Course Detail
Course Detail
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| VISUAL CULTURE | MGS3115595 | Fall Semester | 3+0 | 3 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course introduces students to the foundational concepts and debates in visual culture. Beginning with the definition of visual culture, the course moves through questions of image and representation, signs and icons, and the construction of visual meaning and value. It then examines ideology and its relation to the image, before situating visual culture within the broader contexts of modernity and modernism. Central to the course is the study of the gaze and the Other, and how realism and perspective shape ways of seeing. The second half of the course explores visual technologies, reproduction, and the copy, as well as the role of media in everyday life. The final units address postmodernism and developments beyond it. Across the semester, students will critically analyze the politics of images, their ideological functions, and their circulation across media, from art and advertising to popular culture, science, and digital platforms. |
| Course Content | This course contains; What is an image?,Image and Representation,Signs and Icons,Visual Meaning and Value,Image and Ideology,Modernity and Modernism,The Gaze and the Other,Midterm,Realism and Perspective,Visual Technologies, Reproduction and the Copy,Media in Everyday Life and Images of Consumption,Postmodernism,Post-postmodernism,General overview,Final Exam. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Defines the basic concepts of Visual Culture. | 10, 13, 14, 9 | E |
| Applies methods to analyze examples from fine art, photography, film, television, and digital media using explicit visual evidence. | 10, 13, 14 | |
| Evaluates contemporary visual issues such as propaganda, misinformation, taste and judgment, and platform design using course concepts. | 13, 14 | E |
| Analyze digital and algorithmic images with philosophical tools. | 10, 13, 14 | |
| Construct valid arguments in short essays and oral discussion. | 10, 13, 9 | A, E |
| Teaching Methods: | 10: Discussion Method, 13: Case Study Method, 14: Self Study Method, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What is an image? | Sturken pp. 1–13, Berger pp. 7–15 |
| 2 | Image and Representation | Sturken pp. 13–29, Berger pp. 13–29 |
| 3 | Signs and Icons | Sturken pp. 29–51, Berger pp. 29–35 |
| 4 | Visual Meaning and Value | Sturken pp. 51–74, Berger pp. 36–44 |
| 5 | Image and Ideology | Sturken pp. 74–89, Berger pp. 45–55 |
| 6 | Modernity and Modernism | Sturken pp. 89–103, Berger pp. 15–20, 30–35 |
| 7 | The Gaze and the Other | Sturken pp. 103–139, Berger pp. 55–74 |
| 8 | Midterm | All topics in the first seven weeks |
| 9 | Realism and Perspective | Sturken pp. 139–179, Berger pp. 104–109 |
| 10 | Visual Technologies, Reproduction and the Copy | Sturken pp. 179–219, Berger pp. 15–20, 30–35, 104–109 |
| 11 | Media in Everyday Life and Images of Consumption | Sturken pp. 219–257, Berger pp. 130–133 |
| 12 | Postmodernism | Sturken pp. 301–337, Berger pp. 149–155 |
| 13 | Post-postmodernism | Berger pp. 151–155 |
| 14 | General overview | |
| 15 | Final Exam |
| Resources |
| Berger, J. (1972). Ways of seeing. London: British Broadcasting Corporation and Penguin. Sturken, M., & Cartwright, L. (2018). Practices of looking: An introduction to visual culture (4th ed.). New York: Oxford University Press. Carroll, N. (2013). Minerva’s night out: Philosophy, pop culture, and moving pictures. Malden, MA: Wiley-Blackwell. Kulvicki, J. V. (2014). Images. New York: Routledge. |
| 1. Walton, K. L. (1990). Mimesis as make-believe: On the foundations of the representational arts. Harvard University Press. 2. Goodman, N. (1976). Languages of art: An approach to a theory of symbols (2nd ed.). Hackett. 3. Peirce, C. S. (1998). The essential Peirce: Selected philosophical writings (Vol. 2, 1893–1913; Peirce Edition Project, Ed.). Indiana University Press. 4. Bazin, A. (1967). The ontology of the photographic image (H. Gray, Trans.). In H. Gray (Ed.), What is cinema? (Vol. 1, pp. 9–16). University of California Press. 5. Flusser, V. (2000). Towards a philosophy of photography (A. Mathews, Trans.). Reaktion Books. 6. Cavell, S. (1979). The world viewed: Reflections on the ontology of film (Enlarged ed.). Harvard University Press. 7. Deleuze, G. (1986). Cinema 1: The movement-image (H. Tomlinson & B. Habberjam, Trans.). University of Minnesota Press. 8. Deleuze, G. (1989). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). University of Minnesota Press. 9. Deleuze, G. (2003). Francis Bacon: The logic of sensation (D. W. Smith, Trans.). Continuum. 10. Wiesing, L. (2010). Artificial presence: Philosophical studies in image theory (N. F. Schott, Trans.). Stanford University Press. 11. Lopes, D. M. (2010). A philosophy of computer art. Routledge. 12. Wollheim, R. (1980). Seeing-as, seeing-in, and pictorial representation. In R. Wollheim, Art and its objects (2nd ed., pp. 205–226). Cambridge University Press. 13. Walton, K. L. (1984). Transparent pictures: On the nature of photographic realism. Critical Inquiry, 11(2), 246–277. 14. Maynard, P. (1997). The engine of visualization: Thinking through photography. Cornell University Press. 15. Manovich, L. (2001). The language of new media. MIT Press. 16. Chalmers, D. J. (2022). Reality+: Virtual worlds and the problems of philosophy. W. W. Norton & Company. 17. Floridi, L. (2011). The philosophy of information. Oxford University Press. 18. Lopes, D. M. (2016). Four arts of photography: An essay in philosophy. Wiley-Blackwell. 19. Heim, M. (1993). The metaphysics of virtual reality. Oxford University Press. 20. Abell, C. (2020). Depiction. In E. N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy (Fall 2020 ed.). [https://plato.stanford.edu/entries/depiction/](https://plato.stanford.edu/entries/depiction/) |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | X | |||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | X | |||||
| 6 | Understands the symbol systems of cultures. | X | |||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | X | |||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | X | |||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | X | |||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | X | |||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | X | |||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | X | |||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | X | |||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | X | |||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | X | |||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |
| ECTS / Workload Table | ||||||
| Activities | Number of | Duration(Hour) | Total Workload(Hour) | |||
| Course Hours | 0 | 0 | 0 | |||
| Guided Problem Solving | 0 | 0 | 0 | |||
| Resolution of Homework Problems and Submission as a Report | 0 | 0 | 0 | |||
| Term Project | 0 | 0 | 0 | |||
| Presentation of Project / Seminar | 0 | 0 | 0 | |||
| Quiz | 0 | 0 | 0 | |||
| Midterm Exam | 0 | 0 | 0 | |||
| General Exam | 0 | 0 | 0 | |||
| Performance Task, Maintenance Plan | 0 | 0 | 0 | |||
| Total Workload(Hour) | 0 | |||||
| Dersin AKTS Kredisi = Toplam İş Yükü (Saat)/30*=(0/30) | 0 | |||||
| ECTS of the course: 30 hours of work is counted as 1 ECTS credit. | ||||||
Detail Informations of the Course
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| VISUAL CULTURE | MGS3115595 | Fall Semester | 3+0 | 3 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course introduces students to the foundational concepts and debates in visual culture. Beginning with the definition of visual culture, the course moves through questions of image and representation, signs and icons, and the construction of visual meaning and value. It then examines ideology and its relation to the image, before situating visual culture within the broader contexts of modernity and modernism. Central to the course is the study of the gaze and the Other, and how realism and perspective shape ways of seeing. The second half of the course explores visual technologies, reproduction, and the copy, as well as the role of media in everyday life. The final units address postmodernism and developments beyond it. Across the semester, students will critically analyze the politics of images, their ideological functions, and their circulation across media, from art and advertising to popular culture, science, and digital platforms. |
| Course Content | This course contains; What is an image?,Image and Representation,Signs and Icons,Visual Meaning and Value,Image and Ideology,Modernity and Modernism,The Gaze and the Other,Midterm,Realism and Perspective,Visual Technologies, Reproduction and the Copy,Media in Everyday Life and Images of Consumption,Postmodernism,Post-postmodernism,General overview,Final Exam. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Defines the basic concepts of Visual Culture. | 10, 13, 14, 9 | E |
| Applies methods to analyze examples from fine art, photography, film, television, and digital media using explicit visual evidence. | 10, 13, 14 | |
| Evaluates contemporary visual issues such as propaganda, misinformation, taste and judgment, and platform design using course concepts. | 13, 14 | E |
| Analyze digital and algorithmic images with philosophical tools. | 10, 13, 14 | |
| Construct valid arguments in short essays and oral discussion. | 10, 13, 9 | A, E |
| Teaching Methods: | 10: Discussion Method, 13: Case Study Method, 14: Self Study Method, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What is an image? | Sturken pp. 1–13, Berger pp. 7–15 |
| 2 | Image and Representation | Sturken pp. 13–29, Berger pp. 13–29 |
| 3 | Signs and Icons | Sturken pp. 29–51, Berger pp. 29–35 |
| 4 | Visual Meaning and Value | Sturken pp. 51–74, Berger pp. 36–44 |
| 5 | Image and Ideology | Sturken pp. 74–89, Berger pp. 45–55 |
| 6 | Modernity and Modernism | Sturken pp. 89–103, Berger pp. 15–20, 30–35 |
| 7 | The Gaze and the Other | Sturken pp. 103–139, Berger pp. 55–74 |
| 8 | Midterm | All topics in the first seven weeks |
| 9 | Realism and Perspective | Sturken pp. 139–179, Berger pp. 104–109 |
| 10 | Visual Technologies, Reproduction and the Copy | Sturken pp. 179–219, Berger pp. 15–20, 30–35, 104–109 |
| 11 | Media in Everyday Life and Images of Consumption | Sturken pp. 219–257, Berger pp. 130–133 |
| 12 | Postmodernism | Sturken pp. 301–337, Berger pp. 149–155 |
| 13 | Post-postmodernism | Berger pp. 151–155 |
| 14 | General overview | |
| 15 | Final Exam |
| Resources |
| Berger, J. (1972). Ways of seeing. London: British Broadcasting Corporation and Penguin. Sturken, M., & Cartwright, L. (2018). Practices of looking: An introduction to visual culture (4th ed.). New York: Oxford University Press. Carroll, N. (2013). Minerva’s night out: Philosophy, pop culture, and moving pictures. Malden, MA: Wiley-Blackwell. Kulvicki, J. V. (2014). Images. New York: Routledge. |
| 1. Walton, K. L. (1990). Mimesis as make-believe: On the foundations of the representational arts. Harvard University Press. 2. Goodman, N. (1976). Languages of art: An approach to a theory of symbols (2nd ed.). Hackett. 3. Peirce, C. S. (1998). The essential Peirce: Selected philosophical writings (Vol. 2, 1893–1913; Peirce Edition Project, Ed.). Indiana University Press. 4. Bazin, A. (1967). The ontology of the photographic image (H. Gray, Trans.). In H. Gray (Ed.), What is cinema? (Vol. 1, pp. 9–16). University of California Press. 5. Flusser, V. (2000). Towards a philosophy of photography (A. Mathews, Trans.). Reaktion Books. 6. Cavell, S. (1979). The world viewed: Reflections on the ontology of film (Enlarged ed.). Harvard University Press. 7. Deleuze, G. (1986). Cinema 1: The movement-image (H. Tomlinson & B. Habberjam, Trans.). University of Minnesota Press. 8. Deleuze, G. (1989). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). University of Minnesota Press. 9. Deleuze, G. (2003). Francis Bacon: The logic of sensation (D. W. Smith, Trans.). Continuum. 10. Wiesing, L. (2010). Artificial presence: Philosophical studies in image theory (N. F. Schott, Trans.). Stanford University Press. 11. Lopes, D. M. (2010). A philosophy of computer art. Routledge. 12. Wollheim, R. (1980). Seeing-as, seeing-in, and pictorial representation. In R. Wollheim, Art and its objects (2nd ed., pp. 205–226). Cambridge University Press. 13. Walton, K. L. (1984). Transparent pictures: On the nature of photographic realism. Critical Inquiry, 11(2), 246–277. 14. Maynard, P. (1997). The engine of visualization: Thinking through photography. Cornell University Press. 15. Manovich, L. (2001). The language of new media. MIT Press. 16. Chalmers, D. J. (2022). Reality+: Virtual worlds and the problems of philosophy. W. W. Norton & Company. 17. Floridi, L. (2011). The philosophy of information. Oxford University Press. 18. Lopes, D. M. (2016). Four arts of photography: An essay in philosophy. Wiley-Blackwell. 19. Heim, M. (1993). The metaphysics of virtual reality. Oxford University Press. 20. Abell, C. (2020). Depiction. In E. N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy (Fall 2020 ed.). [https://plato.stanford.edu/entries/depiction/](https://plato.stanford.edu/entries/depiction/) |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | X | |||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | X | |||||
| 6 | Understands the symbol systems of cultures. | X | |||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | X | |||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | X | |||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | X | |||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | X | |||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | X | |||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | X | |||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | X | |||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | X | |||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | X | |||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |