Nanyang Technological University

This course introduces the theoretical question of the relationship between literature and high culture to the (less-literary) study of popular culture. Students examine the following key terms and sets of oppositions: (i) high culture vs. low culture; (ii) pop culture vs. popular (or mass) culture (the 2 terms are not the same); (iii) popular culture as resistance vs. pop/mass culture as consumption; and (iv) class and popular culture. Topics include debates about the value of cultural texts that are not of high cultural origins and could be treated as commodities within capitalist societies. Questions include 1. What is the impact and significance of commercially produced cultural products? 2. How do sub- and counter-cultural practices attempt to form alternative values systems? 3. What happens when alternative cultural formations become transformed into the mainstream? Students engage with the debate that the course will unveil and apply concepts learned critically. The course requires students to take prerequisites

This course addresses current needs for the statistical modeling of random patterns and structures in spatial contexts, which arise in multiple fields ranging from geophysical, life and earth sciences, to communication engineering and social network analysis. The course approach relies on computational and statistical tools from stochastic geometry. The course requires students to take prerequisites.

This course focuses on the fundamental principles of circuit theorems and circuit elements, DC/AC and three-phase circuits, transient and steady-state responses, circuit analysis using Laplace transforms. Students learn various techniques ('tools') to analyze the operation of real circuits with a focus on the study of the behavior of the circuit, not the creation of circuits, i.e., the engineering design of the circuit. Topics include capacitors and inductors, Fourier series, Laplace transform, and sinusoids and phasors. 

This course introduces fiction film screenwriting. It covers the professional practice of developing, writing and rewriting short film scripts in a collaborative, workshop environment. Upon completing this course, students will have significantly developed their practice in preparation for future screenwriting projects.

This third-year course introduces generative art, emphasizing the interplay between predefined systems and the unpredictable nature of procedural algorithms. Students learn about artistic concepts, techniques, and tools that can be applied to creating both digital and analog generative artworks. Students explore generativity as a crucial creative framework for contemporary media by examining generative artwork across various disciplines. The course covers key strategies and techniques, offering hands-on experience with software and hardware tools for generative experimentation. Additionally, students gain insight into the processes and project development involved in creating generative art.

In this course, students are introduced to the foundations and principles of game design and apply these in practice with the design and creation of a simple digital game. Topics include node-based and script-centered software with a view to developing basic game levels and core game mechanics and ideas. Students explore how play theory inspires the design of games, imbuing games with a range of roles including training, education and entertainment. Students apply these principles to propose a game that addresses a well-defined purpose. 

This course introduces regression analysis, one of the most widely used statistical techniques. Topics include simple and multiple linear regression, nonlinear regression, analysis of residuals and model selection, one-way and two-way factorial experiments, random and fixed effects models.

This course examines the development throughout modern drama from realism and naturalism to absurdism and post-modernist theatre. Topics include Strindberg, Ibsen, Pirandello, Brecht, Beckett, Churchill, and Shepherd as well as contemporary Singaporean dramatist Kuo Pao Kun. In addition to understanding how changing theatrical trends embody changing epistemological, ontological and ideological attitudes, students develop a powerful comparative appreciation of the interconnected evolution of Asian and Western drama.

In this course, students examine the representation of continuous-time and discrete-time signals; their frequency characteristics and Fourier spectrum; representation and characteristics of linear time-invariant systems in both time and frequency domains; and the principles of sampling a continuous-time signal to yield a discrete-time one.

Students participate in creative writing exercises and improvisation games to find their playwriting voice as well as honing an ear for the spoken word onstage. Students examine examples of play scripts with a view to recognizing and utilizing techniques and generate new scripts via exercises and assignments. Students gain a practitioner's understanding of the creative process to evaluate their own writing and its impact on readers and audiences. This course requires a prerequisite.