The trust is the base of the living together. It is creative of link and allows the society to come true. It is the essential point which unites our fate to the others. It represents the bet to accept the other one by presenting to them, our qualities but also our human being's vulnerabilities. The caring practices represent in the interhuman relations, the place where expresses itself one of the facets of relationship of trust. In this relation, the trust becomes the masterpiece of the care. An exchange point where the man's life is sent back to its first and vulnerable humility.

By this contribution, we wish to invest, at the individual, the confidence under certain particular aspects: would the confidence be renewed by the technologies? The latter would assure “an amplifier of cooperation” according to the terms of H. Rheingold, in The intelligent crowds (Rheingold, on 2005)? Would they favor not only an energization but also a creation of social link in the form of human or social resources, even of a renewed society? For that purpose, we shall reflect, more specifically on the process and the shape who committe actor perceived as a pioneer. The latter with its disruptive thought is expanding of contents and new process in the form of cooperation, of co-creation. We suggest investing this field.

The deep roots of semiotics – Peirce, Husserl, Saussure, Greimas – founded by the Anglo-German and French traditions, have tried to recover its full phenomenological dimension in neo-semiotics. The being and the world, the interpreter and the signs, the humanistic subject, the subject of passions and emotions, meaning and object, these are all included in the process of signification. Staying close to things, of the world of reality, as desired by the young Greimas, ensures its deep knowledge and knowledge of the sense of being and appearance.

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.