BIO
“Not since the work of James Joyce has any one person so creatively explored layers upon layers of dimensional linguistic meaning as the writer/artist Mez Breeze.” (Séamas Cain, the 2012 International Conference of ICIS). The impact of Mez’s unique codeworks has been equated with the work of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall: Mez has exhibited extensively since the early 90s. Her awards include the 2001 VIF Prize [Germany], the JavaMuseum Artist Of The Year 2001 [Germany], 2002 Newcastle New Media Poetry Prize [Australia], winner of the 2006 Site Specific Index Page Competition [Italy] and Burton Wonderland Gallery Co-Winner 2010 [judged by Tim Burton]. Mez is also a Digital Media Consultant/Editor, Augmented Reality Scholar and Technology and Culture Journalist.
Discussions (2) Opportunities (1) Events (2) Jobs (0)
EVENT

Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.


Dates:
Sat Jan 04, 2014 00:00 - Thu Feb 13, 2014

On this first day of the year 2014, one countdown ends and another begins. This new countdown has nothing to do with the gradual fading of 2013 and the celebratory lauding of 2014, but instead ushers in a new social project: on the 4th of January, Wish4[0] begins.

As extensive use of mobile devices such as smart phones, wearables and tablets has become the norm, it’s apparent how networked/online communication has become a crucial component of our everyday news and entertainment cycles, as well as a critical social tool. In the resultant infoglut we’ve willingly created [and to which we seem quite content to constantly expose ourselves], privacy concerns are prompting pushbacks against oversharing and the incessant rush of accelerating digital news. And yet, deliberate poetic responses to such critical social issues seem constantly overlooked and underutilised…

…which is where Wish4[0] comes in. Once a day, for 40 days, a digital literature work will be posted to wishforyouand.me. Each work will take as its immediate inspiration a headline, or item, drawn from the electronic news cycle of that specific day.

The resulting block of creative responses will:
+ Act as a digital and creative “literary snapshot” of a specific period.
+ Highlight the accelerated nature of an electronic/networked-based news cycle.
+ Illustrate the discrepancies – and perhaps similarities – between how a digital audience responds to items deemed newsworthy and creative responses to such items.
+ Echo [and partially emulate] elements of digital culture that have become seamlessly integrated into the everyday [including communication conventions drawn from platforms like Twitter, Facebook, Snapchat, MMO Games, Instagram etc].

In essence, Wish4[0] uses the very mechanisms and conventions of online, net-based communication to display lyrical content critiquing our increasing reliance on such technology.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.


DISCUSSION

Stories from the New Aesthetic


Bridle's talk > [If I had to traditionally-article-title this it would read: Pretty Censorship" and "Ability to Act at a Distance": Bridle and a Potential Propaganda (as Opposed to New) Aesthetic] Bridle describes himself as "unconcerned but not indifferent" (aping Man Ray): a phrase that might just sum up inherent dangers of the New Aesthetic movement as projected by theorists - being "unconcerned" about the deeper/more insidious consequences of curating [= cogitating about] streams of links that reference, and hence act to habitualize (through repeated examples) networked machine vision, drone interventions, satellite image snippets, bot agents etc. This type of emphasis on the merging/integration/frizzonic connection of the physical and digital becomes a type of hollow fashion equivalent that allows inroads for the surveillance state mentality, with scary potentials associated with militarised machinic control (ie the possible domination of human agency - think how Big Brother has in{per}versely twisted from Orwell's vision to a Reality TV series). This conceptualisation/adoption of such militarised/surveillance discourse could act to ultimate devalue Bridle's emphasis on (what deliciously lies/rubs/dwells within) the intersection of the phenomenological + the network [or real + physical].

Also, Bridle's idea of "code space" = seems a trifle old skool to me, but then again I've been de/reconceptualising this stuff yonks:
In _Social Tesseracting_: Part 1, we learnt that:
1. Dimensionality defines working concepts of reality.
2. Theoretically, dimensionality can also expand to define a spectrum of nascent social actions.
3. These particular social actions encompass communication trends defined by synthetic interactions.
4. Synthetic interactions create social froth that can be produced geophysically or geolocatively. Both connection types depend on relevant electronic gesturing
5. This mix of synthetic interactions and electronic gesturing provokes a descriptive framework of this aggregated sodality. This framework is termed Social Tesseracting.
6. In order to adequately formulate Social Tesseracting, contemporary theorists need to extend “valid” reality definitions based currently on the endpoint of the geophysical...

[From: http://arsvirtuafoundation.org/research/2009/06/01/_social-tesseracting_-part-2/]

Bridle's dismissal of arguments centred around "re-contextualisation" [...then there was a whole fight about re-contextualisation which I thought was old hat now but apparently people get really angry if you just publish screenshots...] seems curious. Encoding social engineering [Taskrabbit] gets more to the heart of it [you get a tick for this, James]. Bridle is still trying to figure it out [good] + states that he ...know[s] nothing about Art and I certainly know nothing about the artworld and galleries and curation... which explains several puzzling aspects about his delivery and overall thought-train. ...I don't care about opinions about this kind of stuff and it's very important to work out how we proceed on that basis without losing all forms of kinds of criticism 'cos I think criticism incredible important = interesting in that it ties nicely into the concept of regenerative comprehension: Regenerative Comprehension: indicated by rapid shifts in the nature of content creation and absorption. A primary example is Twitter’s chronologically-reversed tweet reading order acting to modify awareness. Bridle chain-links quotes and phrases while referencing books + gravestones: he conversationally links to resources in order to weave a compelling lecture (and in a small way I'm curious by Bridle's emphasis on repeatedly using the format of an old skool, didactic lecture/talk in order to frame his ideas (and that he may not perceive any irony in that)]. Tarot = machine for story telling and a storage device for story telling + technology being similar: I think technology is like that: it's a compression machine, and a writing machine, for stories and for the stories that we want to write with it = head-tilt-worthy.

McNeil's talk > Idea of (the delicious duality of) a liebox = fascinating (thanks): conflating/equating stories with lies seems less so[tho the phrase (modelled after Kubrick's great 2001 scene) "My God, it's full of lies" does spring to mind]. As for identity construction online: Identity formation is deemed beneficial via the mechanics of statistical marking and the achievable entrenching of a subject into a surrounding social milieu. Medical and psychopathological models frame the concept through a health dichotomy that positions dysfunctional identity as potentially Dissociative. This type of fragmented dissociation from a subject’s internalised concept of self is viewed as undesirable. Alternatively in synthetic environments a type of projected or distributed Identity is considered acceptable _and_ beneficial.

Most synthetic creches – whether they be gamer-pitched, environmental or social networking in orientation – form identities that emulate the ecological or topological. Instead of relying on preformed psychological or sociological architectures, MMOEs and virtual environments encourage deliberately fluctuating Identity construction. These identities, established through the use of avatars or profile creation, alter according to the foibles of specific platforms and interfaces [think: Seesmic, Facebook, Meez, ExitReality, or Vivaty]. A subject may have a multitude of profiles created across a wide distribution base. Each profile may consist of the creation of two-dimensional or three-dimensional projections such as multiple character creation in WoW. Individuals may also utilise programs that allow for cross-navigation of such profiles according to usage patterns. These staggered profiles create a type of _Socialphrenic_ functioning that eclipses solo-persona extensions. For example, a Facebook user may create a profile that constructs a user’s identity according to variables such as their name, age, education, employment and interests. However, a user is not restricted in terms of manipulating these answers to evoke an identity structure vastly removed from their primary geophysical housing. An illustration of this is a current ARG narrative strand that situates itself in two active “false” user profiles on _Twitter_ and _Facebook_. The fictionalised Identity associated with each profile encourages other traditional identity-defined users to interact and engage with it. Some of those users defined as reflecting a _true_ identity may be unaware of the fictionalised profiling involved.

Other identity intonations can be creatively interpreted via the employment of Gravatars or Profile picture selections. This selective presentation of visual Identity stamps are mirrored in channel adoptions appropriate to specific Synthaptic identities. Connected users display the slipperiness of identity markers when engaged within a synthetic environment; users may reference a fellow Synthetic by their character/avatar name even when interacting in phenomenologically-defined reality.


[From: http://arsvirtuafoundation.org/research/2008/05/23/identity-ecologies-avatar-formations/]


OPPORTUNITY

Dreaming Methods Labs presents a new digital fiction project - The Dead Tower by Andy Campbell and Mez Breeze.


Deadline:
Thu Jul 12, 2012 18:45

Location:
Australia

Dreaming Methods Labs presents a new digital fiction project - The Dead Tower
by Andy Campbell and Mez Breeze.

http://labs.dreamingmethods.com/tower/

Set in a dark and abstract dream world that revolves around a crashed bus,
this atmospheric game-like visual poem/landscape can be freely explored at full-screen with the mouse and keyboard.

Rummage around in the text/object scrap beneath the haunting structure. Or attempt to reach the Tower itself.

http://en.wikipedia.org/wiki/Mez_Breeze
http://www.dreamingmethods.com/


DISCUSSION

Mezangelle’n w/ Mez


I had the great pleasure and honor to converse w/ Mez – otherwise
known at Mary-Anne Breeze +/or netwurker – over the course of a couple
weeks about her works and theories regarding code poetry, meme culture,
augmented reality, and other related interests to Mez’s practice and
theory. We discuss (with corresponding translation) in a
pseudo-code-language-environment that Mez developed in the mid 90s
called mezangelle. This way of speaking-working-coding can be seen as a
form of interacting and artistically engaging the emergent forum and
list-serv cultures that were eclipsed by the dot-com boom later that
decade. As the web has developed and changed, so did the code, and
likewise the language has evolved into a dense weaving of net-humor,
snippets from actual coding language (like perl or javascript), and
critical theory.

Editors note: The translation of our text follows the initial dialog.
http://badatsports.com/2011/mezangellen-w-mez/

EVENT

_feralC_


Dates:
Sat May 08, 2010 00:00 - Wed May 19, 2010

Announcing: \_feralC\_ - A Socumentary

At: http://netwurker.net
Commissioned by: Arnolfini http://www.arnolfini.org.uk/
Hosted by: Alias Frequencies http://aliasfrequencies.org/

\_feralC\_ is a socumentary* which is textually driven by the
interactions of five Twitter chars [primary characters or entities]
and their Pupa Mistress [PM]. The PM initially functions as a Twitter
based information hub for the interactions between the chars and other
contributing entities [such as yourself]. These additional
contributing entities, or secondary chars, may or may not be
biological-based: please note that Synthetic individuals may
contribute to the project’s tweet flow. Please play nice with the
Synths.

As the five primary chars [PCs] are unveiled, “audience” members are
encouraged to participate in the project’s flow by following and
responding to each individual char via Twitter. If you are
tweet-responding, please make sure to tag your tweets with the #feralC
hashtag. And be warned: if you choose to actively participate you’ll
be drawn into the narrative flow - including episodic summaries posted
at netwurker.net. If you don’t want your input to be incorporated in
this fashion, please message the PM directly or via her email.

If engagement isn’t high on your list, feel free to absorb the feralC
Tweet list and/or blog entries and contribute via comments instead.
For more comprehensive information on how to participate, please visit
the Instructions Page at: http://netwurker.net/instructions/

"\_feralC\_ uses Twitter as its principle story-telling medium. The
\_feralC\_ story develops as the 5 primary chars [characters] chat and
interact through their tweet dialogues:
@Gossama
@Hud Ballardrina
@Shadow McClone
@Miss Stressa
@Quentin Reader


The story unfolds via live Sessions where both primary chars and
secondary chars [see below] engage with each other. These Sessions
normally last between 1 - 2 hours. Check the Welcome Page
http://netwurker.net/ for regular updates regarding Session times.
Each Session is monitored and recorded by the Pupa Mistress - a
“Behavioural Augmentologist” who oversees the chars through her
Twitter stream...Pupa also analyses and summarises char [inter]actions
via various blog posts featured on the Welcome Page: these are
categorised by Series, Episode and Session numbers.

As \_feralC\_ is dynamically designed to incorporate audience responses,
the developing story will also be shaped by you and others who choose
to participate [you're "secondary chars" or SCs]. Primary chars may
also respond sporadically to you - the secondary chars - outside
scheduled Session times, so don’t be shy in responding through replies
at any time. In order to become part of the dialogue and contribute to
the storyline, please make sure to tag your tweets with the #feralC
hashtag if contributing via Twitter. If you’re not a Twitter user you
can still participate via comments on this blog [please still include
the text "#feralC" in your comment if you're directly addressing or
responding to a char] or email the PM with questions or contributions.

An easy way to passively follow all 5 chars and their collective
dialogue is to regularly check in with the \_feralC\_ Twitter list:
http://twitter.com/pupa\_mistress/feralc . You can also search for
updates on the project via Twitter by typing in “#feralC” into the
Search bar. There are various clues peppered throughout the project
that are designed be pieced together to develop the story. Please
actively question the chars and openly speculate regarding how these
elements fit and shape the storyline. There’ll also be elements that
you’ll encounter during \_feralC\_ that incorporate Augmented Reality
and QR Code technology.

Please be patient while the story unfolds: the project is designed to
progress over the long term. Most of all, be curious, search for clues
and enjoy delving into the \_feralC\_ world: the chars [well at least
*most* of them] don’t bite..."

—————————————————————————————————————————-

* “A “socumentary” is an entertainment form that merges Choose Your
Own Adventure /Alternate Reality Drama/Social Game and Social
Networking conventions. The result is a type of synthetic mockumentary
that exists entirely within social media formats.