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Michel van Dartel

Research Group: Situated Art and Design

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

Michel van Dartel is Research Professor Situated Art and Design at the Avans Centre of Applied Research for Art, Design and Technology (Caradt) and Director of V2_Lab for the Unstable Media.

He holds an MSc in cognitive psychology and a PhD in artificial intelligence. Alongside his work at Avans and V2_, Michel is also an independent advisor to various funds, academies, platforms and governmental bodies. As such, he sat on advice committees for the Netherlands Organisation for Scientific Research (NWO), the Taskforce for Applied Research (SIA), the Ministry of Infrastructure and Water Management, Amsterdam Fund for the Arts (AFK), Creative Industries Fund NL, Mondriaan Fund, Dutch Culture, Van Beek – Donner Foundation, Willem de Kooning Academy, Piet Zwart Institute, ShanghaiTech University, Festival Ars Electronica, Future Everything, the Nam June Paik Art Center, and the Red Cross/Red Crescent Climate Centre. Michel is also a manuscript reviewer for conferences and journals such as the Inter-Society for Electronic Arts (ISEA), Balance-Unbalance, and Leonardo. 

Michel also acts as an independent curator, and is the editor and author of numerous scientific and artistic articles and books. His books include Aesthetics in the Wild (2016), The Vibrancy Effect (2012, edited with Chris Salter and Harry Smoak), New Aesthetic, New Anxieties (2012, with David Berry, Michael Dieter, Michelle Kasprzak, Nat Muller, Rachel O’Reilly and José Luis de Vicente) and the artist publications Machines Will Make Better Choices Than Humans (2016, with Douglas Coupland) and The Iron Ring (2014, with Cecilia Jonsson). Michel’s recent thematic group exhibitions include Data in the 21st Century (V2_, 2016), The Value of Nothing (TENT, 2014, co-curated with Jesse van Oosten), The Progress Trap (The New Institute, 2014, co-curated with Boris Debackere and Michelle Kasprzak) and The Power of Things (Dutch Electronic Art Festival, 2012, co-curated with Alex Adriaansens and Michelle Kasprzak).  


Lugthart, S. & van Dartel, M. (submitted) Designing Situated Learning Environments for Media Design Education: A case study.

Nouwens, M., Heerkens, N. & van Dartel, M. (2020), An Invitation to DANCE: Making Sense of Viewer Interaction in Installation Art.arrow (ISEA2020)

Asselbergs, B. & van Dartel, M. (2020) Situated Design Methods in Urban Planning: An educational research case study. AMPS conference on Experiential Design – Rethinking relations between people, objects and environments).

Croes M. & van Dartel, M. (2020) The Interaction Attention Continuum: An Education Application Studyarrow. Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems – CHI ’20.

Lugthart, S. & van Dartel, M. (2019). Teaching Situated Actions: A case study. In: M. Carmo (ed.) International Conference on Education and New Developments (END 2019)arrow Volume I. InScience Press: Portugal, pp. 202-206.

Van Dartel, M., & de Rooij, A. (2019). The Innovation Potential of Sensory Augmentation for Public Space. In: Park, J., Nam, J. & Park, J.W. Proceedings of the 25th International Symposium on Electronic Art.arrow Gwangju, Korea, Republic of. Pp.79-84.

Research Group: Situated Art and Design

Living in cities developed around data and acting within the inscrutable structure of our techno-society demands art and design that can help understand how we relate to these rapidly changing surroundings and to reflect on that relationship. The research group Situated Art and Design responds to this exigency by fostering a situated turn in art and design through a diverse portfolio of interdisciplinary research projects in partnership with academic and cultural partners, as well as with government and industry.

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

Tara Karpinski 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

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

Noud Heerkens arrow

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

Sarah Lugthart arrow

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

Ollie Palmer arrow

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

Misha Croes 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

‘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

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

Danielle Roberts arrow

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

Michiel van Opstal arrow

All people arrow

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