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VCD 505 CONCEPT DEVELOPMENT
DENİZ ÖZLÜ

Concept Development is the most defining stage in the evolution of the final production. Main topics of the course are the concept development process, methods for enhancing creativity and innovation, concept selection, building upon and refining the concept, and its transition to design. The students are expected to continue developing their MFA projects’ concept. During the course, students will be encouraged with screenings, examples from audio-visual teaching material and preliminary discussions.

VCD 507 INTERDISCIPLINARY VOICES I
ZAFER ARACAGÖK

This course is designed to provide an introduction to recent and contemporary work and critical thinking about a number of disciplines, objects and practices that constitute or intersect with art theory and visual communication design. All throughout the course students will be introduced into various ways of understanding and thinking about current theoretical approaches to visual technologies and media. We will be assessing these in relation to the alterations they have brought about across traditional fields of activity, knowledge and expertise.

VCD 515 DESIGN PROPOSAL
ÖNDER SEVİMLİ

What does it mean to propose a design or a work of art? What is the potential made available by offering to produce a sensory experience in response to an issue, problem or observation that may not, at least not primarily, bear an aesthetic nature? This course intends to explore these questions through reference to the socio-political significance of art, design and spectatorship as fields of critical practice and inquiry, particularly in relation to other categories of intellectual and productive activity.

VCD 519 STUDIES IN DEAD MEDIA and CULTURE I
ZAFER ARACAGÖK

Research into “dead media” technologies has become an intensive field of research especially after the work of the German media theorist, Friedrich Kittler. Over the last decade or so, scholars in several disciplines have embarked on a series of media-archaeological excavations, sifting through the layers of early and obsolete practices and technologies of communication. The archaeological metaphor evokes both the desire to recover material traces of the past and the imperative to situate those traces in their social, cultural, and political contexts – while always minding our steps. In line with Kittler’s and his followers’ researches in this field, this course is devoted to media archaeology, that is, historical research into forgotten, obsolete, or otherwise “dead” media technologies on both global and local levels. This might include papyrus, the passage from scriviners (hattatlar) to Müteferrika’s printing press, Athanasius Kircher’s seventeenth-century magic lantern, or the common slide projector, discontinued by Kodak in 2004.

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