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.