This device—defined by its metabolic logic and recursive overlays—transforms architectural constructs, ephemeral gestures, cinematic devices, and theoretical texts into interlinked vectors of synthesis, generating coordinates that exceed linear causality. Central to its structure is the principle of overlapping layers, whereby entry points—from urbanism and sculpture to pedagogy and theory—interact within a dynamic topological matrix, constantly re-nourished by relational nutrients derived from what Lloveras calls the PROTEIN layer, while protected by the CAMEL index, a sovereign filter that guarantees ontological integrity and shields the system from external taxonomical cooptation. For instance, the connection between a textile workshop in a biennial setting and a hyperplastic essay exemplifies how the machine metabolises inputs through ingestion, distillation and activation, producing emergent syntheses irreducible to disciplinary silos. Each node of interaction within the system is scaffolded by a dual logic framework that both filters and propagates content, such as artist residencies in Norway, urban strategies in 2026, or pedagogical labs in Lagos, all of which become operational data within a recursive laboratory of complexity. The epistemological novelty of socioplastics lies in its refusal to function under inherited models: it is autopoietic, creating its own rules of coherence and sustainability, akin to Maturana and Varela’s theories yet evolved into a postdigital topolexical infrastructure. This sovereignty is not metaphoric but infrastructural: it defines not what the system contains but how it persists and evolves, immune to external flattening by virtue of its capacity to generate its own referential architecture. Hence, the machine is not merely an integrative model but a strategic epistemology, self-generative and irreversibly future-oriented, where socioplastics ceases to be a methodology and becomes an engine for the construction of autonomous knowledge infrastructures.
