"...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

"[The mez interview] seems like something young artists should see and read...I'm having the experience over and over in school now, that "text" has become mathematics to many of our young people. They seem frightened and fairly negative toward it in general, and seem to be having trouble charting their path into the maelstrom...Mez's textuality seems so vital and alive and personal, it needs to be taught more...or shown around in different contexts."

- Lanny Quarles, WRYTING-L.

In the Twitter Stream
by By Linda Carroli

"Mez knows no bounds as she skims the confluence of virtuality, technology and textuality. This morning her status declares that she is "twitter streaming new theory". She sidesteps the monumentality of theory's usual vehicle (the essay) and delivers intermittent compressed moments of sumptuous thoughts in her (in)famous word-wrangling style. This is the first Facebook writing/word experiment I have seen that explores engaging theory in this personalised and self-reflexive way.

"One of this week’s readings is a very strange looking piece by a writer called “Mez”, which utilizes the language and typography of ‘code’ to make its point about the potential differences between online and print forms...Mez’s website contains some examples of her work and details of the language she calls _mezangelle_ and which contains elements of email code, HTML and other more sophisticated programming languages."

- From: HAM422 - A group blog on creative writing and new media

"A good example of creative misuse of Web 2.0 is this blog/poem by artist Mez...The artist has creatively used the snap link previewer, a new little gizmo that you can install free on your site (the company in return collects data on who links to what etc) to augment the poetry."

-bina-93