Anto Lloveras’s Socioplastics advances as an epistemic architecture in which urban rhythm, material agency and infrastructural labour are transformed into a deliberately habitable field of knowledge. Its relation to Henri Lefebvre is evident in CanopyMandate and FrictionalMetropolis, where the production of space and rhythmanalysis are reworked beyond critique into concrete procedures for legibility, climatic justice and situated urban recursion. Walter Benjamin’s fascination with fragments, arcades and dialectical images reappears through JunkSeed and MaterialTrace; yet Lloveras refuses melancholic montage, converting residue into an operational corpus whose traces can be retrieved, recombined and addressed across platforms. Jane Bennett’s vibrant matter resonates in PlasticAgency and VibrantRecord, where documents, plastics, scraps and environmental particles are not passive evidence but consequential actors within the FieldEnvironment. Susan Leigh Star’s work on infrastructure, boundary objects and invisible labour clarifies the stakes of PublicSyntax and SitePaper: Socioplastics renders classificatory work explicit, navigable and publicly durable rather than silently embedded in technical systems. Anna Lowenhaupt Tsing’s ruined ecologies and frictional encounters further illuminate KnowledgeFriction, where contamination, latency and damage become productive conditions rather than epistemic failures. As a synthetic case, the discarded urban object becomes archive, actor, boundary object and ruined ecology at once. Socioplastics therefore does not merely cite theory; it constructs from it a recursive terrain where matter, infrastructure and cognition remain operationally alive.