"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

" Ohne Trostpreis dagegen bleibt jenes Werk, das in der Perspektive mancher Theoretiker am ehesten den Preis verdient hätte, weil es seine Sprache an Computerprogrammiersprachen geschult hat, wie Florian Cramer im Hinblick auf Mary Anne Breeze (MEZ) festhält ("sub merge {my $enses; ASCII Art, Rekursion, Lyrik in Programmiersprachen", in: Text & Kritik, Themenheft Digitale Literatur hg. v. H. L. Arnold und R. Simanowski, H 152, Oktober 2001).
Bei MEZ mag schon der Titel - "_the data] [h!] [bleeding texts_" - Angst verbreiten, und in der Tat wird, wer von ASCII Art und Programmiercodes nichts weiß, die mehrdeutige Wortverschachtelung in Mary Anne Breezes Kunstsprache ,,mezangelle" kaum verstehen und geniessen können. Ein mit Programmierung vertrauterer Juror als McCaffery hätte vielleicht "_the data] [h!] [bleeding texts_" den Preis zuerkannt."

-Roberto Simanowski, dichtung-digital

"Is it possible to define parameters, to navigate precise coordinates for exactly what mez's hypertextual layering 'means' any more than what Finnegans Wake 'means'? Of course not.....the intertextualities are themselves the body, they are not representations of some transcendent order beyond themselves, they are just, gloriously, themselves, live. incarnation: Nabokov's Ada and Van are their own texts. Here's where the intertextuality of the net both thwarts and enriches epistemology. It's not that we can engineer a kind of knowing like scientific 'truth' via the technologies of the net. The kinds of knowing, or epistemologic, constructs capable of flourishing in this simultaneous noplace-land are creations of our own play. Thus to me the technobody of a netart work is a delicious double memory package, it is the me of MEZ: "me" goes to "z" (z=ultimate alphabet)."



-Christina McPhee, Moderator of Empyre Mailing List