"Mez's latest, _][ad][Dressed in a Skin C.ode_, at times seems to propose that the decay of a system (sometimes the system is the guts of computer memory; at times it is perception itself, reduced to strangely harmonic rollovers; sometimes, yes, it is language) is also its life, the vibrant force that breathes step into its inertia....

Never have I seen such a profound use of the rollover effect as I have seen in her works. In Maschine F][w][orked N.tentions vs Haggard Critical Mass, a wonderful specimen of Mez's current mengerie of rhizomatic soma, the user faces a powder-blue typographic painting. Roving across its serene glow with the mouse, the user soon discovers that this seemingly static work (an email header, actually, from Mez addressed to the Webartery and the Wryting lists) is porous; one's rove becomes along its surface a white hand, which means COME IN. The painting-header swings between the stationary rigidity of painting and sound (a jungle; some jungle deep within the piece is choking in vines; distorted animals crawl through its undergrowth)........

Mez is primarily a writer, but a writer with a clear idea of the very core of interactive media--this work is a whole; it is not simply text transfigured with pretty pictures, be they moving to sound or no. Mez sculpts in these new media. She constructs a hypertext much like Joyce must have constructed Finnegan's Wake. There are, in her language, certain resonances that carry themselves from the bounds of the page into the quickness of motion and the ambiance of noise."

-Lewis Lacook, Rot and Root.