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Misha Croes

Research Group: Situated Art and Design

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

Misha Croes was a researcher within the Situated Art and Design research group from 2018 until 2019. He is also a tutor at the Communication & Multimedia Design programme at Avans University of Applied Sciences in Den Bosch. 

Misha Croes studied Industrial Design at Eindhoven University of Technology, obtaining a BA in 2008. During his master he completed his internship at Philips Healthcare Shanghai and completed two successful projects. He graduated with the project FamilyArizing in 2010. In 2011 he was awarded the ZonMw thesis innovation prize for this project. 

Misha started as an all-round developer at Sense Company in Tilburg in 2014. Here he designed personalised scent experiences. Misha is currently working as a Prototyping tutor at the Communication & Multimedia Design programme. 

The Design of Everyday Smart Things

This research project focuses on design methodologies for designing smart products. 

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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.

Croes M. & van Dartel, M.  (in preparation) The Interaction Attention Continuum: An Education Application Study.

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 arrow

‘My practice is situated in between different actors, in this shape-shifting middle many things can happen.’

Tara Karpinski arrow

‘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 arrow

‘‘Understanding how creativity and imagination emerge from interactions with our environment will lead to improved 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

‘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

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

Ollie Palmer arrow

‘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 arrow

‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’

Michel Witter arrow

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

Danielle Roberts arrow

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

Noud Heerkens 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

All people arrow

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