"I love writers like ee cummings and Emily Dickinson that push the norm and play with the accepted standards. I’m intrigued by Breeze’s style which appears to push the envelope even farther. The question that logically follows, though, is at what point do we loose the art itself in our attempts to break the mold? Is there some form required to keep within the parameters of art? What separates art from nonart?
If nothing else, this challenges me to experiment with incorporating other mediums within my own writing. I also have a tendency to want to use the high vocabulary I work so hard to equip my students with, but this article has challenged me to consider using more vernacular wordings and phrases. Finally, I am challenged to consider poetry to be more than just words on a page."

-prematurely grey


"Third week, I follow 158 people, more bridges, more dense clusters. The new SNA cluster becomes larger, zephoria being at the center, and stands slightly away from Silicon Valley. A new cluster emerges on the top left, I call it “media/net art”. It is loosely interconnected, and the major magnets weaving the network are manovich, twhid, netwurker, and artfagcity. Media/net art cluster emerged from the extensions of MIT, Silicon Valley, and generative art."

- Burak Arikan, _Growth of a Twitter Graph_.


"The power of the sounds and rhythms of language has intrigued authors, leading some to move away from standard English as they explore the visceral power of words and the cultural meanings layered on the already complex idea of abstract language. Lewis Carroll’s “Jabberwocky” stands as the first notable example, in which sound and cadence trump meaning per se. George Orwell’s Newspeak and the teen dialect Nadsat from Anthony Burgess’s A Clockwork Orange take this notion in more ominous directions, exploring the power of language to truncate individual thought and public discourse and its role social alienation and personal isolation. The two authors give the dialects an oddly fluid sound and a disturbing appeal—a friend of mine once complained that Nadsat sounds “more natural than English.”

Poet and artist mez applies this idea to internet subcultures. In a blog constructed in the language mezangelle, she plays with both computer code and the phonetics of English, drawing elements from concrete poetry and—to some extent—Leetspeak to trace the reflexive nature of language. The medium chosen for communication and the subject matter insidiously shape language: moving from changes in vocabulary to alterations in syntax and word structure. The influence of technology seems to reverse the common wisdom regarding the evolution of language, the idea that advances like the printing press (and even writing itself) made forms more permanent (e.g., German after the publication of Luther’s Bible)."

-Shae Davidson in _Speaking in Tongues_


"...codework's aesthetics map to actual coding practices that are nevertheless themselves highly contingent in their ultimate relationship to other layers of symbolic abstractions in a computer. So it is that the one-to-many ethos of high level languages find immediate concrete expression in Mez's, aka Mary-Anne Breeze's, penchant for polysemic wordplay..."

- Matthew G. Kirschenbaum In "Mechanisms: New Media and the Forensic Imagination"
Jan 2008 MIT Press ISBN:0262113112


"Mez leads us to confront the legible with strategies normally reserved for the viewable. A good characterization of her work comes from a source that, on the face of it, has nothing to do with poetry....

What Mez attains...is the feat of keeping us in motion from one view/read cusp to the next, seeding the screen with many cues for reading backwards, up and down, and slantwise, as well as forward. Indeed, we are often stopped in our tracks, caught in a type of pleasurable stutter and thrown back to rescan the whole field, a perceptual act more often associated with image."

- Stephanie Strickland in:
_First Person: New Media As Story, Performance, and Game_
Editors: Noah Wardrip-Fruin and Pat Harrigan
Published: 2004 MIT Press
ISBN 0262232324


"Mez Breeze, an Australian-based internet artist, developed an artsy, poetic language called mezangelle. The language is composed of hybrid words combining various elements of code and informal speech. The linked page uses mezangelle in combination with what can be called its visual equivalents, edited combination images that utilize elements of the human body. The page scrolls from right to left allowing the viewer to read the images and mezangelle fragments in manner that heavily relies on individual interpretation as the eye jumps from one element to another. The format used to display the hypertext poetry brings to mind Chinese scroll narratives. These paper scrolls allow the viewer to linger over images and phrases and progress to either previous or upcoming sections at free will. _ID_xor.cism, however, takes elements of that free will away forcing the viewer to keep up the scrolling text and imagery. As to the title's implication, I'll leave that up to you."

-liz g from Responsive Arts