Caradt

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Centre of Applied
Research for Art, Design
and Technology

CARADT operates at the intersection of art, design and technology. It has substantive practices of engagement and exchange across a range of social, technological and scientific contexts. Rather than working within the confines of a particular discipline or knowledge domain, CARADT’s research groups take a meta-position, contributing to the continued reinterpretation and reformulation of these knowledge domains. 

Building on a strong intellectual foundation, CARADT’s research draws, in terms of methodology and conceptual apparatus, from various academic fields, including philosophy, sociology, cultural studies, design research, art history, art theory, cultural history, and technological research. In doing so, our aim is for a creative and critical approach. In this way, concepts and proposals from within the academic sphere gain new relevance through their varied application and reformulations in the practice-led research of the research groups, as well as Avans’ art and design education.

There are three research groups within CARADT;  

Education and Knowledge Transfer

CARADT is firmly embedded within the education offered at Avans. Our practice-based research feeds directly into the curricula of design and art education, including St. Joost School of Art & Design and other educational programmes. Students participate in ongoing research, develop critical perspectives, and apply their creative skills in socially relevant contexts. Through this, they engage directly with creativity and critical imagination as competencies that enable them to question dominant narratives and contribute to transformative practices. 

CARADT directly integrates research into education by developing new programs and by having tutor-researchers actively teaching within existing curricula. In collaboration with Avans academies, tutor-researcher contribute to educational innovation and bring their practice-based insights into the classroom and vice versa. This results in:

  • Innovative curricula (e.g. Master ‘Health by Design’)
  • Learning labs and workshops (e.g. Material Incubator Lab)
  • Interdisciplinary minors (e.g. Minor Ecology Futures)

Subsequently, the research and its outcomes are put into practice through concrete developments within (professional) art and design practices. Applied research is a strong aspect of higher vocational education, which enables dynamic and responsive interaction with empirical developments across relevant (professional) fields – often more readily than university institutions are able.

Quality and Impact

CARADT follows a structured quality system based on a formal Quality Planarrow that outlines standards for research, including peer review, methodological rigour, and demonstrable impact. 

We employ a combination of quantitative and qualitative indicators to monitor impact, such as stakeholder engagement, knowledge dissemination, and social value creation. CARADT actively contributes to national and international dialogue about the position of artistic and design research, for example through participation in the ClickNL KEM-agendaarrow.

In November 2024, CARADT successfully completed the BKO auditarrow (Beoordelingskader Onderzoek), confirming the centre’s compliance with national standards for applied research in universities of applied sciences. The results of this audit inform the continuous improvement of our quality assurance practices. 

In addition, CARADT is supported by an Advisory Board, which provides independent guidance on the centre’s strategic direction and research quality. The board members are Angelique Spaninks (director/curator at MU Hybrid Art House), Anne Nigten (director of CASE, Centre for Arts & Sciences Education at the Amsterdam University of the Arts), Joke Hermes (Professor Inclusion and the Creative Industries at knowledge center Applied Research x Creativity, InHolland), Iris van der Tuin (at Utrecht University), and Henri Swinkels (Researcher). Together, they contribute to the critical reflection on CARADT’s societal relevance, partnerships and future development. 

Applied Research at Avans University of Applied Sciences

As a knowledge-based institution, Avans University of Applied Sciences develops new knowledge for education and society as a whole. As part of this, lecturers, lecturing researchers and students conduct practice-based research for businesses, government agencies and civil society organisations. The results of this research are implemented into the curriculum of Avans. Knowledge valorisation is a key item on the agenda: Avans takes care to ensure that our newly acquired knowledge is of public value.

At Avans, lecturers, researchers, teachers, and students work in more than 30 research groups. Avans organizes this in four Centres of Expertise (CoE’s) that focus on four key research areas and two expertise centres (EC’s) with an overarching theme. CARADT is one of the expertise centres of Avans University of Applied Sciences. Other Centres of Applied Research at Avans are:

CARADT also partners with universities, cultural institutions, municipalities and industry, both nationally and internationally. 

Research Group: Regenerative Art and Design

The Regenerative Art and Design (RAD) research group seeks to form a new generation of regenerative designers and artists who will create transformative pathways for reimagining design futures grounded in care and ecological integrity.

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‘Without collaboration, impact is impossible. So… let's connect, and make a sustainable impact on society.’

Wouter Meys arrow

‘How can art and design cultivate critical expressions rooted in ethics of care and relationality to influence ecological, social, and economic structures?’

Delfina Fantini van Ditmar arrow

‘People are the product of their relationships with their environment. It’s important to understand how technological developments influence these relationships.’

Michel van Dartel arrow

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma arrow

‘How can we find new materials and products that rely on interdependence between communities and ecological systems rather than extraction?’

Hugo F. Garcia arrow

‘‘How will our graduates make a living without selling their soul?’’

Sepp Eckenhaussen arrow

‘In social and cultural research there is increasing importance in research methodologies and devices that cut across fields and disciplines, becoming transdisciplinary.’

Jess Henderson arrow

‘My practice is situated in between different actors, in this shape-shifting middle many things can happen.’

Tara Karpinski arrow

‘Imagination is the key to a strong inclusive society. Artistic work and situated design can contribute to a better understanding of the other.’

Jenny van den Broeke arrow

‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’

Michel Witter arrow

‘As a result of my current research, I ask the students the questions “what is your work” and “what works for you.’

Rob Leijdekkers arrow

‘It is through the “not-knowing” that a stimulating and caring environment can be created to confidently share vulnerability.’

Risk Hazekamp arrow

‘‘Understanding how creativity and imagination emerge from interactions with our environment will lead to improved innovation processes, tools and technologies.’’

Alwin de Rooij arrow

‘Through an interplay of design and research, the apt questions and necessary tools can be discovered and applied to each research project.’

Antal Ruhl arrow

‘How can we disrupt the notion of being human while staying true to being humane?’

Wander Eikelboom arrow

‘Humans are atmospheric beings, particles, dust, in intimate cycles of exchange, actors with an incredible force.’

Annemarie Piscaer arrow

‘How do we live together, how do we work together? How do we give shape and form to ‘being together’ in the broadest sense?’

bas van den hurk arrow

‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’

Eva Fotiadi arrow

‘Disrupting our contemporary society can be a serious design goal.’

Eke Rebergen arrow

‘A bio lab is a place of working with living organisms, brought out of their habitat so we can learn to think outside of the Petri dish. Let’s take care of these teachers!’

Michaela Davidová arrow

‘Interested in human behaviour as the basics underlying the way we design and innovate our society and economy.’

Marianne van Bommel arrow

‘The tacit and embodied knowledge of practitioners about the complex reality of design can provide an important resource to innovate how we learn and teach’

Sarah Lugthart arrow

‘Within my practice I create spaces for introspection while exploring ethical dilemmas. ’

Renée van Oploo arrow

‘How can the notion of the ‘script’ be used in a situated design practice? ’

Ollie Palmer arrow

‘The ultimate goal is to provide people with the information, skills and tools that enable them to improve the quality of their daily lives.’

Simone van den Broek arrow

‘Quality requires us to keep asking questions about what seems self-evident and to continuously align on the meaning of quality.’

Tamara Sijlbing arrow

‘Art and design research is essential to address the complex world questions we face today, as they think and do with the world and not on it.’

Carolina Valente Pinto arrow

‘Creating inclusive and accessible stories needs collaborative action. As a cultural producer and researcher, I explore these interactions.’

Rikst Westra arrow

‘My background in visual art makes me very involved in the content of the expertise centre.’

Wilma Diepens arrow

‘I support CARADT's mission to redefine the intersection of art, design, and technology by enhancing the synergy between administration and innovative research. ’

Juliëtte Cuijpers arrow

‘I am committed to ensure the highest quality in research, helping art and design play a transformative role in society through rigorous and integrative approaches.’

Anouk van Honk arrow

‘I am dedicated to give a voice to stories and perspectives that have not yet been heard.’

Liza Swaving arrow

‘To foster a culture of knowledge sharing and collaborative innovation at CARADT, I am dedicated to communicate findings and innovations effectively. ’

Eline Timmermans arrow

‘Exploring and integrating novel perspectives to our everyday through the eyes of fungi.’

Wasabii Ng arrow

‘For me, the iterative design-research process is an exciting journey towards designs that can transform human consciousness.’

Danielle Roberts arrow

‘The dynamic relationship between humans and living artefacts will continue to evolve reciprocally with mutual care.’

Elvin Karana arrow

‘Well beyond their common characterisation as problem-solvers, designers have a role to play in materialising public engagement with collective concern’

Laurens Kolks arrow

‘Performance is about engaging with versions of the self, stretching the gaze to see what others see when they look at you.’

Philippine Hoegen arrow

‘Consumers are creatures of habit. If we want them to break routine and live sustainably, we have to do more than just offer sustainable alternatives. ’

Estelle Nieuwenkamp arrow

‘Bacteria, Fungi, Humans, all part of the same experiment.’

Ward Groutars arrow

‘The essence of the situated, cinematic experience of dance lies in the mental interaction where the public becomes co-author.’

Noud Heerkens arrow

‘To be able to research something thoroughly, you have to deeply engage, not just look at it from the outside.’

Bart Stuart arrow

‘The pleasure of working in the [MI] lab is that microbiological research is carried out from two different approaches.’

John van der Werf arrow

‘Doing research connects my practice with teaching; it strengthens and brings them closer together.’

Martine Stig arrow

‘The most difficult and empowering thing as an artist is to stay honest about my work and me. And I'd like to help my students to get there too.’

Aiwen Yin arrow

‘I believe a collaborative and efficient lab can address both educational and research demands.’

Serena Buscone arrow

‘Getting comfortable with ambiguity enables designers to absorb feedback and use it to make better design choices.’

Gabri Heinrichs arrow

‘I look at the ways in which citizens can play an active role in shaping their cities, and how new media and technology can contribute to this.’

Barbara Asselbergs arrow

‘I am eager to explore how unique qualities of ‘living materials’ can transform the way we think, feel and act.’

Hazal Ertürkan arrow

‘Nature is a perfect example of an iterative design process. It is inspiring and full of exciting solutions.’

Clarice Risseeuw arrow

‘Power, control and chance play an important role in every creative process. I explore this complicated correlation.’

Michiel van Opstal arrow

‘Clear communication enforces the impact and value of Caradt’s research.’

Kris Vleugels arrow

‘My particular interest lies in sharing interesting and thought-provoking stories. Communication is a big part of that.’

Kimberley Rochat arrow

‘Caradt’s practice-led research aims to empower artists and designers to make a meaningful contribution to society through their projects.’

Rens Holslag arrow

‘In my point of view, the arts, teaching, research, creation, are all connected. It is all a matter of communication.’

Joana Borges arrow

‘Attention during interaction is personal, not a given fact.’

Misha Croes arrow

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