Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | UNI328 | ||||
Course Name: | Socio-spatial Practices | ||||
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: | Öğr. Gör. ELİF EBRU YILMAZ | ||||
Course Lecturer(s): | Elif Ebru Yılmaz | ||||
Course Assistants: |
Course Objectives: | The aim of the course is to develop the skills of discussing the relations between social movements and the components of the urban environment by making use of theoretical thinking practices. |
Course Content: | In this course, the daily and collective rhythms of social and ideological practices in crisis spaces that are shaped by where various cultural, economic and political conflicts intersect in different geographies of the world will be discussed from the perspective of social theory. |
The students who have succeeded in this course;
1) • develop the ability to discuss conceptual thinking practices over spatial and social structures. 2) • develop the ability to conduct research and literature review. 3) • develop their skills in writing articles and making references in line with research. 4) • develop their presentation skills. |
Week | Subject | Related Preparation |
1) | Introduction What is Architecture as a discipline? | |
2) | Space - Place Relation | |
3) | City and Politics | |
4) | What is Heterotopia? | |
5) | Heterotopia | |
6) | Non-binary architecture | |
7) | Midterm | |
8) | Presentations | |
9) | Presentations | |
10) | Spatial Agency and Alternative Practices | |
11) | Immigration and Refugee | |
12) | City, Camp, Commoning | |
13) | Forensic Architecture | |
14) | Refugee Heritage |
Course Notes / Textbooks: | • Agamben, G. 2013. Kutsal İnsan, Egemen İktidar ve Çıplak Hayat. Çeviren: İsmail Türkmen, İstanbul: Ayrıntı Yayınları. • Bonnevier, K. 2005. A Queer Analysis of Eileen Gray’s E.1027. London and New York: Routledge Press. • Foucault, M. 1984. Of Other Spaces: Utopias and Heterotopias. Translated by Jay Miskowiec. Architecture /Mouvement/ Continuité. • Sennet, R. 2008. Ten ve Taş, Batı Uygarlığında Beden ve Şehir. Çeviren: Tuncay Birkan. İstanbul: Metis Yayınları. • Sharr, A. 2013. Mimarlar için Heidegger. Çeviren: Volkan Atmaca. İstanbul: Yem Yayınları. • Tanju, Bülent. Hollanda’da Tasarım: Sonlu ve Sonsuz Oyunlar. Manifold. 2018. • Tanyeli, Uğur. 2017. Yıkarak Yapmak: Anarşist Bir Mimarlık Kuramı İçin Altlık. İstanbul: Metis Yayınları. |
References: | • Bauman, Z. 2015. Sosyolojik Düşünmek. Çeviren: Abdullah Yılmaz. İstanbul: Ayrıntı Yayınları. • Lefebvre, H. 2015. Mekanın Üretimi. Çeviren: Işık Ergüden. İstanbul: Sel Yayınları. • Petti, A. 2013. Arredamento Mimarlık. Sayı 288. Kamp/Mülteci: Çatışma Mekanlarında Sömürgesizleştirme Mimarlığı. |
Course Learning Outcomes | 1 |
2 |
3 |
4 |
||||
---|---|---|---|---|---|---|---|---|
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. |
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. |
Semester Requirements | Number of Activities | Level of Contribution |
Midterms | 1 | % 30 |
Final | 1 | % 70 |
total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 30 | |
PERCENTAGE OF FINAL WORK | % 70 | |
total | % 100 |
Activities | Number of Activities | Workload |
Course Hours | 16 | 64 |
Study Hours Out of Class | 16 | 48 |
Homework Assignments | 1 | 4 |
Midterms | 1 | 4 |
Final | 1 | 5 |
Total Workload | 125 |