About

I'm a creative practitioner, media researcher and Lecturer in Digital Media at the University of Kent. I'm part of the Intelligent Interactions research group, and my research interests are collaborative media production, contemporary and interdisciplinary art, hybrid environments, outdoor and mobile projections, and interaction design.

I have presented my artistic, collaborative and research work internationally at venues such as Media Art Nexus & ON|OFF symposium (Singapore), GLOBALE: Exo-Evolution ZKM (Karlsruhe, Germany), Edinburgh International Science Festival & Edinburgh International Festival (Edinburgh, UK), NTAA Zebrastraat (Gent, Belgium), NECS & Creativity&Cognition (Europe), and I-Park Inc. (Connecticut, US).

Prior to joining the University of Kent, I worked at the University of Edinburgh (Data Library & Edinburgh College of Art) where I obtained my practice-based PhD in Media Arts "Walking with portable projections", PG Certificate in Academic Practice (Higher Education Academy Fellow) and MSc in Design & Digital Media (Junta de Andalucía TALENTIA scholarship). Previously, I studied arts, design and arts education at the University of Sevilla, Barcelona & Granada (Spain), and at the Hochschule fuer Gestaltung Offenbach am Main (Germany). I hold a BA in Printing Media (Universitat de Barcelona) and a PG Certificate in Pedagogical Adaptation (Universidad de Granada).

Research interests

My research is interdisciplinary and concerned with the use of media in the production of creative outputs. With focus on contemporary media art, portability, interactive and mediated environments, participation in public space, perception and media projections. 

Think Kent lecture: ‘Participatory Digital Arts: Technology and Human Interactions’ –  https://youtu.be/stDtHkNBAK0

Teaching

These are the first year undergraduate courses that I am currently convening and teaching:

  • EL399 - Digital Photography
  • EL574 - Designing Media Environments
  • EL642 - Project Design 

I am designing and programming a new second year undergraduate course which started in September 2017, supervise third year undergraduates working toward their final year projects in film and moving image (EL636 - Final Year Project), and contribute to the wild module EL541 - Digital Photography & Image Editing.

In my previous institution, I was involved in postgraduate teaching (courses such as Media & Culture, Digital Media Studio Project, Interdisciplinary Creative Practices, Introduction to Digital Design, Interactive Design Media, Design Context and Community Arts Practice), final year undergraduate dissertation supervision and mentoring potential PhD candidates. 

Recent workshops: https://www.theashproject.org.uk/drawing-with-light-workshop-with-rocio-von-jungenfeld/

Supervision

Currently supervising:

  • Boyd Branch (Portable Interventions: Digital tools for ciritical dialogue)
  • Setthee Boonchoo (Mixed animation with real Actors for display in theater using projection techniques for thai traditional dances)
  • Ayda Majd Ardekani (Reconstruction of histrorical sites with heliodisplay projection)
  • Mayank Loonker (Portability and creative media projections in public space)

Publications

Artefact

  • von Jungenfeld, R. (2018). zones of flow (iii). [Light-sensitive Installation (documentation)].
    "zones of flow (iii)" is a photo-sensitive audiovisual installation that investigates the fluid connections between people, sea and land; the instantaneous but sometimes asynchronous connectivity between things and people as they move in and experience hybrid environments. A video projection depicting water surfaces is mapped onto a 2.5m paper-boat covered in light-dependent-resistors (LDR) which send signals to light-emitting-diodes (LED) inside smaller paper-boats. These small paper-boats are scattered across the floor serving as metaphorical water surface. This project has been developed in collaboration with the School of Engineering and Digital Arts’ technical support team and research students.
  • Murray-Rust, D. and von Jungenfeld, R. (2014). Lichtsuchende. [Robotic installation].
    Lichtsuchende is an interactive installation, built using a society of biologically inspired, robotic creatures who exchange light as a source of energy and as a means of communication. The robotic creatures are reminiscent of sunflowers, turning their heads to face the sun in order to absorb its light. However, at the same time they also generate light in order to engage with others. Each creature is relatively small, but when a group of Lichtsuchende are brought together in an installation they form an expanding photo-kinetic social environment in which visitors can become immersed.
  • von Jungenfeld, R. (2010). Wool & Skin_Ink (interactive poems) and Pielhache (print). [Women and the Arts II (journal)]. Available at: https://artssoc.wordpress.com/bodies-of-work/.

Article

  • Van Uffelen, V. and von Jungenfeld, R. (2019). Fluid Design. Lo Squaderno [Online]:55-60. Available at: https://www.doaj.org/article/08b6865d724e46d3803e2873bd5be46e.
    Design is an inherently fluid process, that intrinsically has to remain open to be shaped by contexts and constraints and that, once applied in its many variations, extrinsically can influence the flows of matter, life, information, and energy that make up urban space. However, to design the city means to intervene with an irrepressible environment that is rhythmically changing and in constant flux. As, given enough time, nothing in the city remains as is, materials decay, fluids flow in and out, people stop by or die, thoughts sink into oblivion, and energy just dissipates. Designers might have to acknowledge their impermanent impact and focus their efforts on influencing the flows that are mostly out of their control. Fluid design is a proposal to add relationships, process, flows, and patterns to the traditional design concerns of form and meaning. And suggests, not only, that actions inspired by water management and electromagnetic wave theory, such as blocking, spreading, sinking, amplifying, dampen, modulating, or diffracting, could be used to continually shape the flows that make the city. But, also that analysing the urban fabric from a systemic perspective and seeing it as ecosystem that can be influenced by changing its underlying flows and structures, gives designers a powerful new toolkit to influence the further development of cities.
  • von Jungenfeld, R. (2019). Portable projections: analyzing co-created site-specific video walks. Leonardo [Online]. Available at: https://doi.org/10.1162/leon_a_01794.
    The author discusses key findings of a series of video walks developed as part of her practice-based PhD research (2011- 2014). Four video walks were produced for handheld projectors and tested in four different public spaces. The first video walks (The Surface Inside – 2011; I-Walk – 2012) were guided and only one handheld projector was available. The latter (Walk-itch – 2013; (wh)ere land – 2014) were created for multiple handheld projectors, offering participants a co-creative role. On-site observations revealed a shift in participants’ engagement between earlier and later video walks. A three-fold method for analyzing audio- visual documentation also emerged during the research.
  • Vazquez-Alvarez, Y., Aylett, M., Brewster, S., von Jungenfeld, R. and Virolainen, A. (2016). Designing Interactions with Multilevel Auditory Displays in Mobile Audio-Augmented Reality. ACM Transactions on Computer-Human Interaction [Online] 23:3:1-3:30. Available at: http://dx.doi.org/10.1145/2829944.
    Auditory interfaces offer a solution to the problem of effective eyes-free mobile interactions. In this article, we investigate the use of multilevel auditory displays to enable eyes-free mobile interaction with indoor location-based information in non-guided audio-augmented environments. A top-level exocentric sonification layer advertises information in a gallery-like space. A secondary interactive layer is used to evaluate three different conditions that varied in the presentation (sequential versus simultaneous) and spatialisation (non-spatialised versus egocentric/exocentric spatialisation) of multiple auditory sources. Our findings show that (1) participants spent significantly more time interacting with spatialised displays; (2) using the same design for primary and interactive secondary display (simultaneous exocentric) showed a negative impact on the user experience, an increase in workload and substantially increased participant movement; and (3) the other spatial interactive secondary display designs (simultaneous egocentric, sequential egocentric, and sequential exocentric) showed an increase in time spent stationary but no negative impact on the user experience, suggesting a more exploratory experience. A follow-up qualitative and quantitative analysis of user behaviour support these conclusions. These results provide practical guidelines for designing effective eyes-free interactions for far richer auditory soundscapes.
  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende. Interactions [Online] 23:14-15. Available at: http://dx.doi.org/10.1145/2853201.
  • Bots, E., Brummelhuis, K., Gleeson, M., Lugtenburg, N., Magr, J., Probyn, M., Smink, N., Storm, R., Zillen, E., van Binsbergen, P., Chin-On, Z., Fieback, M., Koomen, S., van Merle, O., Middendorp, D., Rouw, D., Tol, I., Vos, J., Murray-Rust, D., von Jungenfeld, R. and Winther, M. (2015). Demo hour: Lichtsuchende. Interactions [Online] 22:8-11. Available at: http://dx.doi.org/10.1145/2832098.
  • Zamora, D., Monsen, K. and von Jungenfeld, R. (2013). Crafting public space: findings from an interdisciplinary outdoor workshop on 3D printing. Participations Journal of Audience & Reception Studies [Online] 10:201-219. Available at: http://www.participations.org/Volume%2010/Issue%202/contents.htm.
    3D printing is touted as a coming revolution in the manufacture of consumer goods. However, its use remains limited to a homogeneous group of early adopters. We discuss this mismatch between the rhetoric and reality of 3D printing in light of findings from a co-creation workshop incorporating audience engagement activities. During the workshop art and design students collaborated with craftspeople to create 3D printed objects for an outdoor exhibition. The workshop enhanced participants’ confidence in 3D modelling and printing. Claims about 3D printing are best examined through hands-on experimentation by people with a diverse range of backgrounds and experiences. Moving 3D printed objects out of the lab into outdoor public spaces can add new perspectives on this rapidly developing medium. Strategies and barriers to achieving this are discussed.
  • von Jungenfeld, R. (2011). Intersubjectivity and Intermediality in the Work of Serra. CLCWeb: Comparative Literature and Culture [Online] 13. Available at: http://dx.doi.org/10.7771/1481-4374.1810.
    Examine the intersubjective space in which artworks are conceived and the cross bounda-ries of media in order to construct a general under standing of intersubjective perception in visual and plastic arts and an understanding of the processes that determine works of art, reflective perception, and intersubjective experience. Although the argument is that perception is subjective and untransferable, (i.e., a unique personal experience) influenced by innumerable factors and bound to a specific context, there are some elements of perception which can be understood intersubjectively as they apply to human beings in general. The aim of defining these elements of perception is to examine the intermedial nature of and the intersubjective components of works of art. Richard Serra's work has been selected for the implicitness of intermedial and intersubjective perceptual processes involved in the conceptualisation and materialisation of his artistic creations. Serra's artworks are complex entities with multilayered semantics, and so are the processes and the conceptual definitions of the media used in his creations.

Book section

  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende: exploring the emergence of a cybernetic society. In: Johnson, C., Carballal, A. and Correia, J. eds. Evolutionary and Biologically Inspired Music, Sound, Art and Design. EvoMUSART 2015. Cham, Switzerland: Springer, pp. 161-174. Available at: http://dx.doi.org/10.1007/978-3-319-16498-4_15.
    In this paper, we describe Lichtsuchende, an interactive installation, built using a society of biologically inspired, cybernetic creatures who exchange light as a source of energy and a means of communication. Visitors are invited to engage with the installation using torches to influence and interact with the phototropic robots. As well as describing the finished piece, we explore some of the issues around creating works based on biologically inspired robots. We present an account of the development of the creatures in order to highlight the gulfs between conceptual ideas of how to allow emergent behaviours and the manners in which they are implemented. We also expose the interrelations and tensions between the needs of the creatures as they emerge and the needs of the creators, to understand the duet between the cyber-organisms and their initiators. Finally, we look at the ways in which creators, robots and visitors are enrolled to perform their functions, so that the network of activity can be woven between all parties.
  • von Jungenfeld, R. (2014). Exploring the changing texture of the city. Champaign, IL: Common Ground. In: Lopez-Varela, A. ed. Cityscapes: World Cities and Their Cultural Industries. Champaign, Illinois, US: Common Ground, pp. 394-407.
    I use Edinburgh to illustrate how the textural qualities of urban spaces and how individually recorded experiences of these spaces can be combined to create a collective texture of the city in motion. The premise is that the city, a world heritage site, is not a static environment, but an organism that is alive and made of surfaces, textures and people that are continually changing. It is in this constantly shifting space that the sense of place is created, both in the physical and in the digital realm. Places within the city are approached as being a continuum of present unique moments collected by visitors and inhabitants through the recording devices that they have at hand. These devices serve as memory aid tools, and collect the invisible traces that people leave when moving in the environment. I draw on phenomenology to reflect on the texture of the city, and examine Eric Fisher’s map “Locals and Tourists #19,” the mobile phone application for Scottish historical maps “Walking Through Time,” the Edinburgh City Council Library “Capital Collections” and the National Library of Scotland maps collection to illustrate how the texture of the city of Edinburgh has changed from individually collected perspectives to collective maps. People record the changing texture of the city through maps and images, and construct a collectively mediated experience of being and place. Whilst the amount of
    information that is collected contributes to the complexity of the texture of the city, it also brings up the issue of how to preserve the records that show the changing texture of the city.

Conference or workshop item

  • von Jungenfeld, R. and Conradi, I. (2020). WAVES: Crosscurrents of Art, Technology and Environments. In: AMPS Conference "Connections: Exploring Heritage, Architecture, Cities, Art Media".
    Digital displays and projections are spreading across our cities in an almost dystopian manner (Stephenson, Snow Crash 1992). They are found in airports, shop windows, building façades, bus stops, train stations. Where movement of people is constant and density high, these technologies entice us to purchase things we do not really need or probably want. The costs associated with installing, running and maintaining these technologies are high, so they are mainly used as marketing platforms. But, could they be used for creative endeavours and in pedagogical contexts? Higher education institutions can provide access to these technologies by setting up their own displays and projection systems on campus, and using them as learning platforms that would
    otherwise be inaccessible to students. This democratises students’ access to the technologies used by media and advertising industries while at the same time serving as a platform to display student-generated content in public. In this paper we discuss the international collaboration between the University of Kent (UoK) and Nanyang Technological University (NTU) Singapore. The collaboration involves working with students – who are the future “actants” (Latour, 2005) of creative industries – to produce media artworks that are suitable for two venues: Media Art Nexus (NTUSingapore) and Gulbenkian Media Façade (UoK). Over the past 3 years, students have addressed a variety of briefs, ranging from environmental to cultural issues (e.g. travelling across continents, impact of pollution and digital technology on the environment). The benefits for students outweigh the challenges of collaborating across curricular structures and time-zones (e.g. teleconferencing, exhibition dates). Students have the opportunity of producing media artworks that are displayed in two venues concurrently during the international WAVES exhibition. Student’s profiles and artworks are included in a studentdesigned website, contributing to their online presence and professional development.
  • von Jungenfeld, R. (2018). Zones of Flow. In: BEYOND: Future Design Symposium. Available at: https://www.beyond-festival.com/de/media/1-tag-vr/rocio_von_jungenfeld/.
    Zones of Flow is an on-going practice-based research project that investigates flows of actions in mediated environments. Through a series of media artworks, this project explores human perception, media ecologies and their relationship with environments. Using three artworks (i. video walk; ii. AV experiment; and iii. light-reactive installation) and a series of collaborative workshops, I will critically reflect on the conceptual framework of the project, the creative processes, and the ecological implications of media art production.
  • von Jungenfeld, R. (2017). Zones of Flow (ii). In: ON | OFF 100101010 Symposium. Available at: https://onoff100101010.com/programme/symposium-programme/.
  • von Jungenfeld, R. and Van Uffelen, V. (2017). Flowing with Polynesian Stick-charts. In: Balance Unbalance Conference: Sense of Place.
    Our workshop will explore how low-tech mapping techniques can reveal the complexity of flows that constitute our environment and make these flows accessible to interested parties. In this context, we do not aim to focus on the (visual) representation of quantifiable data (e.g. traffic, rain, geo-location) but on the often invisible and highly subjective representation of existing flows, relationships, or processes that constitute the environment. Based on one exemplary technique, we will discuss and test how simple technologies can be used in the pre-design phase to gain tacit knowledge of the flows in the environment. It is our assumption that once brought to the surface, by means of our workshop methodology, the knowledge about the flows of humans, objects/matter, energy, or information will enable participants to make informed decisions about how these flows are used and how they can be re-channelled, altered or reinforced to design flows in a way in which they, the involved, want them to flow.
  • von Jungenfeld, R. (2017). Rebalancing media in environments: analysing flows of action. In: Balance Unbalanced 2017: A Sense of Place.
    An exploration into how portable projections can serve to counterbalance the bias towards screen-based media experiences of the world and how they can contribute to a more texture-based understanding of the relationships between environments and their constitutive actants. The constantly changing relationships between media and things enable the construction of a sense of place which moves and flows. To undertake this exploration, I use a three-fold method to analyse site-specific video walks (The Surface Inside 2011, I-Walk 2012, (wh)ere land 2014), draw on nascent thoughts derived from a series of workshops about flows, environments materials, and resonance, and engage with critical discussions about space, assemblages and materiality.
  • von Jungenfeld, R. (2017). Walk-itch: interactions between wool, CCTV & handheld projectors. In: NECS Annual Conference. Available at: https://necs.org/conference/archive/2017/paris/index.html.
    In this paper I present a participatory video walk in which the bodies of participants and the devices used to create and stream the projections were collectively mediated and spatio-temporally connected. During the video walk, participants held the devices and live-streamed moving images from and into their surroundings. Participants held portable projectors and surveillance cameras in their hands, expanding their capabilities and enabling them to shift their individual introspective action (Ito et. al, 2005) into a collective one. The projections featured people’s faces, clothes, materials, and textures. The body of each participant, in combination with the devices, was the locus of mediation and contributed to a network of projections and actions. The devices used in the video walk swayed between being ready-to-hand and present-at-hand (Heidegger, 1962), and expanded participants’ experience into the environment (Clark, 2008). When visual content moves away from fixed screens, new relations of exteriority between actors become available (DeLanda, 2006). The connections between actors are as crucial as the actors themselves (Latour, 2005) and the materials that compose them are vibrant and diverse (e.g. wool, flesh, wood, plastic, fabrics, metal). Both the connections and the materials contribute to the distribution of agency (Bennett, 2010). Already in Homemade (1965), Trish Brown was strapping a projector to her body, tapping into concepts of memories and temporalities of mediated bodies. Through a series of images and moving images, I show how the site where the video walk took place, participants, materials and devices shared agency and produced a network of actors and actions.
  • Van Uffelen, V., von Jungenfeld, R. and Strang, D. (2017). Flowing with the City. In: Research Through Design Conference.
    Our research workshop will explore how low-tech mapping techniques can reveal the complexity of flows that constitute the city and make these flows accessible to citizens. In this context, we do not aim to focus on the (visual) representation of quantifiable data (e.g. traffic, rain, geo-location) but on the often invisible and highly subjective representation of existing flows in the city. Based on one exemplary technique, we will discuss and test how simple technologies can be used in the pre-design phase to gain tacit knowledge of the flows of a city. It is our assumption that once brought to the surface, by means of our workshop methodology, the knowledge about the flows of humans, objects/matter, energy, or information will enable participants to make informed decisions about how these flows are used and how they can be re-channelled, altered or reinforced to design a city that flows in a way in which they, the citizens, want it to flow.
  • Murray-Rust, D. and von Jungenfeld, R. (2017). Thinking through robotic imaginaries. In: RTD2017. Edinburgh. Available at: https://doi.org/10.6084/m9.figshare.4746973.v1.
  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende: A Society of Cybernetic, Phototropic Sunflowers. In: Creativity and Cognition 2015. New York, USA: ACM, pp. 375-376. Available at: http://dx.doi.org/10.1145/2757226.2757381.
    Lichtsuchende is an interactive installation, built using a society of biologically inspired, cybernetic creatures who exchange light as a source of energy and a means of communication. Visitors are invited to engage with the installation using torches to influence and interact with the phototropic robots. The embodied algorithms give rise to emergent behaviours with communicative and emotional resonance, allowing a duet between the humans and the cybernetic beings.
  • von Jungenfeld, R., Strang, D. and Van Uffelen, V. (2015). The Urban Interface. In: MEDIACITY 5 International Conference and Exhibition.
    The Urban Interface is an exploration of the existing technologies in the city of Plymouth that are open for appropriating, hacking and playing with. During the workshop participants will create interventions and join us to install them in and around the city in the evening. By employing guerrilla tactics we aim to practice engagement with the urban environment and the users within it to create new possibilities from existing light and acoustic properties. The workshop participants will, with the help of their interventions, encourage the users of the city to reconnect with the environment in a playful manner. These urban interventions are group activities where we walk and hack together to address the politics of public spaces in the city. Each intervention will be a low-tech device made out of simple craft materials such as paper, wood, glue, and string. While the created objects are related to graffiti we encourage employing the dynamics of existing light and sound sources, or wind and water to gather the users attention.
  • von Jungenfeld, R. (2015). The audiovisual ghetto blaster effect. In: ISEA2015: Disruption. ISEA. Available at: http://isea2015.org/proceeding/submissions/ISEA2015_submission_289.pdf.
    In this paper I explore the transition from static to mobile audiovisual media and the implications of this transition in the construction of collective or individualised audiovisual experiences. The focus is on how the transition from static to mobile technologies enables novel audiovisual experiences in the public realm. To explore the transition, I delve into how technological developments reduced the size of the devices that facilitate the display of audiovisual content, and how the size constrains or expands the affordances for interaction with audiovisual media in public space. Although the current trend of reducing the size and improving battery autonomy of portable electronic devices might amplify the isolation from the immediate environment and lessen opportunities to engage with other people in the public realm, I argue that with the incorporation of mini or embedded speakers and portable projectors into portable electronic devices (PED) audiovisual content can be brought back into the public space.
  • Llewellyn, C., Ruus, L., Burnett, R., Kirkwood, S., Smith, M. and von-Jungenfeld, R. (2014). Building a dataset of sensitive information. In: IEEE/ACM Joint Conference on Digital Libraries. IEEE, pp. 493-494. Available at: http://dx.doi.org/10.1109/JCDL.2014.6970241.
    Using text analysis tools to study large data sets is currently an area of popular interest. Prompted by the success of several big data research initiatives, researchers from a variety of disciplines wish to gather and analyse textual data. Communication between members of diverse teams can present a problem and developing a shared language and understanding of the task is necessary.
  • Vazquez-Alvarez, Y., Aylett, M., Brewster, S., von Jungenfeld, R. and Virolainen, A. (2014). Multilevel Auditory Displays for Mobile Eyes-free Location-based Interaction. In: CHI EA ’14. New York, USA: ACM, pp. 1567-1572. Available at: http://dx.doi.org/10.1145/2559206.2581254.
    This paper explores the use of multilevel auditory displays to enable eyes-free mobile interaction with location-based information in a conceptual art exhibition space. Multilevel auditory displays enable user interaction with concentrated areas of information. However, it is necessary to consider how to present the auditory streams without overloading the user. We present an initial study in which a top-level exocentric sonification layer was used to advertise information present in a gallery-like space. Then, in a secondary interactive layer, three different conditions were evaluated that varied in the presentation (sequential versus simultaneous) and spatialisation (non-spatialised versus egocentric spatialisation) of multiple auditory sources. Results show that 1) participants spent significantly more time interacting with spatialised displays, 2) there was no evidence that a switch from an exocentric to an egocentric display increased workload or lowered satisfaction, and 3) there was no evidence that simultaneous presentation of spatialised Earcons in the secondary display increased workload.
  • von Jungenfeld, R. (2013). On the move with Artworks. In: International Biennial Conference Hybrid City II. Athens, Greece: University Research Institute of Applied Communication, Faculty of Communication and Media Studies, National and Kapodistrian University of Athens.
    In this paper I present three artworks that were created for portable digital screens: Alter Bahnhof (2012), Top Shot Helmet (2007) and Weaving-Scape I (2011). The artworks are used to discuss the creative possibilities that portable electronic devices offer to contemporary creative practitioners and to analyse how these devices influence the construction of the “self” and “place” in public space when mediated through artistic practice.
  • Murray-Rust, D. and von Jungenfeld, R. (2012). Thawing colours: dangling from the fuzzy end of interfaces. In: Physicality 2012 - Fourth International Workshop on Physicality. Birmingham, UK: British Informatics Society Limited, pp. 33-37. Available at: http://ewic.bcs.org/content/ConWebDoc/4885.
    In this paper we present Thawing Colours, a tactile, visual and
    sonic installation, which uses suspended spheres of melting ice
    to paint on surfaces, woollen strings to provide a means of
    interaction, and concatenative synthesis–the stitching together
    of many small fragments of sound–to provide a digitally
    mediated response to motion and vibration by resynthesizing
    the input sound using a corpus of pre-prepared sounds. In one
    sense, it is an evolving, site-specific physical installation, a
    painter or designer that produces images over the course of
    several days. With some intellectual license, it can be taken as a
    naturalistic interface for querying a database of sounds, or as a
    particularly large and unwieldy musical instrument. It is
    literally a fuzzy interface, with boundaries extending out
    through the fibres of the woollen strands used to attach
    coloured balls of ice, and through the supporting cables into the
    foundations of the building, and through the fingers, palms, and
    bodies of the participants. We argue that there is a niche for
    interfaces that are whimsical, ludic and exploratory, and that as
    part of exploring this niche, we can take an ecosystemic view
    on interfaces: embracing their physical properties, their
    situation in an environment, and the byproducts and feedbacks
    therein.

Datasets / databases

  • von Jungenfeld, R. (2016). Walking with portable projections. [video, stills, audio]. Available at: http://datashare.is.ed.ac.uk/handle/10283/1938.
    This collection contains research data associated with the PhD thesis "Walking with portable projections: a creative exploration into mediated perception in the environment" by Rocio von Jungenfeld. The collection contains four main items associated with four artworks which are discussed in depth in the thesis (Chapter 3, 4, 5 & 6). For more details please see the thesis (pdf) which will soon be available via Edinburgh Research Archive (https://www.era.lib.ed.ac.uk/).

Show / exhibition

  • von Jungenfeld, R. (2019). zones of flow (iii) @PHD. [Light-sensitive Installation].
  • von Jungenfeld, R. (2019). zones of flow (iii) @NOWdigital. [Light-sensitive Installation].
  • Murray-Rust, D. and von Jungenfeld, R. (2018). Lichtsuchende @MachineGods. [Video (documentation)]. Available at: https://www.nationalgalleries.org/art-and-artists/features/art-age-technology.
  • von Jungenfeld, R. (2018). zones of flow (iii) @BEYOND. [Light-sensitive Installation]. Available at: http://2018.beyond-festival.com/de/kunst/kuenstler/rocio-jungenfeld/index.html.
    "zones of flow (iii)" is a photo-sensitive audiovisual installation that investigates the fluid connections between people, sea and land; the instantaneous but sometimes asynchronous connectivity between things and people as they move in and experience hybrid environments. A video projection depicting water surfaces is mapped onto a 2.5m paper-boat covered in light-dependent-resistors (LDR) which send signals to light-emitting-diodes (LED) inside smaller paper-boats. These small paper-boats are scattered across the floor serving as metaphorical water surface. This project has been developed in collaboration with the School of Engineering and Digital Arts’ technical support team and research students.
  • von Jungenfeld, R. (2017). zones of flow (ii). [AV artwork (documentation)]. Available at: https://onoff100101010.com/programme/exhibition-programme/.
    Audiovisual artwork created to for the MAN display, located in a public area in NTU-Singapore; an open corridor where there is a regular flow of people moving across the space. The piece has come out of a sailing experience across the Atlantic in a 15m sailing boat. The ongoing project explores the instantaneous but sometimes asynchronous connectivity between things and people as they move in and across digito-tangible environments.
  • Murray-Rust, D. and von Jungenfeld, R. (2017). Lichtsuchende @EISF. [Installation (documentation)]. Available at: https://issuu.com/edscifest/docs/smallesterer_2017_prog.
  • von Jungenfeld, R. (2016). zones of flow (i). [Video Walk].
    A site-specific audiovisual walk in the streets of Sao Miguel (Azores) during the Walk&Talk Festival 2016. The walk incorporated the projection of still images and one video onto the streets of the capital of the Azores. During the walk, the 8 members of the crew of the vessel Yemanja painted and plotted the co-ordinates of the journey at sea onto the physical surfaces of the streets: pavements and walls. A subtle site-specific intervention where two geographies (the sea and the city) came together. Some images from the outdoor interventions are shown here, but are not sequential.
  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende @GLOBALE. [Installation (documentation)]. Available at: https://zkm.de/de/node/26700/m-r#lichtsuchende.
  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende @C&C. [Installation (documentation)]. Available at: http://dx.doi.org/10.1145/2757226.2757381.
    Lichtsuchende is an interactive installation, built using a society of biologically inspired, cybernetic creatures who exchange light as a source of energy and a means of communication. Visitors are invited to engage with the installation using torches to influence and interact with the phototropic robots. The embodied algorithms give rise to emergent behaviours with communicative and emotional resonance, allowing a duet between the humans and the cybernetic beings.
  • Murray-Rust, D. and von Jungenfeld, R. (2014). Lichtsuchende @NTAA. [Installation (documentation)]. Available at: http://www.ntaa.be/2014/.
  • Murray-Rust, D. and von Jungenfeld, R. (2014). Lichtsuchende @HD. [Installation (documentation)]. Available at: http://hiddendoorblog.org/wp-content/uploads/2014/01/Hidden-Door-digital-blueprint-the-event-so-far.pdf.

Thesis

  • von Jungenfeld, R. (2016). Walking With Portable Projections: A Creative Exploration into Mediated Perception in the Environment. Available at: http://hdl.handle.net/1842/20472.
    I have used practice as method to investigate the creative potential of portable projectors, and
    theoretical approaches to reflect on: 1. the perception of the environment and its textures, 2. the
    sense of place-making and being while in motion, 3. the portability and collective mediation of
    the environment, and 4. the collaborative process of participation. These four themes emerged
    from the four video walks I developed during the research: The Surface Inside (2011), I-Walk
    (2012), Walk-itch (2013), and (wh)ere land (2014). To delve into the philosophical nuances
    and practical outcomes, I have paired the four video walks with the four themes. This research
    approach resembles the design process, where practice develops in the action of reflection (Sch¨on,
    1983). The thesis and portfolio are the result of an iterative practice-reflection process which is
    based on the thread metaphor.
    The experience of being and walking in the environment is proprioceptive (J. J. Gibson, 1986)
    and can only be partially conveyed through audiovisual records. People experience the complex
    texture of the environment in motion (i.e. accretion of surfaces). While moving, they thread
    their own paths into the environment (Ingold, 2007) and establish links with the environment,
    technology and others. As they move, people experience the texturality of the surfaces they
    encounter. Video records captured with visual apparatuses (Flusser, 2000) are a fraction of
    the points of observation a person may have adopted while walking in and experiencing the
    environment. These records are likely to be created with PEDs, shared in digital environments
    and accessed on digital screens. When these records are experienced on digital screens, the
    texture of the environment is reduced to a flat surface.
    PEDs, with their digital screens, are carried around everyday and enable people to communicate
    with others, to collect and share audiovisual material, and to experience hybrid environments
    where tangible and digital realms converge (Coyne, 2010). Audiovisuals can be accessed anywhere
    and are no longer dependent on the architectures that hosted them in the past. Yet, PEDs may
    also isolate people from their immediate surroundings and favour introspective engagement with
    audiovisual content, digital others and digital environments (Turkle, 2011). The size of PEDs
    limits the number of people that can engage with the content at only one time. Pocketsize devices
    tend to be used individually, and their audiovisual content played through digital screens and
    headphones which foster cocoon-like engagement. Through the four video walks, I investigate
    how portable projectors may be used to challenge this inward looking mode of experiencing
    audiovisuals on flat digital screens, and to devise participatory events where people thread their
    paths in the environment, and project and engage with audiovisuals together.
    In the video walks, I invite people to move with projections and explore mediated public
    environments. Instead of sitting in front of fixed projections or looking at digital screens, people
    experience and share visuals while walking and projecting them in the environment. Portable
    projectors are starting to be embedded in mobile phones and other portable electronic devices
    (PEDs), and this presents new challenges and opportunities to creative practitioners. Thus,
    I study the affordances of portable projectors and develop artworks where participants walk,
    project visuals and explore textures in the environment collectively.

Forthcoming

  • Majd Ardekani, A., Labadi, S. and von Jungenfeld, R. (2019). Evaluating visitors’ experiences at St Augustine’s Abbey. In: Silk Cities 2019. Available at: http://silk-cities.org/2019-conference-programme.
    This paper discusses an ongoing research project which evaluates visitors’ experiences at St Augustine’s Abbey before and after in-situ projections of reconstructed imageries of non-existent abbey. In the first section, the paper introduces St Augustine’s Abbey and its outstanding universal value as part of the UNESCO World Heritage Site in Canterbury, designated in 1988. It is followed by two pro- and anti- restoration discussions of cultural heritage objects. The second section, it analyses primary data from visitors’ experience gathered at the abbey. The analysis concentrates on three themes related to the digital reconstruction of the abbey artefacts: the impact of digital technology on visitors’ experiences in heritage context, authenticity, realism from visitors’ point of view. It draws on the efficiency levels and usability of available technological devices such as the Virtual Reality headsets and how such creations may impact visitors’ learning and understanding of the site. The subsequent part of the analysis focuses on visitors’ perception of authenticity and realism of digital reconstructed imageries compared to theoretical discussions. This is followed by exemplifying workflows of digital reconstruction in cultural heritage context.
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