| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | UNI014 | ||||
| Course Name: | Introduction to New Media | ||||
| 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: | Face to face | ||||
| Course Coordinator: | Dr. Öğr. Üy. SADİ KERİM DÜNDAR | ||||
| Course Lecturer(s): | Dr.Chein Yang Erdem | ||||
| Course Assistants: |
| Course Objectives: | This course aims to develop critical conceptual frames for understanding how new media technologies are uesd to acturalize communication processes in various areas of everyday life. |
| Course Content: | This course offers a comprehensive approach to the rapidly evolving new media technology and environment. Conceptualizing new media as new forms of participatory culture, sources of information and entertainment, platforms for social engagement, a means for artistic expression, and tools of government, this course explores the influence of new media technology in transforming culture and society. Topics may include, social media, digital game, digital media art, digital and citizen journalism, digital transformation of television and cinema, and social control in the digital age, and others. |
|
The students who have succeeded in this course;
1) Identify the defining characteristics of new media. 2) Demonstrate understanding of the new media landscape. 3) Demonstrate understanding of the economic, social, political, and cultural implications of new media technology. 4) Identify and discover the range of areas in which new media technology can be applied to enhance communication. 5) Formulate innovative ideas to develop, incorporate, and implement new media technology that aim at enriching culture and society. |
| Week | Subject | Related Preparation |
| 1) | Introduction to Basic Photography | |
| 2) | What is new media? | |
| 3) | Media convergence | |
| 4) | Participatory culture | |
| 5) | New Media as a source of information | |
| 6) | New media as a source of information | |
| 7) | Midterm | |
| 8) | New media as entertainment | |
| 9) | New media as entertainment | |
| 10) | New media as a means for artistic expression | |
| 11) | New media as a means for artistic expression | |
| 12) | New media as a form of government | |
| 13) | Student Presentations | |
| 14) | Student Presentations |
| Course Notes / Textbooks: | Excerpts of selected articles and books. |
| References: | Lecture notes |
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
5 |
|||
|---|---|---|---|---|---|---|---|---|
| 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 |
| Homework Assignments | 1 | % 30 |
| Project | 1 | % 35 |
| Final | 1 | % 35 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 65 | |
| PERCENTAGE OF FINAL WORK | % 35 | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Study Hours Out of Class | 14 | 28 |
| Homework Assignments | 2 | 24 |
| Final | 1 | 24 |
| Total Workload | 118 | |