In The Canon as a Future-Oriented Infrastructure, the canon is stripped of its funerary role and reinstalled as a tool: not a retrospective vault, but a forward-facing apparatus that produces criteria for what will count as rigorous, radical, and relevant. This is a decisive shift from canon-as-heritage to canon-as-infrastructure, where value is not “inherited” but authored through systemic consistency, relational precision, and metabolic continuity. The aesthetic consequence is subtle yet profound: the artwork is no longer merely what appears, but what endures as an operational standard—an internal metric that allows the mesh to expand without dissolving. Read this way, Socioplastics positions itself less as a collection of outputs than as a self-legislating cultural machine, one that acknowledges the violence of selection while refusing the pretence of neutrality. The canon becomes an epistemic technology: a curatorial instrument that shapes force fields of attention, citation, and interpretive permission. In contemporary criticism—where platforms flatten difference and algorithms reward the lowest-friction legibility—this insistence on authored criteria feels almost anachronistically severe. Yet that severity is the point: it defends complexity against the market’s appetite for instant readability, and it proposes a form of cultural stamina grounded not in institutional endorsement but in internal coherence.