‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’
Eva Fotiadi is a researcher within the Situated Art and Design 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
Eva Fotiadi is a historian and theorist of interdisciplinary practices in contemporary art and design. She holds a Bachelor in archaeology and art history from the Aristotle’s University Thessaloniki (Greece), a Masters’ in Museum Studies from Leicester University (UK) and a PhD in contemporary art history from the University of Amsterdam. She has been a postdoc and visiting researcher at Free University Berlin and Princeton University.
In her research, Eva is interested in collaborative and participatory practices in art and design, as well as in projects that address specific groups or art audiences. Moreover, she is a founding member of the OtherAbilities collective, which explores the possibilities of the human senses by means of experimental artistic, sound, design and curatorial research projects. For the OtherAbilities collective the experimentation with the senses comprises both an ongoing artistic research as well as a potential way to play down unconscious bias towards sensory diverse art audiences.
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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‘People are the product of their relationships with their environment. It’s important to understand how technological developments influence these relationships.’
Michel van Dartel 
‘Almost everything I design is based on giving form to the invisible.’
Tara Karpinski
‘‘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
‘The essence of the situated, cinematic experience of dance lies in the mental interaction where the public becomes co-author.’
Noud Heerkens
‘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 enable people to improve their lives, making them more enjoyable and comfortable.’
Simone van den Broek
‘Attention during interaction is personal, not a given fact.’
Misha Croes
‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’
Michel Witter
‘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
‘For me, the iterative design-research process is an exciting journey towards designs that can transform human consciousness.’
Danielle Roberts
