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: | UNI143 | ||||
| Course Name: | Digital Communication and Culture | ||||
| 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: | Face to face | ||||
| Course Coordinator: | Dr. Öğr. Üy. SADİ KERİM DÜNDAR | ||||
| Course Lecturer(s): | Dr.Chein Yang Erdem | ||||
| Course Assistants: |
Course Objective and Content
| 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. |
| 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. |
Learning Outcomes
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The students who have succeeded in this course;
1) Upon completion of this course, students will be able to: • Define the characteristics of contemporary digital culture; 2) Upon completion of this course, students will be able to: • Apply theoretical perspectives of cultural studies to analyze digital cultural phenomena. 3) Upon completion of this course, students will be able to: • Demonstrate understanding of the role of digital media in shaping public memory, community, subculture, identity, subjectivity, and agency. 4) Upon completion of this course, students will be able to: • Formulate their own critical thoughts on current issues of digital culture; 5) Upon completion of this course, students will be able to: • Critically reflect on their everyday interaction with digital media and their role as media professionals. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Course introduction | lecture notes |
| 2) | What is digital culture | lecture notes |
| 3) | The internet, networked communication, and computerizing culture | lecture notes |
| 4) | Cultural data & cultural analytics | lecture notes |
| 5) | Digital archive | lecture notes |
| 6) | Remix | lecture notes |
| 7) | Selfie | lecture notes |
| 8) | Midterm | lecture notes |
| 9) | Gaming | lecture notes |
| 10) | Internet celebrity | lecture notes |
| 11) | Memes | lecture notes |
| 12) | Trolling | lecture notes |
| 13) | Hacker | lecture notes |
| 14) | Culture in a post-human and post-digital age | lecture notes |
Sources
| Course Notes / Textbooks: | Ders notları |
| References: | Lecture notes |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
5 |
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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 |
| Homework Assignments | 5 | % 50 |
| Midterms | 1 | % 25 |
| Final | 1 | % 25 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 75 | |
| PERCENTAGE OF FINAL WORK | % 25 | |
| 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 | 1 | 3 | 56 | |||
| Study Hours Out of Class | 14 | 2 | 28 | ||||
| Presentations / Seminar | 1 | 5 | 1 | 6 | |||
| Project | 1 | 8 | 8 | ||||
| Homework Assignments | 6 | 6 | 36 | ||||
| Total Workload | 134 | ||||||