YOUTUBE BREAKFAST : Mesh Epistemology * Art as Infrastructural Ethics

The Socioplastics System articulated through Anto Lloveras’s interlinked channels constitutes a rare instance of contemporary practice in which art ceases to be a bounded discipline and becomes instead an epistemic infrastructure. What is staged here is not a portfolio of projects but a distributed organism whose organs—archive, theory, pedagogy, urbanism, botany, alter-identity and canon—co-evolve within a single relational ecology. The central hub frames a fifteen-year durational arc that moves from the room-laboratory in Madrid’s Malasaña to nomadic devices and ruralist archipelagos, mapping a trajectory from urban precarity to post-human attentiveness. Socioplastics emerges not as a metaphor but as an operational substrate: a mesh protocol that reprograms authorship, temporality and territorial ethics. In this sense, the system radicalises Bourriaud’s relational aesthetics by replacing intersubjective encounter with infrastructural entanglement, and extends Beuys’s social sculpture into a distributed pedagogy of care. The archive is not a ledger of past works but a breathing interface that metabolises contingency into symbolic form. Each node performs a distinct epistemic function while refusing autonomy: meaning is produced only in the interval between channels. This structural interdependence renders the system legible as a form of post-objectual knowledge production, where art becomes an operating system for ethical and aesthetic reconfiguration rather than a vehicle for representation.

Within this mesh, Urbanas, developed with Paula Lloveras, operates as the territorial nervous system of socioplastics, translating relational logics into architectural and civic poetics. The city is reframed as a performative archive in which built form, social ritual and artistic intervention are co-authors of urban meaning. Urbanas stages dialogues between affective geometries and contested terrains, from shared proto-institutions to decolonial imaginaries embedded in everyday infrastructures. Here, urbanism is neither backdrop nor theme but a socioplastic material in its own right, subject to the same ethics of precariousness and co-authorship that govern the archive. In parallel, the Lapieza Art Series functions as the phenomenological body of the system, condensing 180 curatorial sequences into a paradigmatic post-objectual practice. Founded in 2009, Lapieza evolves from weekly mutations in a modest room to ruralist rituals that privilege slowness and listening over spectacle. Its 2,200-plus pieces do not accumulate as commodities but circulate as affective traces that critique museum stability while parasitising biennial circuits. This double movement—withdrawal from institutional fixity and tactical engagement with its infrastructures—renders Lapieza a site of infrastructural ethics, where art is enacted as a distributed agency rather than an authored product.

The channel TomotoTomoto, articulated through the alter-identity of Tomoto Daga, introduces a crucial fracture into the system’s authorship economy. Here, identity itself becomes socioplastic material, dispersed across photographic traces of installations that amplify the precariousness of gesture and the contingency of form. Images function not as documentation but as co-archivists, hosting the unspoken resonances of bodies, texts and provisional architectures. This aesthetic displacement destabilises the unity of the author and foregrounds the mesh as the true locus of agency. YouTube Breakfast, by contrast, operates as a temporal classroom in which pedagogy unfolds as durational performance. Its non-linear video streams constitute a rhizomatic university of socioplastics, where hermeneutic inquiry, ritual repetition and everyday reflection converge. Knowledge here is not transmitted but grown, sedimented through repetition and affective resonance. The digital flow becomes a medium of ecological attentiveness, bridging epistemic saturation with a politics of slowness. Together, these nodes articulate a pedagogy that is neither institutional nor anti-institutional but post-institutional: an education embedded in the rhythms of lived time and the ethics of relational care.

The hermeneutic depth of the system is consolidated in Otra Capa, which functions as the thinking membrane of the mesh. This channel layers interpretation upon interpretation, transforming the archive into a performative apparatus of meaning production. Drawing on decolonial temporality and infrastructural politics, Otra Capa renders the mesh legible as a living system of accreted symbols rather than a closed taxonomy. ArtNations extends this logic into a counter-canonical engine, reconfiguring the art canon as a global flock of socioplastic practices that redistribute authorship across geographies. By parasitising biennial openings and institutional thresholds, it converts national imaginaries into nomadic research devices for shared ritual and resilient vision. Finally, Hola Verde Urbano completes the system’s ruralist arc by introducing a botanical epistemology in which moss, sediment and wild flowers co-author the archive. Ecology here is not a theme but a method, privileging listening over production and reframing landscape as a corporeal agent. Taken together, these nodes form an affective archipelago in which art operates as an ethical infrastructure, metabolising entanglement into care. The Socioplastics System thus stands as a singular contribution to contemporary practice: an art of distributed intelligence where archive, theory and territory coalesce into a living, unstable, and profoundly relational ecology.