CyberSpaceLand

Wayland vs X11: 2026 Comparison

The Linux display server landscape has been evolving dramatically over the past decade. Wayland,...

Thoughts on Cyberpositionality: The Construction of Digital Communities in Digital Spaces, Damien Patrick Williams

I found Rebecca Monteleone, Martin Perez Comisso, and Elma Hajric’s “Cyberpositionality: Sociotechnical Location in the Digital Age” (2024) to be an extremely timely and important article which can…

Architecture and the Internet: Designing places in cyberspace

Cyberspace, as the information space is called, has become accessible in the past decade through the World Wide Web. And although it can only be experienced through the mediation of computers, it is quickly becoming an alternative stage for everyday economic, cultural, and other human activities. As such, there is a potential and a need to design it according to place–like principles. Making places for human inhabitation is, of course, what architects, landscape architects, and town planners have been doing in physical space for thousands of years. It is curious, therefore, that Cyberspace designers have not capitalized on the theories, experiences, and practices that have been guiding physical place–making. While most 3D environments closely mimic physical spaces, they are, by and large, devoid of the essential characteristics that differentiate a ‘place’ from mere ‘space.’ And only rarely are they sensitive to, and take advantage of, the peculiarities of Cyberspace. We believe that this state of affairs is temporary, characteristic of early adoption stages of new technologies. As the Web matures, and as it assumes more fully its role as a destination rather than as means of communication, there will be a growing need to design it according to place–making principles. By looking at physical architecture as a case study and metaphor for organizing space into meaningful places, this paper explores the possibility of organizing Cyberspace into spatial settings that not only afford social interaction, but, like physical places, also embody and express cultural values. At the same time, because Cyberspace lacks materiality, is free from physical constraints, and because it can only be ‘inhabited’ by proxy, these ‘places’ may not necessarily resemble their physical counterparts.

After Cybernetics: Treatise for Future Urbanisms — Against Catastrophe

Since 2014, Zaha Hadid Virtual Reality Group, part of Hadid Partners Architecture Firm, has had a focus on cybernetic architecture. This architecture involves what they label the ‘metaverse’. The metaverse integrates physical with digital worlds seamlessly. In industry parlance it is a world populated by what are euphemistically titled ‘cyber-physical’ assets. 

Screen As Room: An Architectural Perspective on User Interfaces — Christoph Locher · Interaction Designer

With the use of video games as social spaces being observed for several years and the increased focus put on virtual social spaces due to the scarceness of physical social spaces in the last months, the concept of “spatial interfaces” is once again at the center of discussions. I want to add an alternative perspective to this, looking at the properties of physical spaces as metaphors, rather than models, for interfaces and exploring seven of them in more detail.

Screen As Room: An Architectural Perspective on User Interfaces — Christoph Locher · Interaction Designer

With the use of video games as social spaces being observed for several years and the increased focus put on virtual social spaces due to the scarceness of physical social spaces in the last months, the concept of “spatial interfaces” is once again at the center of discussions. I want to add an alternative perspective to this, looking at the properties of physical spaces as metaphors, rather than models, for interfaces and exploring seven of them in more detail.

Alexander Obenauer

Exploring new and renewed ideas for how personal computing and the interfaces we think with can better serve people’s lives – expanding opportunity, agency, curiosity, and creativity.

Cyberspace to Cyberplace

This post is a broad exploration, it doesn’t have a single central goal or thesis so I will be presenting quotes, resources, and various reflections on these to start circling around the topic from different angles.

BlueSky - The Future of Social Media

Watch BlueSky's user base grow in real-time. Innovative, decentralized social networking is here!

» How Jordan Mechner Made a Different Sort of Interactive Movie (or, The Virtues of Restraint) The Digital Antiquarian

One can learn much about the state of computer gaming in any given period by looking to the metaphors its practitioners are embracing. In the early 1980s, when interfaces were entirely textual and graphics crude or nonexistent, text adventures like those of Infocom were heralded as the vanguard of a new interactive literature destined to augment or entirely supersede non-interactive books. That idea peaked with the mid-decade bookware boom, when just about every entertainment-software publisher (and a few traditional book publishers) were rushing to sign established authors and books to interactive projects. It then proceeded to collapse just as quickly under the weight of its own self-importance when the games proved less compelling and the public less interested than anticipated.

Jan Švankmajer

Jan Švankmajer is a Czech retired film director, animator, writer, playwright and artist. He draws and makes free graphics, collage, ceramics, tactile objects and assemblages. In the early 1960s, he explored informel, which later became an important part of the visual form of his animated films. He is a leading representative of late Czech surrealism. In his film work, he created an unmistakable and quite specific style, determined primarily by a compulsively unorthodox combination of externally disparate elements. The anti-artistic nature of this process, based on collage or assemblage, functions as a meaning-making factor. The author himself claims that the intersubjective communication between him and the viewer works only through evoked associations, and his films fulfil their subversive mission only when, even in the most fantastic moments, they look like a record of reality. Some of the works he created together with his wife Eva Švankmajerová.