Angelika Mader


Angelika Mader is Assistant Professor at the Human Media Interaction group and Lecturer at the Creative Technology bachelor programme at the University of Twente.

Angelika Mader studied computer science with mathematics at the Technical University in Munich and did there also her PhD in Theoretical Computer Science. As a postdoc, first at the University of Nijmegen and later at the University of Twente, she moved towards the area of embedded systems, exploring the possibilities to increase the quality of such systems by modelling and verification. At the University of Twente she is an assistant professor since 2002, in the groups “Distributed and Embedded Systems” (computer science), “Robotics and Mechatronics” (electrical engineering), and since 2015 in “Human Media Interaction” (computer science).

Angelika Mader is coordinator of the H2020 project WEAFING starting in January 2019. She has contributed to the EU projects VHS (Verification of Hybrid Systems), AMETIST (Advanced Methods for Timed Systems) and DESTECS (Design Support and Tooling for Embedded Control Software). From NWO she received grants for “Verification of PLC applications” (postdoc), “Methods of Modelling Embedded Systems” (MEERVOUD), and “Modelling Control Aspects of Embedded Systems” (with R. Wieringa, NWO open competition). She has been reviewer for a number of conferences and journals, a committee member at NWO for MEERVOUD and VENI grants, and supervised PhD students and bachelor students. Angelika Mader was involved in setting up and developing a new bachelor programme “Creative Technology” at the University of Twente.


Creative Technology

  1. Education in Creative Technology has design as focus, technology forms part of a toolbox and is not a goal in its own. This results in a shift of learning goals for technology education wrt “classical” engineering. Students should be able to apply technology in a creative way, as material increasing their expressiveness. To this end, teaching methods are needed that stimulate students to actively integrate technology in their personal toolboxes. Students need to become owner of their learning process, driven by curiosity with failure as important source of progress.
    An ongoing challenge is that design subjects are inherently feedback intensive, and not scalable straightforwardly. We have to identify teaching methods that allow to provide quality for the students minimising overhead, by, e.g., giving students a more active role.

    - Nov 2018 article "meet the teacher" in U-today magazine  (University of Twente - in Dutch)
    - Oct 2018 Teaching Award for Best Practices in Informatics by Informatics Europe for Tinkering in Informatics as a Teaching Method (together with Ansgar Fehnker and Alma Schaafstal)
    - June 2017 article in A Tribute to Excellent Teachers by the faculty of Electrical Engineering, Mathematics and Computer Science.

  2. The method of Creative Technology is in the first place user centered, most often starting from a user problem, only sometimes having technology as a starting point (“how can this technology be used for a user application?”). It has phases of divergence and convergence, at the same time iterating on building and evaluating prototypes in short cycles. User experience is a crucial aspect, next to functionality. Accordingly, user evaluations during the prototyping phase and at the end of the design process are standard. The tasks here are to identify, illustrate and justify this design process, making it part of a definition of Creative Technology as a new field of its own. It is also a step in making the contribution, perspective and questions of Creative Technology as scientific and design discipline in a context of its neighbouring disciplines, such as Interaction Design, Human Media Interaction, Industrial Design, Computer Science or Electrical Engineering.

Wearable Technology

  1. Actuators in wearables are much less investigated than sensors. What kind of feedback is possible? What, if we do not want full led-illumination? There is a playground to explore, defined by personal space, fashion aspects, low cognitive load, context sensitivity, application domains and more.
  2. Coaching and feedback. Wearables are close to our skin, feedback can be very direct and have higher impact by working more physically than cognitive (like statistics on the smartphone). What kind of feedback is necessary to have impact, without being annoying, is one of the questions to address here.
  3. Interaction paradigms of wearables are still too much derived from computer interaction and smart phones. What we are interested in are interaction paradigms that take our normal movements and interaction with garment into account, like in the example where pulling the sleeves over the wrists switches on the heating.

Projects in Wearable Technology:

        -> textile reflexes at ars electronica 2019


Current courses within Creative Technology

module 1: Programming with Processing (with A. Fehnker)
module 2: Programming and Physical Computing (with E. Dertien)
module 4: Algorithms in Creative Technology
module 6: Programming for Interaction (with A. Fehnker)
module 8: Hybrid Worlds (project)
pre-TOM: Creative Exploration of Art, Science and Technology (project)

within the master programme Interaction Technology:
Mastering Tinkering (with Edwin Dertien)

Past courses

Introduction to Computer Science
Programming with Structures
Real Time Systems 2
Distributed and Concurrent Programming
Codesign Project
Computer Architecture