Socioplastics advances not a stylistic idiom but a systemic reconfiguration in which artistic production is transmuted into EpistemicInfrastructure, substituting expressive singularity with constitutional design. Its tripartite architecture—Core Decalogue, adaptive Nodes, and the quasi-metric PlasticScale—converts authorship into custodianship of a living code, thereby redefining practice as governance. Within this schema, objects such as Blue Bags or itinerant installations operate as ProtocolObjects, accruing jurisprudential authority through repetition rather than spectacle, stabilising volatile contexts without monumental excess. The formula IE = (C × T) / W functions less as empirical science than as performative adjudication, asserting measurability where art traditionally resists quantification and thereby instituting MetricSovereignty as methodological credo. The agrarian office intervention in El Peral exemplifies this logic materially: modular containers, elevated and chromatically attuned to their rural surround, enact adaptive reuse as constructive rationalism, mirroring Socioplastics’ internal modularity and calibrated restraint. Here, spatial praxis becomes TerritorialMetabolism, recalibrating flows of affect and labour across civic tissues. Pedagogy, reconceived as SovereignPedagogy, transforms workshops into tribunals of iterative law, while distributed collaborations instantiate DistributedAuthorship without dissolving foundational coherence. Yet the system’s durability depends upon AgonisticCalibration—its capacity to metabolise dissent and avoid autopoietic closure. Ultimately, Socioplastics proposes ConstitutionalAesthetics as infrastructural necessity: in an era of institutional erosion, art must legislate its own coordinates or risk dissipating into ornamental irrelevance.
