ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code: | UNI267 | ||||
| Course Name: | Cosmology History | ||||
| Semester: | Spring | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Öğr. Gör. EMRE DEMİR | ||||
| Course Lecturer(s): | Öğr. Gör. Emre DEMİR | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | Students who are successful in this course, without any knowledge of physics or mathematics (and geometry), have been purposed to be introduced the history of cosmology theories in chronological order, which is an important part of the history of science and to make them realize how the human thought and belief structures have evolved in this process, as well as their practical skills. In this sense, the aim of this course is to make them comprehend the basis of current issues about cosmology and the point it has reached, and to make students curious about scientific thinking and research. |
| Course Content: | They understand how humanity's way of thinking astronomy and later cosmology evolved, starting with prehistoric civilizations. With this knowledge, they see in a general chronology how practical applications such as religion and mainly the calendar, and then scientific developments of each period (with knowledge of mathematics / geometry and physics) are used for questions and solutions about the Universe. Meanwhile, they get simple information about prehistoric and post-historical civilizations and get to know scientists and thinkers. |
Learning Outcomes
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The students who have succeeded in this course;
1) Explains the emergence and development of information about cosmology in the prehistoric and post-historical period in general terms. 2) outlines basic popular knowledge about the history of cosmology and contemporary theories. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Introduction of Basic Concepts | Instructor Lecture notes |
| 2) | The Universe Ideas in Ancient Egypt | Instructor Lecture notes |
| 3) | The Universe Ideas in Ancient Mesopotamian Civilizations | Instructor Lecture notes |
| 4) | The Universe Ideas in Ancient China | Instructor Lecture notes |
| 5) | The Universe Ideas in Ancient India | Instructor Lecture notes |
| 6) | The Universe Ideas in Pre-Islamic Turks | Instructor Lecture notes |
| 7) | The Universe Ideas in Ancient Central and South American Civilizations | Instructor Lecture notes |
| 8) | Mid-term | |
| 9) | The Universe Ideas in Ancient Greek Civilization | Instructor Lecture notes |
| 10) | The Universe Ideas through the eras of Hellenistic and Roman | Instructor Lecture notes |
| 11) | The Universe Ideas in the Medieval Christian and Islamic World | Instructor Lecture notes |
| 12) | The Universe Ideas in the Renaissance and Enlightenment Periods | Instructor Lecture notes |
| 13) | The Theories of the Universe in the 19th Century | Instructor Lecture notes |
| 14) | The Theories of the Universe in the 20th and 21st Centuries | Instructor Lecture notes |
| 15) | Final Exam |
Sources
| Course Notes / Textbooks: | Öğretim Elemanı Ders notları - Instructor Lecture notes |
| References: | Öğretim Elemanı Ders notları - Instructor Lecture notes |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
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|---|---|---|---|---|---|---|---|---|
| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | ||||||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | ||||||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | ||||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | ||||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | ||||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | ||||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | ||||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | ||||||||
Course - Learning Outcome Relationship
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. |
Assessment & Grading
| Semester Requirements | Number of Activities | Level of Contribution |
| Midterms | 1 | % 40 |
| Final | 1 | % 60 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 4 | 2 | 84 | |||
| Study Hours Out of Class | 14 | 0 | 1 | 14 | |||
| Midterms | 1 | 14 | 1 | 15 | |||
| Final | 1 | 14 | 1 | 15 | |||
| Total Workload | 128 | ||||||