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: | UNI236 | ||||
| Course Name: | Critical Thinking | ||||
| 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: | E-Learning | ||||
| Course Coordinator: | Dr. Öğr. Üy. İBRAHİM EYLEM DOĞAN | ||||
| Course Lecturer(s): | Dr. Öğr. Üy. Hanife Bilgili | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | This course aims at expanding students’ capacities on how to distinguish the premise/s and the conclusion of arguments, how to analyze the logical structures of arguments, how to tell well-formed arguments from ill-formed ones. |
| Course Content: | A selective course which provides students from all departments with reasoning, critical, and analytical skills in everyday contexts as well as professional. It is a weekly 3-hour course. |
Learning Outcomes
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The students who have succeeded in this course;
1) Analyze arguments of others and categorize their reasoning as weak or strong 2) Recognize common fallacies in reasoning 3) Construct good arguments with their acquired skills 4) Read texts or listen to talks and draw the internal structure of the arguments |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Introduction: What is an argument, premises, and conclusion? | |
| 2) | What does it mean to follow? | |
| 3) | Fallacy: an introduction | |
| 4) | Formal vs Informal fallacies | |
| 5) | Formal Fallacies: Examples and applications | |
| 6) | Non-sequitur: Affirming the consequent Denying the antecedent | |
| 7) | Aristotelian Fallacies: Undistributed middle Fallacy of 4 terms Illicit Major-Illicit Minor | |
| 8) | MIDTERM | |
| 9) | Informal Fallacies: Examples and applications | |
| 10) | Ad Hominem, Straw Man, False Analogy, Red Herring | |
| 11) | Confusing what is Necessary with Sufficient | |
| 12) | Fallacy of Composition, Fallacy of Division, Slippery slope, Loaded Question | |
| 13) | False dilemma, Hasty Generalization, Sweeping Generalization, Begging the question | |
| 14) | Statistical Fallacies: Cherry picking, Data dredging, False causality | |
| 15) | Statistical Fallacies: Survivorship bias, Gambler’s fallacy, Regression to the Mean | |
| 16) | FINAL |
Sources
| Course Notes / Textbooks: | Informal Logic: A Handbook for Critical Argumentation, Douglas N. Walton |
| References: | Walter Sinnott Armstrong and Robert Fogelin, Understanding Arguments: An Introduction to Informal Logic. 8th Ed. Wadsworth Cengage Learning. |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
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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 |
| Midterms | 1 | % 40 |
| Final | 1 | % 60 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| 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 | 3 | 98 | ||
| Midterms | 1 | 10 | 1 | 1 | 12 | ||
| Final | 1 | 15 | 1 | 1 | 17 | ||
| Total Workload | 127 | ||||||