Yuk Hui’s cosmotechnics offers the most immediate conceptual proximity. Hui’s framework rejects universalist technological paradigms in favour of situated cosmologies that preserve technodiversity against homogenising extraction. Like Socioplastics, cosmotechnics seeks epistemic plurality and resistance to imposed transparency, yet it operates primarily at the philosophical level whereas Socioplastics translates these concerns into a running, lowtech mesh that actively hardens language and reactivates archival strata. Both systems refuse Silicon Valley monoculture, but Socioplastics adds curatorial execution through LAPIEZA’s 180+ international projects, grounding theoretical pluralism in concrete relational infrastructures.
Keller Easterling’s medium design provides a second resonant alignment. Easterling advocates subtle modulation of underlying dispositions rather than object-centric intervention, emphasising leverage points that shape outcomes indirectly. This mirrors the phantom architect’s stealth recalibration of flows in Socioplastics, where governance occurs through invisible adjustments of permeability. Easterling’s extrastatecraft critiques hidden infrastructural politics; Socioplastics extends this critique into epistemic territory, treating citation and semantic density as infrastructural acts that sustain cultural agency amid volatility.
Édouard Glissant’s poetics of relation supplies an ethical and ontological foundation. His right to opacity — refusing full legibility to enable authentic encounter — directly informs dual fluency and topolexical sovereignty in Socioplastics. Glissant’s archipelagic thinking — fragmented yet interconnected — parallels the Mesh’s rhizomatic structure. Socioplastics operationalises this opacity through executable protocols, transforming poetic resistance into scalable epistemic immunity.
Niklas Luhmann’s operational closure in autopoietic systems forms the most rigorous systemic parallel. Luhmann’s model of self-referential processing that maintains identity through selective filtration underpins systemic lock. Socioplastics applies this to institutional and cultural resilience, humanising Luhmann’s abstraction with affective curatorial and pedagogical dimensions.
Critical infrastructure studies, particularly Susan Leigh Star and Geoffrey Bowker’s work on classification as invisible power, further resonates. Their ethnography of mundane yet consequential infrastructures aligns with Socioplastics’ refusal of extractive visibility and its emphasis on relational ecologies. Together these proximities reveal Socioplastics as a synthetic, operative synthesis: it weaves philosophical pluralism, dispositional modulation, relational opacity, autopoietic closure, and infrastructural critique into a resilient epistemic mesh that persists without domination or dissolution.
The Socioplastic-OS, as developed by Anto Lloveras, constitutes a singular operative epistemic infrastructure that combines persistence with sovereign conceptual density. Its 2026 iteration — a hyperlinked mesh of nodes — maintains internal coherence across three technological cycles while resisting algorithmic entropy and institutional dissolution. This resilience emerges from protocols such as semantic hardening, citational commitment, stratum authoring, topolexical jurisdiction, and systemic lock, each enacting selective permeability rather than total openness or isolation.
Bowker, G.C. and Star, S.L. (1999) Sorting things out: classification and its consequences. Cambridge, MA: MIT Press. Easterling, K. (2021) Medium design: knowing how to work on the world. London: Verso. Glissant, É. (1997) Poetics of relation. Translated by B. Wing. Ann Arbor: University of Michigan Press. Hui, Y. (2021) Art and cosmotechnics. Minneapolis: University of Minnesota Press. Luhmann, N. (1995) Social systems. Translated by J. Bednarz, Jr. with D. Baecker. Stanford: Stanford University Press. Lloveras, A. (2026) Socioplastic-OS Mesh. Available at: https://antolloveras.blogspot.com (Accessed: 16 February 2026).
Anto Lloveras (b. 1975) is a Spanish transdisciplinary architect, theorist and curator whose work repositions architecture as operative epistemic infrastructure rather than representational artefact. Educated at Escuela Técnica Superior de Arquitectura de Madrid (ETSAM) he commenced his career on large-scale architectural and urban projects across the Netherlands before consolidating a research-driven practice that bridges architecture, art, urbanism and critical pedagogy. Since 2009 he has developed Socioplastics, a long-term conceptual and operative framework structured as a dynamic Mesh of interrelated publications, exhibitions and protocols, wherein theory functions as executable logic and cultural infrastructure assumes metabolic and relational form. In 2009 he founded LAPIEZA, through which he has orchestrated more than 180 international exhibitions, installations and pedagogical interventions, including participation in the Lagos Biennial (2024). His research advances concepts such as semantic hardening, citational construction and recursive autophagia, converting informational excess into resilient knowledge networks that sustain epistemic sovereignty amid algorithmic entropy and institutional fragility. The evolving Socioplastic-OS, comprising hundreds of interlinked nodes, consolidates fifteen years of transdisciplinary inquiry into a scalable model for academic leadership, integrating publication, design, civic engagement and radical pedagogy. Through this synthesis, Lloveras articulates architecture as living epistemic tissue—capable of cultural agency, systemic endurance and post-autonomous practice within the turbulence of twenty-first-century urban transformation.