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María Mencía

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María Mencía
Mencía (left) and Deena Larsen teaching at the National Autonomous University of Mexico as part of an E-Literature course.
EducationUniversity of the Arts London, Complutense University of Madrid
Occupation(s)Media artist, Professor
Known forLinguistics, Film, Visual poetry, Sound poetry, Concrete poetry, Digital poetry, Electronic literature, New media studies
Notable workWordy Mouths, Another Kind of Language, Birds Singing Other Birds’ Songs, The Poem that Crossed the Atlantic
Websitewww.mariamencia.com/index.html

María Mencía (Spanish pronunciation: [maˈɾi.a menˈθi.a]) is a Spanish-born media artist and researcher working as a Senior Lecturer at Kingston University in London, United Kingdom. Her artistic work is widely recognized in the field of electronic literature, and her scholarship on digital textuality has been widely published. She holds a Ph.D. in Digital Poetics and Digital Art at the Chelsea College of Arts of the University of the Arts London[1] and studied English Philology at the Complutense University of Madrid.[2]

Mencía's work has been featured in galleries as installation art, presented at conferences and art festivals, published on the Internet, and included in various curated collections of electronic literature, such as The Electronic Literature Collection, Volume 1, an anthology available on the Internet and on compact disc, edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg, and Stephanie Strickland,[3] and the Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) project funded by the Humanities in the European Research Area (HERA).[4] In addition to earning recognition in the English-speaking world, Mencía’s work is frequently mentioned in Spanish media.[5]

Critical reception

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Literary critic and media scholar N. Katherine Hayles considers Mencía's work at the intersection of human and nonhuman through media transformation. Within the history of literacy, Hayles takes Mencía's work as an exploration of the disassociation of sound from a stable textual referent in a digital environment. Hayles thus sees Mencía's work as transcending electronic literature as a literary form to offer insight into the "media transformations and the conditions that make literacy possible."[6][7] Media scholar Christopher Funkhouser, in tracing the evolution of digital poetry, has considered Mencía's work to be "inventing a new media language" through her innovative use of images and sound, much in the tradition of intermedia.[8]

Mencía’s 2001 project ‘’Another Kind of Language’’ has been interpreted as a commentary on linguistic imperialism in the 21st century, juxtaposing and destabilizing Global English with Mandarin Chinese and Arabic.[9] Hypermedia artist/writer Talan Memmott describes the project as an example of "signifying harmonics," and discusses the ways in which the project's transfer from installation piece to Web project diminishes the original auditory experience of the interweaving of the three languages.[10]

Mencía’s Birds Singing Other Birds’ Songs, an interactive experience in which images of birds fly across the screen at the user's prompting, singing human-generated bird calls with the corresponding onomatopoeias written on the bird, has generated significant scholarly and popular attention.[11][12] Media critic Scott Rettberg conceives of the project, with its abstract use of language, within the tradition of 20th century avant-garde movements, especially Dada sound poetry, rejecting what he sees as the common focus on novelty in electronic literature.[13] Media scholar and archeologist Lori Emerson sees the project as a comment on the translation process, from bird to human languages and back. In her emphasis on electronic literature, Emerson criticizes Birds Singing Other Birds’ Songs for not taking full advantage of the digital medium as an essential component of the message of the piece.[14] In contrast to Emerson, Hayles considers how the project plays with various forms of cognition via the creation of hybrid beings where the human and nonhuman come together to create a new way of knowing. Additionally, Hayles describes Birds as "a reenactment of the history of literacy" in its move from sound to writing to pictorial (digital) iconography.[7] Mencía’s choice of birds as the subject of her work has even been interpreted within the long literary tradition of bird representations as a reflection on the distortion and recreation of orality and the transformation of iconography from human code (writing) into bird's code.[15]

Selected artistic works

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Selected scholarly publications

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References

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  1. ^ Mencía, María (2003). From Visual Poetry to Digital Art: Image Sount-Text, Convergent Media, and the development of New Media Languages (PDF) (Ph.D.). Chelsea College of Art and Design, University of the Arts London. Retrieved 22 April 2015.
  2. ^ "Maria Mencia". Kingston University London Faculty of Arts and Social Sciences. Kingston University London. Retrieved 22 April 2015.
  3. ^ Hayles, N. Katherine; Montfort, Nick; Rettberg, Scott; et al., eds. (October 2006). "The Electronic Literature Collection, Volume 1". The Electronic Literature Collection, Volume 1. College Park, Maryland: Electronic Literature Organization. Retrieved 22 April 2015.
  4. ^ Rasmussen, Eric Dean. "María Mencía". Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP). The Humanities in the European Research Area (HERA). Retrieved 22 April 2015.
  5. ^ "María Mencía mostra o traballo de 12 mulleres nas textualidades dixitais" [María Mencía shows the work of 12 women in digital textuality]. Proxecto Le.es: Literatura electrónica en España (in Galician). Área de Teoría da Literatura e Literatura Comparada da Universidade de Santiago de Compostela. 2013-12-14. Retrieved 22 April 2015.
  6. ^ Hayles, N. Katherine (2012). "Intermediation: The Pursuit of a Vision". In Wurth, Kiene Brillenburg (ed.). Between Page and Screen: Remaking Literature Through Cinema and Cyberspace. New York: Fordham University Press. ISBN 9780823239054.
  7. ^ a b Hayles, N. Katherine (2008). Electronic Literature: New Horizons for the Literary. Notre Dame, IN: University of Notre Dame Press. ISBN 9780268030858.
  8. ^ Funkhouser, Christopher (2007). Modern and Contemporary Poetics : Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa, AL: University of Alabama Press. ISBN 9780817315627.
  9. ^ Raley, Rita (2012). "Another Kind of Global English". Minnesota Review. 78 (11): 105–112. doi:10.1215/00265667-1550671. Retrieved 22 April 2015.
  10. ^ Memmott, Talan (2006). "Beyond Taxonomy: Digital Poetics and the Problem of Reading". In Morris, Adalaide; Swiss, Thomas (eds.). New Media Poetics: Contexts, Technotexts, and Theories. Cambridge, MA: MIT Press. pp. 293–306. ISBN 9780262134637.
  11. ^ Warn, Emily (2007-06-28). "Harriet is Reading You". Harriet: A Poetry Blog. The Poetry Foundation. Retrieved 22 April 2015.
  12. ^ Wright, Tim (April 2007). "word magic: the how of reading". RealTime. 78: 28. Retrieved 22 April 2015.
  13. ^ Rettberg, Scott (2008-11-01). "Elements of Dadaist Practice in Contemporary Electronic Literature". The Fibreculture Journal (11). Open Humanities Press. Retrieved 22 April 2015.
  14. ^ Emerson, Lori (2006). "Numbered Space and Topographic Writing". Leonardo. 4 (5). Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST). Retrieved 22 April 2015.
  15. ^ Borràs Castanyer, Laura (2011). "From 'words, words, words' to 'birds, birds, birds'. Literature between the representation and the presentation: where imagination and reflection still". Journal of Writing in Creative Practice. 4 (1): 107–120. doi:10.1386/jwcp.4.1.107_1. Retrieved 22 April 2015.
  16. ^ Mencia, Maria (November 21, 2022). "The process of creating new media: Birds Singing Other Birds songs". Narrabase. Retrieved November 21, 2022.
  17. ^ #WomenTechLit. West Virginia University Press Computing Literature. pp. 189–209.
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