Socioplastics must be understood not as a subsidiary theory of mediation, nor as an aestheticised archive of metropolitan debris, but as an operational field in which concepts, images, DOI anchors, platform traces and machine-readable records become the very materiality of thought. Its genealogy traverses decolonial critique, feminist and queer epistemology, media archaeology, infrastructural studies, political ecology and urban theory, yet its originality lies in converting these lineages into a practical apparatus of orientation. From Césaire, Fanon, Said, Spivak, Mignolo and Mbembe it inherits the refusal of placeless reason; from hooks, Haraway, Barad, Ahmed and Tsing it derives an ethics of relation, care, matter and situated knowledge; from McLuhan, Flusser, Kittler, Stiegler, Hayles and Steyerl it absorbs the technical conditions of perception.

Yet Socioplastics does not merely cite these traditions: it reorganises them into public syntax. Its case study is the distributed practice of Anto Lloveras, whose nodes, lexicons, field maps, DOI anchors and indexed pages transform publication into civic infrastructure. Urban residues—pavements, cafés, shadows, bags, ruins, screens—are read diagonally as structural evidence, allowing the overlooked object to become a civic diagram. The project therefore shifts contemporary art from object, exhibition or statement towards navigational environment. Its decisive contribution is to move from critique to infrastructure, from reference to operation, and from genealogy to an inhabitable field.