FINAL QUEST · DIKULT105 · WEEK 50
Your DIKULT105 final assessment: an interactive work about speculative digital futures, a 2000-word written document, a working URL and a video walkthrough.
Week 50. Exact deadline: Inspera.
THE FINAL WEEKS
GATE 0 · CAN I SUBMIT?
All obligatory work and the attendance requirement must be approved. Only the course coordinator can confirm eligibility.
Check each required task and its recorded result in MittUiB → Grades / Vurderingar. Read the task instructions in Files.
If a result is missing or unclear, ask the course coordinator. The official result determines eligibility.
UiB requires attendance; more than 25% absence prevents exam eligibility. The checklist below is your own memory aid, not an official calculation.
The week 44 video lecture counts if you watch it.
Your own tracker, saved only in this browser. Not an official record: ask Alinta if you are unsure.
GATE 1 · THE BRIEF
An imagined future world. Not necessarily science fiction. What do you speculate will happen?
An interactive artwork, an artistic game, or a mix. It can be a sound piece.
Web design is allowed if you use it creatively. A plain website is not enough: build something unique.
10% over or under is allowed. It has a labelled link, and analyses the theme, the genre and your process.
A walkthrough that shows the work at its best, in case the examiners miss something. Speaking is optional.
itch.io is recommended. GitHub or another public host also works.
A broken or private link may fail. A nickname is fine.
FUTURE GENERATOR
Futures from the brief: climate change, pandemics, extinction, environmental loss, talking with other planets, AI and fresh water, AI and office jobs, AI and creativity.
? + ? + ?
Not your idea? Spin again. Your own idea always wins.
THE WORK + THE TEXT / CHECK THE CONNECTION
The DIKULT105 brief asks for a creative interactive piece and an analysis of its theme, genre and process. UiB's course outcomes also include analysing design and aesthetics, using relevant theory and discussing your own work. Read the course outcomes ↗
Use these questions to improve the connection between what you made and what you write. The DIKULT105 brief and course instructions govern the assessment.
One grade covers the assessment portfolio. The practical work and its written analysis should make sense together. UiB lists the A–F grading scale for this course.
| DIKULT105 focus | Show it in the work | Explain it in the text |
|---|---|---|
| Speculative digital futures | Let an interaction reveal something about your imagined future. | Explain the future you imagine and how the work addresses the theme. Point to a specific moment. |
| Creative interaction | Give the visitor an action that matters to the experience. A sound piece, artwork, artistic game or creative website can work. | Explain what the action changes and why you chose it. |
| Genre and research | Use conventions of the form you chose, or adapt them deliberately. | Identify the genre or combination of genres. Use relevant sources to explain your choices, including similarities and differences. |
| Design and aesthetics | Make deliberate choices about language, image, sound, timing, navigation or other senses. | Analyse how those choices shape the visitor's experience. Aesthetics includes how the work feels and behaves. |
| Creative process | Develop and test a manageable interaction. | Discuss a concrete challenge, a decision, what happened and what you changed or learned. Include limitations you can explain. |
| A functioning submission | Publish an accessible version and show it working in the video. | Label the work and video links clearly. Make your analysis correspond to the submitted version. |
Choose a clear idea, make the interaction serve it, and support your analysis with examples from the work and sources you have read. Explain your judgement: why this choice, what effect did it have, and what evidence supports your interpretation?
UiB's general A–F descriptors emphasise quality, judgement and independence. They are general descriptors; the course's own assessment instructions determine how your submission is assessed.
Plain-language summary of UiB's general descriptors ↗. These are not separate DIKULT105 criteria for each component.
ROOM A · THE FUTURE FORGE
Alinta’s idea, from her lecture on design futures: the future is plural, and design can help shape which one we get.
Spin the dial. Four ways a future can go.
My future is a ___ future.Growth: Today’s systems keep going, and so do their consequences.Collapse: Something big breaks down. What is left, and who is left?Discipline: Life is reorganised around a limit: water, energy, time.Transformation: Something changes at the root: technology, society, us.
BACKCASTING · START AT THE END
Who gains? Who is left out, moved on or made invisible?
Every fix changes the problem. You cannot solve it all, but you can shine a light on it.
A warning sign, a product label, an app screen from 2050. Write your world as fact, and let the visitor step inside.
Choose a topic. See how others did it. Sketch options. Build the smallest version. Test it.
ROOM B · THE GAME MACHINE
Alinta’s idea, from her lecture on designing, creating and analysing games: a game is built from parts you can name, and every rule says something.
Tap a part. You built all five in Lab 4.
A limit on what can happen.
IN CONSTRUCT A condition.
visits ≥ 3
How the world works when someone acts.
IN CONSTRUCT An action.
Add 1 to visits
The situation right now.
IN CONSTRUCT A variable.
visits = 2
Patterns that appear while people play.
IN CONSTRUCT You do not code this. You see it when you test.
Testers tap fast to reach the message.
How it feels.
IN CONSTRUCT Sound, pace, colour, words.
Calm, tense, lonely, playful.
Choices shape what happens later.
Construct: a variable remembers the choice.
Explore rooms. Piece together what already happened.
Construct: hidden notes in rooms, like your Lab 3 secret.
Papers, Please argues through what its rules make you do. If saving water costs points in your future, your rules say something.
Rules or story? One way of studying games looks at rules and play, another at story. Your work can be both. Not a game at all? Fine. Use game parts only when they serve the work.
FLOW CHECK · USE IT WHEN SOMEONE TESTS (LAB 7)
BEYOND THE SCREEN · FROM ALINTA’S LECTURE
Aesthetics comes from the Greek aisthetikos: “of sense perception”. Not only what looks good. Seeing is believing, but looking is only one way in. The brief even names an interactive sound piece.
SOUND AS VIBRATION
Sound travels through air, water and solids, not through a vacuum. Humans hear about 20 to 20,000 Hz.
IN CONSTRUCT Add the Audio object. Right-click Sounds › Import sounds. Event: on tap › Audio › Play. A variable can set the volume.
IN YOUR FUTURE What will a future river, city or forest sound like? Make one sound the visitor can only find by listening.
TEXTURE AND PRESSURE
Museums say look, don’t touch. Digital work does not have to.
IN CONSTRUCT Touch › On hold gesture rewards patience. Drag & Drop lets them push things. Browser › Vibrate buzzes phones that support it.
IN YOUR FUTURE In your future, what can no longer be touched? Let the visitor hold, press or wait instead of just look.
KINAESTHESIA AND PROPRIOCEPTION
Knowing where your body is, and how it moves.
IN CONSTRUCT Every tick › Set position to Mouse.X, Mouse.Y (or Touch.X, Touch.Y). The world can follow, flee or copy the visitor.
IN YOUR FUTURE What in your future moves away when you come near? Or what only appears when you hold still?
VESTIBULAR PERCEPTION
Balance: the sense that tells you which way is up.
IN CONSTRUCT On a phone, Touch gives the tilt: Touch.Beta and Touch.Gamma. On iPhone, add Touch › Request permission first.
IN YOUR FUTURE A future that will not stay level: let the visitor tilt the phone to keep something from spilling.
INTEROCEPTION
Conditions within the body: heartbeat, breath, hunger.
IN CONSTRUCT Construct cannot read a heartbeat, but it can fake one: System › Every X seconds, where X shrinks as a variable grows. A pulse that speeds up.
IN YOUR FUTURE What does the body feel in your future: thirsty, tired, calm? Give your work a pulse.
DATA MADE SENSIBLE
Turning what we cannot sense into something we can. MIDI does this: control messages become sound.
IN CONSTRUCT Translate one number into another sense: a variable sets a volume, a colour, a speed. Start with your own made-up data.
IN YOUR FUTURE What is invisible in your future: the water, the air, the AI? Make it heard, felt or seen.
THE EYES-CLOSED TEST
Let someone try your work for ten seconds with their eyes closed, or with the screen turned away. What is left? That is your work beyond the screen.
Works from Alinta’s lecture “Digital art beyond the screen”. Find them by name for photos and sources, and cite what you use.
ROOM C · THE SOUND & MEDIA STUDIO
This builds on Hanna’s labs at the start of the semester: clean your sound in Audacity first, then bring sound, pictures and video into your work.
Bring it in. Record with the microphone button and keep the meter out of the red. Or drag a sound file into the window. Install FFmpeg so Audacity opens most formats.
Room tone. Record 10 seconds of silence first. Select it › Effect › Noise Reduction › Get Noise Profile. Select all (Ctrl/Cmd + A) › Noise Reduction › OK.
Cut. Zoom in. Select the “um” or the silence, listen, then Delete. Edit › Clip Boundaries › Split to move a part.
Level. Effect › Normalize to -1 dB. Peaks hitting red are clipping: record again a little quieter.
Blend. Effect › Fade In or Fade Out. Overlap two tracks and use Crossfade Tracks for a smooth change.
Export. File › Export › MP3. Keep the .aup3 project file so you can edit later.
INTO CONSTRUCT · CHECKED IN THE REAL EDITOR
Right-click Sounds › Import sounds for short effects. Long music or ambience: Music › Import music.
Insert the Audio object, once per project. Then an event › Audio › Play ①. Also try Fade volume ②, Set looping ③ and Set volume ④.
In Play: choose the file ①, loop ②, volume in dB ③ (0 is full, -10 is quieter). Give it a tag to stop or fade it later.
Make it react: Set volume from a variable, or Play at object so the sound sits somewhere in the room.
Insert a Sprite (or a Tiled Background for a repeating floor). In the image editor, Load images from files.
Several images become the frames of one animation: a flickering light, a breathing wall.
Draw, photograph or make your own images, or credit whose they are. Screenshots of your work become Figure 1, Figure 2 in your text.
Right-click Videos › Import video.
Insert the Video object. Properties › Primary source ①: your video. Autoplay ② Yes or No.
In events: Video › Play, Pause or Set source to change what is shown. MP4 (H.264) plays in most browsers.
Browsers do not play sound before someone taps or clicks. Start with a “Tap to enter” screen. Test the exported itch.io version with sound on, not only Preview.
Speech in your work? Add captions or a written transcript. YouTube can draft one; correct it yourself.
Sounds from freesound.org ↗ come with a licence. Check it, credit the creator and add it to your references.
GATE 2 · THE TEXT
Write the document yourself, in English or Norwegian. The brief allows AI only for light editing when you submit in English.
1800 words to the minimum (1800).
Label the interactive work URL and the video walkthrough URL clearly near the start of your document. These are submission links, not research references.
Analyse the imagined future, how your work addresses it and how the interaction connects to the theme. Use a specific moment from the work as evidence.
Identify your genre or combination of genres. Explain relevant conventions and how your work uses or changes them. Connect the analysis to sources you have read. Game vocabulary is useful when your work calls for it.
Explain how you made the work. Choose a specific challenge, decision or test and discuss its effect. Show what changed and why; you can also discuss a remaining limitation.
Optional opening and ending: introduce the work, then draw together what the analysis has shown.
Saved only in this browser on this device. Nothing is sent anywhere. Keep your real copy in your own document. Suggested word counts are only a guide.
THE CITATION DESK / CHICAGO AUTHOR-DATE
Use Chicago author-date consistently for your in-text citations and References list. These examples follow Chicago 18. It has two connected parts: the short author–year citation next to the idea, and the full source in References at the end of your document. Follow any more specific course instructions.
(Surname Year, page). There is no comma between the name and year.Explain the source’s idea in your own words, then cite it. Your own wording still needs a source.
[Your explanation of the passage] (Jørgensen 2013, [page]).
Copy the exact words, use quotation marks and cite the page or locator. Put the citation before the sentence’s final full stop.
“[Exact words checked against the source]” (Jørgensen 2013, [page]).
Replace every [bracketed field]. These are format templates, not sentences to submit. The book and journal article below are real publications; no quotation or claim about a particular page is supplied.
(Jørgensen 2013)
For a particular passage: (Jørgensen 2013, [page])
Jørgensen, Kristine. 2013. Gameworld Interfaces. MIT Press.
Real book. Replace [page] with the page you actually used. Cite the edition you read. For an online book, add its DOI, stable URL or database as appropriate. For an unpaginated edition, identify a chapter or section. Check the publisher record ↗
(Jørgensen 2012)
For a particular passage: (Jørgensen 2012, [page])
Jørgensen, Kristine. 2012. “Between the Game System and the Fictional World: A Study of Computer Game Interfaces.” Games and Culture 7 (2): 142–63. https://doi.org/10.1177/1555412012440315.
Real article. Collect author → year → article title → journal → volume (issue) → full article page range or article number → DOI. The reference gives the whole article; the in-text citation gives your particular page. Cite the article itself, even if you found it through NVA, Oria or Google Scholar.
([Chapter author surname] [Year], [page])
[Chapter author surname], [First name]. [Year]. “[Chapter title].” In [Book title], edited by [Editor first name and surname]. [Publisher]. [DOI or URL, if applicable].
Template. The chapter author goes first. The editors belong after the book title. Chicago 18 no longer requires the chapter’s complete page range in the reference; cite the actual page you use in your text. If you read only one chapter, do not attribute its argument automatically to the editors.
(University of Bergen n.d.)
University of Bergen. n.d. “Creating Digital Culture.” Accessed October 30, 2026. https://www4.uib.no/en/studies/courses/dikult105.
Real page with no listed publication or revision date. Use the named author or responsible organisation; write an organisation’s name once, in full. A personal author starts Surname, First name. Use the publication/revision year when supplied. Only when no date is given, use n.d. and add your actual access date. If there is no author or organisation, begin with the title and cite a shortened title in the text.
([Creator or developer] [Year])
[Creator or developer]. [Year]. [Title of work]. [Version, if relevant]. [Game, app or interactive artwork; platform]. [Publisher, if different]. [URL, if applicable].
Template for a formal reference to a work you analyse. A personal creator starts Surname, First name; a studio name is written once, in full. Use the credited creator and the version you examined. Identify a scene, level or action in your discussion so the reader can locate your example.
([Artist surname] [Year])
In a figure caption: Figure 1. [Description]. Source: [Creator] [Year], [locator].
[Artist surname], [First name]. [Year]. [Artwork title]. [Medium]. [Collection or institution, if relevant]. [URL, if viewed online].
Template. A screenshot of another person’s work needs a source for that work; credit an image’s photographer or source where applicable. Use a caption and a matching reference. For your own new project screenshot, “Figure 1. [What it shows]. Screenshot by the author, [year]” makes its origin clear. Give any reused material its own credit.
([Creator surname or channel] [Year], at [timestamp])
[Creator or channel]. [Year]. “[Recording or episode title].” [Programme, series or platform]. [Month day, if given]. [Video, podcast audio or sound recording], [duration]. [URL].
Template. A personal creator starts Surname, First name; a channel name is written once, in full. Give a timestamp for a particular moment and specify the recording type. A stand-alone musical work may use an italicised work title. For a reused sound asset, also record the creator’s requested credit and licence.
([Lecturer surname] [Year], slide [number])
[Lecturer surname], [First name]. [Year]. “[Exact lecture or material title].” [Lecture slides or course handout], DIKULT105, University of Bergen, [Month day]. MittUiB. [Course material URL].
Template for retrievable material. Use the real lecturer, title, date and slide number. If you only heard an unrecorded remark, explain it as a personal communication in the text with its date; it is normally omitted from the reference list. Do not invent a slide number or a publication record.
([Creator or organisation] [Year])
[Creator or organisation]. [Year]. [Title]. [Version or release]. [Software, code repository or asset type]. [Repository or publisher]. [DOI or stable URL].
Template for a formal reference. A personal creator starts Surname, First name; an organisation name is written once, in full. Identify the release or commit when it matters. Credit borrowed code, Construct templates, fonts, images and sounds in the project and your discussion. Keep the licence and requested attribution. Cite the original record.
(Surname and Surname Year, page).(FirstSurname et al. Year, page). In Chicago 18, list up to six authors in the reference; if there are more than six, list the first three followed by et al. Preserve the source’s author order.2026a and 2026b in both places, assigned by the alphabetic order of the titles.Chicago 18 does not require a publisher’s city for a book. Article references still need the complete page range or article number where available.
Jørgensen, Kristine. 2012. “Between the Game System and the Fictional World: A Study of Computer Game Interfaces.” Games and Culture 7 (2): 142–63. https://doi.org/10.1177/1555412012440315.
Jørgensen, Kristine. 2013. Gameworld Interfaces. MIT Press.
University of Bergen. n.d. “Creating Digital Culture.” Accessed October 30, 2026. https://www4.uib.no/en/studies/courses/dikult105.
Example layout using the three real sources above, ordered by author and year. Include the sources you actually cite and have read; replace this example with your own list.
Cite ideas, quotations, definitions, data and works you analyse. Credit material you reuse, including code and media. Your observations of your own new prototype can be described directly and illustrated with labelled screenshots. Your work and walkthrough links identify the submitted project; they do not replace research references.
Use the references you actually read. Choose sources that help your analysis; the supplied DIKULT105 brief gives no fixed source count. Citing an AI tool does not override the assessment’s AI restrictions. Read the AI rules →
Check the format: official Chicago author-date examples ↗ · Chicago 18 changes ↗ · University library help for audio and video ↗.
Back to your text → · Find a source in the library → · Check the submission →
GATE 3 · THE LINK
You submit a link, not your Construct file. If the examiners cannot open it, they cannot grade it.
GATE 4 · THE VIDEO
The video helps the examiners see what they might miss. You do not have to speak.
GATE 5 · AI RULES
Do not use AI in creating the interactive work unless you are specifically addressing AI as part of speculative digital futures.
Alinta explains the permitted scope in class. Ask her if you are unsure before using it.
A text that looks mostly AI-written may not pass.
Parts that look AI-written may not be read. Light editing is allowed if you write in English.
FINAL GATE · INSPERA · WEEK 50
Ready. Upload your text to Inspera in week 50. The exact deadline is there.
The official DIKULT105 assessment brief in MittUiB → Files, course updates and Inspera govern the hand-in. Check required file format and how references or captions count towards the word limit there.
WEEKS 48-49 · NO CLASSES
Breathe. Small and working beats big and broken. Cut one feature, keep the idea, test the link, and write about what you learned while making it.