| Course Objectives: |
This course aims to:
• Define and analyze digital culture through relevant theoretical perspectives in cultural studies;
• Critically examine the relationship between new media technologies and culture practices;
• Engage in scholarly debates on emergent cultural forms generated by digital and networked communication;
• Examine our roles as consumers and producers of culture in a highly datafied, digitized, and networked society.
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| Course Content: |
This course explores contemporary cultural phenomena that are shaped by digital communication technologies. Drawing on digital humanities, memory studies, audience studies, game studies, material culture, and posthuman studies, this course analyzes the formation of public memory, community, subculture, identity, subjectivity, and agency. Topics include digital archive, remix, selfies, influencers, memes, online trolling, hacker culture, and posthuman culture.
|
| Week |
Subject |
Related Preparation |
| 1) |
Course introduction |
|
| 1) |
introduction |
- |
| 2) |
What is digital culture |
- Peters B (ed.) (2016) Digital Keywords: A Vocabulary of Information Society and Culture. (Chapters 7 & 9).
- Gere C (2009) Digital Culture. (Introduction & Chapter 1).
- Van Dijck J (2013) The Culture of Connectivity: A Critical History of Social Media. (Chapter 1).
|
| 3) |
The internet, networked communication, and computerizing culture |
- Peters B (ed.) (2016) Digital Keywords: A Vocabulary of Information Society and Culture. Princeton: Princeton University Press. (Chapter 2 & 17).
- Dourish P (2016) Algorithms and their others: Algorithmic culture in context: Big Data & Society. Sage.
- Striphas T (2015) Algorithmic culture. European Journal of Cultural Studies 18(4–5): 395–412.
|
| 4) |
Cultural data & cultural analytics |
- Manovich L (2016) The Science of Culture? Social Computing, Digital Humanities and Cultural Analytics. Journal of Cultural Analytics.
- Manovich L (2017) Cultural Data, Possibilities and Limitations of the Digital Data Universe. In: Gau O, Coones W, and Ruhse V (eds) Museum and Archive on the Move. Boston: De Gruyter, pp. 259–276.
- Manovich L (2018) Can We Think Without Categories? Digital Culture & Society 4(1). transcript: 17–28.
|
| 5) |
Digital archive |
- Gold MK and Klein LF (eds) (2019) Debates in the Digital Humanities 2019. Univ Of Minnesota Press. (Introduction & Part 1).
- Peters B (ed.) (2016) Digital Keywords: A Vocabulary of Information Society and Culture. Princeton: Princeton University Press. (Chapters 4 & 19).
|
| 6) |
Remix |
- Navas E, Gallagher O and burrough xtine (eds) (2014) The Routledge Companion to Remix Studies. (Chapters 1 & 14).
- Fagerjord A (2010) After Convergence: YouTube and Remix Culture. In: Hunsinger J, Klastrup L, and Allen M (eds) International Handbook of Internet Research. Dordrecht: Springer Netherlands, pp. 187–200. |
| 7) |
Selfie |
- Nguyen L and Barbour K (2017) Selfies as expressively authentic identity performance. University of Illinois at Chicago Library.
- Deeb-Swihart J, Polack C, Gilbert E, et al. (2017) Selfie-Presentation in Everyday Life: A Large-scale Characterization of Selfie Contexts on Instagram. Georgia Institute of Technology.
- Barker V and Rodriguez NS (2019) This Is Who I Am: The Selfie as a Personal and Social Identity Marker. International Journal of Communication 13(0). 0: 24.
|
| 8) |
Midterm |
Midterm |
| 9) |
Gaming |
- Allison A (2003) Portable monsters and commodity cuteness: Poke´mon as Japan’s new global power. Postcolonial Studies 6(3): 381–395.
- Taylor TL (2009) Play Between Worlds: Exploring Online Game Culture. (Chapter 5).
- Scherer J (2007) Globalization, promotional culture and the production/consumption of online games: engaging Adidas’s `Beat Rugby’ Campaign. New Media & Society 9(3). SAGE Publications: 475–496.
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| 10) |
Internet celebrity
|
- Abidin C (2016) Visibility Labour: Engaging with Influencers’ fashion brands and #OOTD advertorial campaigns on Instagram. Media International Australia 161(1), pp. 86–100.
- Senft TM (2013) Microcelebrity and the Branded Self. In: A Companion to New Media Dynamics. John Wiley & Sons, Ltd, (Chapter 22, pp. 346–354).
- Abidin C (2018) Internet Celebrity: Understanding Fame Online. (Chapter 1).
|
| 11) |
Memes
|
- Nissenbaum A and Shifman L (2015) Internet memes as contested cultural capital: The case of 4chan’s /b/ board: New Media & Society. SAGE PublicationsSage UK: London, England.
- Ross AS and Rivers DJ (2017) Digital cultures of political participation: Internet memes and the discursive delegitimization of the 2016 U.S Presidential candidates. Discourse, Context & Media 16: 1–11.
- Shifman L (2013) Memes in Digital Culture. Cambridge, Massachusetts: MIT Press. (Chapter 4 & 8).
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| 12) |
Trolling
|
- Seta G de (390AD) Trolling, and other problematic social media practices. In: The SAGE Handbook of Social Media, pp. 390-411.
- Shachaf P and Hara N (2010) Beyond vandalism: Wikipedia trolls. Journal of Information Science 36(3). SAGE Publications Ltd: 357–370.
- Bulut E and Yörük E (2017) Mediatized Populisms| Digital Populism: Trolls and Political Polarization of Twitter in Turkey. International Journal of Communication 11(0). 0: 25.
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| 13) |
Hacker |
- Lakhani K and Wolf RG (2003) Why Hackers Do What They Do: Understanding Motivation and Effort in Free/Open Source Software Projects. SSRN Electronic Journal.
- Thomas D (2003) Hacker Culture. First edition. Minneapolis: Univ Of Minnesota Press. (Chapters 1 & 4).
- Quora (2017) Where Did Hacker Culture Come From? |
| 14) |
Culture in a post-human and post-digital age |
- Hayles NK (1999) How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. 1st Edition. Chicago, Ill: University of Chicago Press.
- Braidotti R (2016) Posthuman, All Too Human: Towards a New Process Ontology. Theory, Culture & Society. Sage PublicationsSage CA: Thousand Oaks, CA.
- Cramer F (2014) What Is ‘Post-Digital’? A Peer-Reviewed Journal About 3(1). 1: 10–24.
- Berry DM (2014) Post–Digital Humanities: Computation and Cultural Critique in the Arts and Humanities. Digital Humanities: 3.
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| |
Program Outcomes |
Level of Contribution |
| 1) |
Identify and describe the foundations and characteristics of both traditional and new media. |
3 |
| 2) |
Critically engage in and apply media studies scholarship. |
3 |
| 3) |
Develop new/digital media literacy competencies and critically analyze new/digital media contents. |
3 |
| 4) |
Develop technical skills in both traditional and digital media production. |
1 |
| 5) |
Produce media contents which are sensitive to and respect cultural diversity. |
3 |
| 6) |
Demonstrate creative writing skills in various writing genres, including both writing for and about the media. |
1 |
| 7) |
Develop computer skills and use software applications related to new/digital media design and production. |
1 |
| 8) |
Work effectively as an individual and a part of a team, acting responsibly and respectfully to complete various types of creative projects. |
2 |
| 9) |
Demonstrate skills in mentorship, leadership, management, and entrepreneurship in the media sector. |
|
| 10) |
Develop a “signature work” and engage in local and/or international media sectors and non-profit organizations. |
|
| 11) |
Acquire foreign language skills to effectively communicate and work in international and cross-cultural settings. |
3 |
| 12) |
Acquire interpersonal skills and effectively communicate in professional settings. |
2 |
| 13) |
Identify the structures, trends, technological developments and issues related to new media and carry out artistic and creative activities and projects that correspond to social needs. |
1 |
| 14) |
Conduct media practice within national and international legal frameworks. |
3 |
| 15) |
Become responsible media practitioners by adhering to media ethics and principles of democracy and human rights. |
1 |
ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
