Ashley Daugherty

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This essay will use a theoretical argument to break down the distinctive boundaries between our bodies, the object-world, and clouds.
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Discusses the potential of a shift in perspective to open new spaces for artists to work in and new vivacious materials to sculpt with.
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Consider the topography of the artist’s studio in relation to the cloud as an amorphous, virtual entity that exists everywhere and nowhere.
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Introduction to Cloud and Molecular Aesthetics, a volume reflecting upon the relationship between the small and the very large.
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The desire of being dissolved is the focus of this essay, which explores the dramatic tensions of life and death in the digital archive.
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This essay explores the manifestation of an individual’s experience of art captured through a stream of emotive data.
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Considers the idea of the wave and the concept of phase and how the manipulation of these enabled Fathom to be constructed.
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This essay presents a view onto the cloud from the haunted perspective of modern media.
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Within a two-way dynamic between the particular and the atmospheric, new qualities emerge from the interplay between particles and systems.
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Explores artistic work with brain synchronicity and electroencephalogram (EEG) interaction, and telemetrics among other things.
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Our ongoing Classical Gas project freeze-frames poetic moments of transformation moving from one semiotic state to another.
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This paper discusses media adequacy in light of the trendy discipline of synthetic biology.
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The cloud opens up a field of action and intervention where plants and animals converge in our understanding of our bodies.
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This article considers the paradoxes of visualizing the networked image in the contexts of data mining and social media networks.
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Describes digital media artwork that utilizes computer vision and generative digital effects to capture crowd dynamics in public spaces.
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This paper calls upon a series of images to remediate the fractious geometry of Ted Serios, his ‘thoughtography,’ and the ‘real.’
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This essay presents a framework for different aspects of fiducial markers that have been used within a series of street games.
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Explains the close relationship between neuroaesthetics and the activation and processing that occur in certain parts of the brain.
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Explores various forms of collapses, wherein the fallout throws up a cloud of ‘affective dust’ that offers access to future potential.
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The project experiments with open-narrative structures, multiple archival figures, and focused play by developing enabling constraints.
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This paper looks at the practices of artists, who, in different ways, explore the workings of emergent circular causalities in the animal and the machine.
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This essay will explore the use of atomic force microscopy for uncovering lost tales and histories through subtle audience interaction.
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Develops a philosophy of visual perception based on hints given by Martin Heidegger and partially developed by Maurice Merleau-Ponty.
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Explores how chemists map chemical instability onto molecular representations and the associated temporal aesthetic of such representations.
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“Cloud” is the most appalling metaphor we have to describe the global network of integrated data.
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This essay proposes that the aesthetic model of cloud as metaphor for online services should be reconsidered.
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If the artist does not remain a listener, but instead registers their presence in the phenomenological development of the artwork by intervening, the outcome can transcend mere impression of the space and become a critical reflection of the relationship between artist and city.
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Seeks to explore the differences between contemporary artworks that use technology to create works of art and artworks of the past.
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This curatorial essay and diary of a barbarian is about the connections between Athens and Rome, but more importantly it is about the oppressed and forgotten people of the world—whose voices and desires are expressed despite various frameworks of exploitation which persist.
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This essay examines the belief that abstract representations of worlds are the world, a process we have named the cybernetics of augmentation.
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Stress-o-stat is a living artwork that visually captures stress in bacteria as light.
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This paper looks at the technical and compositional methodologies used in the realization of V’Oct(Ritual) (2011), with particular reference to the choices made in the mapping of sensor elements in various spatialization functions.
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This essay discusses Biopoiesis, a cybernetic art project that explores the relationships between structure, matter, and self-organization.
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This paper addresses the question of materiality’s role in historical cybernetic approaches to consciousness and being through a close reading of the Adaptive Reorganizing Automaton.
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This paper illustrates how the interface between human and the interactive audiovisual space affects the dancer’s choreography in two projects.
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This essay describes the design of a hybrid physical/digital system for claiming ownership of territory.
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0h!m1gas is an artistic research and audiovisual installation that approaches the self-organization in ants as a cybernetic system with emergent acoustic manifestations.
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In this paper, I argue that a prosthetic aesthetic instigated by experimental art practices operates with a ‘second nature’—in between science and art.
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The aim of this paper is to connect the history of art to its future via a political fantasy.
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