Max Weber’s theory of political power along with semiotics as a tool is the framework of the article. This article aims to show how Ian McEwan pictures Americanization as a form of cultural politics aimed at spreading American influence throughout the occupied countries such as Germany for political domination. and Soviet confrontation over spheres of influence after the Second World War. Ian McEwan’s The Innocent is an excellent example of a story set within the web of such a conflict-the Cold War-that was brought about by U.S.

Political conflicts have historically affected the relationships of nations. Finally, we suggest that this shift in perspective would imply changing current mainstream design approaches, which are mainly focused on functional aspects of the human-robot interaction, to the development of architectural frameworks that integrate the enabling dimensions of social cognition. Drawing on this assumption, we propose to shift the focus from 'human-robot interaction' to 'human-robot shared experience.' We hold that for enabling the emergence of such shared experiential space between humans and robots, constructs such as coadaptation, intersubjectivity, individual differences, and identity should become the central focus of modeling. In this article, we argue that human-robot collaboration is more than just being able to work side by side on complementary tasks: collaboration is a complex relational process that entails mutual understanding and reciprocal adaptation. This limitation is more evident when robots are faced with real-life contexts and activities occurring over long periods. However, current social robotics is still far from the general abilities we expect in a robot collaborator. In the past years, the field of collaborative robots has been developing fast, with applications ranging from health care to search and rescue, construction, entertainment, sports, and many others.

Ian mcewan machines like me