mez breeze
Since the beginning
Works in Sydney Australia

ARTBASE (1)
PORTFOLIO (1)
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

prin[t]cessing re:sponses


http://www.livejournal.com/users/netwurker/

c.king [+ prin[t]cessing] responses.

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DISCUSSION

Re: A Dookie for Every Sandanista


At 01:22 AM 5/06/2003 -0400, you wrote:

>I think maybe it's time to stop worrying about work being appropriated- I
>think maybe that's a bit of an Oro Bourous concern as well. "Anything I do,
>could be used against me in the court of life- I'll do nothing, and then
>nothing can be appropriated." You make art and the next thing you know
>there's a beer commercial that looks just like it. I don't have an answer-
>and I'm not correcting you, I think this is what you were getting at anyway-
>but in the end, I am not sure if an artist can really wonder about thier
>contributions being assimilated into the corporate/political machine once it
>leaves thier hands. And I don't think it matters. The best art would
>idealistically destroy itself under captivity, but of course, for every
>Clash there is a Greenday, ["A Dookie for Every Sandanista!"] and for every
>Greenday, there is an audience. This is not to say that artists don't have
>responsibilities to thier work and to thier audience, but simply put, if
>they want to make a beer ad that looks like your work, they might do it, so
>maybe make the work implode- it's up to debate but I think Barbera Kruger
>did this somewhat. I think this issue is very sticky, particularly for me-
>how do you make a piece of art that doesn't have a potential negative
>ramification, that doesn't somehow support the status quo, the patriarchy,
>the whateveryouwannablameyourproblemsonogarchy? I can only think of one way,
>which is not to make work that attempts to subvert those paradigms, but
>rather, work that stands outside of it to give perspective into them.
>
>And I certainly don't see a lot of that type of work being produced. I
>certainly haven't gotten there yet, personally.

lets all create rhizome beanies with PANS attached. that's original, right?

:)

>-e.
>
>
>
>
>
>----- Original Message -----
>From: "ryan griffis" <grifray@yahoo.com>
>To: <list@rhizome.org>
>Sent: Wednesday, June 04, 2003 4:47 PM
>Subject: RHIZOME_RAW: Re: Corporate [Art]Rule[s]
>
>
> > it seems like "political" has become a narrowly defined term here - by
>accepting the way it was used in the original call (i would assume it was
>meant to discourage references to US electoral politics/partisanship),
>though eryk offered alternatives to the binary logic that are no less
>"political," i.e. seeking to engage in some kind relationship involving
>persuasion. i don't mean this to sound corrective - i'm sure everyone's
>aware of the semantic use of "politics." but the insidious demotion of the
>word (in the US) to the vulgar and dishonest has given far too much power to
>oppressive ideologies that rely on anti-intellectualism and populist
>rhetoric, while discouraging civic involvement. i mean, when saying that a
>political debate is "just about politics" is used as a negative - what the
>hell does that mean? or "get the government out of our lives" - shouldn't it
>be "get our lives into the government?"
> > now i'm just ranting about linguistics (sorry) - but it does matter.
> > defining the context of what is "political" or "pornographic" would be of
>interest - as many corporations thrive on images of "radicality" that many
>might consider to be both of those terms. there's always regulating
>structures (and counter structures) for culture, but determining the power
>afforded to some is worth considering, maybe. joseph's idea of subversion
>has a history of practice (from muralists like Ben Shaun and Rivera), but
>eryk's got a point, subversion (reaction) is easily just appropriated by the
>media machine it tries to oppose. positive proposals are too, as PR
>"greenwashing" illustrates. both seem necessary to me.
> >
> >
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> >
>
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php

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DISCUSSION

Re: Re: Re: Fwd: FW: Digital Artists: Call for Entries


At 01:43 AM 4/06/2003 -0400, you wrote:
>Personally, I'm just hanging around for the free oven mitt. I hate to
>keep harping on this, but after a certain number of posts, don't I qualify
>to receive some sort of free Rhizome oven mitt? I realize arts funding in
>the US is on the decline, but surely things aren't so bleak that somebody
>can't toss me a danged free oven mitt every once in a while (or even,
>like, *ever*).
>
>i mean honestly, what's the deal? do i or don't i qualify for the free
>oven mitt? (a simple yes or no will do.)

i want the rhizomer beanie. my ears r cold.

>respectfully,
>curt
>
>
>++++++++++++++++++
>
>marc garrett wrote:
>
> > There are many who were linked here from europe - loads have vanished.
> > So
> > now discussion is done by only a few on this list. Although, I still
> > beleive
> > that some of it has been pretty interesting and dynamic in places -
> > not as
> > regular as before, or as much. Its more to do with numbers not
> > necessarily
> > the quality. Many people before felt part of something, now they
> > don't. It's
> > all changed - when people feel part of something they are more likely
> > to
> > contribute with quality. It's a natural thing...
> >
> > marc
>+ ti esrever dna ti pilf nwod gniht ym tup
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php

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DISCUSSION

_6 Regurgitive Rules of InterNet.Art_


At 11:20 PM 20/05/2003 +0200, sachiko wrote:
>i am sorry, what was the 6 rules for internet art again?

_6 Regurgitive Rules of InterNet.Art_

1. _No 4.Thought_

This [re]hashed & dangerous method of preempting meaning has everything 2
do with the concussive nature of the potential audience. Make sure 2
instill great clunking swathes of theoretical loadings in all work, no
matter how small or insignificant. Be sure to mask the quality of the
work[s] with liberal amounts of anti_progressive rhetoric in order 2 ensure
substantial post-post_modemist [read: interpreted as modernism] interest.

2. _No M.mersion_

The No M.mersion rule is all 2 do with FX. Rampantly use FX predicated on
the cartesian or the sensory [ie visuality overcoding] in all InterNet.art,
regardless of appropriateness or relevancy.

3. _No More InterNet.art 4 the Sake of X.pression_

No more InterNet.art will be produced using x.pression as a template or
process. Anything that can b traced 2 a verifiable transitive or
predominant aesthetic is 2 be rejected as hackneyed [ie overcoded] + is 2 b
thoroughly & rigorously laughed at.

4. _No Simulacra_

There is to b no use of discernable representation. This includes any type
of format, form, or function including overt referencing, appropriation,
reappropriation, construction, structure, deconstruction, deappropriation,
rehashing, sampling, digitizing, reworking, mixing, layering, Foucaulting
etc, blah. This is man[out]dated in order 2 develop a static, isolated feel
that reflects the current economic-budgeting trend 2wards parochial
orientation [read: insularisation] + destruction of any burgeoning sense of
reticulated spaces.

5. _No Subject_

There will b no references in any Internet.artworks that xplicitly refer to
_subject_. Instead, make sure 2 drench your works with substantial amounts
of pre-packaged scene_approved lingo that references manifesto-like
assignations or quasi-radical directives.

6. _No Connection_.

There is 2 b no connection in the promotion or distribution of InterNet.art
unless this material can b adequately subverted via the ability of
said_artists 2 project a believable authority[-aping]/critiquer stance. If
this is realized at the xpense of establishing context or sustained
conceptual rigor, all the betta.

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DISCUSSION

_sonAR Tension_


At 11:51 AM 20/05/2003 -0400, you wrote:
>x

x
y

vs

>x

--
.
x
.

n.[m]aming conventions = dic[k]tation.by.D.[e(r)go]fault[lines]
re:sonA[R].Te[nsion] n.deed.

if: xx|xy.ing 4wards [in boundaried vision] is.yr.aim.
drift[ing].N.ebbishly.silent.does.not.imply.muteness.

_we_......._all_......?
[para(wyrd)meter snipped N dossier vacant].........

.
x
x
.

submission.m.plies.causality.
sub[in]scription.n.vokes.[quinte]s.sence.

.
y
.

whos dea.f.init[e]ion? the great _we_? the n.clu[e]sive _a[wed]ll_?
yodaspeaking.via.yearning.l.abe.l[incoln]s.+lush.progressives............

.
x
y
.

again, the .grate[ing]_we|all_.

major[+(in) lieu.tenants]ity_directs_less_+_mandates_[sir thomas] mo[o]re
i.stand.outside.+.shift.gr.[e]at.eful.audio.rain.tears

[(break.)fast.tingles_+_sh.utter.ed_down_the_meme_hatches]

nuzzleOn: active-X-ing + reduction.in.st[assumed f]erility

.
xx
|
xy
.

hmmm.
i'd hope 4 more i[t]chingly up_close[ted]_N_purrr.poseful.

*pouting_[rad]ox_lips.N.drunk_projectings*

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