In DGST 101, a “module” is a set of content and tasks that students work on for a period of about two weeks. These modules are organized around digital culture, creativity, and methodologies, and for each, the goal is for students to guide their own learning as they explore the topic or tools. On this page, all “creativity” modules are listed below.
For each module, the title or “more information” button will take you to the longer description of that module, and the green “” button will take students into the Slack channel set up for that module.
The animated GIF is a form of digital image that is almost 30 years old, but recent years have seen its resurgence through popular use in social content sites like Tumblr and Reddit. In this module, students research the history of the animated GIF and learn how to produce their own.
More Information animated-gifs
Code is. Poetry is code? Code is poetry. Is code? Code? Is poetry is? Code. There are many reasons to write computer code. As we read from Nelson and Rushkoff (and plenty of others), learning how computers work and how to make them work is a fundamental competency of human existence. Yet putting it in those terms raises the stakes on what can also simply be used to create something interesting, something annoying, or something beautiful.
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Video games are an interactive medium capable of engaging their players with beautiful imagery, actively involving players in the creation of epic stories, or demonstrating complex ideas or philosophies. Games can also be massive wastes of time or worse. For good or ill, video games are ubiquitous digital media, and the tools for creating and sharing video games are getting easier and easier to use. In this module, explore the processes and tools of game design and game programming and produce your own game by the end of the two-week module.
More Information gaming
Adaptations, remixes, and mashups are related in that they take existing materials and repurpose them. But technology and digital culture has opened up new and creative avenues to explore and experiment with these techniques. But questions of copyright, authorship, and originality, however, can make these kinds of projects fraught and complex.
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To call any aesthetics “new” is, on the one hand, to assert an arbitrarily diachronic axiology onto cultural phenomenon. On the other hand, the phrase does provide a convenient shorthand for calling attention to certain, digitally-inflected patterns that give shape to everyday life. One popular phrase defines the New Aesthetic as the “eruption of the digital into the physical”
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The Maker Movement evolved out of a DIY (or Do It Yourself) ethos, morphing into an approach to learning. From YouTube video how-to’s to hacking your electronics, the Maker Movement has reshaped how we interact with our physical environments, beyond software to hardware. But as this movement has evolved, particularly in higher education, we see the power of the Maker Movement to critically and consciously engage with our material world.
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