Captivated by Mez Breeze's poetry, activism & intervention. Check out #Prisom anti-surveillance game http://t.co/jN2IBmvOAM @MezBreezeDesign

— Saito (@SaitoGroup) July 10, 2015

[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

"For those that don’t know, Mez is a legend in digital arts. She is internationally known for her digital works, including inventing her own language... Both Mez and Jason Nelson are two giants in electronic literature that we have here in Australia. It is a pleasure to know, and be encouraged, by both of them."

- Christy Dena, Universe Creation 101.

"Mezangelle seems to really take something *from* the code and bring it into speech, to recognize some element in a nevertheless masculinist programming language as feminist, as worth freeing from its context and allowing it to work in some other way..."

- Ebuswell, 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

"...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