By examining the history of automated writing machines, this paper will examine machines that resemble humans and the narratives surrounding them. The advent of artificial intelligence in the 21st century has profoundly altered the landscape of natural language mechanization. Artificial intelligence continues to evolve, and the fantasy of machine humanization is becoming a reality. Writing machines have continuously appeared in the realm of natural human language, driven by people's aspirations for automated language production and humanized machines. Automated writing machines signaled the potential for machines that could think. The technological narratives of each era illustrate the evolution of artificial intelligence. In 1805, Swiss mechanician Henri Maillardet built his Draughtsman-Writer, an automaton of a human figure writing on a piece of paper. A century and a half later, Joseph Weizenbaum and his colleagues gave us ELIZA, a natural language computer program simulating human conversations. Today, there are AI programs designed to create narratives and other writing, and the technology and discourses surrounding continue to evolve.

This paper analyses the existing literature and inquires the way in which the Soviet-Japanese War contributed to the establishment of DPRK. The period after that war witnessed the following historical events in the Korean-Russian relations: the independence of Korean peninsula, military governments and the division of peninsula, the Moscow Conference and the division, democratic reforms including the land reform in the North, the foundation of the Labour Party of North Korea, enactment of constitution, and the creation of DPRK. With the independence, the North was under control of the Soviet, which stayed until the end of 1948. When and how was such a decision made? With the war in August 1945, the Soviet defeated the Japanese, which retreated below the 38th parallel line. Despite the declaration of the end of war, the Soviet did not withdraw for three years. The ‘sudden' decision for the 25th Army to station in the North not to operate military campaigns was abruptly made around 25th August. Chistyokov opted out for Pyongyang instead of Hamheung, when he was instructed to select the post for his troops.34 In doing so, the city became the capital of North Korea. The command in the Littoral Province of Siberia, the 25th Army, as well as police and civic affairs offices at major cities addressed major tasks. The more important political issues were determined by the Central Committee of the Communist Party in Moscow and the Soviet government. During the first three years after the independence, which corresponds with the establishment of DPRK, the leadership in Moscow assumed the commanding position in the decision making process. Kremlin's approval was required for key issues. Given the context that the fate of Korean peninsula was subject to the negotiation between the United States and the Soviet, the role of Soviet's leadership was crucial. At the same time, however, it should be noted that it had close cooperation with the North Korean leadership and considered the political scene and public opinion.

The direction of “public art” has changed according to changes in the way it views “public”. Today, “Public Art” aims to be a “new genre of public art” theorized by Susan Lacy. According to the report, ‘Public Art' shows the value of art's existence to the audience in the most democratic way. In other words, we aim for art for everyone. In addition, public art can lead to various discourse to achieve the goal of contributing to public life. Therefore, many people expect that public art can play a big role in forming a democratic society. In fact, attempts are being made to actively utilize “public art” in Korea. However, it has not achieved as much as expected. Most of all, “sustainability” has emerged as an important topic. This paper noted the concept of ‘public environmental art', which provided the basis for the way humans and nature can coexist, with the emphasis on ‘sustainable art'. Among them, we looked at Fritz Haeg's “Edible Estates”, which was recognized for its artistic value together while deepening and expanding the social functions of public art. It is a project that proved ‘Art for All' by recognizing the importance of art museum, audience and work relationship. There is also an attempt to pursue “public environmental art” in Korea, which is meaningful to the Korean public art community. Public art should take precedence over planning that melts with the lives of places and citizens. As in the case of Korea, it is important to create an environment where citizens can induce participation not by vertical-oriented policies but by their own will. The “Edible Estates” succeeded in creating a place where people naturally gather, not artificially. Also, in order for public art not to lose its artistic value, we have to think about the diversity of public art themes. All methods should be considered in a way that is consistent with the region currently seeking to utilize public art. Above all, “Edible Estates”, which proves the role of public art that adds meaning to “art for all”, tells us what sustainable public art is and where to move forward. It conveys the importance of the role of public art for relatively marginalized citizens in art genres that only a few can enjoy.

How will the researcher behave when he decides to invest a field? What will be its starting point? How should he observe his object? The exercise is not easy and every researcher, every student, knows at this stage that he cannot ignore this questioning. If the writing work will give substance and consistency to the action in a second step, the confirmed or apprentice researcher must first ask himself about the posture to adopt because he has the heavy responsibility of establishing the theoretical base upstream on which he will build the rest of his research.

The Habermas' model of “rational reconstructions” represents the main thread of the surveys about the structures of the lifeworld (culture, society and personality) and their respective functions (cultural reproductions, social integrations and socialization). For this propose, the dialectics between “symbolic representation” of the structures subordinated to all worlds of life (internal relationships) and the “material reproduction” of the social systems in their complex (external relationships between social systems and environment) has to be considered. This model finds an application, above all, in the theory of the social evolution, starting from the reconstruction of the necessary conditions for a phylogenesis of the socio-cultural life forms (the “hominization”) until an analysis of the development of social formations, which Habermas subdivides into primitive, traditional, modern and contemporary.

The paper investigates factors commonly associated with “post-truth” political PR via social media: viral communication, fake news, and social bots, applied to the 2017 French presidential elections. Empirical research sheds light on these problematic notions and examines the social and technical dynamics of online political deliberation, to better understand their implications for political PR. Relatively little “fake” information featured among the most popular retweets during this period. The expression of opinions, humour and irony, as well as denunciations of fakes and scandals, appear more likely to spread “virally”. Some social bot activity was detected, but this is increasingly hard to distinguish. Implications for communications include insights into the types of contents likely to spread virally, if other conditions (e.g. network structure and visibility) are fulfilled. The study is original in linking virality and message contents, in the methodology of bot detection, and in bringing together three factors generally treated separately. It provides insights to researchers and political PR professionals.

The purpose of this article is to shed a philosophical light on the nature of the living, and to do so on the nature of the various vital operations, the symbolic and sensory embodiments of which will be studied. That phenomenology will be firstly done from a general point of view: what is life? what is a vital act, a vital operation? But that general definition being an abstraction made from the diversity of reality, we will also consider that diversity, i.e. acts such as development, sensible knowledge, intellectual knowledge, inclination and transmission. That approach is part of a general context in which many reflections are carried out about what a “living machine” could be. Furthermore, a context in which emerging hypotheses make connections between vital characteristics on the one hand, and confidence and attachment to objects on the other hand. That invites us to question the nature and diversity of vital operations, as well as their tangible characteristics.

A constant in the whole Universe: “the Golden Number”. It is the basis of the artistic evolution which leads to beauty, and formulates its parameters. All these parameters generate a grammar, which will also have a determining impact on social reality. Can one escape the influence of the Golden Number ? The notion of Territory will open up avenues to transform differences into complementarities. This will lead us to the development of implementation rituals.

This short study attempts to address the internal meaning of a famous painting by Salvador Dalí: The Persistence of Memory (1931), using theoretical and methodological tools developed by the “School of Paris” semiotics. Thus, we move from the hierarchical description of the plane of expression (from percepts to formants), to the progressive organization of the form of the content through a semanticization of all the units identified in the previous phases of the analysis. This makes it possible to set up the deep semantics specific to this work and the values it carries during the semiosis process. Thus, the meaning of this statement (visual text) is gradually revealed through a less naive reading of this major work of art history which is at the core of broader cultural concerns both for the artist and all readers: the conceptualization of time through various prisms, both plastic and semantic.