At the center stands Lloveras himself, whose Socioplastics project functions as both diagnostic tool and generative grammar, mapping how concepts attract, institutions fragment, worlds recur, appearances condition, and knowledge reaches its syntactic edges. Around him orbit figures whose work resonates at different frequencies yet converges on the same ontological concern: how things endure.

Gilbert Simondon provides the deepest philosophical ground with his theory of individuation and technical objects, offering Lloveras a way to think processes as metastable achievements rather than fixed essences. Mierle Laderman Ukeles brings the radical artistic precedent, declaring maintenance a public art form and exposing the invisible reproductive labor that sustains every system. Keller Easterling contributes the infrastructural intelligence, showing how protocols and active forms quietly govern contemporary urban and global realities in ways that parallel Socioplastics’ attention to command boundaries and regime mutations. Shannon Mattern deepens the material epistemology, examining how knowledge itself is housed, repaired, and transmitted through physical and digital infrastructures. Donna Haraway and Isabelle Stengers add the ecological and cosmopolitical dimensions, insisting on situated knowledges, care across difference, and the necessity of slowing down to attend to divergent practices. Anna Tsing illuminates the possibility of life amid capitalist ruins, while Susan Leigh Star and Geoffrey Bowker reveal the power and violence hidden in classification systems and residual categories.  Anto Lloveras moves within a distinctive intellectual and artistic circle that has quietly coalesced around questions of maintenance, infrastructure, and the grammar of living systems. This is not a conventional school or movement but a transversal constellation of architects, artists, philosophers, and urban thinkers who share a refusal to treat persistence as automatic and who see reality as something that must be continually repaired, translated, and held together. 

This circle is further enriched by practitioners such as Gordon Matta-Clark, whose anarchitecture cut through buildings to expose their entropic reality, and Yona Friedman, whose mobile, self-planned urbanism echoes the walkable wisdom and light infrastructures present in Lloveras’ thinking. The shared sensibility is one of attention to the middle voice: not heroic creation or passive decay, but the active, ongoing labor of holding patterns against drift. What unites them is a commitment to making visible the work that dominant narratives render invisible — the repair, the translation, the rhythmic return, the custodial relation to soil and climate, the negotiation with contradiction. Lloveras’ contribution lies in synthesizing these lineages into an operational grammar. Socioplastics does not merely cite or apply these thinkers; it builds a functional apparatus that allows one to move between scales — from lexical attraction to planetary abstraction — while keeping the question of maintenance at the ontological core. The circle around him is therefore less a group of influences than a living field of resonance, a set of coordinates for a thinking that has accepted the difficulty of endurance in late modernity. It offers no grand utopia, only a more lucid and responsible way of inhabiting the systems we cannot escape but might yet repair differently. In this sense, Lloveras stands as both heir and innovator within a tradition that values the slow, precise, and often unglamorous work of keeping worlds possible.