ROCIO von JUNGENFELD

zones of flow (iii), 2018, BEYOND Festival 2018 (HfG-ZKM,...

Sun, 10 Mar 2019 15:49:17 +0100

zones of flow (iii), 2018, BEYOND Festival 2018 (HfG-ZKM, Karlsruhe)

Also presented at NOW digital Festival 2019 (Margate Festival); developed at Studio 3 (PDO, Y10 summer school visits) - Jarman, School of Art

Photo-sensitive audiovisual installation

2.5m paper boat (Japanese paper, Konnyaku paste, custom PCBs, light sensors), ca. 100 small paper boats (Japanese paper, LEDs), sound (stereo), projection mapping

This installation investigates the fluid and changing connections between people, sea and land. It addresses the instantaneous but sometimes asynchronous connectivity between things as they move, are placed or displaced in their environments.

A video projection depicting water surfaces is mapped onto a 2.5m Japanese paper-boat which hosts dozens of 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.

Development was supported by the Partnership Development Office (UoK).

Special thanks to: Jason Morris, Paula Huisman, Dave Murray-Rust, Sean Williams, Joyce Kung, Andy Brookman, Qi Zheng, Boyd Branch, Mayank Loonker, Rose Thompson, Martin Hammer, Joe Watkins and Mike Green.

Image credit: Matt Wilson, Mayank Loonker, Mike Green

https://www.beyond-festival.com/en/art/

https://www.kent.ac.uk/communications/campus-news/?view=15075

http://www.geneticmoo.com/now-digital/

Project development (work-in-progress)

Outreach activity with high school students

Open Studio - Studio 3

zones of flow (ii), ON | OFF, Media Arts Nexus (MAN),...

Sun, 10 Mar 2019 13:29:57 +0100

zones of flow (ii), ON | OFF, Media Arts Nexus (MAN), NTU-Singapore

AV piece for digital display: 15 x 2m LED wall (MAN)

Self generative piece (Processing) & fixed media piece (Premiere/Audition)

“zones of flow” is a work-in-progress project which investigates the fluid connections between people, sea and land. The piece zones of flow (ii) is an audiovisual artwork created to for the MAN display, which is 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.

The moving images and sounds were recorded during the sailing trip, and capture the transient flows that surrounded the vessel, its inhabitants and the environment through which we travelled from the safety of the continent to the remote Azores islands. In this journey, time and space became distorted and sometimes slowed down, expanded, while others it contracted and sped up.

Thanks to Abe Pazos for the processing video.export library (com.hamoid.*)

Special thanks to: Ina Conradi for hosting me in Singapore and inviting me to participate in ON|OFF, Mark Chavez for his support during the testing phase, and the International Office (University of Kent) for supporting my travel to the School of Arts, Design and Media, NTU Singapore.

https://onoff100101010.com/

zones of flow (i), 2016, Walk & Talk Festival, Sao Miguel,...

Fri, 06 Jan 2017 18:12:05 +0100

zones of flow (i), 2016, Walk & Talk Festival, Sao Miguel, Azores

1 portable projector, 1 tin of white paint, 15m sailing boat, map

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.

This project was developed during an artist residency on board of the Clipperton Project - Azores Expedition (July 2016). Thanks to Walk&Talk 2016 team for their support, Clipperton project members and very special thanks to Teclo Garcia (captain of Yemanja), Kilian (crew) and Polina Isurin (artist) - an incredible journey thanks to you!

Video documentation by Maria Pereira.

Projections

Video documentation of the video walk (intervention)

Plotting sea co-ordinates onto land

Projected moving images

The Boat

(wh)ere land, 2014, Alchemy Film & Moving Image Festival,...

Fri, 29 Aug 2014 17:04:00 +0200

(wh)ere land, 2014, Alchemy Film & Moving Image Festival, Wilton Park, Hawick

7 portable projectors, 2 wool-paper-LED reactive sculptures, 1 indoor projector

Sound improvisation by Grey Area: Emma Lloyd, Shiori Usui, Sean Williams

A site-specific audiovisual walk in Wilton Lodge Park. The walk develops at night while the audience moves through the park with portable projectors in their hands. The walk is guided, but participants move along the path at their own speed, exploring the spaces of the park in the dark and projecting moving images onto the different surfaces and shapes they encounter. Light sensitive paper sculptures are installed around
the walkways and participants are invited to find them, projecting and listening to audiovisual material recorded directly in Hawick.

Image credit (top) Pattrick Rafferty, bottom: Pattrick Rafferty, Mike Olenik, Chih-Peng Lucas Kao,

Lichsuchende, 2015-2016, GLOBALE: Exo-Evolution, ZKM |...

Fri, 29 Aug 2014 15:35:00 +0200

Lichsuchende, 2015-2016, GLOBALE: Exo-Evolution, ZKM | Karlsruhe, Germany

Also presented at Scottish National Gallery Of Modern Art (Modern Two) 2018-2019; Edinburgh International Science Festival, Summerhall 2017; ACM Creativity & Cognition, Glasgow 2015; Update_5 Zebrastraat Gent, Belgium 2014 (Nomination for the New Technology Art Award); Hidden Door Festival, Edinburgh 2014

Robotic light sculpture in collaboration with Dave Murray-Rust

Lumen Prize for Art and Technology: The BCS AI Award 2019 https://lumenprize.com/artwork/lichtsuchende/

Robotic flowers (servo motors, microprocessor, LED, light sensors, radio transmitters), torches, rocks

The Lichtsuchende are small static robotic creatures, forming an interactive digital photo-kinetic sculpture. Their movement is modelled after sunflowers turning to face then sun, in their constant search for effulgent nourishment. As well as consuming light, they can produce light, giving possibilities of exchange and communication, and an ascension up Maslow’s hierarchy of needs. They are presented in the form of an interactive installation – a group of around 25 Lichtsuchende are placed in an otherwise dark room; participants enter with torches and engage with the robots, setting up cascades of movement and light, and exchanging photonic information with the cyber-society

This project was funded by the Innovation Initiative Grant of the University of Edinburgh, and supported by the Design-Informatics programme and New Media Scotland’s Alt-W Fund.

Image credit (top image): Jonas Zilius © ZKM | Zentrum für Kunst und Medientechnologie.

https://zkm.de/de/node/26700/m-r#lichtsuchende

https://zkm.de/de/person/rocio-von-jungenfeld

Links to the Welt Digitale Zeitung:

Lichtsuchende at Hidden Door Festival (Mar-Apr 2014)

Embed from Getty Images

Walk-itch, 2013, Edinburgh International Festival, ECA,...

Mon, 19 Aug 2013 17:32:00 +0200

Walk-itch, 2013, Edinburgh International Festival, ECA, UK

Visual walk and wool installation

Portable projectors, wireless surveillance cameras, radio frequency reception devices, wool, mirrors, corridor

Walk-itch is a site-specific visual walk and wool installation inside a corridor. The work is composed of a number of portable projectors, radio frequency receivers and live-stream surveillance wireless cameras. All the equipment is powered through batteries. Each portable set is composed of a portable projector, a receiver and a wireless camera which are handed over to participants. Participants operate the equipment in pairs, one person carries the portable projector (plugged into the receiver), and the other carries the wireless camera. All cameras and receivers are connected to the same frequency (channel), and so participants can interfere in the projections of other participants. Participant perform together in the corridor using the furniture, their bodies, ceiling, floor, walls and other participants as projection surfaces and as things to look at through their wireless camera.

I-Walk, 2012, I-Park Foundation, Connecticut, USA Audiovisual...

Wed, 02 Jan 2013 15:13:00 +0100

I-Walk, 2012, I-Park Foundation, Connecticut, USA

Audiovisual walk and installation

Speakers, projector, paper, portable projector, surveillance webcam

I-walk is an ephemeral site-specific visual-walk and an installation that reflect on the natural enclave of I-Park premises, and on the buildings constructed within the park (main house, library house, studio huts, tool sheds, barn, workshop studio). The artwork consists of an 8-minute silent video projected with a portable projector on different surfaces, building walls and on five origami houses that were installed along the path that connects the main house with the pond studio.

To complement the visual-walk there is an audiovisual installation with origami houses, wool and mirrors inside the pond studio. The origami houses in the installation represent the different buildings of I-Park and were set up in the space according to their geographical positions, taking the distances from a 1:200 map. The installation was a temporal model of the physical environment. The wool threads in the installation indicate the path that connects the main building with the pond studio, and the different buildings that you have to pass by on your way to the pond. Inside the installation a radio frequency surveillance camera was streaming in real time how people were moving in the installation space, and this live video footage was projected with the pico projector onto one of the origami houses inside the pond studio.

This video is also available through the I-Park Foundation page ‘A Sense of Place’, to see the list of artworks related to please click here.

The visual material features outdoor spaces and textures appropriated from the surrounding environment, close up footage from buildings and trees, and blurry and glittery textures produced by light. The installation sound is a recording from a live improvisation with a piano frame that is set up outdoors in I-Park (rusting, full of leaves, acorns). I performed the improvisation and played with the sounds produced by things found during my daily walks (pine cones, pebbles, twigs).

Stills by Michelle Aldredge

Here is a short documentary about the artists that participated in this residency at I-Park Foundation. I and my work appear on 04:04-04:50 min.

Thawing Colours, 2012, Talbot Rice Gallery,...

Mon, 28 May 2012 14:43:00 +0200

Thawing Colours, 2012, Talbot Rice Gallery, Edinburgh

Interactive installation in collaboration with Dave Murray-Rust

Contact microphones, pebbles, ice, pigments, concatenative synthesis, paper, wool threads, speakers

Thawing Colours is an installation that was commissioned by the Talbot Rice Gallery and was created for the Unoccupied exhibition that took place in May 2012 in the Georgian Gallery of the Old College.

Thanks to Pat Fisher, Hazel Norcross and James Clegg from the Talbot Rice Gallery for their support, and special thanks to Tommy Stuart for encouragement, ideas and technical support. Finally, thanks to Elizabeth Ibbotson, Elizabeth Lyne, Alexis Smith and Joowon Park for curating the Unoccupied exhibition.

The piece involves the installation of a series of ice filled with pigments that release coloured fluids when they melt and of contact microphones attached to a wire structure and connected to Max/MSP patch that processes signals. The ice balls hang from wool threads and wire hooks, and have locally-sourced pebbles inside them. The stone-base core and the wool help maintaining the ice temperature low. The wire hooks are suspended from a structure that hangs 4 meters above the floor onto which contact microphones are placed to sonically capture the movements of the wool-wire structure and of the ice, and the vibrations triggered by the direct interaction of participants and their presence in the space. The contact microphones send data to the concatenative-synthesis system and the system reacts to the movements with a variation of metallic and ice shattering sounds. The ice, pebbles and wool invite the audience to interact through four tags that read ‘PULL me gently PLEASE’. The ice balls are hang daily and the colours of the ice vary so as to create a sort of micro geographical landscape on the paper which lays below.

In line with the theme of the exhibition, Thawing Colours addresses the idea of flow, change and temporality, the reinterpretation of space and materiality, and the interrelation between physical spaces and technologically mediated interaction experiences.

The Surface Inside, 2011, Sensory Worlds, Informatics Forum,...

Thu, 29 Dec 2011 18:26:00 +0100

The Surface Inside, 2011, Sensory Worlds, Informatics Forum, Edinburgh

Audiovisual-walk in collaboration with Shiori Usui

Park, headphones, portable screens, handheld projector, binaural, gloves, mp3, film

The Surface Inside is an audiovisual-walk created for the Sensory Worlds Conference and Art Exhibition organised by IASH, the Institute for Advanced Studies in the Humanities in December 2011.

Thanks to Rachel Harkness, IASH and the Andrew W. Mellon Foundation, for organising the Embodied Values Series and Sensory Worlds Conference

* Put your headphones on *

The audiovisual-walk was created in November for George Square, an urban park in Edinburgh Central Campus. The piece is a creatively mediated record of some of the moments of change that were taking place in the space at that time, is a non-taxonomic collection of visual and aural memories. The data was collated during 2 weeks in Autumn, before the season changed into gelid Winter.

The piece requires a handheld projector and a good pair of headphones. The piece is a composition of rattling sounds of leaves, springs and instruments and other textures, onto which the visual material is mapped and patch-worked. To start the piece the participant is outside the park premises, few meteres away from the door. The piece starts playing and the individual adventures into the park at dusk. The lack of zenithal light allows the projectors to function as a torch for the exploration of the park, and the textural qualities of the space are revealed not only visually but sonically.

The piece is a psycho-geographical investigation that aims to open new understandings of natural urban spaces and the phenomenological experience of walking, of moving across an everyday life space.

Like Fish in Sand, 2011 Alchemy Film & Moving Image...

Thu, 29 Sep 2011 18:58:00 +0200

Like Fish in Sand, 2011

Alchemy Film & Moving Image Festival, Hawick, Scotland

Interactive audiovisual installation in collaboration with Lucas Kao and Jessi Schmidt

Digital film, speakers, computers, projectors, sandpit, fish tank, water, sand, rake, stones

The video footage consists of visual metaphors such as: dew drops falling from the sky, blue clouds flowing with the stream, skin and hair submerged, sand crackles under the wood, an eye meets the pebbles under water, the skin disappears in favour of wax. The series of moving images function as magnifying glasses, and are abstract metaphors of the relationship between audiovisual media, body and outdoor environments.

The audiovisual installation consists of two projections, one onto a fish tank and another onto a sand pit. The installation combines natural materials, manufactured elements and digital projections to bring the embodied experience of outdoor spaces into the gallery space. The video footage, filmed in the Scottish Borders consists of close-up images of natural elements,and their interaction with the body; skin, hair, eyes, hands and feet blend with nature. The images have a direct relationship with the materials and elements of the installation.

The fish-tank is parallel to a wall, and in between the wall and a projection surface made of paper that hangs from the ceiling. The light brown sand in the sandpit functions unexpectedly as a projection screen on the floor, and needs to be accessible from all four sides. A handmade fishing-rod is next to the fish-tank, and a small rake in the sand. These are essential elements with which visitors can interact with the surfaces and intervene on the piece (water & sand surfaces).Visitors are welcome to interact and draw on the sand with the rake and to touch the water surface with the float of the fishing-rod.

Below, there is a short documentary about the making of the installation piece. The video is password protected at the moment, so if you want to see it just type “likefishinsand”.

Weaving-Scape II, 2011, NECS Conference, London Moving image for...

Fri, 22 Jul 2011 19:35:00 +0200

Weaving-Scape II, 2011, NECS Conference, London

Moving image for audiovisual-walk with voice over

Street, film, portable screen / portable projector, voice over (see text below)

Weaving-Scape II was produced for the NECS 2011 conference “Sonic Futures: Soundscapes and the Languages of Screen Media”. The moving image for portable device documents the phenomenological experience of walking between public spaces with the iPod piece “Weaving-Scape”.

The video lasts 15 minutes, and should be experienced while walking in between public spaces. The walk should start in a quiet meditative environment, continue in a crowded and transited road, and end in an urban park or quiet green space.

The sound for this moving image is a voice over. The voice narrates the journey and concepts that are visually presented through the piece. Here is an excerpt:

“ (approximately during minute 7:00) … I slide my fingers and find Weaving-Scape: A or B? I or II? Either or; all versions will alter my experience of walking back home, of wandering through familiar urban spaces, of walking through a park. The piece shapes the so many times walked path, converting it into a reflected space, a different lens through which to look at the surrounding, a peculiar filter through which to listen to the environment, a new space through which to think through. Around, people just walk their own ways, their paths meet and part, overlap and merge”.

Weaving-Scape, 2011, National Library of Scotland,...

Wed, 29 Jun 2011 20:50:00 +0200

Weaving-Scape, 2011, National Library of Scotland, Edinburgh

Audiovisual-walk in collaboration with Shiori Usui & Sean Williams

Street, headphones, portable screen (iPod), mp3, film, threads, paper

Weaving-Scape is an audiovisual walk designed for iPod or portable electronic device. The piece was conceived for a route in Edinburgh that connects a relatively quiet public indoor space with a busy road and finally with a quiet urban park.

The piece lasts 15 minutes and to fully apprehend it the participant has to wear earphones or open headphones. The piece is conceived bearing in mind both elements: the engagement with the real world environment, and the engagement with a virtual space, that of the visual and aural creative input. The participant starts in the National Library of Scotland (NLS). A map describing the route of the walk is briefly shown. With the image of the map retained in her/his memory the participant adventures onto the street. The visuals were created using wool, paper and projections, and are metaphorical connections of spaces, the device seems a navigation aid. The projections used for the visuals are a collection of moving images that represented and captured ephemeral wool interventions (guerrilla knitting) in outdoor and indoor spaces. The audiovisual walk serves to explore an everyday life space in an unusual setting.

Weaving-Inspace, 2011, Inspace Gallery, Informatics School,...

Sun, 29 May 2011 21:07:00 +0200

Weaving-Inspace, 2011, Inspace Gallery, Informatics School, Edinburgh

Audiovisual and weaving installation

Film, projectors, laptop, paper, wool, mirrors, computer, speakers

Weaving-Inspace is an audiovisual piece installed at the “Perimetre and Parametre” Symposium organised by CIRCLE at the INSPACE, a gallery space run by New Media Scotland with the support of The Informatics Forum.

Thanks to CIRCLE (Creative Interdisciplinary Research in Collaborative Environments) members for organising the 2011 symposium, and special thanks to Dr Mark Wright and Sevi Kosharay for their support in the installation of the piece and to Mark Daniels.

The footage projected into the table, blinds, walls, pillars, paper box and laptop, is raw video material collected during the studio-based installation that served as model for the design of Weaving-Scape I. The installation consisted of two simultaneous projections. The projections are superimposed and mirrored, while being projected onto the table and the laptop and surrounding space. The images projected were also being played on the laptop in a asynchronous way. The laptop has a paper box that surrounds it, and the screen functions as a moving image wall inside the microcosms space generated by the paper box and the projections onto the different surfaces.

Weaving the Tower, 2010, Towerhouse (Textile Museum),...

Wed, 29 Sep 2010 21:33:00 +0200

Weaving the Tower, 2010, Towerhouse (Textile Museum), Hawick

Audiovisual and wool installation in the Textile Museum

Film, wood, mirrors, wool cones, speakers, projector, pebbles, pine tree leaves

The video footage is a composition of moving images that present a series of interventions in natural spaces using wool as the element for connecting history and present, culture and nature, and indoors (private) and outdoors (public).

Thanks to Richard Ashrowan and Mary Morrison for their support, thanks to Shona Sinclair for welcoming me at the Towerhouse and providing tons of coloured wool, and thanks to Bridie, Dove & Lily for making me feel at home during my residency in the Scottish Borders.

The installation consisted of one projector screening the video footage “Weaving the Towerhouse” into a semi-circular space in the ground floor of the Textile Museum. The projected audiovisual material pointed at a series of mirror that reflected the moving images and re-projected them onto different walls and surfaces. The space was weaved with a large number of wool cones which spread and tangled in the space. The threads interfered in the projections and casted shadows into the image. Natural elements such as wood, pebbles and tree branches were brought inside into the tangle of wool and visuals.