reveal how an existing building can be transformed from within. The facade therefore operates as a public interface because it mediates the relation between internal systems, regulatory constraints, inherited material conditions and the way architecture enters collective perception.

MOBILITY INFRASTRUCTURE AS NEGOTIATED TERRITORY — Infrastructure · Mobility · Landscape

Mobility infrastructures do more than connect points: they organise speed, access, encounter, visibility and the relations established between territories, making circulation itself a spatial and social condition. Mobility Can Organize Domestic Space provides the first material test through Easy Rider, where housing is conceived as a street garage in which private life, mobility and communal recreation interlock; a zig-zag section, shared patios, roof terraces and roadway-like circulation convert domestic architecture into a piece of urban infrastructure · SOCIOPLASTICS-2760 · SymbolicEnclosure · https://doi.org/10.5281/zenodo.19161373 · https://antolloveras.blogspot.com/2026/01/easy-rider-infrastructures-for-nomadic.html. A City on Wheels Changes the Meaning of Place provides the second through Barna Sobre Ruedas, where mobility operates as an urban procedure for making territory, access, encounter and difference visible at the scale of ordinary life · SOCIOPLASTICS-2755 · WalkableWisdom · https://antolloveras.blogspot.com/2018/07/barna-sobre-ruedas.html. These works gain density across the field through Moving Image 010 · SOCIOPLASTICS-7591 · https://www.youtube.com/watch?v=ri0Fet1GOsE; the Anto Lloveras archive of May 2024 · SOCIOPLASTICS-5490 · https://antolloveras.blogspot.com/2024/05; Cosmotidiano — Mutable Habitats · SOCIOPLASTICS-1932 · https://antolloveras.blogspot.com/2026/01/cosmotidiano-mutable-habitats.html; Brief Statement · SOCIOPLASTICS-1793 · https://antolloveras.blogspot.com/2025/12/brief-statement.html; The Prevailing Academic Doctrine Meets New Structures · SOCIOPLASTICS-2313 · https://antolloveras.blogspot.com/2026/04/the-prevailing-academic-doctrine.html; Dwelling Attachment · SOCIOPLASTICS-3791 · https://antolloveras.blogspot.com/2026/05/dwelling-attachment.html; Mattern — The City Is Not a Computer · SOCIOPLASTICS-3646 · https://ciudadlista.blogspot.com/2026/05/mattern-s-2017-city-is-not-computer.html; and Moving Image 083 · SOCIOPLASTICS-8118 · https://www.youtube.com/watch?v=wgq6w1IKXVc. Across these returns, Easy Rider and Barna Sobre Ruedas establish the proposition at two scales: one inserts mobility into the organisation of dwelling through section, circulation and shared space, while the other uses movement to expose relations among territory, access and encounter at the urban scale. Mobility infrastructure therefore becomes a negotiated territory because the spatial consequences of circulation extend beyond transport into inhabitation, public relation and the organisation of everyday life.

MOVING IMAGE AS ATMOSPHERIC RECORD — Moving Image · Affect · Environment

Moving images can register atmosphere through sound, duration, weather and incidental movement, preserving environmental conditions that still photographs often omit. Light Can Become a Local Event provides the first material test through THE Light IN Zagreb JULY 2017, where a specific light condition is treated as an operative urban event capable of reorganising perception and relation within a situated environment · SOCIOPLASTICS-2778 · MoralDisplay · https://antolloveras.blogspot.com/2017/07/the-light-in-zagrebjuly-2017.html. Night Action Can Recode Daylight provides the second through EL SOL DE Frente Acciones Nocturnas EN, where duration, bodily action and repetition are placed at the centre of the work, allowing temporal and perceptual conditions to emerge through what a body does, repeats, interrupts or leaves unresolved · SOCIOPLASTICS-2743 · ErrorEmbodiment · https://antolloveras.blogspot.com/2015/08/el-sol-de-frente-acciones-nocturnas-en.html. These works gain density across the field through Moving Image 064 · SOCIOPLASTICS-7537 · https://www.youtube.com/watch?v=xH0ZyJeNNWg; the Ciudad Lista archive of November 2022 · SOCIOPLASTICS-6157 · https://ciudadlista.blogspot.com/2022/11; Trifolium repens · SOCIOPLASTICS-6422 · https://holaverdeurbano.blogspot.com/2026/07/trifolium-repens-trebol-blanco-herbacea.html; Socioplastics Pentagon · SOCIOPLASTICS-3451 · https://otracapa.blogspot.com/2026/05/lloveras-2026-socioplastics-pentagon.html; Architecture of Knowledge · SOCIOPLASTICS-5097 · https://antolloveras.blogspot.com/2026/06/socioplastics-and-architecture-of.html; DOI Lock and ORCID Linkage Operations · SOCIOPLASTICS-1334 · https://ciudadlista.blogspot.com/2026/03/the-doi-lock-and-orcid-linkage-operate.html; FrictionalMetropolis · SOCIOPLASTICS-3753 · https://socioplastics.blogspot.com/2026/05/socioplastics-2993-frictionalmetropolis.html; and Moving Image 062 · SOCIOPLASTICS-7739 · https://www.youtube.com/watch?v=gvez1Ew7mvc. Across these returns, THE Light IN Zagreb and EL SOL DE Frente establish the proposition through two distinct temporal conditions: one centres a situated event of light in urban space, while the other builds meaning through duration, repetition and nocturnal bodily action. Moving image becomes relevant here not as neutral documentation but as a medium able to retain temporal, acoustic and environmental conditions as part of the work’s evidence.