Using media façades as a subcategory of urban computing, this paper contributes to the understanding of spatial interaction, sense-making, and social mediation as part of identifying key characteristics of interaction with media façades. Our research addresses in particular the open-ended but framed nature of interaction, which in conjunction with varying interpretations enables individual sense-making. Moreover, we contribute to the understanding of flexible social interaction by addressing urban interaction in relation to distributed attention, shared focus, dialogue and collective action. Finally we address challenges for interaction designers encountered in a complex spatial setting calling for a need to take into account multiple viewing and action positions. Our researchthrough-design approach has included a real-life design intervention in terms of the design, implementation, and reflective evaluation of a 180 m 2 (1937 square feet) interactive media façade in operation 24/7 for more than 50 days.

The purpose of this article is to analyze the function of art in the narrative of Antonio Muñoz Molina. Through the interpretation of the narrative function of paintings by renowned artists like Cézanne, Rembrandt, Velázquez and Mark Rothko in four works, The Winter in Lisbon, The Polish Rider, Sefarad and The Windows of Manhattan, I will pursue the hypothesis that the works of art play the role of identity giving metaphors for the characters. At the same time the painting play the role of "entelechies" in the narrative structure, as well for the characters as for the reader, because it is only through the interpretation of the paintings that each narrative obtains coherence and plenitude.

This chapter examines how the contemporary Spanish novel that rememorizes the Spanish civil war and the period of post-war repression reflects auto-referentially upon the very social processes that negotiate the cultural memory of which the novelistic discourse is itself an essential part. The Spanish civil war ended in 1939, but the dictatorial regime survived until General Franco's death in 1975. The transition to democracy in Spain did not represent a clear break with the former dictatorial regime, but was initiated and directed by moderate forces from within its heart. Due to the character of this process, both parties -the regime and the formerly illegal political parties, the socialists and the communists -agreed to grant amnesty for all politically motivated crimes except murder and to focus on a common future, a stance which contributed to the process of cultural forgetting. This meant that the sufferings of the victims of the repression were kept in silence for several decades. Since the turn of the millennium, however, Spanish society has been engaged in an intense public and political debate about the civil war,

Since the turn of the millennium, Spanish society has been engaged with an intense public and political debate about the Civil War and the post-war period. The number of publications has exploded within all genres, and narrative fiction clearly participates in the negotiation of the cultural memory of this period. Taking its point of departure in Todorov's concept of restorative narratives, this article investigates whether contemporary Spanish novels continue a Manichaean division between 'us' and 'them', and whether it is possible to detect a difference in narrative patterns before and after the turn of the millennium.

Desde hace el cambio de milenio se puede registrar en buena parte del mundo occidental (Europa y los EE.UU) un crecimiento en la cantidad de productos culturales que focalizan la memoria de un pasado violento ya no desde el punto de vista exclusiva de la víctima, sino también desde el del victimario y de personajes pertenecientes a lo que Primo Levi llamaba la zona gris: delatores, traidores y cómplices. No se trata de aplicar una perspectiva exclusiva a la historia del pasado violento, ni una perspectiva solidaria que excusara o legitimara las atrocidades cometidas, sino una perspectiva críticamente perfilada a través de otros enfoques, sea el de un narrador implícito en novelas o en la voz of en documentales, o mediante una focalización multiperspectivista que hace contrastar esta perspectiva con la de las víctimas. Ejemplos podrían ser la novela Las benévolas (Les Bienvaillantes, 2006) de Jonathan Littell, la serie televisiva alemana Unsere Mütter, Unsere Väter, el documental Das Radikal Böse, o la obra biográfica de Åsne Seierstandt sobre el asesino noruego Breivik, Uno entre nosotros (2015) 1 . Lo que unen a estas obras es el interés por comprender lo que pueda llevar a una persona a convertirse en lo que nosotros en una época posterior consideramos como el culpable de crímenes de lesa humanidad. No se trata de excusar ni legitimar, sino comprender. Como dice Primo Levi a los alemanes que sobrevivieron la segunda guerra mundial: "Necesito comprenderte para poder juzgarte" (Levi 174, traducción mía). Pero el modo ético-político con que estas obras se acercan al pasado y explican el proceso