Ashley Ferro-Murray

Dr. Ferro-Murray is a curator and scholar whose work investigates the intersections among movement, digital culture, and interactive technology. Before coming to EMPAC, Ferro-Murray was the Andrew W. Mellon Creative Time Global Fellow at New York City’s public arts organization, Creative Time. She is currently working on a book project, Choreography in the Digital Era: Dancing the Cultural Difference of Technology, which charts international artists who make space for feminist, queer, disability, and postcolonial perspectives in the engineering industry, global networks, biomedicine, and borderlands. Ferro-Murray has also conducted extensive research on online instruction and the arts, for which she was awarded a MacArthur Foundation/HASTAC Digital Media and Learning dissertation research grant. This research led to in an online course titled American Cybercultures and an original choreography titled MOOCing?. Ferro-Murray has also worked as a choreographer, exploring the relationship between the moving body and technology – culturally, politically, and aesthetically. In her choreography, she defines “technology” broadly to include anything from fabric-based prosthetics, to industrial fans, to chalk, to wearable accelerometers. She premiered her autobiographical solo Through Practice in April 2016 at AS220 in Providence, Rhode Island. In her most personal piece, Ferro-Murray explored the biopolitics of patient experience in a reflection on her own battle with leukemia. She has also performed and exhibited at ZERO1 Biennial, San Jose; Cornell University, Ithaca; The Milk Bar, Oakland; and University of California, Berkeley and her work has been featured in InDance, HASTAC, and Dancers Using Technology and she  has published in Media-JournalThe Drama Review and Dance Research Journal. She has been a featured contributor on the -empyre- new media listserv,  HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory) and In Media Res. Ferro-Murray’s co-authored chapter “Technologies of Performance” is forthcoming in A Cultural History of Performance: The Modern Age from Bloomsbury Press.