Course Detail
Course Detail
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| AA | MGS4117077 | Fall Semester | 2+1 | 2,5 | 5 |
| Course Program | Salı 12:00-12:45 Salı 12:45-13:30 Salı 13:30-14:15 |
| 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 develops media projects through creative methods used by artists and writers. Observation, collecting, chance, constraints, transforming symbols, writing instructions, selection, and sequencing will be applied in classroom projects. Students will produce a work each week, compare alternatives, and revise it in response to feedback. |
| Course Content | This course contains; Observation and keeping a notebook. Class project: six states of an object. Select a motif, write twelve observations, and make a six-frame drawing or collage sequence.,Collecting and classification. Class project: a small atlas of a place. Observe one campus location, collect twelve elements, try three classifications, and make a one-page atlas.,Automatism and chance. Class project: from chance to composition. Make three automatic experiments, develop one into a collage, and retain the raw version.,Constraint and variation. Class project: one event, three accounts. Describe an event related to the motif under three rules, then revise one with a new constraint.,Symbol and context. Class project: one sign, three uses. Transform a symbol into three designs for a warning, invitation, and reminder.,Instruction and interpretation. Class project: a work made by another person. A peer follows a fifty-word instruction. Try two revisions.,Selection and sequencing. Class project: the same pieces, two stories. Select twelve pieces from previous work, make three sequences using six pieces, and develop one.,Midterm examination and project.,Prompt, instruction, and model interpretation. Class project: one instruction, two interpretations. Define the group motif and purpose. Compare human and model interpretations of the week 6 instruction.,Data selection and reference. Class project: a data atlas of the motif. Fifteen elements, three arrangements, one atlas, and a one-page data card.,Forms repeated by the model. Class project: intervene in repetition. Identify three repetitions in model outputs and change one through drawing, collage, or editing.,Source, style, and consent. Class project: style and operations. Derive four operations from a source work and produce three drafts without using the artist’s name. Choose the final medium.,Adaptation across media. Class project: one idea, two media. Choose two media and three features to preserve. Make a trial of at most thirty seconds or three images.,Audience testing and revision. Class project: revise in response to viewers. Show the first final draft to two people, make two alternatives, and complete one change.,Final edit and process review. Class project: final version. Apply the editing decision, cross-check group process records, and rehearse the contribution statement.,Final examination and project submission.. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Teaching Methods: | |
| Assessment Methods: |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Observation and keeping a notebook. Class project: six states of an object. Select a motif, write twelve observations, and make a six-frame drawing or collage sequence. | Before class: all ten of Corita Kent’s “Ten Rules”. Barry’s notebook examples will be examined in class. Short study: record the motif in three different places or times on one page. |
| 2 | Collecting and classification. Class project: a small atlas of a place. Observe one campus location, collect twelve elements, try three classifications, and make a one-page atlas. | Sources: an excerpt from Perec, Bir Paris Semtinin Tüketilme Denemesi, and Becher typologies. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: vary the atlas with three new elements from the same place at another time. |
| 3 | Automatism and chance. Class project: from chance to composition. Make three automatic experiments, develop one into a collage, and retain the raw version. | Sources: automatism section of Breton’s first manifesto, Ernst’s frottages, Arp’s collages. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: rearrange the same raw material through another selection. |
| 4 | Constraint and variation. Class project: one event, three accounts. Describe an event related to the motif under three rules, then revise one with a new constraint. | Sources: three variations from Queneau, Biçem Alıştırmaları, Cage’s works, Eno and Schmidt’s Oblique Strategies. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: write your own constraint and make another variation. |
| 5 | Symbol and context. Class project: one sign, three uses. Transform a symbol into three designs for a warning, invitation, and reminder. | Sources: Dreyfuss, Symbol Sourcebook, and Basquiat’s notebooks. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: turn the motif into a symbol and explain its source and transformation in three sentences. |
| 6 | Instruction and interpretation. Class project: a work made by another person. A peer follows a fifty-word instruction. Try two revisions. | Read the full linked text of LeWitt, “Kavramsal Sanat Konusunda Paragraflar”. Class sources also include wall drawings. Short study: rewrite the instruction. Keep the human interpretation for week 9. |
| 7 | Selection and sequencing. Class project: the same pieces, two stories. Select twelve pieces from previous work, make three sequences using six pieces, and develop one. | No text reading. A Warburg Mnemosyne panel and a sequence from Robert Frank’s The Americans will be examined in class. Short study: organize the first-half portfolio and prepare for the exam. |
| 8 | Midterm examination and project. | Review the sources and methods of weeks 1–7. Submit the first-half process portfolio at the start of the exam. |
| 9 | Prompt, instruction, and model interpretation. Class project: one instruction, two interpretations. Define the group motif and purpose. Compare human and model interpretations of the week 6 instruction. | Return to LeWitt. Read Manovich and Arielli, Artificial Aesthetics, chapter 2, “Creativity in Software Era”, pp. 27–29, up to “Who Shall AI Compete With?” (3 pages). Short study: change one aspect of the instruction and select three source elements for week 10. |
| 10 | Data selection and reference. Class project: a data atlas of the motif. Fifteen elements, three arrangements, one atlas, and a one-page data card. | Read Crawford and Paglen, “Excavating AI”, introduction and “Anatomy of a Training Set”, up to “The Canonical Training Set: ImageNet”, and the project description for Anna Ridler’s Myriad (Tulips). Short study: produce an example missing from the selection. |
| 11 | Forms repeated by the model. Class project: intervene in repetition. Identify three repetitions in model outputs and change one through drawing, collage, or editing. | Read Manovich and Arielli, chapter 5, pp. 83–89, up to “Subject and Style” (7 pages). Short study: change another formal decision in the same output. |
| 12 | Source, style, and consent. Class project: style and operations. Derive four operations from a source work and produce three drafts without using the artist’s name. Choose the final medium. | Read the full linked article by Dryhurst, “AI Art and the Problem of Consent”. Short study: bring a draft documenting your contribution’s source, usage rights, and transformation. |
| 13 | Adaptation across media. Class project: one idea, two media. Choose two media and three features to preserve. Make a trial of at most thirty seconds or three images. | Read Manovich and Arielli, chapter 7, “Separate and Reassemble”, pp. 119–127 (9 pages). Short study: restore a feature lost in adaptation. |
| 14 | Audience testing and revision. Class project: revise in response to viewers. Show the first final draft to two people, make two alternatives, and complete one change. | Read Miao and Holmes (2023), UNESCO guidance, only sections 4.2 and 4.6–4.7, pp. 24–27: human agency, plurality of opinions, and testing applications. A Turkish selection is also on MEBIS. Short study: produce an individual solution to a problem identified in testing. |
| 15 | Final edit and process review. Class project: final version. Apply the editing decision, cross-check group process records, and rehearse the contribution statement. | Review the project conditions and grading rubric in the syllabus. Optional: Steyerl, “Adi İmgeler” (English source PDF, pp. 1–7). Short study: prepare the group submission and your individual portfolio. |
| 16 | Final examination and project submission. | Prepare the group work, shared process record, and individual portfolio. Submit the second-half process portfolio at the exam. |
| Resources |
| Barry, Lynda. Syllabus: Notes from an Accidental Professor. Drawn & Quarterly, 2014. https://drawnandquarterly.com/books/syllabus/ Breton, André. Sürrealist Manifestolar. Çeviren Yeşim Seber, Ayşe Güngör ve Artemis Günebakanlı. Altıkırkbeş, 2009. Cage, John. John Cage: Seçme Yazılar. Hazırlayan ve çeviren Semih Fırıncıoğlu. Pan Yayıncılık, 2012. https://www.pankitap.com/john-cage-secme-yazilar Crawford, Kate, ve Trevor Paglen. Excavating AI: The Politics of Images in Machine Learning Training Sets. 2019. https://excavating.ai/ Dreyfuss, Henry. Symbol Sourcebook: An Authoritative Guide to International Graphic Symbols. McGraw-Hill, 1972. Dryhurst, Mathew. AI Art and the Problem of Consent. ArtReview, 10 Ocak 2023. https://artreview.com/ai-art-and-the-problem-of-consent/ Kent, Corita. Ten Rules. Corita Art Center. https://www.corita.org/tenrules LeWitt, Sol. Kavramsal Sanat Konusunda Paragraflar. Sanat Tanımı Topluluğu. https://www.sanattanimitoplulugu.org/Kavramsal%20Sanat%20Uzerine%20Paragraflar.htm Manovich, Lev, ve Emanuele Arielli. Artificial Aesthetics: Generative AI, Art and Visual Media. 2024. Çevrimiçi bütünleşik metin, 2025. https://manovich.net/index.php/projects/artificial-aesthetics Miao, Fengchun, ve Wayne Holmes. Guidance for Generative AI in Education and Research. UNESCO, 2023. https://www.unesco.org/en/articles/guidance-generative-ai-education-and-research Miao, Fengchun, ve Wayne Holmes. Eğitim ve Araştırmada Üretken Yapay Zekâ Kılavuzu. UNESCO, Türkçe baskı, 2024. 14. hafta: yalnızca 4.2 ve 4.6–4.7, s. 24–27. Perec, Georges. Bir Paris Semtinin Tüketilme Denemesi. Çeviren Ayşe Ece. Sel Yayıncılık, 2011. Queneau, Raymond. Biçem Alıştırmaları. Çeviren Armağan Ekici. Sel Yayıncılık, 2003. |
| Brooklyn Museum. “Basquiat: The Unknown Notebooks.” Sergi, 2015. https://www.brooklynmuseum.org/exhibitions/basquiat_notebooks Eno, Brian ve Peter Schmidt. Oblique Strategies. 1975. Seçme yönlendirme kartları. Frank, Robert. The Americans. Grove Press, 1959. Seçme fotoğraf dizileri. Lossin, R. H. “Refik Anadol’s ‘Unsupervised’.” e-flux Criticism, 2023. https://www.e-flux.com/criticism/527236/refik-anadol-s-unsupervised Refik Anadol Studio. Unsupervised. MoMA, 2022–2023. https://refikanadol.com/works/unsupervised/ Ridler, Anna. Myriad (Tulips). 2018. https://annaridler.com/works/myriad-tulips Steyerl, Hito. “Adi İmgeler.” Çev. Derya Yılmaz. e-skop, 2 Mayıs 2023. https://www.e-skop.com/skopbulten/adi-imgeler/6576 Warburg Institute. Bilderatlas Mnemosyne. Arşiv pano seçkisi. https://warburg.sas.ac.uk/library-collections/warburg-institute-archive/bilderatlas-mnemosyne |
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. | ||||||
| 2 | Knows the basic theories of media and visual arts disciplines. | ||||||
| 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. | ||||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | ||||||
| 6 | Understands the symbol systems of cultures. | ||||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | ||||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | ||||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | ||||||
| 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. | ||||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | ||||||
| 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. | ||||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | ||||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | ||||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | ||||||
| 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 |
|---|---|---|---|---|---|
| AA | MGS4117077 | Fall Semester | 2+1 | 2,5 | 5 |
| Course Program | Salı 12:00-12:45 Salı 12:45-13:30 Salı 13:30-14:15 |
| 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 develops media projects through creative methods used by artists and writers. Observation, collecting, chance, constraints, transforming symbols, writing instructions, selection, and sequencing will be applied in classroom projects. Students will produce a work each week, compare alternatives, and revise it in response to feedback. |
| Course Content | This course contains; Observation and keeping a notebook. Class project: six states of an object. Select a motif, write twelve observations, and make a six-frame drawing or collage sequence.,Collecting and classification. Class project: a small atlas of a place. Observe one campus location, collect twelve elements, try three classifications, and make a one-page atlas.,Automatism and chance. Class project: from chance to composition. Make three automatic experiments, develop one into a collage, and retain the raw version.,Constraint and variation. Class project: one event, three accounts. Describe an event related to the motif under three rules, then revise one with a new constraint.,Symbol and context. Class project: one sign, three uses. Transform a symbol into three designs for a warning, invitation, and reminder.,Instruction and interpretation. Class project: a work made by another person. A peer follows a fifty-word instruction. Try two revisions.,Selection and sequencing. Class project: the same pieces, two stories. Select twelve pieces from previous work, make three sequences using six pieces, and develop one.,Midterm examination and project.,Prompt, instruction, and model interpretation. Class project: one instruction, two interpretations. Define the group motif and purpose. Compare human and model interpretations of the week 6 instruction.,Data selection and reference. Class project: a data atlas of the motif. Fifteen elements, three arrangements, one atlas, and a one-page data card.,Forms repeated by the model. Class project: intervene in repetition. Identify three repetitions in model outputs and change one through drawing, collage, or editing.,Source, style, and consent. Class project: style and operations. Derive four operations from a source work and produce three drafts without using the artist’s name. Choose the final medium.,Adaptation across media. Class project: one idea, two media. Choose two media and three features to preserve. Make a trial of at most thirty seconds or three images.,Audience testing and revision. Class project: revise in response to viewers. Show the first final draft to two people, make two alternatives, and complete one change.,Final edit and process review. Class project: final version. Apply the editing decision, cross-check group process records, and rehearse the contribution statement.,Final examination and project submission.. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Teaching Methods: | |
| Assessment Methods: |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Observation and keeping a notebook. Class project: six states of an object. Select a motif, write twelve observations, and make a six-frame drawing or collage sequence. | Before class: all ten of Corita Kent’s “Ten Rules”. Barry’s notebook examples will be examined in class. Short study: record the motif in three different places or times on one page. |
| 2 | Collecting and classification. Class project: a small atlas of a place. Observe one campus location, collect twelve elements, try three classifications, and make a one-page atlas. | Sources: an excerpt from Perec, Bir Paris Semtinin Tüketilme Denemesi, and Becher typologies. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: vary the atlas with three new elements from the same place at another time. |
| 3 | Automatism and chance. Class project: from chance to composition. Make three automatic experiments, develop one into a collage, and retain the raw version. | Sources: automatism section of Breton’s first manifesto, Ernst’s frottages, Arp’s collages. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: rearrange the same raw material through another selection. |
| 4 | Constraint and variation. Class project: one event, three accounts. Describe an event related to the motif under three rules, then revise one with a new constraint. | Sources: three variations from Queneau, Biçem Alıştırmaları, Cage’s works, Eno and Schmidt’s Oblique Strategies. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: write your own constraint and make another variation. |
| 5 | Symbol and context. Class project: one sign, three uses. Transform a symbol into three designs for a warning, invitation, and reminder. | Sources: Dreyfuss, Symbol Sourcebook, and Basquiat’s notebooks. No advance book reading. Sources will be examined in class. Bring last week’s study. Short study: turn the motif into a symbol and explain its source and transformation in three sentences. |
| 6 | Instruction and interpretation. Class project: a work made by another person. A peer follows a fifty-word instruction. Try two revisions. | Read the full linked text of LeWitt, “Kavramsal Sanat Konusunda Paragraflar”. Class sources also include wall drawings. Short study: rewrite the instruction. Keep the human interpretation for week 9. |
| 7 | Selection and sequencing. Class project: the same pieces, two stories. Select twelve pieces from previous work, make three sequences using six pieces, and develop one. | No text reading. A Warburg Mnemosyne panel and a sequence from Robert Frank’s The Americans will be examined in class. Short study: organize the first-half portfolio and prepare for the exam. |
| 8 | Midterm examination and project. | Review the sources and methods of weeks 1–7. Submit the first-half process portfolio at the start of the exam. |
| 9 | Prompt, instruction, and model interpretation. Class project: one instruction, two interpretations. Define the group motif and purpose. Compare human and model interpretations of the week 6 instruction. | Return to LeWitt. Read Manovich and Arielli, Artificial Aesthetics, chapter 2, “Creativity in Software Era”, pp. 27–29, up to “Who Shall AI Compete With?” (3 pages). Short study: change one aspect of the instruction and select three source elements for week 10. |
| 10 | Data selection and reference. Class project: a data atlas of the motif. Fifteen elements, three arrangements, one atlas, and a one-page data card. | Read Crawford and Paglen, “Excavating AI”, introduction and “Anatomy of a Training Set”, up to “The Canonical Training Set: ImageNet”, and the project description for Anna Ridler’s Myriad (Tulips). Short study: produce an example missing from the selection. |
| 11 | Forms repeated by the model. Class project: intervene in repetition. Identify three repetitions in model outputs and change one through drawing, collage, or editing. | Read Manovich and Arielli, chapter 5, pp. 83–89, up to “Subject and Style” (7 pages). Short study: change another formal decision in the same output. |
| 12 | Source, style, and consent. Class project: style and operations. Derive four operations from a source work and produce three drafts without using the artist’s name. Choose the final medium. | Read the full linked article by Dryhurst, “AI Art and the Problem of Consent”. Short study: bring a draft documenting your contribution’s source, usage rights, and transformation. |
| 13 | Adaptation across media. Class project: one idea, two media. Choose two media and three features to preserve. Make a trial of at most thirty seconds or three images. | Read Manovich and Arielli, chapter 7, “Separate and Reassemble”, pp. 119–127 (9 pages). Short study: restore a feature lost in adaptation. |
| 14 | Audience testing and revision. Class project: revise in response to viewers. Show the first final draft to two people, make two alternatives, and complete one change. | Read Miao and Holmes (2023), UNESCO guidance, only sections 4.2 and 4.6–4.7, pp. 24–27: human agency, plurality of opinions, and testing applications. A Turkish selection is also on MEBIS. Short study: produce an individual solution to a problem identified in testing. |
| 15 | Final edit and process review. Class project: final version. Apply the editing decision, cross-check group process records, and rehearse the contribution statement. | Review the project conditions and grading rubric in the syllabus. Optional: Steyerl, “Adi İmgeler” (English source PDF, pp. 1–7). Short study: prepare the group submission and your individual portfolio. |
| 16 | Final examination and project submission. | Prepare the group work, shared process record, and individual portfolio. Submit the second-half process portfolio at the exam. |
| Resources |
| Barry, Lynda. Syllabus: Notes from an Accidental Professor. Drawn & Quarterly, 2014. https://drawnandquarterly.com/books/syllabus/ Breton, André. Sürrealist Manifestolar. Çeviren Yeşim Seber, Ayşe Güngör ve Artemis Günebakanlı. Altıkırkbeş, 2009. Cage, John. John Cage: Seçme Yazılar. Hazırlayan ve çeviren Semih Fırıncıoğlu. Pan Yayıncılık, 2012. https://www.pankitap.com/john-cage-secme-yazilar Crawford, Kate, ve Trevor Paglen. Excavating AI: The Politics of Images in Machine Learning Training Sets. 2019. https://excavating.ai/ Dreyfuss, Henry. Symbol Sourcebook: An Authoritative Guide to International Graphic Symbols. McGraw-Hill, 1972. Dryhurst, Mathew. AI Art and the Problem of Consent. ArtReview, 10 Ocak 2023. https://artreview.com/ai-art-and-the-problem-of-consent/ Kent, Corita. Ten Rules. Corita Art Center. https://www.corita.org/tenrules LeWitt, Sol. Kavramsal Sanat Konusunda Paragraflar. Sanat Tanımı Topluluğu. https://www.sanattanimitoplulugu.org/Kavramsal%20Sanat%20Uzerine%20Paragraflar.htm Manovich, Lev, ve Emanuele Arielli. Artificial Aesthetics: Generative AI, Art and Visual Media. 2024. Çevrimiçi bütünleşik metin, 2025. https://manovich.net/index.php/projects/artificial-aesthetics Miao, Fengchun, ve Wayne Holmes. Guidance for Generative AI in Education and Research. UNESCO, 2023. https://www.unesco.org/en/articles/guidance-generative-ai-education-and-research Miao, Fengchun, ve Wayne Holmes. Eğitim ve Araştırmada Üretken Yapay Zekâ Kılavuzu. UNESCO, Türkçe baskı, 2024. 14. hafta: yalnızca 4.2 ve 4.6–4.7, s. 24–27. Perec, Georges. Bir Paris Semtinin Tüketilme Denemesi. Çeviren Ayşe Ece. Sel Yayıncılık, 2011. Queneau, Raymond. Biçem Alıştırmaları. Çeviren Armağan Ekici. Sel Yayıncılık, 2003. |
| Brooklyn Museum. “Basquiat: The Unknown Notebooks.” Sergi, 2015. https://www.brooklynmuseum.org/exhibitions/basquiat_notebooks Eno, Brian ve Peter Schmidt. Oblique Strategies. 1975. Seçme yönlendirme kartları. Frank, Robert. The Americans. Grove Press, 1959. Seçme fotoğraf dizileri. Lossin, R. H. “Refik Anadol’s ‘Unsupervised’.” e-flux Criticism, 2023. https://www.e-flux.com/criticism/527236/refik-anadol-s-unsupervised Refik Anadol Studio. Unsupervised. MoMA, 2022–2023. https://refikanadol.com/works/unsupervised/ Ridler, Anna. Myriad (Tulips). 2018. https://annaridler.com/works/myriad-tulips Steyerl, Hito. “Adi İmgeler.” Çev. Derya Yılmaz. e-skop, 2 Mayıs 2023. https://www.e-skop.com/skopbulten/adi-imgeler/6576 Warburg Institute. Bilderatlas Mnemosyne. Arşiv pano seçkisi. https://warburg.sas.ac.uk/library-collections/warburg-institute-archive/bilderatlas-mnemosyne |
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. | ||||||
| 2 | Knows the basic theories of media and visual arts disciplines. | ||||||
| 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. | ||||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | ||||||
| 6 | Understands the symbol systems of cultures. | ||||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | ||||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | ||||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | ||||||
| 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. | ||||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | ||||||
| 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. | ||||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | ||||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | ||||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | ||||||
| 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 | |