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

Fwd: Re: <nettime> oh, the gents they do protest too much!


>Date: Mon, 02 Sep 2002 15:37:29 +1000
>To: nettime
>From: "app][lick.ation][end.age" <netwurker@hotkey.net.au>
>Subject: Re: <nettime> oh, the gents they do protest too much!
>
>
>dear coco,
>
>firstly, i'm presuming that after yr generic reply 2 several postings
>addressing elements of yr "modest proposal for josephine bosma" post, that
>u'd prefer 2 utilize a general correspondence pattern rather than direct
>response engagement. i'm by-passing this by choosing 2 [attempt 2] engage
>u [& others] in a direct forum x.change.
>
>At 01:21 PM 31/08/2002 -0400, u wrote:
>>Too all those nettimers who appear to have been irritated by my modest
>>proposal:
>
>
>.....in actuality i wasn't irritated by yr post, but more n.trigued|puzzled.
>
>
>>It is quite enlightening and amusing to discover that the protagonists of
>>a milieu that is famous for its irreverence toward anything considered
>>established, its ironic attitude toward anything purporting to represent
>>"truth", and its propensity for parasitical caricature, would be so very
>>sincere, so incredibly earnest, and so absolutely righteous in their
>>responses to a parody of the "scene" they are a part of. Apparently, it's
>>fine to lampoon everything from multinationals to medecine as long as the
>>holy temple of alt.net culture remains untouched.
>
>
>...secondly, coco, a request 2 u b4 i begin 2 pursue a genuine reply - i'm
>becoming confused regarding yr communication _n.tent_; at the moment this
>puzzlement stems from various inconsistencies in yr dialogical
>approach.....u seem quite content 2 illustrate yr points with (failed
>satirical) references that endorse the m.plied pedagogy status of 2 dead
>_white_ _western_ males [one b.ing skakespeare (via yr allusion 2 the
>paraphrased hamlet quote in the subject line) & the other b.ing swift (yr
>reference 2 satire below)] whilst denigrating any valid form of
>participant|multilogue response ....
>
>....i'm also curious regarding if u intend 2 elaborate past this satirical
>continency? do u choose 2 participate in forums such as these in order 2
>x.punge information regarding political|interpetative|analytical leanings
>only ie present a 1-sided critique that offers no hope of unfolding via
>considered discussion?
>
>i do realise yr expository tracts r not destined 2 b absorbed through an
>_intent_ filter alone, coco, but it is x.ceedingly difficult 2 attempt
>cogent responses 2 yr assertions whilst this satirical-recourse-call is in
>constant (potential) operation.....
>
>
>>It is also quite
>>endearing to find that so many men have rushed to the aid of damsel Bosma
>>- hence, I must conclude that chivalry is not dead in the realm of the
>>posthuman, but humor appears to have evaporated! Herr Cramer, I'd say that
>>if you are perceiving uptightness, it might be coming from the reflection
>>in your mirror, as it seems you cannot take a joke when it's on you!
>
>
>.....again, these constant generalisations regarding the
>practic][ition][e][rs][ of net art/wurk/forums act only 2 legitimize
>pat][hie][riarchic|cloistered methodologies of "the other" by yr
>consistent reliance on the lecture-form rather than participating in
>sustained dia|multilogues.............yr pin.pointing of the males that
>responded again acts 2 negate|over.write any females that _also_ responded
>[again surprising given yr ideological stance]........
>
>
>>For those who apparently have not read Jonathan Swift, the Irish colonial
>>satirist whose spirit and title I borrowed, I highly recommend his
>>brilliant and hilarious tracts that artfully poke fun at the piety and
>>hypocricy of the British. He's a great avatar, I'll say that.
>
>
>...i'd prefer if u could recommend a non-male, non-white, non-western
>satirist as a more relevant x.ample, as this would seem 2 b more
>consistent in terms of yr assertions [and corresponding lament regarding
>non-discussion of such categorisations b.low]...................
>
>
>>My main point, for those who had trouble discerning it on their own, was
>>that Bosma's opinions were based on rather ludicrous, reductionist
>>descriptions of the works she glossed over in her review. One could
>>approach net.art in the same way, as I did, and the resulting appraisal
>>would sound quite disturbing to those who felt themselves the object of
>>such a critique. Bosma's attitude toward the artists and curators was
>>arch, ignorant and at times even racist. Ah yes, that terrible word. But
>>nearly every time any non-white subscriber to this list makes an
>>assessment of anything posted as being racist, that non-white subscriber
>>is attacked -- by white, leftist, progressive, activists and theorists who
>>embrace nomadism and deterritorialization but refuse to examine their
>>prejudices or their own relentless need to micromanage all opposition to
>>official discourses about people who have been deterritorialized and
>>subjected to racism in Europe and America. We're dealing with is about a
>>political project of territorial control. Doesn't matter to me if that
>>territory is physical, intellectual or artistic. Hence, a parodic approach
>>was a good tactic in such a repressive milieu.
>
>
>...i agree that a *productive* parody would b effective. howeva, yr
>attempt at satire doesn't operate anywhere near a successful level, with
>its constant wavering b.tween hodgepodge critique & humourless character
>ridiculing .....also, claiming satirical n.gagement with objectionable (u
>term it racist) material only further acts 2 reiterate the nature
>& _content_ of the material under treatment, s.pecially given that no
>alternative n.ceptions of such material r ][pr][offered by u, coco.....u r
>actively perpetuating this _repressive milieu_ . this unfortunate
>continuance, in turn, acts 2 muddy any n.teresting concepts u raise in
>this highly conflicting confab.............
>
>
>>I have no doubt that Transmediale juries wade through zillions of
>>applications. I have sat on dozens of such juries in my lifetime and have
>>done the same - and know from experience it is in no guarantee of
>>democratic procedure, or that the final selection will reflect a range of
>>tastes or provenances - it usually just becomes a statistic that festivals
>>can boast about (" Wow we are so omnicient that we reviewed 2 million
>>applications in our search for the best of whatever...." ). Any good
>>shopkeeper in a European city would know that a pastiche tray of goodies
>>from around the world will sell - as long as nothing on the tray BITES THE
>>HAND THAT FEEDS IT. Thus the number of entries reviewed, Herr Andreas,
>>does little to alter the insularity of the milieu, the cliquishness of the
>>scene, the narrowness of its aesthetic views, or the obsession of its
>>proponents to restrict their view of the history of avant garde new media
>>to the last ten years, (tossing in an occasional and unusually inaccurate
>>reference to some early 20th century European avantgarde.) There was new
>>media, intermedia, activist media and electronmic media before The Next
>>Minutes and before nettime -- and alot of it continues without having any
>>contact with this milieu.
>
>
>.....i'm x.tremely n.terested in x.panding my knowledge base regarding
>arenas that predate & run parallel with a net.based environment...could u
>perhaps say more regarding this, coco?
>
>
>>I find it quite symptomatic that the high priests of No Border
>>consciousness, posthuman subjectivity, and new media chic always seek to
>>trash postcolonial theory and dismiss the art they consider to flow from
>>those ideas. The same European leftists who believe they have the solution
>>ot the "refugee problem" are the ones who do everything possible to force
>>the expressions of refugees, exiles, immigrants and their offspring in the
>>domain of intellectual discourse and art practice through their
>>CHECKPOINT. Those who step around that BORDER are condemned to be exiled
>>from the temple. We didn't pass quality control, oops. How come you don't
>>like us anymore when we leave the refugee camp and get college degrees and
>>speak your language(s)? Why might this be? Is it really about theoretical
>>weaknesses of postcolonialist thinkers (whose ideas are rarely discussed
>>in depth - all that I ever see here are blanket statements about
>>"postcolonialism" as if it were singular)?
>
>
>..also, i'd keen 2 learn further about these postcolonial thinkers.....can
>u give a rundown of some individuals that differ in their
>portrayal|participation in this singular, monochromatically-defined .ism?
>
>
>>I doubt it. None of you who
>>have responded have demonstrated enough openness, sensitivity,
>>understanding or respect for anticolonialist struggles or postcolonial
>>intellectual and cultural production for me to think for one minute that
>>you know something significant about them.
>
>
>.....i'd keen 2 learn just how yr satirically-m.bued response pattern
>encourage][d][s open, sensitive, respectful communication? or, in
>contrast, how u've procured yr immunity 2 this response pattern via yr
>preemptive knowledge|affectivity structures?
>
>
>>The resistance to any
>>discussion of institutional racism in alt.net culture adds to my
>>skepticism. Forget about dealing with the outrageously obvious racist
>>psychodynamics of internet porn and "artsy" erotica. That's another can of
>>worms.
>
>.........coco, do u perceive that yr use of anglomanic|westernised
>x.position as a legitimate method of discourse [via a practical validation
>of it as yr primary communication tool] is perplexing in relation 2 yr
>points x.pressed above, & that this could further alienate any legitimate
>_PoCo_ vocality that u seem keen 2 portray yr theory [& self] as embodying?
>
>....yr proposal unpacks as an dreadful manifestation of a
>imperialistically-tinged dynamic [1 that surpasses the quasi-satirical &
>plunges straight in2 a progressively victim-discrediting|orientation
>structure, again hi-lighted by yr generalised naivete-of-response tone]
>that u criticize with such vigor above...........
>
>
>.....please feel free 2 respond my observations above, coco [& all], & i
>look 4ward 2 potential unfoldings beyond these largely ornamental +
>contradictory textings,
>mez [aka app][lick.ation][end.age]
>
>
>
>
> . . .... .....
>collapsing adj[thr]usting.txt
>.
>.
>app][lick.ation][end.age
>
>www.cddc.vt.edu/host/netwurker/
>http://www.montevideo.nl/www/english/current.htm
>
>.... . .??? .......

. . .... .....
collapsing adj[thr]usting.txt
.
.
app][lick.ation][end.age

www.cddc.vt.edu/host/netwurker/
http://www.montevideo.nl/www/english/current.htm

.... . .??? .......

DISCUSSION

Fwd: Re: <nettime> a modest proposal for josephine bosma


>X-Authentication-Warning: bbs.thing.net: majordomo set sender to
>nettime-l-request@bbs.thing.net using -f
>Date: Tue, 27 Aug 2002 16:21:10 +0200
>From: Florian Cramer <cantsin@zedat.fu-berlin.de>
>To: Nettime <nettime-l@bbs.thing.net>
>Subject: Re: <nettime> a modest proposal for josephine bosma
>Sender: nettime-l-request@bbs.thing.net
>Reply-To: Florian Cramer <cantsin@zedat.fu-berlin.de>
>
>Coco:
>
> > Net.culture is depressing for three reasons (I am not even counting
> > the curators’ general ignorance of current art practices other
> > than net.art, which constitute the overwhelming majority of art
> > history past and present). First, the amount of frivolity
>
> What makes you so uptight that you deplore "frivolity" in art (and
> elsewhere)? - Or is your statement a parody to prove Josephine's
> diagnosis of puritanism?
>
> > other than generalized paranoia about surveillance and libertarian
> > rants about wanting freedom
>
>Who's a libertarian? Quotes, names please!
>
> > rational judgement. The endless celebration of post-structuralist
> > theories of deterritorialization and fluidity are truly over the top.
>
>What are you referring to? Examples, please!
>
> > uninterested after a while. Second, this is the art form of mostly R &
> > D for the software industry and wireless communications,
>
>I am still waiting for any software company or free developer group to
>release the jodi, I/O/D or Netochka Nezvanova desktop user interface!
>(Seriously.)
>
> > Net.art is above all formalist and formally predictable. There is very
> > little conceptual depth or anything else substantive, intellectually
> > provocative or profound about it.
>
>This is somewhat cheap talk as long as you don't name any work or artists.
>Of course, there exists enough second-rate/epigonal net.art to ground your
>critique, but I would be interested if you would, for example, also
>sustain it against projects like mongrel, RTMark, jodi, to name only a
>few. Then we would have a real statement, and wouldn't speak about
>phantoms.
>
> > Cultures that were colonized politically by Europe from the 15th to
> > the 20th century have slowly started to undergo new forms of
> > colonization called neoliberalism.
>
>Your notion of "Europe" is no more differentiated than any broad
>stereotypical claim about "Africa", "America" and "Asia"; and I think
>Documenta XI fails exactly where it disdifferentiates and globalizes
>non-Western cultures.
>
>A perhaps academic sidenote: What makes me personally sceptical about the
>use of "post-colonialism" as a broad term is that it is slightly
>colonialist in itself. The term has, to my knowledge, been coined chiefly
>in a post-Marxist British academia to describe "hybrid" cultures (Homi
>Bhabha) created either by migrants from formerly colonized countries in
>Western countries or by locals in formerly colonized countries as a
>hybridization of traditional and imported/forced-upon Western cultures.
>While these descriptions seem accurate, they are unnecessarily restrained
>by the (probably Anglo-British) perspective on colonialism.
>
>The city where I live, Berlin, is rich with Turkish-origin immigrant
>cultures bearing all the "hybrid" attributes of postcolonialism (Turkish
>rap, Turkish tranvestites etc.), but: Turkey has never been colonized by
>the West. In general, immigrants in Germany and many other European
>countries to the largest part do not come from formerly colonized
>countries, or could only defined as postcolonials if you really stretch
>the term. On the other, I could - as a native German Berliner born in the
>Western part of the city - rightfully claim to be a postcolonial subject,
>because West-Berliners had neither West nor East German citizenship (and
>thus neither passports, nor the right to vote for national elections)
>before 1990 and lived (formally) under French, British and US-American
>military occupation rule. - Of course it would be BS to call former
>West-Berliners postcolonial subjects.
>
>So I find "postcolonialism" a somewhat limited term, coined by people who
>apparently couldn't even imagine that there is any other form of migration
>and cultural hybridity than as an after-effect of (chiefly) British
>colonialism. (And why does their "postcolonialism" fit factually
>non-colonial Turkish migrant cultures, but not, for example, factually
>postcolonial cultures in Eastern Europe or ex-Soviet republics?)
>
> > As a result, older forms of hybridization are being supplanted by the
> > McDonalidization of most urban cultures and bad taste is now defined
> > by American companies, but is bombarded into other countries via
> > massive p ropaganda campaigns that make lousy food, technologically
> > mediated interaction, and obsessive consumerism seem desirable.
> > Multinationals and most governments do everything possible to censor
> > information about their faults.
>
>I think backing your statements with some more arguments and facts here
>would be good, because otherwise they come dangerously close to paranoid
>right-wing rambling! Replace "American" and "McDonalds" with "jews", and
>you've exactly rehashed the political rhetoric of the right in the 1930s.
>(But this is a trap many people fall into, especially in the
>"anti-globalization" movement. I tend to find this movement scary because
>of that.)
>
> > One of the things that net.culture seems to want to be is what its
> > name implies: to be THE culture of the moment - that represents
> > the radical transformation of the world by digital technology, or a
> > confirmation even maybe.
>
>I find it wrong to speak of "net.culture" in singular - and that was my
>biggest problem with Nettime in its early years. So when Nettimers
>actually identified themselves as "the" net.culture, to whatever extent
>critical and in opposition to corporate visions of the net, this
>implication indeed seemed to lurk behind the term.
>
>But it seems to me that Nettimers have lost their view of one
>"net.culture" since long. There is not one, but many net cultures, and
>Nettime tries to get some of them (artists, net political activists, art
>critics, free software activists, privacy activists, you...) in touch with
>each other. It seems to me that the common denominator is not to be "THE
>culture of the moment", but - quite in contrary to what you perceive - to
>offer good old-fashioned critical reflections and alternatives to hypes.
>
>But I agree that such a critical agenda is constantly in danger to be just
>a reverse mirror image of what it supposed to be criticized.
>
>About Net art you write:
>
> > as "that awfully ugly stuff that never downloads anyway"). A barrage
> > of spam from a self-centered semi delusional artiste, found footage
> > with images of home made porn re-edited, a documentary about avatars ,
> > so called 'new forms of cinema' showing the situation
> > anti-globalization protests in Europe and North America, numerous
> > websites announcing non-existent governments and countries and
> > corporations for no apparent reason, endless webcam diaries about
> > white suburban people who think their lives are interesting, and a
> > number of works in which artists contemplate on their invented selves
> > are mixed with grim looking pieces about biotechnology and designer
> > babies, numerous "artful" porn sites with obscenities in various
> > languages, pages covered with code and unreadable text, lousy
> > computer animation, black and white streaming videos of empty or
> > gloomy spaces and labyrinthine MUDS and MOOS with 12 signs of
> > depression.
>
>Again, it is easy to polemicize like that if you don't name whom and what
>you mean. If you talk about a "barrage of spam from a self-centered semi
>delusional artiste" and mean jodi or mez or maybe NN, you would make a
>bold statement that could be meaningfully discussed, but being vague like
>you are, you could, if pressed harder, always retreat to being nice and
>saying something appeasing like that you didn't refer to jodi, mez or NN,
>but just to the many NN-ripoffs out there.
>
>
> > One wanders from site to site filled with what I described above and
> > then suddenly, slightly lost, there is a space filled with works that
> > look strangely like repeats of structuralist film, 70s femininst
> > autobiographical video, or neo-geo painting (even worse the seconc
> > time around). Even if these genres have yielded very interesting
> > seeing them here made one wonder why specifically people argue that
> > net.art represents a total rupture with the past .
>
>Who does claim this? I yet have to come across the unfiltered
>high-modernism you describe in Net.art. To date, I would identify such
>naive techno avant-garde rhetoric rather with hightech institutionalized
>3D interactive installation art like Jeffrey Shaw at ZKM (the ZKM was
>actually founded with the intention to create a "second Bauhaus" of the
>digital art) and, to some extent, with ars electronica, but not with the
>lowtech self-made approach of the Net art we are discussing here.
>
>I think Net.art rather presents (or at least has presented for some years)
>a rupture with this institutionalized hightech art. Within the history of
>digital and generative art, it also seems the first which used its
>material/code ironically, as collage instead of clean-room constructivist
>laboratory constructs. And I still keep being baffled by the
>non-recognition Net.art receives in the mainstream art world simply
>because it doesn't provide material objects that can be easily
>commoditized, exhibited and sold. As such, it hasn't stopped challenging
>the art world on its material grounds like no other art before. (Even
>so-called conceptual art more or less boiled down to material
>commodifiable objects.)
>
> > Also interesting works by 'newer' artists or artist groups
> > that have nothing to do with nettime/Next Five Minutes/Ars/ Transmediale
> > circuit are rarely noticed by the players of the "scene".
>
>My personal impression is the opposite: that these circuits are starving
>for young people to be put into circulation.
>
> > The political brainwash of the majority of the field is so strong that
> > it overpowers all works and leaves one with very little room for serious
> > ideological and political interpretation. The question then haunts you:
> what
> > makes the work of few serious artists in net.culture ignored by most
> > nettimers?
>
>Again: whom do you mean?
>
> > everyone?" "Wouldn’t it help to deflate the pretense of all those who
> claim
> > to have reinvented art practice if net.cultur-ites actually engaged in
> > discussion with art historians and practiioners who have expertise in
> > previous waves of new media?" "Wouldn't some politicized artists of color
>
>I think the situation is by far not as bad and net.art critics are not
>as art historically ignorant as you write.
>
> > the 90s was more trend then strategy. The art market simply needs new
> trends
> > to survive and net.art was one of them.
>
>Hardly so.
>
> > are reinforced." Looking at it from that perspective net.art just might
> have
> > succeeded in pushing a few new artists to the foreground.
>
>Once again, we can't discuss your point if you don't tell us whom you
>have in mind.
>
>Florian
>
>--
>http://userpage.fu-berlin.de/~cantsin/homepage/
>http://www.complit.fu-berlin.de/institut/lehrpersonal/cramer.html
>GnuPG/PGP public key ID 3200C7BA, finger cantsin@mail.zedat.fu-berlin.de
>
>

. . .... .....
collapsing adj[thr]usting.txt
.
.
app][lick.ation][end.age

www.cddc.vt.edu/host/netwurker/
http://www.hotkey.net.au/~netwurker/display.myopia.swf
.... . .??? .......

DISCUSSION

Re: T.RUTH


At 01:10 PM 8/27/2002 -0700, you wrote:

>A kind of light that's nice, mute
>and unable to talk back, shouting,

.orality stripped of text * mouthing gnash..............

>"The leaves of the trees are now
>flat beneath my fingers!" stretches

.silked screamings ruin the out.moss.sphere........

>across Virginia. In order to breed
>a more masterful race, we sterilize

...our ears, punching strata in2 pin.pinked gages.....

>cinder crosses like whip-kisses on
>the backs of downtown G's.

.g-lined forces & closed-][mind][hull boxes..........

>It's embroidery, though
>we all know grandmothers who
>sucked grief from a gat's progeny:

.statements of wor][n][th splayed in fi][ctional][laments.........

>we can't unravel it. Even that loose thread
>on the poetics list about randomness and haze

.regurg & stop. <if> cut, <then> paste.............

>reads like comfort in a bombed-out chill.
>So much faith in life and death; so much

...][a][ward bloc.][john][kages thru strips N covert stripes..........

>for exchange, the rates through which
>bodies coalesce, adhere, assimilate. I

.& junket-like, revolving in2 fac][e][simile's mess.........

>for one don't want worship anymore, to pile
>a reputation around myself like the parched lips
>of a hole in which to bury my head

...or transfix a viewers gaze in con][C++][creted red?

>while all that's free and good kills in the desert.
>All I want is what's crumbled in my hands.

.rumbled in theoretical gloss.

. . .... .....
collapsing adj[thr]usting.txt
.
.
app][lick.ation][end.age

www.cddc.vt.edu/host/netwurker/
http://www.hotkey.net.au/~netwurker/display.myopia.swf
.... . .??? .......

DISCUSSION

*.imp loading[s]


------------------------[ impLOAd.INI
]-----------------------------------------------

[m.plode]
vi.trol(l)=
s.ta(c)tic=
NullPontif(l)ex=None
de(af)vice(s)=Collusive-Bond[ye]ing.A(tempt)I-2002,Emaillist.funct

[fa(gri.ma)ce]
tic=(None)
ashen.hair.grains=1
tick.style=0
fretwork=(None)

[(ms)mambo]
x.counting=1
x.digitale=2
x.corrode=0
x.stam.ping[!]=0

[.imp loa.[ding!]]

[manje.subbing]
hell

DISCUSSION

Re: a modest proposal for josephine bosma


At 09:59 PM 8/23/2002 -0400, you wrote:

>A Modest Proposal for Josephine Bosma (jesis@xs4all.nl)
>final review net.art/culture
>
>Net.Art: a laughing matter?
>
>
> It is as if nature decided to complete the experience that the promoters of
>the internet have created for us. Video game parlors, cybercafes,
>advertisements for telecommunications and pseudoerotic displays of youthful
>flesh dominate the landscape of nearly every city in the developed world, and
>the wealthy quarters of most third world urban centers. Streets are flooded
>with neon and electronic billboards that provide much more light than what
>should be available at night.
>
>One of the world’s most hyped art milieu can be describe in one word:
>depressing. The most positive thing to say about net.culture probably is its
>openness to artists who have access to computers, and are largely white, male
>and western.

....its n.teresting 2 absorb how this tendency 2 polarize marks cocos
premise....utilizing such div][der][isive reductionism [m.ploying a "most
positive" benchmark] & weighted concentration [& corresponding
regurgitation of an overtly patricentric power stratification approach - ie
her assumed authority thru the negation/displacement of nuanced discourses
indicates an adherence 2 a hierarchical loading that coco _seems_ 2 b
actively rallying against] acts 2 diminish the potentialities of x.posure 4
those works that r surprisingly omitted in this t][ext][ract......wot, in
cocos opinion, r these non-male, non-western wurks + practitioners who r
only made more marginal + minimalized by their gaping absence in this
monologically-oriented text?

..this type of naive iteration of overarching dialogic advocacy structures
is surprising, & i'm n.terested 2 learn how coco cs her concentration on
the depressive state of so-labelled homogenized end-game net.art as either
offering to x.pose or hi-lite [or n.deed reconceptualise] those she views
as x.cluded?

-][mez][
[aka app][lick.ation][end.age]

. . .... .....
collapsing adj[thr]usting.txt
.
.
app][lick.ation][end.age

www.cddc.vt.edu/host/netwurker/
http://www.macros-center.ru/read_me/inexen.htm#re
.... . .??? .......