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

— Saito (@SaitoGroup) July 10, 2015

"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

"The power of the sounds and rhythms of language has intrigued authors, leading some to move away from standard English as they explore the visceral power of words and the cultural meanings layered on the already complex idea of abstract language. Lewis Carroll’s “Jabberwocky” stands as the first notable example, in which sound and cadence trump meaning per se. George Orwell’s Newspeak and the teen dialect Nadsat from Anthony Burgess’s A Clockwork Orange take this notion in more ominous directions, exploring the power of language to truncate individual thought and public discourse and its role social alienation and personal isolation. The two authors give the dialects an oddly fluid sound and a disturbing appeal—a friend of mine once complained that Nadsat sounds “more natural than English.”

Poet and artist mez applies this idea to internet subcultures. In a blog constructed in the language mezangelle, she plays with both computer code and the phonetics of English, drawing elements from concrete poetry and—to some extent—Leetspeak to trace the reflexive nature of language. The medium chosen for communication and the subject matter insidiously shape language: moving from changes in vocabulary to alterations in syntax and word structure. The influence of technology seems to reverse the common wisdom regarding the evolution of language, the idea that advances like the printing press (and even writing itself) made forms more permanent (e.g., German after the publication of Luther’s Bible)."

-Shae Davidson in _Speaking in Tongues_