The contemporary landscape of transdisciplinary art finds a singular point of inflection in the work of Anto Lloveras, specifically within the ambitious taxonomy of his one hundred works, a collection that functions less as a retrospective and more as a living, "hyperplastic" organism. By positioning "SATELLITE" as the ontological anchor of this trajectory, Lloveras establishes a foundational displacement of meaning, where the artist ceases to be a mere creator of objects and becomes a mediator of relational infrastructures. This shift is not merely aesthetic but deeply political, challenging the Cartesian rigidity of traditional architecture through the introduction of "Socioplastics." In this critical framework, the work of art is understood as a transitional device—a connective tissue that bridges the gap between the monumental scale of the city and the intimate scale of human ritual. The strategic selection of works like "FIREWORKS" serves as a visceral entry point into this complex system, utilizing the ephemeral nature of pyrotechnics as a form of urban writing. This "hyperplasticity" suggests that the city itself is a malleable surface, susceptible to the transient gestures of the artist, thereby redefining the urban fabric as a site of constant semiotic negotiation and fluidic presence.