The architectural compositions are the fruit of time settings and various events. They are the legacy of several superimposed layers and / or juxtaposed, and the result of suggestive projects evokes stratifications, which juggling between two time frames; past and present and the formation of urban palimpsest; the city. The architecture is an "intelligible matter" that involves reasoning and induces to express and show an intentional act, which creates architectural expression of a thought, identity, that is, a "trace". The latter allows the architect to design and to include an architectural idea that is recognizable and readable through the perception of space and time. Therefore, the perception of architecture evolves to adapt constantly to the new conditions of use. The architecture is a path and an open book to the future, but is also a testimony of the past and a memory.

The study proposes an investigation on problems of textual organization and reading, focused on the construction and suggestion of everyday life notions. Frédéric Boilet's Yukiko's Spinach is analyzed to understand the consolidation of a day-by-day routine, which is studied through three axes: the small-scale actions choice (what is seen), the narrativization of trivia (how they are seen and structured), and the articulation of them (composing a kind of everyday life labyrinth). The paper discusses the ordinary as a subject and narrative problem. The analysis is interested not only in how everyday life is presented, but how its traces pervade the fruition indicated by textual marks. Notions from aesthetic, semiotic, and narratology studies are associated to note the relationship between text and reading, then linking authors as Ben Highmore, Michael Sheringham, Michel de Certeau, Thierry Groensteen, Benoît Peeters, and Scott McCloud. The common life invokes something that holds the strong ambivalence between boredom and strangeness, their continuity and rhythm, and so as part of the human experience, with focus on mundane actions and interpersonal relationships.

Faced with intensifying attractiveness issues (economic, tourist and more broadly at the societal level) and given accelerated polarization phenomena benefiting major cities, many territories find themselves on the sidelines, with a declining economy, an aging population and, the highlight, a real deficit of the future. In this context, it is a new territorial gives possible? How can public communication help give meaning and direction to the community? What signs of change can it bring? The situation of the city of Saint-Etienne will be taken as an example, with a problematic picture, initially, despite a long industrial and human history, and undeniably creative approach to give shape and meaning to a genuine territorial project. An example of a comprehensive, structural and strategic variables that shape an identity, impel a movement, promote what could be defined as a conversion of the gaze on a city territory. We will give the city of Saint-Etienne and testimonial value paradigm, seeking to define, more generally, the main lines of research on the region's attractiveness and the emergence of what one defines sometimes as "creative metropolis". Not a public communication device that would seduction of the metaphor and little basis in reality, but a thorough examination of the potential of a territory, its ability to boost its image, as required by the change. A picture, that is to say, a certain vision of the world and, frankly, the promise of life forms that shape the territory in the imagination of all stakeholders, political, economic, cultural and citizens who chosen to live there and stay there. The semiotic approach therefore leads to demonstrate the link between the gestalt as a logo, and the form of life that proposes or prefigures a City.

In this article I will try first to show that contemporary transformations of large cities in most democratic societies around the world are not going in the direction of increased living together but instead they greatly limit interactions. Secondly, I will analyze the communication technology used in smart and connected cities in terms of what Dominique Wolton calls "interactive loneliness."

This article has a thema of the rigid line on the film of Ozu Yasziro who has been re-evaluated by capturing the message about Industrialization for Japan with film aesthetics. To Ozu, Film is extremely the space of Geometric line for film aesthetics. Therefore, these facts prove that Yasujirō Ozu has wanted to build the value of the 'order'. The order signifies the hierarchy through symmetry and proportion. When he fixed the camera, these things can do enough to paly a role which makes us obey the rules. These facts exquisitely caused huge synergies by correspondence with postwar Japan. In his films, to imply vertical and horizontal lines was eligible for injecting 'worthy of order' or 'worthy of repeating'. Also, the views like the steel frame structures and a factory chimney and Japanese style house show not just a landscape but the ideology of rigid industrialization. In my opinion, his films not only represent everyday but also suggest to obey the rules as structure of Industrial architecture.

This paper considered city as a palimpsest, and at the same time as a Mnemosyne and archive. Mnemosyne has been acknowledged as heterogeneity than linearity, by extension, been activized as an archive operating the reconfiguration of our history. In terms of Mnemosyne, city is close to us, but at the same time, is far different from reality. It is close, because it is based on where we live. But at the same time, it is far different, cause it has a potential to reconstruct our reality. In this context, this study noticed recent artistic practices in Korea focusing Seoul as an archive, and tried to find alternative way of reading cities. Many artworks expressed the process of forget, memorize and reconstruct the memories of Seoul, rather than just memorize them. These memories present various visual variations by being expanded to social memories, recreated and ambiguously juxtaposed with diverse layers of realities.

The general definition of animation has over again become problematic particularly with the advent of digitally generated moving images. These problems are mostly due to a new character of digital images, which are no longer exclusively associated with the index of their photographic record and their real-time movements, but are extensively generated from digital data. Regardless of profound changes over the last couple of decades in our media environment, animation is still concerned about “how to create motion,” which is inevitably related to both our methods of artistic expression and our perception of the world, i.e., “how to generate emotion” in a fundamental way. This study, therefore, aims to inquire into what “makes senses” of animation in the age of digital image, which provides another state of sentience. In order to further explore the issue of senses in the animation image, I will examine two main epistemological foundations of the sense of animation, which includes the concept of motion and body in the combination of a traditional and digital respect. Considering it is only at the starting point of my research, this paper will present brief epistemological remarks on the subject, “writing e/motion,” which is expected to efficiently reveal the kinetic and corporeal nature of animation image beyond the time.

In this paper, I will attempt to raise some general questions on the relationship between the urban space and the writing in a precise context of the digital city. To be more specific, the aim of this question is to explore epistemological and archaeological implications of the augmented city and its digitalized urban inscriptions, which are actively being realized through diverse experimentations and continually being reconfigured by new visual and medial regimes of informational and communicative processes.

The aim of this contribution is to provide lines of thought about some concepts involved in making sens by individual, when him represents the real-life urbanspace. Cognitive and semantic process takes place through sensory experience which the individual has in the space, from the multi-sensory perception of it. The individual is an agent since his experience, of and in the space, is connected to hisactions and practices. The image of the city which ensues from it, then proceeds at the same time of the interpretation of the materiality of the city (spatial identity) and the way the agent gets in touch with the space and with others (individual and/or shared identity). Habitus, practices, capitalization of past experiences, sensory perception, expectations, spatio-temporal context, ... are so many elements influencing the sens making process which underlies thechoices of actions. Understanding the dynamic process of urban spaces semantization, allows to seize better the current manners to appropriate evolving spaces, in spatial and social and cultural way.

Although Seoul is a capital city of South Korea with a history over 600 years, a research on its landscape is lacking. In this paper landscape is defined as an environment of both objective realities, as well as symbolically represented image. Urban information landscape includes semio-linguistic landscape, architecture landscape and media façade. Similar to cities in other East Asian countries, Seoul has the coexistence of modernity and tradition, and has experienced indiscriminate growth due to unplanned and compressed city development. In addition, the city's chaotic disharmony, caused by a large gap between developed and underdeveloped areas, resulted in sense of difference and inconvenience of people. Those cultural and historical traces remain in the city of Seoul and the city is offering itself as a screen. Digital technologies for inscribing physical objects with text, and the associated practices of writing, distribution, and reading, created a new sort of urban information overlay. This paper aims to shed new light on Seoul as a media using empirical evidence. The landscape of urban space is not simply a matter of new information but can be extended to issue of landscape surrounding humans as well as issue of city's identity, leading to identity of humans living in the city. Thus, the task of exploring the landscape of Seoul in the perspective of Information façade will be meaningful.