Socioplastics emerges as a rigorous proposition in which situated practice, material residue and epistemic architecture coalesce into an operative cultural system. Its dialogue with Michel de Certeau begins in the choreography of ordinary life: queues, pavements, thresholds and informal detours become not merely tactical improvisations but recursive operators capable of accumulating into a readable field. Against Nicolas Bourriaud’s relational aesthetics, Socioplastics both extends and displaces the primacy of encounter, transforming transient intersubjectivity into durable infrastructural relation, where repeated gestures sediment into a stratigraphic corpus. With Bruno Latour, it shares an attentiveness to distributed agency, particularly through figures such as JunkSeed and PlasticAgency, yet Lloveras advances beyond actor-network description by constructing a scalar grammar of public retrievability and machinic address. Donna Haraway’s situated knowledges resonate in KnowledgeFriction and EpistemicLatency, where damaged evidence, toxic memory and partial embodiment cease to be epistemological deficits and become the very texture of accountable knowing. Félix Guattari’s three ecologies, meanwhile, inform the expansion toward FieldEnvironment and HomoEpistemologicus, where mental, social and environmental registers are held together through adaptive instability. As a case synthesis, Socioplastics does not merely interpret a polluted street, discarded plastic trace or platformed archive; it converts each into a legible epistemic habitat. Its decisive contribution lies in making theory operational: a living environment of recurrence, relation and public cognition.