"...the writing of Mez, an Australian (nee Mary Ann Breeze) who is probably the most prolific -- if that's a word one can use to her peculiar brand of listserv logorrhea -- digital poet out there, plays a large role. Genesis P-Orridge of Throbbing Gristle fame made a basic play for singularity and collapsing the art/life divide by tacking an extra "e" on the end of the word "the" in all of his written communications - his latest band is called Thee Majesty. Like androgyny, making basic changes to ones way of writing puts one at odds with much of the normal functioning of the world - imagine filling out a job description using "thee" - but also re-places one, existentially, in the premise of one's decision: counter-cultural agency is thereby systematically refreshed. Mez elaborates on this principle exponentially, creating a carnival of artificial modifications out of the "restraint" of working in the ASCII set sans italics, justification or anything you won't see in a low-level terminal:

> [for instance, 1 email I have employed comes with the
> identifier|meznoma of _app][lick.ation][end.age_ which
> unpacks/translates in2 the tag|labels of _appendage_, app
> [abbreviation for application] end, _app.lick.ation_ etc - all
> avataresque names indicating segmented expressive allusions -

Mez's project is engaging partly because of the rich surfaces -- part freed-signifier and part charismatic tsunami - that she creates, but also her choice of venues: she has chosen to produce her work primarily in listservs, hence elevating the mundane commercial avenues of internet communication into an overstuffed, somewhat kitchy commune. She becomes the architect of the public square just by her propensity to embellish every dark corner."

- Brian Kim Stefans reviewing "p0es1s: The Aesthetics of Digital Poetry".