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    <loc>http://www.amiddletonprojects.com/ashley-middleton-news/2018/12/5/salamanders-and-the-vicious-circle-of-sociocultural-pressure</loc>
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      <image:title>news - Salamanders and the Vicious Circle...</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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      <image:title>news - THERE IS NO THREAT, interview</image:title>
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  <url>
    <loc>http://www.amiddletonprojects.com/ashley-middleton-news/2017/3/13/interview-with-lev-manovich</loc>
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    <lastmod>2018-05-23</lastmod>
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      <image:title>news - Interview with Lev Manovich</image:title>
      <image:caption>September 2015</image:caption>
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  <url>
    <loc>http://www.amiddletonprojects.com/throughothers</loc>
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    <lastmod>2018-05-04</lastmod>
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      <image:title>through others</image:title>
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      <image:title>through others</image:title>
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      <image:title>through others</image:title>
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      <image:title>through others</image:title>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1525396104227-Q0MRR8CE4KKNBM0HF8ZB/2_Ashley_Middleton_Through_Others_I_30x45.jpg</image:loc>
      <image:title>through others</image:title>
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  <url>
    <loc>http://www.amiddletonprojects.com/projectss</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2025-02-07</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1630954660371-UQY6I8HP7RPR3L04CURS/Ashley_Middleton_2578.jpg</image:loc>
      <image:title>projects - Untitled I, 2021</image:title>
      <image:caption>Each cyanotype is a unique physical reflection of the relationship between a chemical process, a rainy environment, and the artist. As the rain patterns the cyanotype it fixes an image for a brief moment in time. The fluid image, representative of the body’s liquid materiality, never remains the same.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1630954447580-IR91852ZSWFSCIU8L7NS/ashley_middleton_kunstlerdorf_schoppingen_02721.jpg</image:loc>
      <image:title>projects - the million moving shapes and cul-de-sacs of shadow, 2021</image:title>
      <image:caption>Installation including cyanotypes, earth, apple tree, wormhole, and immersive digital projection of liquid materialities. I worked with cyanotypes to express consciousness in and through liquid form. Thinking through both individual and collective consciousness, I grouped 55 single-sheets of chemically processed copy paper and explored bodily gestures through liquid painting. The expressions on paper are a recording of time, space. and movement. They are documentations of the intra-relationality between body, object, and the surrounding environment. My body’s liquid movements, along with the sun, wind, and earth, affected the final exposure of the work. The choice to display the shadowy-side was an intention to bring light to the beauty of the dark, unknown, and unconscious. Exhibition: F6 Gallery, Stiftung Kunstlerdorf Schoppingen</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1630954724723-CUMTL0WJ574ER7K0P7GE/State_Studio_Berlin_Hypertopia-02256_Ashley_Middleton.jpg</image:loc>
      <image:title>projects - unrecognised borders of transient beings, 2020</image:title>
      <image:caption>Interactive video, webcam, sound, dimensions variable Drawing on inspiration from the complex ecosystem that emerges from the Whale Fall, the work navigates the body as a porous and integrated ecological site. Through video, sound, surveillance technologies, and coded networks participants are invited to reframe their presence in an alternative environment. The work acts as a contemplation site for the following questions: What kind of assemblages do we engage in consciously/unconsciously and physically/ metaphysically? How does our body loop into the environment and what kind of micro choices have macro effects on ourselves and the world around us? What systems do we utilize to navigate differences? Do we need to create new systems of communication that facilitate a wider integration between human and non-human bodies? Exhibition: Hypertopia, State Studio, Berlin</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1631184913590-9D9RROS7V7HI2BBYMMEX/Ashley_Middleton_Rogue+2019.jpg</image:loc>
      <image:title>projects - rogue, 2019</image:title>
      <image:caption>Installation, altered in real time, using heartbeat sensors/arduino/ touchdesigner Rogue is an interactive installation, conceptually integrating Stefan Helmreich’s lecture on the quantification of ocean waves, and Rebecca Solnit’s auratic blue horizon line between sea and sky. I paired Solnit’s commentary on understanding the immateriality of the body (as it simultaneously occupies two spaces in its relation to sight) with Helmreich’s explanation of our data-driven, cultural desire, to define the ephemeral. In a time where technology has enabled individuals to become more and more measurable as a materiality, I find myself curious about the unseen and immeasurable energies that deeply connect us. The statistically unexpected - Rogue - immaterial knowing. The installation invites viewers to visually access their heartbeat by touching the nearby sensors. Exhibitions Include: Lumen Crypt Gallery, London and Creators Lab, Factory, Berlin</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1631631212365-W1A58I2XYS6TM0ETZC57/Ashley_Middleton_OpenBCI.jpg</image:loc>
      <image:title>projects</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1651159728086-Q5CGWCYYAYLPWA7MHWEE/image-asset.png</image:loc>
      <image:title>projects - Mechanism of Action, 2022</image:title>
      <image:caption>Video Stills from 3D animation and soundscape of Protein Crystallization Process, 3min42sec Mechanism of Action is a sensory response to the microworld of protein crystals. In collaboration with ESS’ structural biologist Dr. Swati Aggarwal, the 3D animation and soundscape rescales the microscopic realm of protein crystallography to a macro- cosmos of molecular interaction. From the organizational lattice of atoms and molecules, which mark the molecular beginnings of protein crystallization, to diffractive patterns that incite the production of modern medicine, Mechanism of Action is a watery world of scientific fact enfolded in fiction and sensoriality. Body- and cosmic- materialities are reimagined through a virtual experience of anti-gravitational space and an embodiment of sound. The soundscape, produced in collaboration with software engineer Agnieszka Czeszumska, includes translations of DNA and amino acids (the building blocks of proteins). Mixed with recordings from ESS’ biology lab and interplanetary frequencies sourced from NASA, the body’s cellular machinery is repositioned through Schumann Resonances, to provide a psychic space for sensing the quantum body. link to sound Nanocosmic Investigations Residency Malmo Museum, Inter Arts Center, and European Spallation Source</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1630954996246-9CJZ47P0ZZJ26M0A6EFG/Soma-Potion+Room_Subsidiary_Projects_London_Ashley_Middleton.jpg</image:loc>
      <image:title>projects - soma, 2018 - 2020</image:title>
      <image:caption>The hand-blown glass sculpture is modeled after a cell body of sensory neurons, and supported by rope and copper pipes, which allude to water systems beyond the frame of the object revealed. The intention is to demonstrate the powerful interconnectedness of all individuals, body, and mind, as well as the willingness to drug experience in order to disengage from the dialogue. Exhibitions Include: The Potion Room, Subsidiary Projects, London and The Salamander Devours its Tail Twice, Gallery 46, London</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/579b813e1b631ba3f1a65a2e/1722273673742-6IZ28Z8TGN4XPNW3H8G4/image-asset.jpeg</image:loc>
      <image:title>projects - Res Nodus, 2023</image:title>
      <image:caption>Metal Grid cut in half, LEDs flickering at varying frequencies, Video, Volcanic Rock, EEG sensor, Cosmic Soundscape, 187cm x 187cm x 236cm The immersive installation, ‘Res Nodus,’ utilizes brain-computer interface (BCI) technologies, and draws from neuroscientific research and spiritual practice to navigate the symbolic grid as an apparatus from which we measure and align multidimensional bodies. From micro- to macro- worlds the grid is apparent in biological processes, where atoms and molecules arrange in a crystal structure; in physics, when theorizing cosmic dimensions; and in 3D modelling, when creating a virtual reflection of matter. In this immersive installation the grid is the foundation of knowledge from which we come to know the multidimensional self. With the incorporation of body-data via electrophysiological interfacing (EEG sensors), which measure brainwaves, the work invites the public to reflect how the sensory body is affected in, and through, the perspective of the grid. The physical structure provides the foundation for the virtual experience in the immersive space. One participant at a time is invited to don the EEG headset and stare at the LEDs. There are three different LED frequencies pulsing throughout the grid, each frequency is linked to a different cosmic soundscape. When the participant stares at one frequency, the brain synchronizes and fills the room with the assigned cosmic soundscape. Physiological data streams from the body’s attunement to the light frequency and is filtered through a mathematical organization of code that initiates the soundscape for everyone in the gallery. The body is sourced to generate sound through the mechanisms of the grid. In the solid metal structure I added flows of water, cuts and fractures, and electrical currents to signify periods of transformation. Interested in understanding the implications of technologically mediated somatic practice, I utilize EEG sensors to reflect on the social, cultural, economic, and ecological implications of bio-information mined through personal devices, and grid-like mentalities. In a critique of Cartesian dualist philosophy, which separates body-matter, Res Extensa; from mind- consciousness, Res Cogitans; ‘Res Nodus,’ meaning knot or “lump in the flesh,” asks how big data analytics, automation, and AI, are shaping sensory experience, relationality, and cultivating body-culture through new evolutions of the grid.</image:caption>
    </image:image>
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    <lastmod>2025-05-05</lastmod>
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      <image:title>events - Interview with a Glacier</image:title>
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