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Sarah Lugthart

Research Group: Situated Art and Design

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

Sarah Lugthart is a researcher within the research groups Situated Art and Design, and Biobased Art and Design. She is also Pathway Leader of the master’s programme Animation at the Master Institute of Visual Cultures.

Sarah Lugthart graduated in New Media and Digital Culture in 2004 from the University of Utrecht. She has been programme manager at different cultural institutions, like the bkkc (now Kunstloc), organising workshops, film screenings and network meetings.  

Since 2010 she has been working as a tutor at St. Joost School of Art & Design, lecturing on topics such as media theory and digital storytelling. More recently she is involved in the minor Research in Immersive Storytelling as a coordinator and tutor, a programme developed together with the Communication & Multimedia Design programme in Breda. Sarah is tutor and the Pathway Leader of the master’s Animation programme. As a Caradt researcher, she focuses on situated design, situated learning, immersive storytelling (from within the lab for the introduction of living materials). 

Alongside her work at the academy Sarah has also been a member of the Professional Arts Fund Committee (Subsidieregeling Professionele Kunsten), Brabant’s kenniscentrum voor kunst en cultuur (now Kunstloc), and an advisor on animation for the Dutch Film Fund. She lives in Antwerp. 

Situated Learning & Immersive Storytelling in the Lab

What happens when immersive storytelling projects are developed in the context of a lab? How do students deal with the complexities brought about by the context of a lab? How might working in a lab influence the creative outcomes in storytelling? Are theses outcomes, for example, more immersive or innovative, more grounded in a scientific reality or socially relevant? 

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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

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

Tara Karpinski arrow

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

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

Noud Heerkens arrow

‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’

Eva Fotiadi 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

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