Design, Technology & Society

Food is an essential nutritional source for all humans, yet tons of food is wasted at an increasing rate each year. Although previous HCI studies examined this issue, most of this work focuses on the domestic context. To the best of our knowledge, no study explored the food waste in the hospitality sector from a design perspective. Addressing this gap, we made observations and interviews in a high-end hotel restaurant kitchen to better understand the sources of food waste in restaurants. From our findings, we envisioned three design speculations which can inspire HCI researchers and practitioners explore this issue further.

The course is organized in four parts. In the first part of the course, “Male Gaze”, we will analyze the various means that help maintain a cisgendered, heterosexual perspective that presents and objectifies women for the pleasure of the male viewer, while also search for some subtle subversive tools that challenge the stereotypes created by this perspective. In the second part, “Female Gaze,” we will discuss texts and films produced by feminist writers and directors, which contribute to the problematization of forms of oppression based on gendered division of labour and heterosexist male domination. We will focus mainly on domestic labour, sex work, and the oppression based on class, race and (post)colonialism. In the third part, “Queering the Gaze,” we will deal with perspectives that explore and acknowledge the significance of the diversity of gender identity, sexual orientation, and sexuality in challenging the heteronormative order. In the fourth and final part, “Politics of Gender and Sexuality: Revolution, Collectivities, Solidarity and Struggle” we first turn our gaze back to 1968, to evoke the memory of the revolutionary spirit that informs the political struggles and strategies of empowerment since then. In this part we will examine some of the exemplary forms of resistance against a white patriarchal and heterosexist society. The struggle for emancipation and gender equality continues.

Drawing on in-depth interviews with users of Netflix and the local streaming service BluTV as well as analysis of press releases, and original TV series produced by these platforms, this study explores the emergence and impact of Video on Demand (VOD) in Turkey. It examines how VOD is adopted, negotiated, reformulated, and received in a non-Western context where global and local VOD platforms compete, substitute and emulate each other. We ask the following research question: What are Turkish audiences' social, psychological and technological needs and expectations from global and local VOD platforms? In order to respond to this question, we explore Turkish audiences' insight into what VOD means to them and offers them as content, in comparison with platforms' marketing discourse. The article argues that a) the local content that platforms offer is a central juncture through which audiences articulate their larger expectations from VODs, and b) Netflix's localization attempts do not always correspond with the audience demand, it is heavily critiqued and at times rejected by the local audience. The findings of this research indicate that the expectations, needs, and gratifications of Netflix and VOD audiences depend on three factors: Their interpretation of VODs' local content in relation to their cultural experience with broadcast TV, their technological needs such as instant access to global content and time/space shifting opportunities, and lastly the political context and policies such as the internet regulation and censorship. The significance of this is study is in showing, as distinct from the abundant literature on localization of Netflix, the complexity of local taste. Audiences' evaluation of a VOD is shaped simultaneously by multiple factors including their experiences with network TV, other VODs, media regulations as well as informal networks/piracy.

Congo, my country, is not only famous for its oil, but also its varied cultural heritage. But unfortunately, this heritage is not always well-known or few people are aware of its importance. In addition, Congolese traditions are basically oral ones and are passed down orally.
Mindful of this wealthy cultural treasury loss, with the decease or death of these « living libraries », who are the elderly, the chief actors who participate in the preservation of this heritage, the latter do their best to take advantage of any events that they encounter in order not lose it for the posterity of the major chapters of our history and our culture.
Therefore, digital technology means a genuine opportunity for Congo as far as data gathering and the preservation, the popularization, the promotion and education of this cultural heritage are concerned. This is what shall be showed in our communication which is structured around the points below:
- introduction;
- overview of Congo and its cultural heritage;
- advantages of digital technology in the dawn of artistic talents (case of musicians in Congo);
- actions taken for heritage preservation in the use of digital heritage;
- difficulties and problems encountered; and
- perspectives

ABSTRACT: The main features of the conservation project taking place at Taos Pueblo seem to agree with the concept usually referred to as “sustainable conservation”. Despite the recognition of traditional living communities, such as Taos Pueblo, as sustainable communities, some of the heritage values that Taos Pueblo enjoys might be argued to contradict with the general principles of sustainability. The main aim of this study was to investigate the potential conflicts that might occur as a result of adopting the concept of sustainable conservation as an approach to the conservation of Taos Pueblo. The previous aim was approached by evaluating the conformity of the heritage values that Taos Pueblo enjoys to the principles of sustainability. The analysis of the values of the property was approached by means of a proposed methodology that incorporated sustainability principles as indicators of the relevant values. Subsequently, the findings of the analysis were examined against the justifications of the Outstanding Universal Value of the property, which were officially adopted by section five of the nomination document of the property that is entitled “Justification for Inclusion on the World Heritage List”. The findings indicated that some aspects of the values of the property; particularly those related to its traditional governance, religious and social systems; might be argued to contradict with the principles of sustainability that are concerned with social equity and empowering women and minorities. The findings suggest that such controversial aspects should be understood to reflect the local community struggle to sustain its unique culture and identity, which are rooted in these aspects. These efforts might be regarded to reflect the conformity of the qualities of the traditional community to another sustainability principle that is concerned with strengthening the local identity of indigenous peoples. The findings suggest that sustainable conservation projects of traditional living communities should respect the unique identity and inherent qualities of these communities.

Keywords: urban conservation, sustainable conservation, indigenous communities.

This paper outlines an experiential exhibition that intends to increase public awareness of cultural sounds of Istanbul. Since intangible cultural heritage (ICH) elements can only be safeguarded within society, it is necessary that the society is aware of cultural values and conscious about protecting them. In order to raise public awareness of sonic cultural values, we designed an exhibition to emphasize the cultural significance of urban sounds through sonic experiences. The exhibition is shaped by experience design, as experience is one of the most powerful ways of conveying a message. Moreover, the exhibition consists of only sounds and texts, but no visuals in order to draw attention on urban sounds and to keep visitors focused on thinking about these cultural values. This experiential exhibition leads to a raise in public awareness of urban sounds, which hopefully triggers protecting cultural values voluntarily and help turning the action of collecting and archiving urban sounds into a collaborative work.