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 transformationsof large cities in most democratic societies around the world are notgoing in the direction of increased living together but instead they greatlylimit interactions. Secondly, I will analyze the communication technologyused in smart and connected cities in terms of what Dominique Woltoncalls "interactive loneliness."

This article has a thema of the rigid line on the film of Ozu Yaszirowho has been re-evaluated by capturing the message aboutIndustrialization for Japan with film aesthetics. To Ozu, Film is extremely the space of Geometric line for filmaesthetics. Therefore, these facts prove that Yasujirō Ozu has wanted tobuild the value of the 'order'. The order signifies the hierarchy throughsymmetry and proportion. When he fixed the camera, these things can doenough to paly a role which makes us obey the rules. These facts exquisitely caused huge synergies by correspondence withpostwar Japan. In his films, to imply vertical and horizontal lines waseligible for injecting 'worthy of order' or 'worthy of repeating'. Also, the views like the steel frame structures and a factory chimneyand Japanese style house show not just a landscape but the ideology ofrigid industrialization. In my opinion, his films not only representeveryday but also suggest to obey the rules as structure of Industrialarchitecture.

This paper considered city as a palimpsest, and at the same time as aMnemosyne and archive. Mnemosyne has been acknowledged as heterogeneitythan linearity, by extension, been activized as an archive operating thereconfiguration 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 itis based on where we live. But at the same time, it is far different, causeit has a potential to reconstruct our reality. In this context, this studynoticed recent artistic practices in Korea focusing Seoul as an archive,and tried to find alternative way of reading cities. Many artworksexpressed the process of forget, memorize and reconstruct the memoriesof Seoul, rather than just memorize them. These memories presentvarious visual variations by being expanded to social memories, recreatedand ambiguously juxtaposed with diverse layers of realities.

The general definition of animation has over again become problematicparticularly with the advent of digitally generated moving images. Theseproblems are mostly due to a new character of digital images, which areno longer exclusively associated with the index of their photographicrecord and their real-time movements, but are extensively generated fromdigital data. Regardless of profound changes over the last couple ofdecades in our media environment, animation is still concerned about“how to create motion,” which is inevitably related to both our methodsof artistic expression and our perception of the world, i.e., “how togenerate emotion” in a fundamental way. This study, therefore, aims toinquire into what “makes senses” of animation in the age of digitalimage, which provides another state of sentience. In order to furtherexplore the issue of senses in the animation image, I will examine twomain epistemological foundations of the sense of animation, whichincludes the concept of motion and body in the combination of atraditional and digital respect. Considering it is only at the starting point of my research, this paper will present brief epistemological remarks onthe subject, “writing e/motion,” which is expected to efficiently reveal thekinetic and corporeal nature of animation image beyond the time.

In this paper, I will attempt to raise some general questions on therelationship between the urban space and the writing in a precise contextof the digital city. To be more specific, the aim of this question is toexplore epistemological and archaeological implications of the augmentedcity and its digitalized urban inscriptions, which are actively being realizedthrough diverse experimentations and continually being reconfigured bynew visual and medial regimes of informational and communicativeprocesses.

The aim of this contribution is to provide lines of thought about someconcepts involved in making sens by individual, when him represents thereal-life urbanspace. Cognitive and semantic process takes place throughsensory experience which the individual has in the space, from themulti-sensory perception of it. The individual is an agent since hisexperience, of and in the space, is connected to hisactions and practices. The image of the city which ensues from it, then proceeds at the sametime 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 pastexperiences, sensory perception, expectations, spatio-temporal context, ... are so many elements influencing the sens making process whichunderlies 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 over600 years, a research on its landscape is lacking. In this paper landscapeis defined as an environment of both objective realities, as well assymbolically represented image. Urban information landscape includessemio-linguistic landscape, architecture landscape and media façade. Similar to cities in other East Asian countries, Seoul has thecoexistence of modernity and tradition, and has experienced indiscriminategrowth due to unplanned and compressed city development. In addition,the city’s chaotic disharmony, caused by a large gap between developedand underdeveloped areas, resulted in sense of difference andinconvenience of people. Those cultural and historical traces remain inthe city of Seoul and the city is offering itself as a screen. Digitaltechnologies for inscribing physical objects with text, and the associatedpractices of writing, distribution, and reading, created a new sort of urbaninformation overlay. This paper aims to shed new light on Seoul as a media using empiricalevidence. The landscape of urban space is not simply a matter of newinformation but can be extended to issue of landscape surrounding humans as well as issue of city’s identity, leading to identity of humansliving in the city. Thus, the task of exploring the landscape of Seoul inthe perspective of Information façade will be meaningful.

The city is a territory that forms an urban unit in which live and actof Women and Men. The city evolves, it changes continually undergoingactions (voluntary or not) of those who inhabit it. They build it andsometimes demolish. They embellish or pollute. They draw, they drawand they write. It is precisely the writings in the city that interest us inthis article. So we try to produce a typology of urban writing by trying todetermine systematically how these scriptures participate in the constructionof the city, the construction of meaning in the city and the city. Toillustrate, we will offer special writings collected in a particular city ... Wedo not say no more wishing to demonstrate how the territory, history,population, culture (etc.) weigh on the interpretation, Understanding theseurban tracks.

The city branding in cities is on the rise. Cities would like to becomeattractive for development. Moreover, tourism is a major economic issue. That is why we will study the impact of the tourist attractiveness citybranding. We will observe the examples of Lyon and Fontainebleau. These cities have realized the marketing interest with city branding,storytelling and brand image. It is a good way to promote a city.

This article aims to analyze the launch of Apple Watch under asemiotic-anthropological viewpoint and the perspective of openly religioussymbolism implemented by the Cupertino company in order to create areal community of loyal and insiders.

The article first interrogates words’ ability of undoing things, taking asexamples the Islamic verbal formula for divorcing a wife and atheistrituals for religious disaffiliation. Having pointed out differences andsimilarities between words that do things and words that undo them, thearticle then tackles the question whether images can do things in the sameway as words do them in the frame of speech acts theory. Finally, it dealswith the issue of whether images too, like words, can be used not only todo things, but also to undo them. The case study of images used toritually undo imagination, like yantras or hesychastic icons, is analyzed.