Caradt

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Centre of Applied
Research for Art, Design
and Technology

Innovation is often deemed a sign of progress and is the approach with which we tend to tackle the challenges of our time. However, innovation is not necessarily a good thingCaradt deploys art, design and technology to explore possibilities in seeking a sustainable future. If an innovative solution does not make a sustainable contribution, we will not implement it. Attention to ethical practices is paramountCaradt therefore invests, perhaps more heavily than other expertise centres, in research into these ethical issues and, through each of its research groups, aims to participate in and contribute to current discourse on major societal problems and the collective quest for new models for living. The starting point for this is our collective mission statement, shared by all research groups: to critically challenge ‘the natural order’ of things. 

There are three research groups within Caradt;  

This expertise centre 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 work within the confines of a particular discipline or knowledge domain, Caradt’s research groups take a meta-position from where they contribute to the continued reinterpretation and reformulation of these knowledge domains.

Building from a strong intellectual foundation, Caradt’s research draws, in terms of methodology and conceptual apparatus, from various academic research fields, such as philosophy, sociology, cultural studies, design research, art history, art theory, cultural history, and technological research. In doing so, our aim is for a critically reflective and rigorous 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 lectorates and, as a result of the strong embedding of this research in our education programmes, also in Avans’s art and design education.

Subsequently, the research and it 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.

Expertise Centres of Avans University of Applied Sciences

Caradt is one of the six expertise centres of Avans University of Applied Sciences. Each expertise centre has several research groups around a specific theme in which lecturers, tutor-researchers and students conduct practice-led research in collaboration and consultation with companies, governments, social organisations, and education. The results of the research are implemented in Avans education. The expertise centres also collaborate with one another. For example, the Centre of Expertise Biobased Economy (CoE BBE) is a frequent partner in Caradt’s external projects.

‘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

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

Elvin Karana arrow

‘Almost everything I design is based on giving form to the invisible.’

Tara Karpinski 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 better 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

‘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

‘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

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

Eva Fotiadi arrow

‘I’m interested in how we can implement situated learning within design education.’

Sarah Lugthart arrow

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

Kimberley Rochat arrow

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

Martine Stig arrow

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

Ollie Palmer arrow

‘The ultimate goal is to enable people to improve their lives, making them more enjoyable and comfortable.’

Simone van den Broek arrow

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

Misha Croes arrow

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

Wilma Diepens arrow

‘I’m looking for methods that take people as a starting point.’

Michel Witter arrow

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

Gabri Heinrichs 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

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

Wasabii Ng 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

‘Nowadays a brand is no longer an instrument of marketing, but it is a symbol for inspiring, meaningfull organisations.’

Susan Klijsen – van Elteren arrow

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

Danielle Roberts arrow

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

Eke Rebergen arrow

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

Clarice Risseeuw arrow

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Material Incubator

Material Incubator is a creative research lab that explores the potentials of materials from living organisms for an alternative notion of the everyday.

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Making and Breaking

This online journal delves into questions around the role of cultural production as a contributing force for emancipatory social transformation.

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Still Alive

The Still Alive event served as a celebration of recent developments regarding the establishment of biodesign research and education in Art.

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