mez breeze
Since the beginning
Works in Sydney Australia

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BIO
Mez Breeze is the Creative Director of Mez Breeze Design, an agency which provides boutique digital product and design services (including illustration, transmedia, text, games, interface design, and responsive media). Recent and past Clients include the British Branch of Appreciative Inquiry, CloudGraf, Brandaide, Brecely Studios, GeekGirl, and The University of Technology Sydney. Mez Breeze Design has recently partnered with Dreaming Methods to produce a set of mobile-oriented projects that have been showcased at "Chercher le texte: manifestation internationale de littérature numérique” 2013: one of their joint projects was also nominated for the 2013 Digital Humanities Awards in the "Best DH visualization or infographic" Category. Mez is an Advisor to The Mixed Augmented Reality Art Research Organisation and is currently Senior Research Affiliate with The Humanities and Critical Code Studies Lab.
Mez has exhibited her ground-breaking creative works widely, including at The Brooklyn Academy of Music 2001, “Playengines” Melbourne Australia 2003, “Arte Nuevo InteractivA” Mexico 2005, the “Radical Software” Show at Turin Italy 2006, DIWO at the HTTP Gallery London 2007, New Media Scotland 2008, the Laguna Art Museum California and Alternator Gallery Canada 2009, Federation Square Melbourne and Arnolfini Gallery Bristol 2010, Netherlands Media Arts Institute 2011, “Remediating the Social” Exhibition in Scotland 2012, “Network Art Forms: Tactical Magik” in Tasmania 2013 and Jeu de Paume 2014. Her awards include the 2001 VIF Prize (Germany), the JavaMuseum Artist Of The Year 2001 (Germany), 2002 Newcastle New Media Poetry Prize (Australia), co-winner of the 2006 Site Specific Index Page Competition (Italy) and the Burton Wonderland Gallery Winner 2010 (judged by Hollywood Director Tim Burton). Her works reside in Collections as diverse as The World Bank and the PANDORA Electronic Collection at the National Library of Australia. Duke University have recently extended to Mez an invitation to develop a comprehensive career archive of her works, associated documents, correspondence and papers to be housed there at the David M. Rubenstein Rare Book & Manuscript Library.

Discussions (242) Opportunities (0) Events (6) Jobs (0)
DISCUSSION

//[w(d)e(ad)b]ring wyrm :: spit limbic


//[w(d)e(ad)b]ring wyrm

.spi][ri][t limbic
.psi.stem stell.ar Dee.reaming -----------------------------[b.gin::]
.body mappage + cording systems a. .go
.go ][.net. get----------------------------------------Os]
.wrenching sic()k. o .fan][a][.tic][ker][s
.N.crypt + reap.Ah.pack.errs

[aka anti-fl][dr][uid data
aka neural .netpurile
via s][drawing][ore vectors
via pig0-skinned consciousness
via draw1string][ed][ reverb]
via shifting gash.sparks]

--

. . .... .....
collapsing adj[thr]usting.txt
.
.
][co][De][e][p.rivation
www.cddc.vt.edu/host/netwurker/
http://www.macros-center.ru/read_me/inexen.htm#re
.... . .??? .......

DISCUSSION

_Hir][in][s][tit][ut][ion][e Net.Work ][non][Formation::War Rage_


_|Uber|N.stitute|of|Net.vorkian|][N][In[e lives][Formation|Wa.|Rage_

[aka dark terror][vision][(j)ism--]
--m][canon f][ountains of dea(d)th lust.age--
--dow][jones scrabbling][ned via se.gre(p)gated m.path.E st][d][ances--
--eco.][sheltered ge][nomic sucking thru a war.torn.straw--

[aka hypo.terra][vision][+ vacuous uber.isms--]
[aka dark terro.ris[ing]m--]

/
::][h][arms sing][ed][ular +pixel drift[.ing]
::glass green f][l][ilt.e.red inf.r][uby][ared
::pre.emp.t][y][iff & gifs vul.can.][c][ic][atrix][

/
::[[pr]e.m.ptying rabid flip.faced c.mantick echos]
::[drinking m.printing millit][g][aris][h][tic]

/
::bad c|O-D|uh [death knella soundinge = .uhn.]
::[o-dee(j)ing on milita][.N.][c][rypt][(f)elled]

_[milit.sha jocky vs ][h][armed s][l][ur.vi][le][ce]_

_[dropping peace][.meal][code & suctioned war|fix][es][]_

. . .... .....
collapsing adj[thr]usting.txt
.
.
][co][De][e][p.rivation
www.cddc.vt.edu/host/netwurker/
http://www.macros-center.ru/read_me/inexen.htm#re
.... . .??? .......

DISCUSSION

_Perspektive_ Interview [mez interviewed by sylvia egger]


_
A. heinrich heine blames 1843 the railway for annihilating space. the promised cybermedium seems so reestablish (virtual) space in a cooperative time schedule. MEZ is operating in a self-de/constructed textual space called "TTT" (textual time travel) which means a way of thinking, producing and manifesting in/to a theory dungeon of what is stated to be the frame of modern consciousness - network, internet, browser crawling. the manifestation area in which the textual space take place is called "Cybagenic Lattrix", a "net.wurked" sphere between latrinous space and matrix scenes. what is this working matrix about? is it a kind of faradayesque cage where avant garde practice has to capture itself to train its techniques and discourse or is it more a so called "teleklause" (billwet) for nintendo specialist and word capturers?
_

i should b.gin with the proviso that my neologismic term][inologie][s [such as the _Cybagenic Lattrix_ or _Textual Time Travel_] largely x.ist as definition portals; they act 2 compile meaning only in terms of offering a con][ceptual][venient _housing_ structure by which n.tities can x.tract & chain][hyper][link associations via text. i'd much prefer it if ppl can|could possibly construct|imagine terms that are more appropriate in terms of their own formulation|x.periential reality of a net.wurked spac][tim][e.....

...anyway, on2 a more direct answer…..the meaning of a "][net][wurk.ing matrix" can be conceptualized as a tapestry of potentialities, or n.finite permutations of defor][com][m][unic][ation activity. i stretch & delve ][in][ this potentiality in terms of collaborative action|absorption & formation of cod][n][e][t][.wurks. the m][l][at][t][rix m.bodies n.tricate s][ilicon][ymbiotic tendencies which pulse information via n.finite variations & states of data fluxing that shift, mold & d.fine the net.wurk as a cohesive, un.predic][a][t][ed][able n.vironment.

+net.wurk. p][ercept][atterning. is. reticular.+
read:: +perpetual information in flux, via an x.tended & repetitious curve of data-dipping.+

_
B. most of the discourse "shipping" of MEZ in mailing lists is manifestish or manifesto-like. all avant garde rangers used the technique of manifestation to promote their information highway. your operating manual style - a highgrade mixture of theory, e-technical jargon and - junk and poetry memes [oh - i won't forget to mention the brackets :-)]- is a more overwhelming variance of manifestism - a kind of para/beta-manifestism - what to promote is not to sell. what is your connection to manifestism and the manifesto rangers? and is there nowadays a real difference to self/promotion?
_

1stly it's m.portant to acknowledge that i'm always loathe 2 d.fine myself via regular literary|acceptable benchmark][her & him][s [ie manifesto _tagging_] as mezangelle|code.wurking hopefully e.cli][ck][pses definitions in terms of a net.wurk perspective.

......having said this, i do c the similarities evident in my mezangelled texts [ie code.wurks] that offer statements of creative n.tent & formats aligning themselves 2wards a manifesto styling. howeva, this isn't a primary con][scious][cern in terms of information presentation..... i do agree that this type of activity via mailing list|forum performances [ie posting my code.wurks] is a type of ][new][ x.pressive promotion as opposed to advertising|commercial spam/leap-frogging that is seeping thru the net.wurk.

+i. re.route. language. via. net.based. mechanisms. that. allow. 4. n.hanced.
lateral. signification. or. as.sim][ple][ilation.+

+i. am. stained. with. repetition.+
[re.peat]
::the chip.mark of the net.
::][kulture][work::abbreviated strokes::sampling::a][scii][graffiti::code langues::bass.house::jung][le][mantras
.all .][t][h][r][ive .in .he][a][re.....

_
C. recently MEZ states the positioning problems in the net.art field as bourdieu summarizes the field process in every art/avant garde field: first there is the movement and a lot of "new" and subversive discourse, second the resistance against the canon crumbles and the crawling into "pref-fabricated authorical comfortzones" (MEZ) begins and the movement looses the connection to itself and the subversive discourse: maybe to transfer your own words - from E-Motes to E-fashion. you are - so to say - famous in net.art field, get awards and make a lot of this representation stuff. what is your protection to get/be into the net.art canon and to keep your textual space alive?
_

...my ][.][ini][file][al n.tention|function in this net.wurked sphere is 2 make sure i don't bl][ind][andly n.ternalize the strictures of a dominant discourse & b so swamped by it that nuthin else ][is capable of][ shin][ing][es.........

....my f.forts 2 keep the _textual space_ alive forms from the need 2 actualise x.pr][n][e][t][ssion with hybrid conceptual|theory bases that actually reflect the dynamics of the medium itself..... avenues|portals such as mailing list forums that allow n.tities 2 dis.play n.herent curiosity, flexibility & a nuanced multilogued style that allows contributors 2 n.teract via various communication modes that n.courages absorption & viable learning templates, & has contributors that want 2 question & absorb n.formation rather than make assumptions, wallow in gossip, & display reactionary communicative behaviours r all crucial 2 my code.wurk dispersal......

....the assumption that ppl on a mailing list:
a) cannot d.cide 4 themselves how to navigate & absorb inform][accumula][tion
b) r an amorphous group of regular dialogical d.votees who r present on mailing lists in order 2 b x.posed 2 promotional|descriptive information with no depth perception regarding the info/data politik nor the nuanced actualities that surround the use of such lists/net.works.......
b) that individuals have the right 2 _own_ & there4 _maintain_ a space on the net.work [ie in.boxes] that must subjected 2 info that is dis.curs][e][ive in nature & representative of an isolation-data-presentation
...all contributes 2 the idea that the net.wurk can be trapped in2 a definable space, 1 that will gel in2 a canonistically frozen m.ulation area d.void of ability & potentiality.

+ i. rewite. &. reroute. this. monog][l][azed. view. of. the. net.wurk.+
+ i. seek. 2. channel.+

_
D. for eric kluitenberg cyberspace is the optimal space for avant garde operation: the task of an avant garde ranger today is to disrupt the hegemonial code and to smash the cute surface of internet promotion, a kind of de/recoding all sort of language junk on the internet. mckenzie wark speaks of "codework" in a similar way about your work: a de/reconstruction of language. you call your work "mezangelle" language, a streaming "he.art.ache" for users exposed to a hard stuff experimental terrain. most of your disrupting techniques are well known in the field of experimental writing. but the new aspect in your work is the "fresh" air of contemporary material and coincidence of "meanings" in and around a word-item. what is your connect to experimental literature? what is the role of the user or code viewer in MEZ' textual space and is there a chance to survive the word crash? :-)
_

i'm not actually keen 2 link or analyse my wurks in terms of an _x.perimental literature_ tag, but can understand that those that do need 2 compartmentalize my wurk in terms of predicated history|precedental evidence..............its n.teresting, this obsession with labels N d.finitions that m.brace our work N our s][h][elfs.....coming from the POV of a nic][lic][he.d "net.artist" i guess i try N span many labels, and have found myself doing so lately in order 2 survive [grants, competitions, etc].........but it is, s.sentially, crap. labels do nothing 2 further x.pressive development, & seem 2 primarily s][w][erve 2 mark artists N wurk along a definitive, prosperity plane.......we b.come objects N objecti.f][r][ied in order to slot in the societal/memetic framework......

the mezangelled l.ements that pp|theorists c as linked 2 an experimental literature perspective r the use of ico][de][nographs, fragments of programming language-shards/operating system echos such as ][knit 1][ Pearl][2][.....tree-structures|wildcard refs|booleanisms|unix shell commands|warped html conventions|javascript code re.workings|ascii][esque][ etc etc....the repeated allusions 2 hyperlinks via bracketing of meanings, alternative shadowings to absorption & understanding....[almost a mimicking of the x.pansion of the potentialities of co.d][iscours][e in an environment x.clusively reliant on it].....

...the _main_ ele.ment][al][s that keeps mezangelled creched in the netwurk is information trawling, the draw][l][ of netwurk language & symbol con][inter][ventions & the collaboratory n.tent........i always write & send via email listings, MOO environs etc in the hope that the wurk will spiral out in2 a collaborative e.vent....even if the scissored textings don't e.voke a direct response from code viewers, the fact that the method, formulation & *.exe.][elo][cution r geared 2wards it means mezangelle could not x.ist without the netwurk as a sub][im][mergence arena....

i try ][mammothlishly][ hard 2 make sure that the poetic/sensual nature of my net.wurks balance & offer some sense loadings|purr.spectiff 2 those not neccessarily in the netwurked|code loop, though i do tend 2 heavily load the code.wurks with a structure that mimics a code|net.worked reality......

+. this. is. how. users. survive. the. wur][co][d][ed][ crash.+

_
E. in billwet space exists a dandy called "datadandy" - a postmodern form of walter benjamins passage dandy - a modern eye monster so to say. :-) the datadandy uses information and cyberspace the same way as the historical one not to transmit the gathered information: just to pose with it in the public. in MEZ' textual space lives a new form of dandy which is called "dataderwish" or "E-mote". as his/her historical model s/he gatheres information and promotes it but his/her main purpose is to communicate not to boast. sometimes the dataderwish is called a spammer in analogy to the datadandy which jams the bandwith along the data boulevards. is the dataderwish the ascetic brother of the datadandy? where is MEZ' data boulevard and why is spam so lost?
_

the mez-data-avenue is the antithesis of the monogaze][r][.

the mez-data-boulevard does not adhere 2 a perceptual slant that hi-lites the net.wurk only as a series of interconnected set of difference-loadings, of x.clusive infopackets that can][should][not be transferred nor cross-posted in order that multiple x.posure 2 information|data will not occur 4 various individual enities that n.habit various sets....rather than n.corporating a more holistic viewpoint of the netwurk & acting along an n.clusion axis......

….i c this monogaze as n.dicative of an ego-driven [by ego i mean self-cogitating, not ego as in inflated] awareness that perceives the break-points of an netsystem via individual opinions based on an awareness that may not be replicated via the community population. i also view it as perpetuating a theory structure that relies on a linear interpretation of information, 1 that cuts of any repetitive nuancing in order that data is presented in accordance with a determinist POV.

+. i][nstead][.c.that.we.should.revel.in.net.wurking. cross-pollination.activity+

_
F. the dataderwish is only a capsule for many alias: ][terr.or.vision][ or ][c.o.!.a.x.(ing)][ are variable names for her/him in your textual space. the author is only a mediator, a processor across the apparatus or a subjective parser. for gene youngblood is avant garde today a merging of metadesigner and renaissance amateur. MEZ generates is own networking, is engineer and amateur in one. which role plays the metadesign in your working and is cultural programming an alias for future jamming? :-)
_

+. my. ][l(ectronic)atent][. consciousness. is. operational. in. terms. of. a. net.wurked arena.+
+. 1. that. values. information. in. terms. of. a. context. in. which. elements. r. replicated. &. sequenced. in. burgeoning. waves.+
+. a. weave. &. flow. of. accented. [code language|emulation]. patches. that. r. lapping. @|thru-o]

[ut. m.mersed. personas.+

EVENT

_Net & Codeworkers Inc[ubation]_ Gallery


Dates:
Sun Jul 14, 2002 00:00 - Wed Jul 10, 2002

http://trace.ntu.ac.uk/incubation/gallery.cfm

_Net & Codeworkers Inc[ubation]_

Curated by Mez

At Incubation 2000, Mark Amerika curated the Ink.Ubation Salon, a gallery of work from a wide variety of new media writers experimenting with the Internet. This year the gallery is curated by Mez, whose pioneering net.language ‘mezangelle’ has intrigued readers online since the early 90s. In her introduction to this selection of works chosen specifically for the web, Mez explains why codework can only be fully experienced in a non-physical space . . .

There have been extensive [and exhaustive] efforts made by the technologically-inclined to use the Internet as a vehicle for the gestation and manifestation of art-oriented practices. However, in a disappointing truncated space and time, many of the artistic potentialities of this [reticulation] technology have crystallized around conventional lines, with practitioners progressing along allegedly _fresh_ artistic trajectories which, in actuality, are still dependent on derivative templates. These templates have been predicated on the linear, on traditional unitary publishing models and the structural/physical nature of the plastic arts.

Thankfully, not all creators engulfed in net dynamics are determined to expressively seep back into the quagmire of historically [and academically] ratified/reiterative formats and stylistics. Some still perceive [and participate in] the network via a tapestry of deformation/communication potentials. These entities [as they cannot always be adequately defined in a geophysical, visceral sense] shift & pulse data via infinite network variations. These _artists_ [or net/code.workers] revel in the fabric of connection modes and core elements that represent the actualities of the net in all its functional glory. The code/net.workers selected for inclusion here engage in production of [artistic] output that employs and mirrors the very blueprinted mechanisms of the net itself.

Net.workers such as solipsis, gashgirl/doll yoko, a u t u m n - f r e q u e n c y, alan sondheim, + lo_y + and indecoress are represented here by works that evoke/employ the net[work] for its structural/data packaging and dispersal possibilities. These works have been electronically hunted-&-gathered from email lists, [we]blogs and MOOs. They primarily reside in unconventional display states that are sheared from regular representation models; they are mostly accessible via search-engines, in mailing list archives, in blogs, or on hard-drives. In short, these works fundamentally exist in echos and [band]widths of a projected space. They are not designed to concretely reflect economic, narrative, linear, or even [traditional] artistic value. Their creators are more reflective in relation to the nodes/strands inherent in network dissemination, and incorporate net conventions and multivalencies in order to fabricate works that conflate informational/contextual manipulation [eg via infofictionalised texts/personas via various email lists].

The selected code.worker projects are also concerned with the warping of computer language/systems into referential, aesthetic or conceptual compositions that are replicated/sequenced in burgeoning incremental waves, resulting in the weave & flow of accented and disruptive code-emulations. Some are web-based, some are post-game [mangled] patches, and some are caught in net-based circulation and avatar adoption[s]. JODI, joe keenan, Integer/Netochka Nezvanova, ted warnell, and brian lennon rewrite the underlying notion[s] of code as functional/accessible via blatant infrastructural rewiring that encourages the redirection of an absorbers [ie interactors] typical meaning gaze/gauge.

Of course, the separation of the exhibited works into the aforementioned categories [code.work + net.work] is a highly artificial [curatorially-induced] act. There are considerable semantic slidings/interchanges involved here, shifting signifiers and false dichotomies resulting from the notion that conferences [such as Incubation 2] may be devoted to the display/analysis of _all things net_, but have as their manifest presentation-interface a dependency on physical platforms that acts to negate the contextual nuances of the network. This reliance on channeling the discussion of works [that are indigenous to the network] through physical, realtime, flesh_ presenters acts to trap the information into culturally-negotiable/manageable assimilation packets. The dataflow is rigid here, compartmentalized and frozen. The emphasis on this physical steerage of data revokes the pliability of these projects, and leaves the code/net.work[ers] floating in a correspondingly amputated reality/limboesque strata-zone. For this I must apologize, and suggest - as a workable antidote – a thorough search-immersion of all things net/code.work oriented.

. . .... .....

net.wurker][mez][

./.

www.hotkey.net.au/~netwurker


EVENT

The Pleasure of Language


Dates:
Sat Aug 24, 2002 00:00 - Tue Jul 02, 2002

The Pleasure of Language
August 24 - September 28 2002
Opening: August 24, 17.00 hrs

Brandon LaBelle, Peter Frucht, MEZ (Mary Anne Breeze), Netochka Nezvanova &
Jaine Evans, Imogen Stidworthy

The popularity of chatrooms on the internet and the speed of electronic mail
have led to an enormous growth in communication, and with it, changes in the
use of language and the creation of countless vernaculars. The Netherlands
Media Art Institute organises from August 24 untill September 28 The
Pleasure of Language. In this exhibition the artists are concerned with
language in various manners. By employing new technologies a number of works
reflect the body of thought and ways of working of artists at the beginning
of the last century - like Hugo Ball, Marcel Duchamp and Theo van Doesburg -
, placing these ideas in a contemporary perspective. The artists respond
through image, text and sound to and participate in the ways language-use as
well as the communication process are changing.

In his installations the audio artist Brandon LaBelle focuses on the
dynamics of spaces, objects, bodies and language. His interest is primarily
in the harmonic possibilities of language: how the various consonants and
vowels collectively form an architectural whole that enables us to form
words and sentences, and subsequently how they achieve and influence
communication.

The misunderstandings which arise in communication are central to the work
of Peter Frucht. Influenced by his long presence in chatrooms on the
internet, in Frucht has selected snippets of various internet conversations
in ‘iow…’. He has then styled the texts by replacing certain letters and
automatically reordering the words left over. The result is a wave of live
chat that can be mixed and linked together by the visitor, through which new
dialogues become audible.

MEZ (Mary Anne Breeze) produces e-poetry on the internet which she herself
terms m[ez]ang.elle. M[ez]ang.elle is a game with language, supported by
sound, symbols and text, which arises from abbreviations that are current in
e-mail and SMS communication. The words are altered in a manner that
reflects the fundamental meaning of the word and lets new associations
arise. Her language is based on English and contains mathematical,
programming and other language codes, in order to develop a language
specific to internet.

In her newest quasi-documentary video Substitutes (2002) Imogen Stidworthy
shows us two young singers from Romania who meet each other by chance. As
she shows the tape to friends, it evokes all sorts of commentaries,
explanations and interpretations. Stidworthy mixed the reactions with the
original Romanian folk songs that were sung in the video. The acoustic
linking of the reactions with the folk songs provides that the work changes
into a hybrid soundtrack, a patchwork of illogical connections and
grammatical discrepancies.

In addition to current works, a number of works from the early days of video
art from the Montevideo collection will be shown on monitor. Recordings of
performances by Laurie Anderson and Carolee Schneeman, and video works by
Vito Acconci and others will show how artists employed language in their
work in the past.

Opening hours gallery: Tuesday - Saturday 1-5 pm, free entrance

For more information/images please contact Marieke Istha (communication)
istha@montevideo.nl

Brandon Labelle

Peter Frucht

MEZ

Netochka Nezvanova, Jaine Evans

---------------------------------
Marieke Istha
Communication

Netherlands Media Art Institute, Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T +31(0)20 6237101
F +31 (0)20 6244423
E istha@montevideo.nl
www.montevideo.nl