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.
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