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Our global society is encountering different challenges of the twenty first century. Our cities are in the process of constant transformation influenced by urbanisation, globalisation, advanced technologies, environmental and ecological changes, social, political and economic crises. While corporative capitalism has flourished, world population is growing and our cities are sprawling, architecture is reaching almost utopian visions and the boundaries of aesthetics are becoming more and more loose and permeable. Today are contemporary society lives and acts aesthetically. From art, architecture, music, religion, politics, communications, technological gadgets, homes, gardens, clothes, cuisine to sport and life couching, everything is a subject to aesthetical consideration. Aesthetical consideration of architecture and urbanism in a constantly changing world demands critical and interactive approaches, that will not only deal with theoretical aesthetic opinions, but also the practical ones. Accordingly, this paper seeks to discuss aesthetical problems of contemporary architecture and urban planning from global, environmental, technological and social points of view. Nature is no longer seen as a paradigmatic object of aesthetic experience, but as our unique collective environment upon which we humans depend. Therefore architecture emerges etic and aesthetic approaches in order to reconsider burden of our cities and possible ways of their future development.

»Raus aus dem Silodenken!« So lautet ein Bonmot zur besseren Steuerung öffentlicher Prozesse. Verwaltung, Politik, Wirtschaft, Wissenschaft und Zivilgesellschaft sind zu neuen Kooperationen aufgerufen. Doch wie lässt sich intersektorales Arbeiten fassbar machen? Für Stadt- und Raumplanung ist Storytelling dabei ein zentrales Steuerungsinstrument. Christian Horn betrachtet dazu in fünf Fallstudien Projekte der Internationalen Bauausstellung Thüringen und des Quartier de l'Innovation in Montréal. Aufbauend auf soziologischen, betriebswirtschaftlichen, literatur- und kulturwissenschaftlichen Ansätzen liefert er ein offenes Akteursmodell als Alternative zum klassischen Verwaltungshandeln.

The MFA in Writing program's Digital Storytelling course, taught in spring 2016 by Faith Adiele, brought together graduate writers, artists and makers to hone their narrative skills and develop their own digital projects. The Bay Area is the center of electronic and digital literature (literary work created exclusively on and for devices with screens) and storytelling, but while the dazzling technologies may be new, interactive storytelling is one of the earliest forms of human interaction. We explored e-lit's antecedents and traditions, ranging from non-Western traditions like the griot, talk-story, and testimonio, to the democratized oral history movement of the 1970s; from the physicality of Book Arts to platforms and networks that offer open-source, global activist alternatives to pricey technology. The course was open to all grad students and had participants from Architecture and Design MBA. They received training from Yosmay del Mazo of StoryCorps, Thaddeus Howze of Quora, Chieh-Ju Pai in the Film Dept, with additional support and training by digital scholarship librarian Lisa Conrad. This was an attempt for writers/artists/makers to speak a shared language across the college, and heralds the beginning of further college-wide collaborations.

"Raus aus dem Silodenken!" So lautet ein Bonmot zur besseren Steuerung öffentlicher Prozesse. Verwaltung, Politik, Wirtschaft, Wissenschaft und Zivilgesellschaft sind zu neuen Kooperationen aufgerufen. Doch wie lässt sich intersektorales Arbeiten fassbar machen? Für Stadt- und Raumplanung ist Storytelling dabei ein zentrales Steuerungsinstrument. Der Autor betrachtet dazu in fünf Fallstudien Projekte der Internationalen Bauausstellung Thüringen und des Quartier de l'Innovation in Montréal. Aufbauend auf soziologischen, betriebswirtschaftlichen, literatur- und kulturwissenschaftlichen Ansätzen liefert er ein offenes Akteursmodell als Alternative zum klassischen Verwaltungshandeln.

Suspense is a key narrative issue in terms of emotional gratification, influencing directly the way in which the audience experiences a story. Disciplines like psychology, neurology or e-learning study the suspense as the basis of useful techniques for the treatment of mental diseases or improving memory skills and the comprehension. In the field of creativity, it's an essential cross strategy found in almost any book, film and video-game plots, regardless of technology and genre. With the objective of generating engaging stories, some automatic storytelling systems implement a suspense generation module. These systems are mainly based on narrative theories. However, we observe a lack of aspects from behavioral sciences, involving the study of empathy and emotional effect of scene objects in the audience. Generated plots with an adequate treatment of these features may involve benefits in areas as education and psychology. In this paper, we propose a component-based architectural model that firstly aims to identify and extract all these individual factors of the suspense from a scene; in a second step, the system calculates the level of suspense using a weighted corpus; in the last step, it alters those elements to increase or decrease the original suspense level and reassembles them in a new scene. Further, we discuss the model facing the development challenges and its practical implications. ; This work has been funded by the Andalusian Government under the University of Cadiz programme for Researching and Innovation in Education. This paper has been partially supported by the projects WHIM 611560 and PROSECCO 600653 funded by the European Commission, Framework Program 7, the ICT theme, and the Future and Emerging Technologies FET program. ; 8 pages

Preliminary Material /Michael Heitkemper-Yates and Ana Penjak -- Storytelling in the Curriculum /Sonia Zivkovic -- From the Inside: Reviving Stories as Life-Shaping, World-Shaping, Self-Shaping Experiences /Phyllis Hastings -- Bilingual Sentences in Bilingual Stories: Translanguaged Stories in the Multilingual Classroom /Eleanor Foster -- 'Vladimir, Be Reasonable; You Haven't Tried Everything': Is Samuel Beckett's Waiting for Godot a Parable of Modern Academic Life? /Kathy McKay -- Stories of Challenge - Stories of Change: Why Do Older People Tell Their Personal Accounts of the Northern Ireland Conflict? /Sinéad McShane -- We Are from the Same Buddhist Community /Naraset Pisitpanporn -- The Ambiences of the Dubrovnik Summer Festival as Storytellers /Ana Penjak -- Multiple Voice / Multiple Choice: Non-Linearity and the Fracturing of Identity in Robert Coover's Pricksongs and Descants /Michael Heitkemper-Yates -- The Re/birth of the Storyteller in Salman Rushdie's Luka and the Fire of Life /Nishevita Jayendran -- Sookie the Zen Master: How American Heroines Became Enlightened /Shunichi Ueno -- Are There Stories Hidden behind Hormonal Spaces and X-ray Photographs? Around Narratives in Biometrics-based New Media Art /Ewelina Twardoch -- Tales of Trauma Told through Stitches /Leslie Anne Boldt -- Storytelling as Visual Narratives Representations in Art Therapy /Ruth Harpaz -- How a Story is Born: A Narratology of Babytalk /Katarzyna Kaczmarczyk -- Can a Symphony Be a Story? Music in the Context of Cognitive Narratology /Joanna Barska -- The Symbolism of the Passage in Architecture /Katarzyna Witasiak.

Abstract
The article explores the heritage of textiles in architecture as a medium for a transformative architecture. It explores the means by which textiles act and suggests textiles as a main bearer of spatial imagination and meaning. Here, alternative architectural concepts of transportability, storytelling, propaganda, exoticism and the scenographic are situated and explored, presenting a framework in which transformation and richness are central themes. By presenting a series of studies – The Curtain Projects – the article aims to uphold this broader imagination of how textiles can take a real part in how we think, live and build architecture today.

If 'sacred symbol' causes the image of the Buddha to be 'sacred,' what does this occurrence effect space surrounding them? In Thailand, the creation of the image of the Buddha is an extraordinary achievement both visually and in its motive. The image of the Buddha is also believed to be a 'sacred symbol' with a 'sacred space'; but how does this belief affect us as spectators. How can we understand a proper meaning of the image of the Buddha when we are at the museum not at the site? In this article, I have questioned and discussed that the storytelling of the image of the Buddha in a museum should be shown significantly because of the ordinary existence of its 'sacred space. Whether 'sacred space' was political and still exists or no longer exists, it is, nevertheless, a representation of past human belief. It is also essential to convey storytelling accurately and that designing area in the museum will largely affect the audience. In this writing, I focus on the use of storytelling in Thai museums; case study why the creation of 'Sacred space' in architecture relates to the image of the Buddha in Thailand cloud be political. The article aims to respond to development plans of museums in Thailand. As a result, the interpretation of 'Sacred space' in architecture relates to the image of the Buddha can apply to installation and space design in the museums. With a proper storytelling of the image of the Buddha, this can help spectators to understand better in Thai histories, political influences on arts and will lead Thai people to feel to preserve their art properties. Article DOI: https://dx.doi.org/10.20319/pijss.2017.33.543562 This work is licensed under the Creative Commons Attribution-Non-commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.

Preliminary Material /Sjoerd-Jeroen Moenandar and Nicole Kavner Miller -- Giving Voice: An Investigation of Women's Stories in South Africa as Told by First Year Students of English /Alicia van der Spuy and Lynn Wood -- Constructing the Self and the Collective at School through Stories: Plurilingual Theatrical Expression Workshops for Immigrant Adolescent Students in Canada /Caroline Beauregard -- Telling Stories of Migration: Individual Narratives of Departing and Returning /Alexandra Deliu -- Women's Life Writings from a 'No Wo/Man's Land': Northern Cyprus /Özlem Ezer -- Using Personal Narratives to Interrogate and Understand History /Nyasha M. GuramatunhuCooper -- From 'Cavalier' to 'Traitor': Unmasking the Hero in Two Anglo-Boer War Feature Films /Anna- Marie Jansen van Vuuren -- Depicting the Traumatic Past: Museums as Narrative Devices /Wanda Verster -- Reconstructing History through Oral Narratives: Case Study of Simla Hills /Vikram Bhardwaj -- Stories about Strengths /Lisl Foss -- Storytelling as a Tool for Student Career Counselling /Sjoerd-Jeroen Moenandar and Krina Huisman -- Emma Frances O'Connor: From Wikipedia, the Free Encyclopaedia /Emma Frances O'Connor -- Autobiographical Literacy Narratives /Ana Lúcia de Campos Almeida -- Focusing the 'Poiéo' in Literacy Stories /Paulo Roberto Almeida -- A Multiple Analyses Approach for Narrative Sociology of Everyday Life /Floor Basten -- Life Is but a Story: A Depth Psychological, Religious, Philosophical, and Pop Cultural Perspective /Nicole Kavner Miller -- Echoes of 'Biography': Roger Laporte after Moriendo /Hanako Takayama -- 'Broken, Rusty, Charismatic': The Transmedial Destiny of Found Objects in the Artwork of Penny Hallas /Stephen C. Kenyon -- The Storytelling in Architecture: A Proposal to Read and to Write Spaces /Carla Molinari and Stefano Bigiotti -- Archetypes and Myths: The Hidden Power of Advertising Storytelling /Mǎdǎlina Moraru -- Cultural Heritage, Transmedia Narrative and a Sense of Place /Maria Cristina Paganoni -- Transmedia Storytelling Meets Tourism: The TravelPlot Porto Case Study /Soraia Ferreira , Artur Pimenta Alves and Célia Quico -- 'The Genre Is the Message,' or about Genres of New Media Narratives /Vilmantė Liubinienė and Saulius Keturakis -- Digital Storytelling Landscape /Nina Dvorko -- Players as Authors: Transmedia Experiences in the Era of Secondary Orality /Richard Wirth.

Augmented reality (AR) allows the real and digital worlds to converge and overlap in a new way of observation and understanding. The architectural field can significantly benefit from AR applications, due to their systemic complexity in terms of knowledge and process management. Global interest and many research challenges are focused on this field, thanks to the conjunction of technological and algorithmic developments from one side, and the massive digitization of built data. A significant quantity of research in the AEC and educational fields describes this state of the art. Moreover, it is a very fragmented domain, in which specific advances or case studies are often described without considering the complexity of the whole development process. The article illustrates the entire AR pipeline development in architecture, from the conceptual phase to its application, highlighting each step's specific aspects. This storytelling aims to provide a general overview to a non-expert, deepening the topic and stimulating a democratization process. The aware and extended use of AR in multiple areas of application can lead a new way forward for environmental understanding, bridging the gap between real and virtual space in an innovative perception of architecture.

Introduction: the politics of sexual knowledge: the origins of Ireland's containment culture and the Carrigan Report (1931) -- The Magdalen asylum and history: mining the archive -- The Magdalen in nineteenth-century Ireland -- The Magdalen asylum and the state in twentieth-century Ireland -- The Magdalen Laundry in cultural representation: memory and storytelling in contemporary Ireland -- Remembering Ireland's architecture of containment: "telling" stories on stage, Patricia Burke Brogan's Eclipsed and Stained glass at Samhain -- (Ef)facing Ireland's Magdalen survivors: visual representations and documentary testimony -- The Magdalene sisters: film, fact and fiction -- Monuments, Magdalens, memorials: art installations and cultural memory -- Conclusion: history, cultural representation ... action? -- Appendix -- Notes -- Bibliography -- Index

In a presentation drawing, human figures have a natural attitude to work as an optical reference to measure the design space and to provide a sort of instructions to use it, but over the centuries, their agency has been multifaceted. The practice of photo-collages, which was fed by photography and cinema development, has recently spread thank to the digital techniques and human figures in architecture renderings seem to have become as fundamental as a top-modes for a fashion magazine cover. Besides providing a recognizable mark to the design entry, selecting peculiar figures can visually connect a design to a specific place and time, working as a cultural, situationist and sensorial agent. This seems to be true particularly for the cultural typologies. In renderings of museums, theatres or libraries, often ordinary people are integrated by figures of artworks and celebrities, like in Alberto Campo Baeza and Raphael Gabrion's design for a Louvre new building in Lievin, France, whose figures are placed in the renderings not only to explain the functions but also to remind the ambiguous threshold between representation and reality.

Storytelling is a popular technique applied in many fields including cartography. On the one hand, stories can be told intrinsically by map elements per se. An often quoted example in this regard is Minard's map of Napoleon's Russian Campaign (e.g. Denil 2017) which depicts the loss of troops in a spatio-temporally aligned Sankey diagram. On the other hand, stories can be conveyed extrinsically by multimedia elements aside the map. For instance, the travel route of a soldier during the First World War can be shown on a temporally navigable map and accompanied with photos, videos, diary entries, and military forms (Cartwright & Field 2015). In this experiment, we follow a mixed approach where human figures on the map will be animated and address the map reader via speech bubbles. As source data, we consider pictorial maps from digital map libraries (e.g. the David Rumsey Map Collection) and social media websites (e.g. Pinterest). These maps contain realistically drawn representations which are in our opinion very suitable for communicating personal narratives. We present a workflow with convolutional neural networks (CNNs), a type of artificial neural network primarily used for image recognition, to detect human figures in pictorial maps. In particular, we use Mask R-CNN (He et al. 2017) for identifying bounding boxes and silhouettes of figures. For the segmentation of body parts (i.e. head, torso, arms, hands, legs, feet) and the detection of joints (i.e. nose, thorax, shoulders, elbows, wrists, hip, knees, ankles), we combine the U-Net architecture (Ronneberger et al. 2015) with a ResNet (He et al. 2015). In a final step, we implement a simple 2Danimation of waving and walking characters and add speech bubbles near head positions. As a first training dataset, we created parametric SVG character models with different postures originating from the MPII Human Pose Dataset. The second training dataset contains real image human body parts from the PASCAL-Part Dataset. Humans from both datasets are placed randomly on pictorial maps without any other figures. Preliminary results show that the validation accuracy is the highest when synthetic and real training datasets are combined. We implemented the CNNs with TensorFlow's keras API, whereas training data and animations are generated with the web browser. Our approach enables giving storytellers a physical presence and anchoring them spatially within the map. By animating characters, we can gain the map reader's attention and guide him/her to special and possibly hidden places (e.g. in touristic maps). By telling personal stories, we may raise the interest of people to explore the maps (e.g. in museums) and give a better understanding of the often abstractly encoded information in maps (e.g. in atlases). When a certain aesthetic value has been reached, pictorial objects may also generate positive emotions so that anxieties about the complexity of data may become secondary (e.g. in education). Overall, the goal of our work is to engage map readers, give them valuable support while studying a map, and create long-lasting memories of the map content.