IB: 33 points overall with Three HL subjects at 655
3 years full-time
This degree develops your arts practice through the expressive world of creative computation. Over three years you will develop your artistic work and develop a series of projects for public exhibition which will explore the technological and cultural ramifications of computation.
What is computational art?
Computation consists of all the changes brought about by digital technology. Art is an open set of ways of acting inventively in culture. Mixing the two together in a systematic way gives us computational art.
This is a very open field, and one that is set to expand enormously in the coming years. It is where the most exciting developments in technology and in culture can already be found. This degree will place you in the middle of this fast-evolving context.
What will I learn?
Computational artworks don’t necessarily involve computers and screens, however, and we encourage students to produce works across a diverse range of media. Supported by studio technicians in state-of-the-art facilities, our students are producing works using tools such as 3D printers, laser cutters, robotics, wearable technologies, paint, sculpture and textiles.
You will also study contextual modules on the history of art, computational art, and the socio-political effects of technology. Modules in the Art Department provide students with the historical foundations, frameworks, critical skills and confidence to express their ideas effectively.
You will have the opportunity to learn the cultural histories of technology, to reflect on computation in terms of its wider cultural effects, and to understand the way in which art provides rigorous ways of thinking.
Through our masterclass series, we regularly invite world-class artists and curators to explain their work and engage in critical dialogue with the students. This allows you to develop a wider understanding of the contemporary art scene and how your work sits within the professional art world.
Contact the department
If you have specific questions about the degree, contact Helen Pritchard
What you'll study
The programme is made up of three components:
- Core technical computing, with a particular focus on audio-visual technology. This will be taught in the Department of Computing
- Critical studies of contemporary art. This will be taught in the Department of Art
- Computational arts practice. This will combine technical and creative skills and will be taught by practising computational artists in the Department of Computing
Year 1 (credit level 4)
|Introduction to Programming part 1||15 credits|
|Numerical Maths||15 credits|
|Designing Digital Interactions||15 credits|
|Introduction to Computational Arts Practice||15 credits|
|Critical Studies in Computational Arts I||30 credits|
|Generative Drawing||15 credits|
Year 2 (credit level 5)
|Principles and Applications of Programming||15 credits|
|Perception and Multimedia Computing||30 credits|
|Computational Arts Practice||45 credits|
|Critical Studies in Computational Arts II||30 credits|
Year 3 (credit level 6)
Your final year consists of:
- two optional modules from a range of options, and a critical studies dissertation in term 1
- a major project in term 2
This programme is taught through a mixture of lectures, tutorials, workshops and laboratory sessions. You’ll also be expected to undertake a significant amount of independent study. This includes carrying out required and additional reading, preparing topics for discussion, and producing essays or project work.
The following information gives an indication of the typical proportions of learning and teaching for each year of this programme*:
- Year 1 - 21% scheduled learning, 79% independent learning
- Year 2 - 16% scheduled learning, 84% independent learning
- Year 3 - 9% scheduled learning, 91% independent learning
How you’ll be assessed
You’ll be assessed by a variety of methods, depending on your module choices. These include coursework, examinations, group work and projects.
The following information gives an indication of how you can typically expect to be assessed on each year of this programme*:
- Year 1 - 90% coursework, 10% written exam
- Year 2 - 76% coursework, 24% written exam
- Year 3 - 91% coursework, 9% practical
*Please note that these are averages are based on enrolments for the traditional pathway in 2017/18. Each student’s time in teaching, learning and assessment activities will differ based on individual module choices. Find out more about how this information is calculated.
Credits and levels of learning
An undergraduate honours degree is made up of 360 credits – 120 at Level 4, 120 at Level 5 and 120 at Level 6. If you are a full-time student, you will usually take Level 4 modules in the first year, Level 5 in the second, and Level 6 modules in your final year. A standard module is worth 30 credits. Some programmes also contain 15-credit half modules or can be made up of higher-value parts, such as a dissertation or a Major Project.
Please note that due to staff research commitments not all of these modules may be available every year.
We accept the following qualifications:
International Baccalaureate: 33 points overall with Three HL subjects at 655
Access: Pass with 45 Level 3 credits including 30 Distinctions and a number of merits/passes in subject-specific modules
Scottish qualifications: BBBBC (Higher) or BBC (Advanced Higher)
European Baccalaureate: 75%
Irish Leaving Certificate: H2 H2 H2 H2
We also accept a wide range of international qualifications. Find out more about the qualifications we accept from around the world.
If English isn’t your first language, you will need an IELTS score (or equivalent English language qualification) of 6.0 no element lower than 5.5 to study this programme. If you need assistance with your English language, we offer a range of courses that can help prepare you for degree-level study.
We request up to 12 items of work for portfolio, these can be images or video of sculpture, painting, drawings, digital or any other work that gives us an understanding of your practice. We will request to see a portfolio when invited for an in person interview.
You should ideally have Grade B/Grade 6 or above in GCSE Maths. If your portfolio is particularly strong we may accept a slightly lower GCSE Maths grade.
Fees & funding
Find out about our undergraduate tuition fees and funding opportunities.
Access and support in all of the art practice areas is included in the cost of your tuition fees. However, you are responsible for the providing the materials you choose to work with. A range of materials are available to buy in the practice areas, or you may choose to purchase materials from elsewhere.
Mick Grierson is a founding member of the Goldsmiths Digital Studios and the Embodied Audiovisual Interaction Group (EAVI). He runs Goldsmiths Digital, the consulting arm of the Computing department’s research activities, specialising in developing core technologies for the Creative Industries. He is also Director of the Daphne Oram Collection.
Rebecca Fiebrink is a faculty member at Goldsmiths, and a member of the Embodied AudioVisual Interaction (EAVI) group. She also supervises research in the Soundlab at Princeton University. Her research work encompasses a variety of projects developing new technologies to enable new forms of human expression and creativity. Much of this combines techniques from human-computer interaction, machine learning and signal processing to allow people to apply machine learning more effectively to new problems such as the design of new digital musical instruments and gestural interfaces for gaming and health.
Professor of Media Computing at Goldsmiths, Atau Tanaka bridges the fields of media art, experimental music, and research. Active in the Tokyo noise music and media arts scenes, he moved to Paris with a residency at the Cité des Arts to work at IRCAM, was Artistic Ambassador for Apple France, and was researcher at Sony Computer Science Laboratory Paris. Atau creates sensor-based musical instruments for performance and exhibition, and is known for his work with biosignal interfaces. His recent work seeks to harness collective musical creativity in mobile environments, seeking out the continued place of the artist in democratised digital forms.
Simon Katan is a digital artist with a background in music and a strong preoccupation with games and play. His work incorporates hidden mechanisms, emergent behaviour, paradox, self-reference, inconsistency, abstract humour, absurdity and wonder. He completed a PhD in audio-visual co-dependency in music and won a Prix Ars Electronica Honorary Mention for his work ‘Cube with Magic Ribbons’. Simon has exhibited and performed in the UK and Europe at festivals and conferences including Imatronic (Germany), Beam Festival, Sonica, ICMC, Hide and Seek Fest, IG Fest, Spitalfields Festival, Sonorities, Green Man Festival, Secret Garden Party, and Borealis. Recent residencies include Pixel Palace at Tyneside Cinema and ZKM Karlsruhe. He is course leader of Goldsmiths’ BSc Creative Computing, and a researcher at Goldsmiths’ Embodied Audio Visual Interactions group.
Theodoros Papatheodorou is the course leader of the Digital Arts Computing course as well as the MA/MFA in Computational Arts. He completed his PhD in face recognition at Imperial College after which he returned to Greece where he started the premiere computational media course at the Athens School of Fine Arts. He is the founder of random quark www.randomquark.com a creative technology company building state of the art engaging experiences in large-format projections, interactive installations and the web. His work has been exhibited internationally and his interactive projections have been featured in live shows in some of the biggest theaters in Greece.
Marco Gillies is Director of Studies at Goldsmiths Computing. He is an expert on computer graphics, animation and new forms of interaction.
Phoenix Perry is an experienced developer, accidental public figure and general rebel rabble rouser. She teaches physical computing and games at Goldsmiths. Her research attempts to extend the human senses through augmenting the perception of emotion. You can find her in hacklabs burning herself on soldering irons or coffee shops caffeinating while punching code in chemically induced fits of brilliance before napping.
William Latham is a designer of computer games, a computer artist and entrepreneur. Expertise in evolutionary art, graphics, generative art, genetics, and the entertainment and video games industries.
Senior lecturer and senior tutor at Goldsmiths Computing, Kate Devlin and her research focuses on how we can apply knowledge of visual perception and cognition to areas such as Human-Computer Interaction and Artificial Intelligence to assess how people interact with, and react to, technology. She has a background in both archaeology, computer science and applied perception, her work focuses on digital cultural heritage. She is an active campaigner for mental health awareness and also for raising the profile of women in computing.
Matthew Fuller is an author and professor of Digital Media at Goldsmiths’ Centre for Cultural Studies. He is known for his writings in media theory, software studies, critical theory and cultural studies, and contemporary fiction.
Luciana Parisi is Reader in Cultural Theory, chair of the PhD programme at the Centre for Cultural Studies, and co-director of Goldsmiths’ Digital Culture Unit. She is interested in cybernetics, information theory and computation, complexity and evolutionary theories. Her writing addresses the technocapitalist investment in artificial intelligence, biotechnology, nanotechnology. She has written extensively within the field of Media Philosophy and Computational Design. In 2004, she published 'Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire' (Continuum Press). In 2013, she published 'Contagious Architecture. Computation, Aesthetics and Space' (MIT Press).
Josephine Berry is a lecturer at Goldmiths’ Centre for Cultural Studies. She has worked since 1995 as an editor for Mute, a magazine that thinks through cultural and technological questions in the midst post-internet globalisation. Her PhD thesis was one of the first to address net art and considered the ways in which computer networks participate in art's redefinition after Duchamp and the demise of the artwork's aura, originality and sitting in gallery space.
Graham Harwood is an artist and lecturer at Goldmiths’ Centre for Cultural Studies. Graham is known for both his individual work Aluminium, Rehearsal-of-Memory, Lungs and his collaborative work with Mongrel, a celebrated artists group specialising in digital media.
Edgar Schmitz is senior lecturer in Fine Art (Critical Studies) at Goldsmiths. He is an artist and co-director of A Conversation in Many Parts, the international discursive platform for contemporary art and concepts. Recent exhibitions include British Art Show 7, Hayward Gallery, ICA London. His book on ambient attitudes is under negotiation with Sternberg Press, Berlin/ NY.
Tim Blackwell is a computer scientist and musician with an interest in swarms and advanced algorirthms.
Verina Gfader is a lecturer in Fine Art (Critical Studies) at Goldsmiths. She is co-editor/co-author of Adventure-Landing: A Compendium of Animation, A Brief History of Curating New Media Art, A Brief History of Working with New Media Art, and the open source book Collaborative Futures.
This degree is designed to prepare you for a career as a technology-led creative in the media industries. The programme will develop you not just as a technical expert, but also as a creative thinker, allowing you to learn and explore through a combination of technology and imagination. Technical skills include:
- a strong understanding of how to design, develop and apply software in all areas of commerce and industry
- an awareness of the fundamentals of computing (hardware, software, architecture and operating systems)
- an understanding of programming languages
- a clear sense of the issues involved in building and maintaining reliable software for the sophisticated demands of today's market and for the software industry as it develops throughout the 21st century
- an understanding of the social context and visual design aspects of software development together with the technical skills of programming
Our degrees have a large proportion of practical work in which you must deliver software projects, both individually and in groups. This mirrors as closely as possible a real-world work environment. These projects develop your technical skills but also require you to tackle the broader aspects of the software development process, such as understanding users' needs and requirements and the design of interfaces on a number of platforms – from web pages to touchscreen phones.
You'll also gain skills in teamwork, creative thinking, report writing, time management and organisation, presenting reasoned arguments to a range of audiences, and retrieval of information – all of which are sought by graduate employers.
The explosive and ever-growing use of technology in business and commerce means that there's a whole range of different career possibilities for computing graduates. In terms of job opportunities and salaries, the IT sector is well ahead of most other industrial and commercial sectors.
Where do Goldsmiths computing graduates work?
Some of the recent graduate level careers for computing graduates have included:
- Film/TV special effects and post-production
- Visual interface designer
- Computer graphics designer
- Video game developer
- Music production
- Multimedia systems analyst
- Media and entertainment industries
- Mobile App developer
- Web developer
- Computer music/sound engineer
- Interface designer
- Database manager
- IT consultancies
- New media and advertising companies
- Computer games developers
- Software development firms
- Financial institutions
- Engineering companies
- Retail and service industries
- Tourism and leisure industries
- Entertainment industries