Coordinates: Translating Form (Materialities continuation course)

The Murchison meteorite fell in Australia in 1969. In January 2020, PNAS published a laboratory-based approach of determining the interstellar lifetimes of individual large presolar silicon carbide (SiC) stardust grains.


The intuitive, immediate idea we have of what spatiality is depends on a certain notion of immateriality: the gaping void through which objects and bodies appear, but which appears in our imagination as neither object nor body. In that sense, it is like virtual reality. 

The idea of the physical room as a flowing background against which various disruptions take the form of figures (a river, a hill, a distinct tree…) may well have been the first cultural distinction made between figure and background in relation to the relationship between subject and object. How something is mapped becomes crucial to how we represent our relationship to the world, through a series of related coordinates with relative positions, which are scalable and therefore separate from our immediate perception of them. 

All technology related to 3D-scanning and -printing, motion capture-related effects, and VR-generating software – as well as the creation of sound landscapes and projection-mapping – rely on this basic principle concerning how points are interconnected in an abstract space and can be scaled, in everything from the graphic representation of an idea to the construction of an immersive environment. 

This course is intended primarily for students who have passed the Materialities course, or those who can otherwise demonstrate an equivalent knowledge with regards to the course and its scope. This includes basic programming of photogrammetry, 3D scanning and printing, multichannel audio, Unity, Isadora projection-mapping and an understanding of the principles of how mechatronics, AR, and VR can be used. 

Practical information

Materialities Continuation Course – Coordinates: Translating Form, 60 credits, is a one-year extension of the current academic year’s postgraduate course. The course consists of joint course meetings, seminars, an individual course-plan, and a study trip, concluding with a final joint exhibition. The course, which is predominantly practice-based, deepens and explores the relationship between materiality and immateriality.

As a student, you will receive support to artistically explore and deepen previous knowledge of how digital and analogue technologies shape dimensionality. By allowing artistic practice to permeate forms of imaginary rooms and techniques alike, the conditions for a playful experiment with perception are created. Previously covered practical work, including techniques such as photogrammetry, 3D, virtual reality, moving image, soundscape, text-work and projection-mapping, are explored further, in order to contribute to the development of the participant’s own artistic work.

By replicating the investigative work of a research environment, theory, exchange of experiences, and learning are each linked to the artistic practice. Experience and observations are continuously shared within the group. Integrated with the practical aspects of the course (as with previous years of study) meetings will take place with other experts in the field of philosophy, science, and various other areas of visualisation, in order to develop an understanding of other media, techniques, and technical languages. The course focuses on the participant’s own artistic process as well as the group’s collective pursuit of knowledge and experience. 

Scheduled activities take place about once a month. The majority of group-lead teaching in the form of seminars, lectures, and workshops takes place in blocks 3-4 times per term and will be scheduled at the start of the course. In between, supervised individual work and independent study will take place. 

Practical and investigative studies are completed both individually and in groups, interspersed with seminars and lectures. Between the teaching blocks and the other scheduled activities at the Royal Institute of Art, participants will conduct independent studies outside the school, which correspond to the goals of the individual syllabus. Course participants’ individual needs and work are matched with the relevant workshop teachers and supervisors, and provided for, within reason, by the course’s available resources. A joint study-trip for approximately one week is planned for the autumn term. The school will provide housing and other necessities. Over the spring term, a group-exhibition, open to the public, will be planned and installed. The course ends with a public show in the form of a presentation of all individual projects. 

Read more: Course Syllabus


60 hp from course Materialities – Coordinates: Translating form or 60 hp from a previous course in Materialities, or comparable qualifications.

Course applicants submit a letter of motivation, CV, work samples of previous artistic practice, and other relevant work samples and/or documentation demonstrating the relevant abilities and skills required, as outlined above. A total of five samples must be included.

If you do not have a formal education in accordance with the stated course requirements, you must show that you meet the requirements through a validation process of prior learning. In order to claim competence through prior learning, objectives as set out in the Higher Education Ordinance for an artistic master’s degree must be fulfilled. Read more here. The applicant is responsible for submitting relevant documents which can be analysed in relation to the stated course requirements.

Information about entry requirements for a Master’s degree.

Application closes: Tuesday 5 May 2020, 23:59.

The Royal Institute of Art is public institution and it is free for participants that reside in Europe. Non-European residents can apply for a scholarship that cover the annual fee required for non-European residents.


Åsa Andersson Broms, or