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: | UNI272 | ||||
| Course Name: | Nanobiotechnology | ||||
| Semester: | Spring | ||||
| Course Credits: |
|
||||
| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
|
||||
| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Doç. Dr. PINAR ÇAKIR HATIR | ||||
| Course Lecturer(s): | Dr. Öğr. Üyesi Pınar ÇAKIR HATIR | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | To give students the basic concepts of nanotechnology and to provide their understanding in biotechnology applications. |
| Course Content: | Introduction to Nanotechnology Carbon-Based Nanomaterials Fabrication of Nanomaterials Classification of Nanomaterials Characterization of Nanomaterials Polymer Nanoparticles and Hydrogels Drug Delivery Systems Natural Nanomaterials and Biomimicry Nanobiosensors Nanobiomaterials Biolabeling Lab-on-a-Chip Microscopy Medical Applications of Nanobiotechnology |
Learning Outcomes
|
The students who have succeeded in this course;
1) Understands the basic knowledge of nanobiotechnology. 2) Explains the use of nanomaterials in biotechnology and understands the importance of nanostructures in the design of biomaterials such as drug-carrying systems, artificial organs, and tissue scaffolds, etc. 3) Understands the importance of nanotechnology for biomedical applications. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Introduction to Nanotechnology | Literature search |
| 2) | Carbon-Based Nanomaterials | Literature search |
| 3) | Fabrication of Nanomaterials | Literature search |
| 4) | Classification of Nanomaterials | Literature search |
| 5) | Characterization of Nanomaterials | Literature search |
| 6) | Polymer Nanoparticles and Hydrogels | Literature search |
| 7) | Drug Delivery Systems | Literature search |
| 8) | Natural Nanomaterials and Biomimicry | Literature search |
| 9) | Nanobiosensors | Literature search |
| 10) | Nanobiomaterials | Literature search |
| 10) | Nanobiomaterials | Literature search |
| 11) | Biolabeling | Literature search |
| 12) | Lab-on-a-Chip | Literature search |
| 13) | Microscopy | Literature search |
| 14) | Medical Applications of Nanobiotechnology | Literature search |
Sources
| Course Notes / Textbooks: | Ders kitabı bulunmamaktadır. |
| References: | 1. Hall, J. S. (2005). What's next for nanotechnology. The futurist, 39(4), 28. 2. Gazit, Ehud, and Anna Mitraki. Plenty of room for biology at the bottom: an introduction to bionanotechnology. World Scientific, 2013. 3. Williams, L. ve Wade Adams, Dr. (2007) Nanotechnology Demystified. 4. Goodsell, D. S. (2004). Bionanotechnology: lessons from nature. John Wiley & Sons 5. Hatır, P. Ç. (2020). Biomedical Nanotechnology: Why “Nano”?. In Biomedical and Clinical Engineering for Healthcare Advancement (pp. 30-65). IGI Global. |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
|||||
|---|---|---|---|---|---|---|---|---|
| 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 |
| Quizzes | 5 | % 15 |
| Presentation | 1 | % 15 |
| Midterms | 1 | % 30 |
| Final Sözlü | 1 | % 40 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 100 | |
| PERCENTAGE OF FINAL WORK | % | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Workload |
| Course Hours | 12 | 24 |
| Total Workload | 24 | |