‘Humans are atmospheric beings, particles, dust, in intimate cycles of exchange, actors with an incredible force.’
‘We need to become attuned actors with a deeper understanding of all the other particles.’
Annemarie Piscaer is a researcher in the Situated Art, Design and Technology research group and tutor on the New Design and Attitudes study programme at St. Joost School of Art & Design.
Annemarie completed a bachelor’s degree at the Design Academy Eindhoven and a master’s in Education in Arts at the Piet Zwart Institute Rotterdam, where her research project was as a designer I’m an expert I’m an amateur (2017). She lectures regularly at art institutions (including Design Academy Eindhoven and Willem de Kooning Academy Rotterdam), and was external advisor to amongst others the Creative Industries Fund NL. She has published an article, co-authored with Dr. A. Nigten, titled Colliding systems: formal and real-life learning, 2019.
Annemarie’s design-activist research projects focus on materials, with a love of dust. She is founder of Studio Dust, a participatory research-by-design studio with the principle that everything has value, even dust: from dust to dust. She was also co-founder, with Iris de Kievith, of Lab AIR, a design collective addressing aerial issues. Smogware—tableware coloured with air pollution—was their first project.
As part of CARADT’s Biobased Art and Design group, Annemarie conducted the research project The Garden as a Living Learning Lab, a Living Sensor. The Garden that Sees, Smells, and Hears.
Within the Situated Art, Design and Technology research group, she continued this research with her newest project ‘Terroir: Mapping Data Through Material in the Wild‘
Photo credits: Roel van Tour
Publications
Piscaer, A. (2024, November). Terroir: Engaging Through Material with the Wild. Workshop for In(di)visible Infrastructures, Bridging Overseen Worlds at St. Joost Master Institute of Visual Cultures and Design Museum Den Bosch. CARADT.
Piscaer, A. (2024, Nov) Aerial and Airing, a Situated Design Approach: Mapping Environmental Data through Material. PhD proposal (accepted), Doctoral Program of the Inter-Actions Research Unit at KU Leuven, LUCA School of Arts
Piscaer, A. (2024, Aug) Interview on The Garden that Sees, Smells, and Hears by Tonnie Jobse. Master’s Thesis “More-than-Human Design in het Ontwerponderwijs op Nederlandse Kunstacademies.” Utrecht University, 2024
Piscaer, A. (2024, May) The Garden that Sees, Smells, and Hears diy guide. CARADT, Avans University of Applied Sciences
Piscaer, A. (2024, October). Workshop: Terroir – Engaging Through Material with the Wild.Willem de Kooning Academy, Rotterdam.
Piscaer, A. (2024, November). Online Workshop: Terroir – Engaging Through Material with the Wild. Alfred University, USA.
Piscaer, A. (2024, October). Workshop: Terroir – Engaging Through Material with the Wild. Weißensee School of Art and Design, Berlin.
Piscaer, A. (2024, September). Workshop: Terroir – Engaging Through Material with the Wild. Minor Material Ecologies, Bachelor New Design and Attitudes, St. Joost School of Art and Design, Breda.
Piscaer, A. (2025, February). Lux(ury) of Air. Workshop for Arts❤️Sciences Symposium at the Centre for Arts & Sciences Education (CASE), Amsterdam.
Research Group: Situated Art, Design and Technology
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, Design and Technology 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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‘The dynamic relationship between humans and living artefacts will continue to evolve reciprocally with mutual care.’
Elvin Karana 
‘People are the product of their relationships with their environment. It’s important to understand how technological developments influence these relationships.’
Michel van Dartel 
‘My practice is situated in between different actors, in this shape-shifting middle many things can happen.’
Tara Karpinski
‘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
‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’
Michel Witter
‘‘Understanding how creativity and imagination emerge from interactions with our environment will lead to improved innovation processes, tools and technologies.’’
Alwin de Rooij
‘Through an interplay of design and research, the apt questions and necessary tools can be discovered and applied to each research project.’
Antal Ruhl
‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’
Eva Fotiadi
‘I’m interested in how we can implement situated learning within design education.’
Sarah Lugthart
‘How can the notion of the ‘script’ be used in a situated design practice? ’
Ollie Palmer
‘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
‘For me, the iterative design-research process is an exciting journey towards designs that can transform human consciousness.’
Danielle Roberts
‘The essence of the situated, cinematic experience of dance lies in the mental interaction where the public becomes co-author.’
Noud Heerkens
‘Who benefits?’
Ivo Koolen
‘Getting comfortable with ambiguity enables designers to absorb feedback and use it to make better design choices.’
Gabri Heinrichs
‘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
‘Power, control and chance play an important role in every creative process. I explore this complicated correlation.’
Michiel van Opstal
‘Attention during interaction is personal, not a given fact.’
Misha Croes