|Application fee||€80.00 one-time|
Postgraduate diploma (or higher)
The entry qualification documents are accepted in the following languages: English / Estonian.
Often you can get a suitable transcript from your school. If this is not the case, you will need official translations along with verified copies of the original.
It is required that you send verified copies of the entry qualification documents directly to the university by postal mail, according to the instructions given by the institution. Important! Never send original documents by post!
Academic Affairs Office
English IELTS (International English Language Testing System) academic: 5.5 FCE (First Certificate in English): A CAE (Certificate in Advanced English): C CPE (Certificate of Proficiency in English) : C TOEFL (Test of English as a Foreign language) paper version: 543, internet based: 72, computer-based: 196 (Tallinn University Code number is: 0449). More information about language proficiency requirements is available at www.tlu.ee/en/proof-english-proficiency
Need to be sent by regular post and to be uploaded to the online application system:
- Plan for the doctoral thesis approved by the supervisor
Need to be uploaded to the online application system.
Students with long-term medical conditions*, may encounter obstacles in higher education. Aiming to provide equal education students have the opportunity to apply for adjustments to compensate for the disadvantage that their condition may result in. Lectures have the right to give reasonable adjustments, but not an obligation.
Specific requirements for Non-EU applicants:
Please also see the country specific requirements: www.tlu.ee/en/country-specific-requirements
Country specific requirements may not apply to all countries, please see if Your country is on the list.
ICT technologies have been recently used more and more often in the performing arts. In interactive theatre the data from the performer is used to create audiovisual context for the performance. Bio-sensors and bodily tracking technologies afford new ways for artists to engage with audiences, and for audiences to become part of the artwork. Collected data is mapped to different mediums using protocols like MIDI, OSC, DMX etc. and are used in stage lightning design, generative video design, audio-design, robotic stenography. However, many open issues remain like temporality of input, autonomy and control, and visibility of input (as discussed in “bodystorming” or movement-based interaction design).
In recently staged DEMULTIPLEXIA neurotheatre performance (opening of Bozar Electronic Arts Festival in Brussels on 14th of September 2017), School of Digital Technologies team for the first time explored the ideas of neurochoreography, where apart from movement expression, dancers now also have an additional expression channel based on their physiological state. We define neurochoreography as “combining emotional and physical movement patterns to use these as a control signal for a Brain-Computer-Interface”. In a broader context, neurochoreography is a cornerstone in spectator and performer relationship. This relationship is a complex combination of audience engagement, intellectual challenges and manipulation with human instincts. The performance ends ideally with the culmination – the spectators’ catharsis – but what happens inside of the spectator and the performer during the show is still a “theatre miracle”. From where the performer-audience data-flow begins? How the data transforms from one state to another, especially, in art context? Ultimately, the new ICT-based neurochoreographic tools can tap into subconscious expression and change the way how we perceive contemporary dance.