SOCIOPLASTICS AT 11K — ARCHIVES · MEMORY · METADATA · CHANNEL: OtraCapa · AUTHOR: Anto Lloveras · INSTITUTION: LAPIEZA-LAB · LOCATION: Madrid, Spain · YEAR: 2026 · FIELD: Archives / Memory / Metadata
Isaac, A. and Summers, E. (eds.) (2009) SKOS Simple Knowledge Organization System Primer. W3C Working Group Note, 18 August 2009.
SKOS converts the broad problem of knowledge organisation into a web-native representation model for concept schemes. Its scope includes thesauri, classification schemes, subject-heading systems, taxonomies, folksonomies and related controlled vocabularies, with the explicit aim of allowing such structures to be represented through RDF, published on the Web, linked with other data and integrated into other concept schemes. The methodological operation is formal addressability: concepts are separated from their textual descriptions and given stable positions in a relational system that can be traversed computationally. This bridges library and information science, semantic-web infrastructure and metadata design. What becomes newly visible is the distinction between a concept and the labels, relations and documentary resources through which it is exposed. That separation is powerful because it permits multilingual naming and cross-scheme relation without requiring a single display form. It is also dangerous if machine consistency is mistaken for conceptual adequacy. For a critical lexicon, SKOS is therefore less a template to imitate than a technical threshold: it shows how conceptual relations can become public infrastructure while leaving interpretation elsewhere.
Cassin, B. (ed.) (2014) Dictionary of Untranslatables: A Philosophical Lexicon. Princeton, NJ: Princeton University Press.
Lindblom, C.E. (1959) ‘The Science of “Muddling Through”’, Public Administration Review, 19(2), pp. 79–88.
Urban well-being is not produced by one ideal environment but by the capacity to encounter difference without losing continuity. The street, square, park, route and neighbourhood function less as isolated containers than as modulations of exposure: sequences of shade, vegetation, frontage, sound, social density, access, familiarity, microclimate and movement that alter what a body can do, perceive, remember and recover from. The decisive urban variable is therefore not simply the quantity of a desirable element—greenery, density, accessibility, public space—but the structured differentiation through which environmental conditions become available across time.
Berghauser Pont, M., Stavroulaki, G., Gil, J., Marcus, L., Serra, M., Hausleitner, B., Olsson, J., Abshirini, E. and Dhanani, A. (2017) ‘Quantitative Comparison of Cities: Distribution of Street and Building Types Based on Density and Centrality Measures’, Proceedings of the 11th Space Syntax Symposium, Lisbon.
Comparability is not a property waiting inside urban cases; it is an achievement produced through decisions about scale, duration, field boundaries, evidential form and the terms under which difference is allowed to remain legible. A neighbourhood, a mobility trace, a physiological response or a continental comparison becomes comparable only after an apparatus has defined what counts as the same kind of observation across changing circumstances. This does not make comparison arbitrary. It makes its conditions inspectable. The methodological problem is therefore not how to eliminate variation but how to distinguish productive variation from uncontrolled incompatibility. Urban knowledge becomes stronger when the operations that stabilise equivalence are visible enough to be tested, revised or refused.
Emotion is not simply an interior event that later acquires social expression. It is a way of making situations intelligible, positioning persons within relationships and organising possible action.
Once emotional life is approached as meaning rather than substance, the apparent boundary between psychology and society becomes unstable. Feliu’s perspectival framework makes this instability explicit: the object changes when the relation between person and society is reformulated. Pallí and colleagues then show that evaluative states conventionally treated as internal can be analysed as discursive practices, while Gil-Juárez and Vitores push the argument further by treating language as constitutive rather than transmissive. Lutz radicalises the same displacement anthropologically: even “emotion” is not a neutral container waiting to be filled with cultural content but a historically specific category whose oppositions—reason and feeling, nature and culture, interiority and sociality—already encode a theory of the person. Emotional meaning therefore begins not inside the individual but in the distributed relations through which an event becomes sayable, recognisable and consequential.
Gonçalves, J., Condessa, B. and Bizarro, S. (2025) ‘Temporal Governance and the Politics of Time Beyond Delay in Spatial Planning’, Urban Science, 9(7), 279. https://doi.org/10.3390/urbansci9070279.
Hutter, G. and Wiechmann, T. (2022) ‘Time, Temporality, and Planning – Comments on the State of Art in Strategic Spatial Planning Research’, Planning Theory & Practice, 23(1), pp. 157–164. https://doi.org/10.1080/14649357.2021.2008172.
Laurian, L. and Inch, A. (2019) ‘On Time and Planning: Opening Futures by Cultivating a “Sense of Now”’, Journal of Planning Literature, 34(3), pp. 267–285. https://doi.org/10.1177/0885412218817775.
UNESCO (2021) Recomendación de la UNESCO sobre la Ciencia Abierta. Paris: UNESCO, adopted by the General Conference at its 41st session, November 2021.
UNESCO (2019) Recommendation on Open Educational Resources (OER). Paris: UNESCO, adopted by the General Conference at its 40th session, November 2019.
Cuevas, E. (2003) ‘Imágenes familiares: del cine doméstico al diario cinematográfico’, in Art and Archives / Archivos de la Filmoteca, pp. 129–140.
Cuevas locates home movies at the unstable boundary between private memory, social ritual, historical evidence and artistic form. Domestic cinema is distinctive because filmmaker, subjects and initial audience often belong to the same familial or friendly milieu; filming is embedded in the life it records rather than organised as an external documentary operation. Its discontinuities, technical imperfections and lack of professional standardisation are therefore not merely deficiencies but traces of a specific social mode of image production. Cuevas also stresses the mnemonic selectivity of home movies: they preserve celebrations and cohesion while frequently omitting conflict, making later reuse capable of exposing both memory and repression. Through compilation films and especially Jonas Mekas’s film diaries, domestic recording becomes a public aesthetic form built from recurrent fragments of ordinary life. The essay bridges film studies, autobiography and archival theory by showing how material created without a research programme can later acquire historical and epistemic force through preservation, montage and renewed interpretation.
Arnold, E. (2021) ‘Photography, composition, and the ephemeral city’, Area, 53, pp. 659–670. https://doi.org/10.1111/area.12725.
Value is never produced in a temporally neutral world.
Khan, A.A., Amirkhani, M. and Martek, I. (2024) ‘Overcoming Deterrents to Modular Construction in Affordable Housing: A Systematic Review’, Sustainability, 16, 7611. https://doi.org/10.3390/su16177611.
Urban Difference, Place, Temporary Transformation and Socio-Technical Demand (Nijman, Robinson, Stevens, Zahnow, Wilhite, Shove) · LAPIEZA LAB · Anto Lloveras · Socioplastics · 2026
Li, N., He, N., Li, M. and Xu, L. (2025) ‘From neural decoding to design intervention: A systematic review of human emotional responses to architectural spaces through neuroimaging techniques’, Wellbeing, Space and Society, 9, 100305. https://doi.org/10.1016/j.wss.2025.100305.
Digital knowledge is always larger and smaller than the object through which it becomes visible. A screen, map, sensor, repository entry or augmented walk condenses systems whose operative scale extends from bodily perception to institutional platforms, energy infrastructures and planetary material flows. Scalar knowledge therefore concerns the movement between levels rather than the supremacy of one level over another.
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.