Datawalking provides the clearest methodological model. By placing bodies inside computational environments, van Es and de Lange make infrastructures observable through situated encounters. Antunes expands the same operation into artistic practice, where movement can connect sensory perception to locative media and public-space politics. The body does not replace the network; it becomes the point from which the network can be read. Paraverse demonstrates how this scalar problem reorganises curating. Digital mediation does not simply reproduce the museum online. It alters access, ownership, display, value and the very ontology of the collected object. An exhibition can now be distributed across physical architecture, virtual environments, software protocols and market infrastructures. The curatorial object therefore has multiple simultaneous locations. The ecological dimension makes scalar thinking unavoidable. Ohls shows that virtual environments depend on material systems whose energy, hardware and infrastructural costs remain spatially displaced. Digital culture becomes legible only when interface and infrastructure are analysed together. Situated Systems adds another layer by treating technical workshops as epistemic environments in which tools and institutional structures actively condition research. Socioplastics can operationalise scalar mediation by requiring every digital object to retain links between its visible form and the infrastructures that support its circulation. A node should be readable as text, metadata, file, interface, repository object and relational position without assuming that any one of these scales is sufficient. The result is an architecture in which knowledge can move across scales without losing provenance. The corpus becomes not a flat archive but a distributed system of objects whose meanings change as they move between material, institutional, urban and planetary registers. Within Socioplastics, this condenses as ScalarArchitecture.
