"...the idea of difference and fragmentation is celebrated as enriched proliferation in the transformative hypertextual writing of _the data][h!][bleeding texts_. It would be a nonsense to attribute an author to this work, as the concept of the author, with its connotations of origin and presence, don’t sit well with the discontinuous poetics of Mez (a.k.a Mary-Anne Breeze, another shape-changer). Mez’s e-deographic writing literalizes the dispersive nature of the network, elongating and dismembering language into an unreadable, unrecognizable syntax that is, surprisingly, rich and full of meaning. It is replete with puns, double entendres, indeterminate meanings and unexpected dislocations. Words are broken up into syllables, then broken down even further to particles. Mez’s writing fuses the idea of the hypertextual with the abstraction of code, signaled in the prolific use of diacritic marks, such as brackets, apostrophes and underscores. The ungraspable, elusive quality of electronic writing achieves its most dramatic form in the exasperating dysrhythmia of e.Motion.all. Weapon..Load.er. In this frenetic work, we are confronted with a concussive experience of an interface that, like Proteus, literally eludes any attempt to be pinned down and interacted with. We have become so accustomed to point and click at things we are interacting with in the space of the screen. This work knows this and refuses to co-operate in any way."

-Darren Tofts, _Wrestling with Proteus: Net Art, the Antipodes and Beyond_, the New Wave Festival Catalogue at The Brooklyn Academy of Music.