"I cannot help but to think of Netwurker Mez, whose primary coding language, Mezangelle, is used to create code-poetry that typically does not compile. The plethora of literary techniques invoked in Mezangelle make her work particularly accessible to people whose backgrounds tend to be less on the programming side of CCS. I like to think of her coding practices as closely related to obfuscation, though more in the literary sense than functional sense, if you subscribe to that dichotomy.

For non-coders who are intimidated by the second C in CCS, or anyone unfamiliar with Mez's work, I suggest testing the waters with some examples of interpretive readings that have been performed on Mez's code-poetry. Rita Raley has performed a very insightful reading on Mez's work. Another interesting reading of Mezangelle...can be found here."

-Max Feinstein, HASTACH Code Critiques CCS Forum

"...this usage can be subverted in a way that renders digital text - code - as 'pure' representation. The Australian artist Mary-Anne Breeze ('Mez') does this precisely in her codework poems, an example of which...[is]... [ad]Dressed in Skin C.ode ...[this] work uses the complexities and inaccessibility of computer code to point out the ambiguities and sheer chance of much representation. It uses the representational devices of a computer to generate a work of art, an instance of representation that is as much about feeling as communicating, and that critically engages with the very act of making representation."

-In _Understanding Representation_ by Jen Webb.

"In addition to the infiltration of the abbreviated language of email and text messaging into mainstream print media, it is now also commonplace to encounter programming keywords, symbols, operators, indentation, and pagination entwined with natural, non-technical, mother tongue expressions. Codework is the term associated with the literary and rhetorical practice of mixing human and computer languages (Hayles; Raley; Cramer). Types of codework span from intentionally arranged constructions intended for human consumption that do not execute on any real computer system, to valid expressions in bona fide programming languages that are meaningful to both human and machine readers. Examples of the former include the work of Mez (Mary-Anne Breeze)..."

-John Bork, University of Central Florida, "From Codework to Working Code: A Programmer's Approach to Digital Literacy".

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Alan Maizey: Mez’ artworks are a nice combination of aesthetics and purposeful elements. One work that was interesting for me was the collection of horizontally scrolling pieces that collectively form a portfolio of her interpretations of the interaction between poetry and design.

Although these works appeal to the participant who has experience within the web coding field, they also appeal to an audience who are drawn in simply by the smooth, relaxing flow of the artworks. It is this multi level sense of interest that Mez has laced successfully into her work that gives the impression that she has the ability as an artist to attract audiences from starkly varying backgrounds.

As a collection of pieces, the portfolio that harbours the many scrolling works represents two contrasting perspectives. On one hand the jumbled letters mean nothing to the untrained eye, perhaps instilling a feeling of being lost in a world of technological confusion that has no visible end or completion. On the other hand, this perspective is enhanced from the viewpoint of a participant who has the ability to decipher the poems that have been entwined throughout the mix-up of letters and symbols. Although still representing a ‘lost in technology’ feel, this second perspective of Mez’ work combines the chaos of technology (which is dependant entirely on algorithms and codes) with the emotion of poetry.

I enjoyed becoming lost in Mez’ artworks, I felt that the entire time I was perusing through the pages that there was always going to be something that I had missed in some way. This feeling of nervous anticipation added to the experience of navigating through, at the end of the day, is a relatively standard website.

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Jason Jie: Week 9 – Interactive confusing coding

Wow, that was what I was thinking when reading this. I guess this kind of tries to use psychology and mixing it with technology? In a way, human brains created computer programming. Therefore, it would make sense that the coding we use for coding is a reflection of how we think that the human brain works..? That also might be the reason why it sometimes seems so similar to how we think and act. In certain culture theories, there are claims that culture is also a way of programming. Interactive coding may be seen as a certain coding too. Maybe even know some cultural influences too…

I am not sure how this technology is going to develop itself in the future. Maybe the future of androids and robocops isn’t that far at all…? If we can use interactive coding that can direct computers/humans to walk a certain pattern, then it shouldn’t take that long before we will be in the same dimension movies like ‘Bladerunner’ are portraying… Only time can tell…

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Rei Singsam: Hi Peepz,

“Exorcism” MEZ (Mary Anne Breeze)

The artwork reminded me of a movie I saw during my first year of university. The movie is entitled “Existenze” and features themes of biocybernetics. This piece features various body parts and organs displayed on what it seems like a conveyor belt and is displayed to be a type of interface where the user can custom make a human body with their selection of different body parts.

In saying that, it also features a “Matrix” style aesthetic, with a lot of alien type of text placed all around her art. Some of these text titles are links to other artworks, and other titles are in a different language deeming it incomprehensible.

Additionally, Breeze uses themes of ‘hieroglyphic’ type icons. Many of her diagrams featured in this piece, appear as it they were painted on ancient Egyptian walls. The combination of all these elements creates a degree of confusion to what actually she is trying to portray in her artwork and indeed evokes a dark and eerie mood. Very original to say the least.

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Chrissy Brown: MEZ – ‘mesangelle’

ur.blather.is.my.concept.meat is the first line I read within MEZ’s site and I can relate to it. Getting around over hearing conversations can really spark creative ideas. This idea of combing code and poetry is really interesting and adds another visual dynamic to text. An attempt to decipher the writings to create meaning is your first approach to MEZ’s work. I believe you engage more in the writings than you normally would with text, as they are ambiguous. This gives the viewer freedom of interpretation and is very beneficial if you are targeting an intelligent market.

Another favorite I found as it brings a smile to my face when reading is:

Woldram_Alpha input = "hi": "Assuming "hi" is a phrase - Input interpretation: Hello. Response: Hello, human." [luv it].

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Michael Blank: ...Being able to conceptualise a simple modern day task into another language but being able to make that language a digital one and turn it into art is a stroke of genius. Code and mathematics are very difficult languages to understand fully in all its complexities, but the use of simple commands as directions bring a new life to a simple task.

Already, many of you have begun conceptualising other simple tasks into algorithms that would make life easier. I to have done the same, but I’m going to bring another light onto the piece. Don’t we already do this subliminally? We all already have an algorithm in our heads that tell us to put our left foot in front followed by the right and rinse and repeat to walk until we have found where we want to go. We also have one that tells us where we want to go, and where I should turn to get there.

I love this notion that Mez has brought out the subliminal side of our conscious for all to view and understand in a language that all can interpret. This is Digital Art at its best.

-From the Discussion Forums of New Media Art - The Flash 8 Revival

"...if you guys are as far out cerebral as Mez is, I'm really going to enjoy this..."

- Robert Rice during the 1st European Augmented Reality Business Conference 2010

“...common practice - a series of curated events that wants to use an “unpredictable cobbling together of texts, poetry, people, code, language, Wiki, chat, conversations etc” to create new texts...some more about what the event entails:

The reading groups that make up common practice will take place in June and September. You are invited to read, write, tinker with and intervene in the literary and theoretical texts and poetry together with others through the simple-to-use online tools. You can join us in the Reading Room at Arnolfini or online and via Skype (contact: common practice).

common practice references the widespread and increasingly familiar activity of using online tools in everyday to communicate, contact, work, socialise, play, research, be entertained, etc. The practice embodies the curiosity to experience ways in which human and machine skills and abilities perform together.

More importantly, however, common practice also refers to the fact that it is done in common – together with others. Thus it is social space of knowledge materialised through co-labour, codeworking and language.

The first session will open with mez breeze’s mezangelle poems, written in a blend of code and language, and we will be practising a simultaneous reading-writing reworking of these texts to experience their language-code operations during the event.”

-From Open source poetries by Jeroenn.

“...this sort of “dirty hands” approach can just as easily describe digital poems such as Mez Breeze’s “pro][tean][.lapsing.txts” which is an imitation of computer code (written in what she calls “mezangelle”) and thus the code is the poem, the visible, also primarily visual, surface text of the work (this in contrast to the way in which code is almost always the invisible, underlying layer which is responsible for make a different surface text visible). Once again, as with “Carnival,” the text is just as much about making visible the work of coding as it is about what the coding semantically communicates. And it can also nicely describe a whole range of recent open-source, community-driven artistic/cultural phenomenon such as the demo-scene, chiptune music scene, Maker Faire, or any of the burgeoning DIY electronics and robotics movements supported by companies such as Makerbot (a start-up company that creates open-source 3-d printers that you can by for $700-800 and put together yourself) or Arduino (an open-source electronics prototyping platform based on flexible, easy-to-use hardware and software intended for artists, designers, hobbyists, and anyone interested in creating interactive objects or environments).”

- From Making as Meaning: from Dirty Concrete to Critical Code, Lori-Emerson.