"Mez Breeze's new book is called "Human Readable Messages." So perhaps a distinction needs to be made between human-readable glitches and machine-readable glitches. Human-readable glitches are media glitches -- they occur when humans are communicating to humans through machines which mediate this communication. Human-readable glitches don't freak machines out. But neither do machine-readable glitches. Machine-readable glitches may crash machines, but that doesn't freak machines out, because machines have no sentient expectation of "normal." Machines lack the ability to have an uncanny experience. So to limit the discussion of glitches to events that only happen within machinic systems, glitches which never run on or involve human bodies, is to talk about something quite limited. Because a machine can't know or experience a glitch. Only a human can."

- Curt Cloninger, "glitch device/divide".

"In Mez's work, the digital poet combines code and language to create, what she calls, mezangelle. She uses mezangelle throughout her...hypertext pieces called Datableeding... Upon the entry of Datableeding one is faced with the option of going through the poetic journey in chronological order or starting with a number and theme...Starting with the Electroduction, the user is asked to type in a secret name and then the journey begins. This is where the user gets to see the mezangelle in action...A real test for the brain occurs once the user clicks on one of the hyperlinks inside the box of .THE CON.SOUL.E...the user is presented with a poetic set of words that disappear once the cursor is moved over a different name section and yet again the text is completely changed to reveal a different meaning. In next section Cloh!neing god N Angel-z the user is stimulated with audio and visual of images of angles being copied onto the screen as if being scanned by a copy machine."

- Keith Whittaker in Media Art Histories and Genealogies.

"The range of work shortlisted for the awards was an eye-opener for me personally in terms of what I might consider “fiction” and “poetry” to be in the e-lit context...the list included a number of works that took radically different approaches to the form and interface of fiction [such as] Mez’s the data[h!]bleeding texts written in her particularly styled mutation of human and machine language..."

- Scott Rettberg, Developing an Identity for the Field of Electronic Literature: Reflections on the Electronic Literature Organization Archives

"Critical Code Studies finds code meaningful not as text but "as a text," an artifact of a digital moment, full of hooks for discussing digital culture and programming communities. I should note that Critical Code Studies also looks at code separated from functioning software as in the case of some codework poetry, such as Mez's work or Zach Blas' trasnCoder anti-programming language. To that extent, Critical Code Studies is also interested in the culture of code, the art of code, and code in culture more broadly."

- Mark Marino and Henry Jenkins, "How Can We Understand Code as a 'Critical Artifact'?"

"Codework is the term associated with the literary and rhetorical practice of mixing human and computer languages (Hayles, 2004; Raley, 2002; Cramer, 2008). Types of codework span from intentionally arranged constructions intended for human consumption that do not execute on any real computer system, to valid expressions in bona fide programming languages that are meaningful to both human and machine readers. Examples of the former include the work of Mez (Mary-Anne Breeze)..."

-John Bork, From Codwork to Working Code: A Programmer's Approach to Digital Literature.

"...Multimedia artist Mary Anne Breeze, working under the nom-de-plume MEZ, has invented a recombinant idiolect called mezangelle in her attempt to short-circuit and bypass received processes of meaning-making. In a screen titled “n.sert yr narrative curve” she describes the potential reader (THE CONT.ROLL.O][VE][R) as follows: “[able to sing the spilt, open mouthed with sac][culuar][ks of spooned sugar N.structs, the song prefabricated, melting M.mitted p][redictable][atterns]”. The reader becomes part of the flow of interaction between man and machine, an infinitely folding surface oscillating between different rhythms and time frames..."
-Theodoros Chiotis

-From Stress Fractures: Essays on Poetry: David Barnes, David Caddy, Theodoros Chiotis, Tom Chivers

"In her work, digital poet Mez (Mary-Anne Breeze) blends HTML and English together to create a language she calls “mezangelle,” intended to represent the mutual dependence of poetic language and code necessary to create e-poetry. In an interview for furtherfield.org, Mez tells co-founder of CONT3XT.NET42 Franz Thalmair: “much of my present output questions the concepts of “reality” + “virtual” + their systematic definition crumbling. i’m exploring how this disintegration may lead 2 a continuum approach of the real<--->virtual.”43 The clash of the real and the virtual is what’s at stake in Mez’s mezangelle codeworks, as the ‘real’ language of the artistic, poetic text is forced into visible interaction with the previously invisible, alien, ‘virtual’ language.

In a codework entitled “pro][tean][.lapsing.txts,”44 Mez presents the ‘clash concept’ at work in her mezangelle language through her mezangelle language. The work opens with a page of text in mezangelle, topped by the now-familiar coded header for an email:

From: “.dirtee codah.”
Date: Mon Feb 11, 2002 5:20 pm
Subject: N.formation.sources|{i. am. [trapped. in. seizure. language

The term “.dirtee codah.” functions as a hyperlink that takes the user to other parts of the work. Throughout this piece, Mez meditates on what it means to be ‘trapped in seizure language’—the language of the physical, epileptic seizure, but also the language of capture, of imprisonment. The particular linguistic construction of mezangelle ‘captures’ code within poetic language—or, perhaps, the poetic language within code—to create something that is “part girl| [part][ial][boy ().” If “The DNA of programmer fare is code:,”45 then mezangelle is the DNA for a world balanced between the push of poetic language and the pull of code; a ‘dirty,’ troubled language that puts pressure on the conflict, the duende, between the two forces."

- Amanda G. Michaels, Digital Duende: Reading the Rasp in E-Poetry