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Photograph of Virginia Woolf in 1902; photograph by George Charles Beresford
First name
Virginia
Last name
Woolf
Born
Died
Nationality
United Kingdom
Residency

United Kingdom

Short biography

Adeline Virginia Woolf (/wʊlf/; née Stephen; 25 January 1882 – 28 March 1941) was a British writer, considered one of the most important modernist 20th-century authors and a pioneer in the use of stream of consciousness as a narrative device.

Woolf was born into an affluent household in South Kensington, London, the seventh child in a blended family of eight. Her mother, Julia Stephen, celebrated as a Pre-Raphaelite artist's model, had three children from her first marriage; her father, Leslie Stephen, a notable man of letters, had one previous daughter; their marriage produced another four children, including the modernist painter Vanessa Bell. While the boys in the family were educated at university, the girls were home-schooled in English classics and Victorian literature. An important influence in her early life was the summer home the family used in St Ives, Cornwall, where she first saw the Godrevy Lighthouse, which was to become iconic in her novel To the Lighthouse (1927).

Woolf's childhood came to an abrupt end in 1895 with the death of her mother and her first mental breakdown, followed two years later by the death of her stepsister and surrogate mother, Stella Duckworth. From 1897–1901 she attended the Ladies' Department of King's College London, where she studied classics and history and came into contact with early reformers of women's higher education and the women's rights movement. Other important influences were her Cambridge-educated brothers and unfettered access to their father's vast library. She began writing professionally in 1900, encouraged by her father, whose death in 1905 was a major turning point in her life and the cause of another breakdown. Following the death, the family moved from Kensington to the more bohemian Bloomsbury, where they adopted a free-spirited lifestyle; it was there that, in conjunction with their brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912 Woolf married Leonard Woolf, and in 1917 they founded the Hogarth Press, which published much of her work. The couple rented second homes in Sussex and moved there permanently in 1940. Throughout her life Woolf was troubled by bouts of mental illness, which included being institutionalised and attempting suicide. Her illness is considered to have been bipolar disorder, for which there was no effective intervention at the time. Eventually in 1941 she drowned herself in a river, aged 59.

During the interwar period, Woolf was an important part of London's literary and artistic society. She published her first novel, The Voyage Out, in 1915, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, including A Room of One's Own (1929), in which she wrote the much-quoted dictum, "A woman must have money and a room of her own if she is to write fiction."

Woolf became one of the central subjects of the 1970s movement of feminist criticism, and her works have since garnered much attention and widespread commentary for "inspiring feminism", an aspect of her writing that was unheralded earlier. Her works are widely read all over the world and have been translated into more than 50 languages. A large body of literature is dedicated to her life and work, and she has been the subject of many plays, novels, and films. Some of her writing has been considered offensive and has been criticised for a number of complex and controversial views, including anti-semitism and elitism. Woolf is commemorated today by statues, societies dedicated to her work and a building at the University of London.

(Source: Wikipedia entry on Virginia Woolf)

Description (in English)

The Waste Land is a long poem by T. S. Eliot, widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line[B] poem first appeared in the United Kingdom in the October issue of Eliot's The Criterion and in the United States in the November issue of The Dial. It was published in book form in December 1922. Among its famous phrases are "April is the cruellest month", "I will show you fear in a handful of dust", and the mantra in the Sanskrit language "Shantih shantih shantih".

Eliot's poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism and the Hindu Upanishads. The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location, and time and conjuring a vast and dissonant range of cultures and literatures.

The poem's structure is divided into five sections. The first section, "The Burial of the Dead," introduces the diverse themes of disillusionment and despair. The second, "A Game of Chess," employs vignettes of several characters—alternating narrations—that address those themes experientially. "The Fire Sermon," the third section, offers a philosophical meditation in relation to the imagery of death and views of self-denial in juxtaposition influenced by Augustine of Hippo and eastern religions. After a fourth section, "Death by Water," which includes a brief lyrical petition, the culminating fifth section, "What the Thunder Said," concludes with an image of judgment.

(Source: Wikipedia entry on The Waste Land)

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Thomas Stearns Eliot by Lady Ottoline Morrell (1934
First name
Thomas
Middle name
Stearns
Last name
Eliot
Born
Died
Nationality
United Kingdom
Residency

United Kingdom

Short biography

Thomas Stearns Eliot, OM (26 September 1888 – 4 January 1965), was an essayist, publisher, playwright, literary and social critic, and "one of the twentieth century's major poets". Born in St. Louis, Missouri, in the United States, to a prominent Boston Brahmin family, he moved to England in 1914 at the age of 25, settling, working, and marrying there. He became a British subject in 1927 at the age of 39, renouncing his American passport.

Eliot attracted widespread attention for his poem "The Love Song of J. Alfred Prufrock" (1915), which was seen as a masterpiece of the Modernist movement. It was followed by some of the best-known poems in the English language, including The Waste Land (1922), "The Hollow Men" (1925), "Ash Wednesday" (1930), and Four Quartets (1943). He was also known for his seven plays, particularly Murder in the Cathedral (1935) and The Cocktail Party (1949). He was awarded the Nobel Prize in Literature in 1948, "for his outstanding, pioneer contribution to present-day poetry".

(Source: Wikipedia entry on T.S. Eliot)

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Description (in English)

Finnegans Wake is a work of fiction by Irish writer James Joyce. It is significant for its experimental style and reputation as one of the most difficult works of fiction in the English language. Written in Paris over a period of seventeen years and published in 1939, two years before the author's death, Finnegans Wake was Joyce's final work. The entire book is written in a largely idiosyncratic language, which blends standard English lexical items and neologistic multilingual puns and portmanteau words to unique effect. Many critics believe the technique was Joyce's attempt to recreate the experience of sleep and dreams. Owing to the work's linguistic experiments, stream of consciousness writing style, literary allusions, free dream associations, and abandonment of narrative conventions, Finnegans Wake remains largely unread by the general public.

Despite the obstacles, readers and commentators have reached a broad consensus about the book's central cast of characters and, to a lesser degree, its plot, but key details remain elusive. The book discusses, in an unorthodox fashion, the Earwicker family, comprising the father HCE, the mother ALP, and their three children Shem the Penman, Shaun the Postman, and Issy. Following an unspecified rumour about HCE, the book, in a nonlinear dream narrative, follows his wife's attempts to exonerate him with a letter, his sons' struggle to replace him, Shaun's rise to prominence, and a final monologue by ALP at the break of dawn. The opening line of the book is a sentence fragment which continues from the book's unfinished closing line, making the work a never-ending cycle. Many noted Joycean scholars such as Samuel Beckett and Donald Phillip Verene link this cyclical structure to Giambattista Vico's seminal text La Scienza Nuova ("The New Science"), upon which they argue Finnegans Wake is structured.

Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear, in serialized form, in Parisian literary journals transatlantic review and transition, under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety, on 4 May 1939. Initial reaction to Finnegans Wake, both in its serialized and final published form, was largely negative, ranging from bafflement at its radical reworking of the English language to open hostility towards its lack of respect for the conventions of the genre.

The work has since come to assume a preeminent place in English literature, despite its numerous detractors. Anthony Burgess has lauded Finnegans Wake as "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page." The prominent literary academic Harold Bloom has called it Joyce's masterpiece, and, in The Western Canon (1994), wrote that "if aesthetic merit were ever again to center the canon, [Finnegans Wake] would be as close as our chaos could come to the heights of Shakespeare and Dante." The now commonplace term quark – a subatomic particle – originates from Finnegans Wake.

(Source: Wikipedia entry on Finnegan's Wake)

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Joyce in Zurich, c. 1918
First name
James
Last name
Joyce
Born
Died
Nationality
Ireland
Residency

Ireland

Short biography

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, short story writer, and poet. He contributed to the modernist avant-garde and is regarded as one of the most influential and important authors of the 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, most famously stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, his published letters and occasional journalism.

Joyce was born in 41 Brighton Square, Rathgar, Dublin, into a middle-class family. A brilliant student, he briefly attended the Christian Brothers-run O'Connell School before excelling at the Jesuit schools Clongowes and Belvedere, despite the chaotic family life imposed by his father's alcoholism and unpredictable finances. He went on to attend University College Dublin.

In 1904, in his early twenties, Joyce emigrated to continental Europe with his partner (and later wife) Nora Barnacle. They lived in Trieste, Paris, and Zurich. Although most of his adult life was spent abroad, Joyce's fictional universe centres on Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there. Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses, he elucidated this preoccupation somewhat, saying, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."

(Source: Wikipedia entry on James Joyce)

Description (in English)

"The Fall" is the story of John Smith, three-time winner of the MBPW (Most Boring Person in the World award), who is about to take a radical step into the next phase of his life. John Smith is not only himself in this narrative—through the use of archetypal images, symbols and plot, he becomes an everyman for our age. This story synthesizes text, images, audio, and animation into a single sustained vision of the action. It engages readers with opportunities for fuller interactions (e.g. triggering visual events during the piece and, at the end, an interactive quiz). These interactions push against typical reader expectations and force a more pro-active engagement with the material.

"The Fall" is linear in plot and uses elements of fiction (character, symbol, etc.) typically found in conventional print-based works. This is a deliberate attempt to bridge the "audience gap," where we still see a mainstream audience for print-based literature, but a limited audience for electronic literature. This bridging is an important concern in our field: with works using linear plots and other standard elements of fiction, we can expand our audience among readers who are more comfortable with the conventions of traditional literature; at the same time, we can also show younger writers a path that connects the print-based past and the electronic future of storytelling. This mixed brand of electronic literature empowers our field with an inclusiveness that embraces beginning writers and offers a wider potential for popular engagement.

(source: ELO 2018 website)

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 Ezra Pound photographed in 1913 by Alvin Langdon Coburn
First name
Ezra
Last name
Pound
Born
Died
Nationality
United States
Residency

Italy

Short biography

Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, and a major figure in the early modernist poetry movement. His contribution to poetry began with his development of Imagism, a movement derived from classical Chinese and Japanese poetry, stressing clarity, precision and economy of language. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920) and the unfinished 120-section epic, The Cantos (1917–1969).

Pound worked in London during the early 20th century as foreign editor of several American literary magazines, and helped discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost and Ernest Hemingway.[a] Angered by the carnage of World War I, Pound lost faith in Great Britain and blamed the war on usury and international capitalism. He moved to Italy in 1924 and throughout the 1930s and 1940s embraced Benito Mussolini's fascism, expressed support for Adolf Hitler, and wrote for publications owned by the British fascist Sir Oswald Mosley. During World War II, he was paid by the Italian government to make hundreds of radio broadcasts criticizing the United States, Franklin D. Roosevelt and Jews, as a result of which he was arrested in 1945 by American forces in Italy on charges of treason. He spent months in detention in a U.S. military camp in Pisa, including three weeks in a 6-by-6-foot (1.8 by 1.8 m) outdoor steel cage, which he said triggered a mental breakdown: "when the raft broke and the waters went over me". The following year he was deemed unfit to stand trial, and incarcerated in St. Elizabeths psychiatric hospital in Washington, D.C., for over 12 years.

Pound began work on sections of The Cantos while in custody in Italy. These parts were published as The Pisan Cantos (1948), for which he was awarded the Bollingen Prize in 1949 by the Library of Congress, leading to enormous controversy. Largely due to a campaign by his fellow writers, he was released from St. Elizabeths in 1958 and returned to live in Italy until his death.

(Source: Wikipedia entry on Ezra Pound)

Description (in English)

Many academics experience severe levels of stress and anxiety, but we do not address these issues in scholarly contexts. Instead, we cast stress as a personal matter, even though it is a shared experience in our profession. I would like to propose an installation for this year’s ELO Media Arts Festival that asks interactors to be mindful of the gap we have created between our academic lives and our mind-bodies. My installation, “HeartBeats,” prompts interactors to experiment with breathing techniques derived from Buddhist mindfulness mediation with a pulse sensor attached to their wrist. The sensor is connected to an Arduino Uno R3 board, which processes the analogue pulse signal to light up 60 NeoPixel LEDs based on the interactor’s heart rate. Depending on the frequency of the pulse, the LED lights blink in different colors. A color key allows interactors to interpret their heart rate. The installation displays instructions for breathing techniques alongside quotations taken from traditional Buddhist texts such as the Mediation Sutra. Buddhist quotes are shown both in Sanskrit and English to underscore that when we use coping strategies like mindfulness meditation in Western contexts, we are in fact appropriating ancient Buddhist practices. The instruction-section of the text is meant to effectively and succinctly communicate how to use mindfulness mediation, thus standing in stark contrast with the Buddhist narrative quotations, which rely on highly descriptive language and are challenging to interpret for a modern audience. In juxtaposing these two textual forms, the installation encourages the interactor to consider that mediation originated in Eastern spiritual practice; while it can indeed offer short-term relief, using mindfulness a quick remedy for anxiety and depression in fast capitalist society contradicts mediation’s role and purpose in its original Buddhist contexts. For the interactor, following the HeartBeats breathing instructions carefully will lead to a pleasant sensation of relaxation and a slowing of the pulse, which in turn prompts a change of colors in the LED lights. A high resting heart rate is often related to stress and anxiety. HeartBeats prompts interactors to slow down their breathing, which in turn slows down the pulse and lowers levels of stress and anxiety. By visualizing these relations, HeartBeats draws attention to the inseparability of mind and body. HeartBeats complicates not only the binary of the physical and the mental realm, but also the relation between human mind/body and machine by using LED lights to show the flow between thought, emotion, heartbeat, breath, physical sensation, and technology. In engaging HeartBeats, the interactor experiences a unity of mind, body, and machine through a two-fold interface: for one, the pulse sensor registers biofeedback data through skin contact and thus functions as a tactile-kinesthetic interface connecting human and machine. Secondly, the LED colors are altered based on conscious breathing, so that mind/body itself functions as a ‘controller’ interface. HeartBeats is an exploration and an intervention. Interactors are free to play with HeartBeats by inducing different heart rates, but they may also continue to practice the breathing techniques shown in HeartBeats to gradually improve their stress levels and negative emotions.

Description in original language
Description (in English)

"StoryFace" is a digital fiction based on the capture and recognition of facial emotions.

The user logs onto a dating website. He/she is asked to display, in front of the webcam, the emotion that seems to characterize him/her the best. After this the website proposes profiles of partners. The user can choose one and exchange with a fictional partner. The user is now expected to focus on the content of messages. However, the user's facial expressions continue to be tracked and analyzed… 

What is highlighted here is the tendency of emotion recognition devices to normalize emotions. Which emotion does the device expect? We go from the measurement of emotions to the standardization of emotions. 

StoryFace was re-published in The New River in 2018.

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