"You probably know the fabulous Mez for her signature codework language mezangelle or for her fabulous collaborations with Andy Campbell, but Mez was also one of my chief mentors in netprov. Back when Workstudy Seth was running my social media, Mez gave me advice from afar, guiding me away from some real "danger zones," as Archer would call them. Truly with her online personas, she's been performing one of the longest-running netprovs around. In our special issue of Hyperrhiz, Mez presents two #netprovs: #OutsideurDoor and _feralC. Read about them and sample some transcripts here." - Mark Marino, Hyperrhiz.

[On"Human Readable Messages"] "[A] classic...A sea of linguistic invention: unsurpassed technical innovation in terms of print language. Reading the various passages for the first time I felt I was privy to a new form of expression not merely a creole or amalgam, something really new. Mez is brilliant." - Michael J. Maguire

"Code Poetry often refers to work such as Mez Breeze’s. Her Mezangelle complicates the line between human and machine communication in a way informed more from a literary tradition than code art’s contemporary art perspective. The broken, code-like assemblages of words layer meanings, but unlike in code art, it’s not important for the resulting piece to function as executable code. Code poetry is a creole between machine and human communication." - Daniel Temkin, "Esoteric.codes"

"This notion of source code as readable - as creating some outcome regardless of its machinic execution - underlies "codework" and other creative projects. The Internet artist Mez, for instance, has created a language called mezangelle that incorporates formal code and informal speech. Mez's poetry deliberately plays with programming syntax, producing language that cannot be executed, but nonetheless draws on the conventions of programming language to signify." - Wendy Chun, "Programmed Visions: Software and Memory".

I've never encountered any1 w the unique joy&delight in [s]language[s] as @netwurker @MezBreezeDesign #liquidpage #wordstorm14 #elit
— Mark C. Marino (@markcmarino) May 30, 2014

"Claes Oldenburg has a sculpture in the form of a giant safety pin. It isn't a safety pin; it can't be operated like one. It's there to look at and to be part of the space around the viewer. The fact that it doesn't work is part of the design, not a defect. Mary Flanagan has a sculpture that is a giant joystick, and is a functioning joystick that allows people (ideally, more than one) to play Atari VCS games. It's supposed to work, by design; that's an essential part of the concept. So, it makes sense to me to imagine how Mez's codework or Oldenburg's safety pin would operate if they did work, but to me it is less reasonable and productive to actually try to engineer a working safety pin out of the existing sculpture or a working compiler for existing codework texts."

-Nick Montfort, Critical Code Studies Working Group 2014.

"Mez (aka Mary-Anne Breeze) ties experimental language to avatar creation and collaborative networking to explore complex and often contested political and social themes. The originality of her approach with its rich integration of the various aspects of her praxis has repercussions beyond aesthetics:

When Breeze transformed herself into Ms. Post Modernism, she felt obligated to represent that with a description of a physical act of self-mutilation: cutting out one's face so that it can be removed and replaced. Today, when Breeze posts to listservs, she posts under avatars that only exist for a few weeks or a few days, often reflecting a political or social issue on her mind, before she finally discards that avatar for a new one. The process of transforming her identity seems mundane and easy, just as it seems to anyone else who participates in these online environments long enough. (Reep)

Mez's precursors in print fiction include Kathy Acker, Among other works, Kathy Acker's Empire of the senseless. whose surreal and terrible prose seems to have been semantically dismantled by Mez's more technologically engaged praxis. Both stretch language and genre until only thin tendrils of reference to mainstream literature remain. These thin tendrils are even more nebulous in Mez's case, since she distributes her work, and indeed, shares "ownership" of her work, in ways that exist beyond the scope of the capitalist print fiction industry."

- "Language rules" by Geniwate, Electronic Book Review

"Based heavily in a Derridean universe of words within words, Mez Breeze's poetics works in an almost antithetical manner. Whereas Derrida and James Joyce operate fundamentally on a linguistics of implosion (or compression; portmanteaus and puns), Breeze operates by explosion. It is easy to dismiss her work as a pastiche on “l33t sp33k” but there is far more happening here than such a superficial read would avail a careful critic. By breaking words down into their principle parts, Mez operates on a principle of addition as opposed to subtraction...So instead of a linear read, you have a poetics which trains the reader to confront it with a sense of simultaneity. That is to say, these poems are often easier to read if you process them holistically (in this sense, to take them as a whole) rather than moving from a beginning to an end as you would with a typical English sentence...

Other various strategies she employs is the extensive use of code operators such as + and &. Brackets, braces, and parenthesis provide further elaboration. In essence, where Derrida and Joyce employed reduction, Mez employs expansion, and the effect (in my opinion) is not only brilliant, but exclusive to Mezangelle."

-Rollie Bollocks in "Mezangelle: A Reading Strategy". 

"Mez Breeze's new book is called "Human Readable Messages." So perhaps a distinction needs to be made between human-readable glitches and machine-readable glitches. Human-readable glitches are media glitches -- they occur when humans are communicating to humans through machines which mediate this communication. Human-readable glitches don't freak machines out. But neither do machine-readable glitches. Machine-readable glitches may crash machines, but that doesn't freak machines out, because machines have no sentient expectation of "normal." Machines lack the ability to have an uncanny experience. So to limit the discussion of glitches to events that only happen within machinic systems, glitches which never run on or involve human bodies, is to talk about something quite limited. Because a machine can't know or experience a glitch. Only a human can."

- Curt Cloninger, "glitch device/divide".

"Codework is the term associated with the literary and rhetorical practice of mixing human and computer languages (Hayles, 2004; Raley, 2002; Cramer, 2008). 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, From Codwork to Working Code: A Programmer's Approach to Digital Literature.

"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".

--
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.

--
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…

--
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.

--
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].

--
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

“...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.

"In the works of Mez (Maryanne Breeze), she creates works written in what N. Katherine Hayles has called a creole of computer and human languages. Mez, and other codework authors, display the data layer on the presentation layer. One critical response is to point out that as an information system, the presentation layer are the lines of code and the rest of the system is whatever medium is displaying her poem. However, such an approach missed the very complexity of Mez's work. Indeed, Mez's work is often traditional static text that puts users in the role of the processor...

Consider her short codework "_trEm[d]o[lls]r_" published on her site and on the Critical Code Studies blog. It is a program that seems to describe (or self-define) the birth pangs of a new world. The work, written in what appears to be XML, cannot function by itself. It appears to assign a value to a variable named "doll_tre[ru]mor[s]", a Mez-ian (Mezozoic?) portmenteau of doll_tremors and rumors. This particular rumor being defined is called, the fifth world, which calls up images of the Native American belief in a the perfected world coming to replace our current fourth world. This belief appears most readily in the Hopi tribe of North America. A child of this fifth world are "fractures," or put another way, the tremor of the coming world brings with it fractures. The first, post 2 inscription, contains polymers: a user set to "YourDollUserName," a "3rdperson" set to "Your3rdPerson," a location set to "YourSoddenSelf", and a "spikey" set to "YourSpiKeySelf." The user then becomes a molecule name within the fracture, a component of the fracture. These references to dolls and 3rd person seem to evoke the world of avatars. In virtual worlds, users have dolls.

If the first fracture is located in the avatar of the person, in their avatar, the second centers on communication from this person or user. Here the user is defined with "YourPolyannaUserName," and we are in the world of overreaching optimism, in the face of a "msg" or message of "YourPleading" and a "lastword." Combining these two fractures we have a sodden and spikey self pleading and uttering a last word presumably before the coming rupture into the fifth world.

As with many codeworks, the presentation layer appears to be the data and logic layer. However, there is clearly another logic layer that makes these words appear on whatever interface the reader is using. Thus, the presentation layer is a deception, a challenge to the very division of layers, a revelation that hides. At the same time, we are compelled to execute the presented code by tracing out its logic. We must take the place of the compiler with the understanding that the coding structures are also meant to launch allusive subroutines, that part of our brain that is constantly listening for echoes and whispers.

To produce that reading, we have had to execute that poem, at least step through it, acting as the processor...Where traditional poetry establishes identity through I's, Mez has us identify with a system ready to process the user who is not ready for the fifth world, whatever that may bring. At the same time, universal or even mythical realities have been systematized or simulated. There is another layer of data that is missing, supplied by the user presumably. The poem leaves its tremors in a state of potential, waiting to operate in the context of a larger system and waiting for a user to supply the names, pleading, and last words..."

From "Electronic Literature as an Information System", Juan B. Gutierrez/CAVIIAR (Advanced Research Center in Artificial Intelligence), Mark C. Marino (University of Southern California), Pablo Gervás (Universidad Complutense de Madrid), and Laura Borràs Castanyer (Universidad Oberta de Catalunya),

"...what happens if and when texts are produced in which the technical and cultural practices of electronic writing are combined, as in the case of codeworks? Here notions of authorship are problematized, as codeworks are produced by entities or avatars such as Mez, Antiorp, and JODI, which may or may not be machinic, and which blur the boundaries between art and writing, poetic language and computer code."

-Gary Hall in Digitize This Book!

Publisher: University of Minnesota Press, 2008
ISBN: 978-0-8166-4870-2

"...The poetics of electronic poetry are found in works such as Alan Sondheim’s “Lip,” Mez’s “pro][tean][.lapsing.txts” and Jake Chapman’s Meatphysics. More generally, these poetics can be described as emissions and spews of ASCII and plaintext messages in the network as the degree zero of electronic poetry. These and similar works – which may be included in typical discussions of electronic poetry under the rubric of “codework” but are never seen as the leading edge – are the best and perhaps only examples of electronic poetry."

-Sandy Baldwin (West Virginia University)
In "Against Digital Poetics" presented at E-poetry 2009.

"›Broken code‹-Autoren wie mez (Pseudonym von Mary-Anne Breeze) stellen zumeist klassische Originalgenies dar, die sich als starke Autoren inszenieren und über ihr Werk absolute Kontrolle ausüben. Im Zusammenhang mit der vorliegenden Untersuchung sind aber die ›Algorithmen‹ am interessantesten, also lauffähige Programme, die von einer marginalisierten Autorschaft gekennzeichnet sind und bei denen der Programmierer deutlich in den Hintergrund tritt...

ASCII-Kunst reflektiert schon umfänglich die Bedeutung des Codes in der digitalen Literatur und setzt sich damit mit einem zentralen Charakteristikum netzbasierter Texte auseinander.
Somit können die entsprechenden, elaborierten Arbeiten sehr wohl als Netzliteratur angesehen werden, auch wenn sie die Vernetzung nicht notwendigerweise voraussetzen. Eine der bekanntesten Vertreter der broken codes ist die australische Netzwerk-Künstlerin mez.31 In ihrer Kunst entwickelte sie eine eigene Sprache namens »mezangelle«. Diese vermischt natürliche Sprachen wie Englisch, Slang, Netz-Jargon und phonetische Wortspiele mit der Sprache von Codes, also technischen Protokoll-Codes und Programmiersprachen...[]

...Mez’ Projekte kommen auf den ersten Blick scheinbar als Computerprogramme daher, auf den zweiten Blick entpuppt sich die Poesie aber als funktionsunfähig (›broken‹) und damit als virtuoses Spiel mit Elementen von Codes (vgl. Cayley 2004: 296-300). Florian Cramer hat oft diskutiert, wie solche Texte gelesen und verstanden werden sollten. Dies kann etwa anhand seiner Deutung der Arbeit »_Viro.Logic Condition][ing][ 1.1_« von mez aus dem Jahr 2001 nachvollzogen werden (vgl. Cramer 2009)."

- Dr Florian Hartling in: "Der digitale Autor. Autorschaft im Zeitalter des Internets"
Bielefeld: Transcript 2009.
382 Seiten, ISBN 978-3-8376-1090-1

"netwurker makes me wonder if Derrida predicted text msging and twitter-speak. The post above is so delightfully double (multiply?) coded and self-deconstructing."

-Jonny Gray