The MA is a one year (two years part time) programme underpinned by the necessary technical, theoretical and historical background, allowing you to mediate between the worlds of visual, performing and relational (or interactive) art, technology and computer science. It is identical to the first year of our MFA programme, and taught through the Goldsmiths Digital Studios.
Programming for Artists
This module provides you with the tools you will need to creatively apply programing skills to your own practice. It encourages a practical and theoretical engagement with computer programming.
Visits from guest speakers and student-led discussions will encourage and enhance your critical awareness of the issues surrounding computer art. During the module you will be expected to undertake small-scale programming projects.
Creative Technologies & Art Practices
To better understand the relevance of current art practices employing new technologies, we begin this module by situating such art in an (art) historical context.
We will consider how computational art re-thinks curatorial strategies that are often difficult to classify according to previous museological canons and geographies.
Some (eg Graham & Cook, 2010) argue that work involving interactivity, networks and computation is often about process and behaviour rather than objects. How do these issues impact on what you do and how your work is disseminated to the public?
Workshops in Creative Coding
This module aims to offer you the opportunity to develop skills in applied audiovisual computing through a series of workshops and project sessions. The topics delivered cover creative software development in C/C++, and audio and graphics programming for embedded systems (iPhone and iPad).
A number of optional modules are available on a variety of interdisciplinary topics such as artificial intelligence, computer vision, audio engineering, physical computing, animation and cognition.
We are one of the top interdisciplinary computing departments in the country - working across art, music, journalism, gaming, and many other subject areas. This video features students and staff from our creative undergraduate and postgraduate programmes talking about how the culture of Goldsmiths makes us unique.
You can apply directly to Goldsmiths via the website by clicking the ‘apply now’ button on the main programme page.
You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.
We accept applications from October for students wanting to start the following September.
We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place that is conditional on you achieving a particular qualification.
Late applications will only be considered if there are spaces available.
Admission to many programmes is by interview, unless you live outside the UK. Occasionally, we'll make candidates an offer of a place on the basis of their application and qualifications alone.
You should have (or expect to be awarded) an undergraduate degree of at least upper second class standard in a relevant/related subject and a portfolio of work (supplied either as a DVD or a URL directing to a relevant web page).
You might also be considered for some programmes if you aren’t a graduate or your degree is in an unrelated field, but have relevant experience and can show that you have the ability to work at postgraduate level.
Due to the popularity of this programme, successful applicants will be required to pay a deposit of £500 to secure any offer of a place on the programme. The deposit will be credited against your tuition fees when you enrol. Please note: you'll only be required to provide a deposit if you are offered a place, you don't need to pay a deposit in order to apply.
If your first language isn't English, you need to demonstrate a minimum score of 6.5 in IELTS or equivalent to enroll and study on this programme.
Please check our English language requirements for more information.
Get in touch via our online form
+44 (0)20 7919 7766
+44 (0)20 7919 7702
greyworld has created works in some hugely coveted locations across the world, and they now have permanent installations in fourteen countries. In 2004 they launched The Source, a permanent installation for the London Stock Exchange which was unveiled by Her Majesty Queen Elizabeth II and was watched by millions everyday on television around the world.
In 2010, they unveiled "Paint," an installation allowing phones to paint on the city. and nominated Interactive artwork of the year by the
Andrew is a regular contributor to television, radio and print, and lectures extensively around the world. Most recently he presented a
After lecturing at the Royal College of Art for four years, he became Professor of Public Art at Goldsmiths. University of London. More information at http://greyworld.org
Jane Prophet is a visual artist who uses ‘old’ and ‘new’ media to produce objects and installations. Her works include the award-winning artificial life project, TechnoSphere (1995-2000) a website with over a 100,000 users who created over a million creatures. She explores experiences of contemporary landscape, using digital technologies during research and production process. Site-specific light-based installations Conductor (2000), and Counterbalance (2007) use electro-luminescent cables to draw in space. The animation Decoy (2001) and the The Landscape Room photographs (2001) combine images of real and computer-simulated landscapes, while Model Landscapes (2005) includes miniature trees 3D-printed from mathematical data. Works-in-progress range from collaboration with neuroscientists to map brain activity during Buddhist death meditations, to developing ALife apps that link to 3D printers. Prophet’s commitment to the field of interdisciplinary and collaborative research was recognized in 2005 with a UK National Endowment for Science, Technology and the Arts (NESTA) Dreamtime Fellowship.
Mick Grierson is a researcher working in the field audiovisual interaction technologies. Grierson's involvement is central in some of the most noteworthy creative technology installations of the past two years including Christian Marclay's internationally acclaimed “The Clock”, Heart n Soul's “Dean Rodney Singers” (Part of the Paralympics Unlimited Festival), and Science Museum's “From Oramics to Electronica”. In addition, computer games that feature his research have been commissioned by technology companies including Sony Entertainment. Furthermore his audio & visual software has been downloaded is used by 1000's of high profile artists and professionals including a large number of media artists and application developers. He is currently principal investigator on a £300,000 three-year industry fellowship developing a range of interactive audiovisual software alongside disabled users, for platforms including iPhone, iPad and consoles. This work continues his previous fully-funded
Mick is currently Senior Lecturer at Goldsmiths Digital Studios, Goldsmiths College, and Director of the Daphne Oram Collection.
Brock's work is centred on interaction design and usability in a variety of domains, including Human-Computer Interaction, Product Design, Digital Art, and Learning. As a research fellow at the London Knowledge Lab, he focussed on Learning Design, tools for pedagogy design, technology-enhanced learning (TEL), and interactive artefacts. Brock is the Author of <a href="http://www.amazon.co.uk/Arduino-Projects-For-Dummies-Computers/dp/1118551478/ref=sr_1_2?ie=UTF8&qid=1379670184&sr=8-2&keywords=arduino+for+dummies">Arduino Projects for Dummies"</a>
His core research has been on on using traditional design methods such as design patterns and freehand sketching to support software engineering. His areas of specialist knowledge are Human-Computer Interaction, Information Visualisation, Physical Computing, and Design for Learning.
In 2007, He completed PhD research at UCL Interaction Centre (UCLIC) in the area of Information Visualisation Design methodology. He earned his MS in Human-Computer Interaction at DePaul University in 2001.
Brock was was a Partner at the “Internet of Things” design firm TinkerLondon, where he worked on commercial projects bridging the digital and physical worlds with interactive technology. He also works as a consultant on a range of projects in both User Experience and Information Design/Analysis and has developed software for desktop, web, and mobile platforms.
Chris Kiefer is a computer musician, and a researcher in electronic music and human-computer interaction. His background is in the NIME (New Interfaces for Musical Expression) field; he designs and performs with new musical controllers, specialising in malleable interfaces and multiparametric control.
He is a researcher on the ‘Sound, Image and Brain’ project at Goldsmiths, which focuses on brain-computer interfacing, audiovisual computer gaming, and the design of assistive music technology.
As a composer and performer, Chris is particularly interested in improvisation in electronic music. He currently performs as ‘Luuma’, using custom built hardware and software, with sound synthesis based on machine learning and dynamical systems.
| Blackwell, Tim
| Jefferies, Janis
Programme Associate Lecturers
"Turbulent Flow," a staircase railing for the West Capital Complex, in Santa Fe, New Mexico (sculpture designed for the Mid Ocean Studio).
The Society of Neurons is a digital entity living in the hyperspace of the world web. In collaboration with artist Warren Neidich and computer scientist Robert Zimmer.
|De Souza, Thibaud
"Illuminated sculpture technology" (on-board chip to drive an LED) developed for Mid Ocean Studio.
Concept sketch for PASION, an EC project exploring the communication of implicit cues and emotional states through multimodal interaction.
This module provides students with the tools they need to creatively apply programming skills to their own practice. It encourages a practical and theoretical engagement with computer programming. Visits from guest speakers and student-led discussions encourage and enhance critical awareness of the issues surrounding computer art. Students will be expected to undertake small-scale programming projects.
Often provocative and engaging, this module addresses significant issues relating to contemporary society. Seminar-based, it establishes a framework for reading key texts and a discussion forum that explores the relationship between the arts and technology. Our study will begin with artistic manifestations that relate to earlier technologies, as well as to video art and multimedia installations.
We will examine examples of Internet art, computerbased installations, virtual reality, telematic presence and other interactive strategies: in addition, we will consider the significance of selected
techno-performances, artificial life, robotics, wearable computers and ‘cyborg’ artworks.
Students on the programme will have access to the Computer Arts Society archive in the Print and Drawing rooms and the Victoria and Albert Museum.
Assessment by: an essay of up to 2,500 words, and a 1,500-word evaluation report.
This module aims to offer students at Master’s level the opportunity to develop skills in applied audiovisual computing through a series of workshops and project sessions. The topics delivered in this module cover creative software development in C/C++, audio and graphics programming for embedded systems (iPhone and iPad).
A number of optional modules on a number of interdisciplinary topics such as artificial intelligence, computer vision, audio engineering, physical computing, animation and cognition are available.
To find out more about this degree, including details about the ways you'll be assessed and information about our marking criteria, you can download the programme specification.
Graduated in 2010
"I now teach at Goldsmiths, so, one way or another the place is a bit of a home from home. I’m always impressed by the breadth and brightness of people in the college, both students and staff. People are really engaged with their work, and a lot of that work is innovative and challenging. I’ve felt free to be an interdisciplinary artist in a way that I think would be very difficult in a less broad-ranging and open-minded institution. There’s a very conducive atmosphere here, people are excited by their work and have high ambitions for it. I’ve always been encouraged by my tutors and made to feel that my work is of value."
Content last modified: 29 Aug 2014
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