Portrait of Dr Rocio von Jungenfeld

Dr Rocio von Jungenfeld

Lecturer in Digital Media


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


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/


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)



  • Vazquez-Alvarez, Y. et al. (2016). Designing Interactions with Multilevel Auditory Displays in Mobile Audio-Augmented Reality. ACM Transactions on Computer-Human Interaction [Online] 23. 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. et al. (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

  • 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

  • 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.
  • 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.
  • Murray-Rust, D. and von Jungenfeld, R. (2015). Lichtsuchende: A Society of Cybernetic, Phototropic Sunflowers. in: Creativity and Cognition 2015. ACM (Association for Computing Machinery), 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. (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.
  • 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. International Conference on Evolutionary and Biologically Inspired Music and Art. Copenhagen: 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.
  • Llewellyn, C. et al. (2014). Building a dataset of sensitive information. in: IEEE/ACM Joint Conference on Digital Libraries. Piscataway, USA: 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. et al. (2014). Multilevel Auditory Displays for Mobile Eyes-free Location-based Interaction. in: CHI EA '14. New York, USA: ACM (Association for Computing Machinery), 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

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/).


  • 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.

Visual media

  • von Jungenfeld, R. (2010). Wool & Skin_Ink (interactive AV poems) and Pielhache (print). [Women and the Arts II (journal) and http://bodiesofwork.ingo (website no longer available)]. The Arts Society, Newnham College. Available at: https://artssoc.wordpress.com/bodies-of-work/.
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