This research explores how sensory translation technologies can enhance accessibility in art exhibitions without reinforcing divisions between “normal” and “special” audiences. Emerging Sensory Augmentation technologies—capable of translating information from one sensory modality into another—offer inclusive alternatives that engage all visitors, regardless of sensory ability.
Between 2019-2022 Eva Fotiadi was a co-founder and member of the Amsterdam-based art initiative OtherAbilities, together with artist Adi Hollander. In 2019, they co-curated the exhibition and symposium for the OtherAbilities Festival in Amsterdam. The show featured interdisciplinary collaborations among artists, designers, musicians, and scientists exploring human diverse sensory abilities in innovative ways. In 2020-2021 they organized the international artistic research project What Do I Hear?, a partnership between The OtherAbilities (Netherlands) and VibraFusionLab (Canada). The project brought together artists, engineers, and designers to develop prototypes for haptic elements of interior architecture that would translate sound into vibro-tactile experiences, integrated directly in spaces where works of art, film, sound or music are presented.
https://bradwolffprojects.nl/en/exhibition/what-do-i-hear/
Completed research project, 2021-2022
‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’
Eva Fotiadi is a researcher within the Situated Art, Design and Technology research group and a theory tutor at the St Joost School of Art and Design, where she is also a member of the Diversity Dialogues platform
The research group Situated Art, Design and Technology (SADT) focuses on the societal embedding and embodiment of knowledge production that art and design research enables. The conducted research contributes to a deeper understanding of technological developments and their impact on people, society, and the environment, and to the development of situated approaches in the creative sector and beyond. In doing so, it advances a wider acknowledgement of artistic and design research as a mode of knowledge production, one that is grounded in creativity and critical imagination as a way of generating insight into, and intervening in, societal transitions driven by technology.
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