mez breeze
Since the beginning
Works in Sydney Australia

ARTBASE (1)
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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

Re: randomness


..how r u d.fining a non_random l.ement?

At 07:17 AM 12/07/2004, you wrote:
>--does the inclusion of random elements in an artwork
>indicate a certain ontology of the art experience?
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>--why introduce random elements into art?
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>--are we, when creating art, STILL simply mimicing
>non-man-made pneomena?
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>--are these even the right questions?
>
>discuss. please.
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>Lewis LaCook
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>net artist, poet, freelance web developer/programmer
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>http://www.lewislacook.com/
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>XanaxPop:Mobile Poem Blog>> http://www.lewislacook.com/xanaxpop/
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>Stamen Pistol: http://stamenpistol.blogspot.com/
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>Cell:440.258.9232
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>Sidereality: http://www.sidereality.com/
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.(c)[lick].
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http://www.hotkey.net.au/~netwurker
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DISCUSSION

Re: Re: RHIZOME_RARE: Los Angeles Center For Digital Art: Open Call


At 02:28 AM 7/07/2004, you wrote:
>To clarify: content on Rhizome Rare is taken from Raw and published to
>Rare by Superusers, volunteer editors who index (attach keywords) and
>select images to accompany texts. There is a list of all of our Superusers
>here and what they do:
>
>http://rhizome.org/community/superusers.rhiz
>
>(I don't think this page is totally up to date.)
>
>Exhibition opportunities are among the most desirable kinds of
>opportunities posted to Rhizome, and while we don't fact-check or endorse
>what comes through the lists, Superusers do their best to select texts and
>announcements they think will be of use or interest.
>-- Rachel
>
>

thx 4 the info, rachel.

][mez][

.(c)[lick].
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http://www.hotkey.net.au/~netwurker
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DISCUSSION

Re: Blog vs Board (re: Blogging Survey)


At 04:33 AM 7/07/2004, you wrote:
>Interesting points, Dyske. One of the broad questions in my mind was
>hinted at in my earlier post: In the face of an increasingly growing
>internet, and a much bigger new media arts world, how do you a) engage the
>parts of it that are interesting to you and b) foster some sort of sense
>of relationships and even (cough) community?

.... when we r confronted with the _domestic_rigmarole of the net & the
[its] x.tensions [s.pecially those that x.hibit characteristics that
follow acceptable, regurgative modes of discourse] its tempting 2 slip
in2|against these x.tensions, especially as they b.come de rigueur,
shifting in2 the spotlite of contemporary text[ures]....

......1 way 2 n.courage this is assume lurker status periodically....normal
ebbs N shifts occur here like everywhere, according 2 warps + wefts not
blanket-obserable|perceivable.....

....those more akin with hardening them.selves with[in] coded|acceptable
communication paradigms can perceive this lack of response as somehow
damning, or indicative of a lack of overt engagement, rather than
indicating other ][w][e][bs][dges of the net.work, the discursive shadowing
in communica][do][tion, the patternings of data marrow of a sort that
creeps out from under the hoopla & labels.....part of this is 2 accept the
lull as a normative x.pression....silence as more than an indicator of
non-partic[le]ipation.....

perhaps this is my own bug-bear, but x.traction & x.pression still seem
viable, even .here...............

chunks,
mez

.(c)[lick].
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http://www.hotkey.net.au/~netwurker
http://www.livejournal.com/users/netwurker/

DISCUSSION

RE: Protected message


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DISCUSSION

Re: Re: RHIZOME_RARE: Los Angeles Center For Digital Art: Open Call


At 04:02 PM 6/07/2004, you wrote:
>This call for entries has a pretty large fee attached just to enter, no
>jurors are mentioned, the turn around time is very short, the curatorial
>position is not stated, the print work is done for profit. Fair enough, and
>this is much like the hundreds and hundreds of calls of this type for
>artists in painting, drawing, traditional printmaking etc. But it surprised
>me to see rhizome putting this on rare. In the conventional art world these
>kinds of competitions indicate a competition that is funded by the artists
>entry fees, so that the bottom line is that the artists are funding the
>event without contributing to shaping or producing the event. One of the
>things that most attracted me to new media and the rhizome iist was the near
>total absence of this kind of call.
>Any comment? Maybe someone in the Rhizome community has worked with these
>folks and can recommend them? I hope its legit.

hiya c.

i completely 2nd this, + am very curious as 2 how the material for RARE is
selected. seems fairly slipsh.oddish.

Chunks,
mez

.(c)[lick].
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http://www.hotkey.net.au/~netwurker
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