mez breeze
Since the beginning
Works in Sydney Australia

Mez Breeze is the Creative Director of Mez Breeze Design, an agency which provides boutique digital product and design services (including illustration, transmedia, text, games, interface design, and responsive media). Recent and past Clients include the British Branch of Appreciative Inquiry, CloudGraf, Brandaide, Brecely Studios, GeekGirl, and The University of Technology Sydney. Mez Breeze Design has recently partnered with Dreaming Methods to produce a set of mobile-oriented projects that have been showcased at "Chercher le texte: manifestation internationale de littérature numérique” 2013: one of their joint projects was also nominated for the 2013 Digital Humanities Awards in the "Best DH visualization or infographic" Category. Mez is an Advisor to The Mixed Augmented Reality Art Research Organisation and is currently Senior Research Affiliate with The Humanities and Critical Code Studies Lab.
Mez has exhibited her ground-breaking creative works widely, including at The Brooklyn Academy of Music 2001, “Playengines” Melbourne Australia 2003, “Arte Nuevo InteractivA” Mexico 2005, the “Radical Software” Show at Turin Italy 2006, DIWO at the HTTP Gallery London 2007, New Media Scotland 2008, the Laguna Art Museum California and Alternator Gallery Canada 2009, Federation Square Melbourne and Arnolfini Gallery Bristol 2010, Netherlands Media Arts Institute 2011, “Remediating the Social” Exhibition in Scotland 2012, “Network Art Forms: Tactical Magik” in Tasmania 2013 and Jeu de Paume 2014. Her awards include the 2001 VIF Prize (Germany), the JavaMuseum Artist Of The Year 2001 (Germany), 2002 Newcastle New Media Poetry Prize (Australia), co-winner of the 2006 Site Specific Index Page Competition (Italy) and the Burton Wonderland Gallery Winner 2010 (judged by Hollywood Director Tim Burton). Her works reside in Collections as diverse as The World Bank and the PANDORA Electronic Collection at the National Library of Australia. Duke University have recently extended to Mez an invitation to develop a comprehensive career archive of her works, associated documents, correspondence and papers to be housed there at the David M. Rubenstein Rare Book & Manuscript Library.

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Fwd: Downtime & Play

>On my way to Zurich I just met a colleague at the airport. We both fly
>routinely. "I can't do it anymore." he said. "All this air travel is just too
>much downtime for me." I moved onward passing through airport lobbies in New
>York City, London, and finally my Swiss destination. In these inbetween spaces
>I was persistently confronted with big, fat back-lid ads. And they were all
>about time. T-Mobile's slogan is "Upgrade your downtime." The airline Jetblue
>draws attention to their wireless hotspots at John F. Kennedy with the
>commanding "downtime-download." The mantra of the British Vodaphone is "The
>power of now!" BT shows a jolly business man fly-jumping through what looks
>like a landscape of Powerpoint charts: "The digital network economy. Where
>business is done." In JFK, Sprint, the American cell phone tycoon, set up
>yellow placards in the size of a house that say "yes to making just about any
>place a work place." It made me stop. I was buffled. How dare they be so in my
>face about what I perceive as the agony of immaterial labor?
>Before moving to San Francisco I never heard terms like "quality time" or
>"downtime." In East Germany, for me, time was just time indiscriminately.
>For a
>wide variety of reasons there are many that pledge allegiance to everything
>not-networked, offline, and non-digital. Who can blame them? Post-Fordist work
>conditions turn the super-mobile manager into a networked lap dog. At six in
>the morning those waiting in the airport gate area pull out their laptops.
>Sneaking over their shoulders I see spread sheets. The networked early morning
>work day starts with coffee and a cheese-and-egg-pizzas. Downtime now is
>download time. Life is work. There is not enough time to rest, cook, reflect,
>or walk in the woods. The insidious penetration of the Internet into our every
>grain is hard to deny. Workers become part-of-the-solution-nodes rather than
>full-time employees. Health insurance can be done away with. Wages in the
>immaterial networked realm don't have to bear resemblance to the work that was
>done. And, who ever mentioned pensions? Also Unions get whacked when the work
>force is geographically pieced together. Then there is all that sense of place
>stuff that Lucy Lippard was so adament about. But the uprooted lifestyle seems
>like peanuts compared to what is happening now, -- the horror, the horror.
>Passing through these airports, the net started to feel like an itch that we
>can't scratch.
>Much of the discussion about networking is focused entirely on business.
>Rheingold's essay "Technologies of Cooperation" is magnificent and inspired,
>imho, but it is written in large part to help out the amazon-dot-coms of this
>world. Doug Rushkoff comments on his blog that he hopes for the ideas in his
>latest book to help businesses (and well, also a few others). Fair enough.
>What's wrong with that you may ask? Well, let's just say that there is an
>utilitarian impetus that rarifies play and experiment at least if they don't
>link up with business interests sooner rather than later. Let's just say
>that I
>hope for people with insight into network technologies and their human uses to
>also take on projects that do not support those who already have plenty. Why
>help eBay to make even more money? Who really needs our help?
>Some cultural workers have much in common with managerial networked types.
>Holmes points to that. It's not just the rock stars of what Richard Florida
>calls the creative class who sit on planes next to the smiley jet set manager.
>Artists become entrepreneur of themselves. Self-worth is quantified in
>flyer miles and numbers of invitations. But the opportunistic,
>ego-tripping art
>enterpriser is not all there is. Cultural practioners travel and perform their
>ideas all over the world. They are gift-givers with all the problematic
>hierarchies that this creates. On good days they enact their ideas with
>passion, inspiration and substance. The Brooklyn-based artist Martha Rosler
>documented her more than frequent passing through airports in many series of
>photographs and critical writing. She describes her motivation for these works
>related to her occupation. And in new media as much as in photography, the
>international scenes are closely knit. Travel is a substantial part of the
>lives of cultural producers. I can't point to the travelling managerial
>networkers "over there." They are so distant and conveniently different from
>me. I don't have all the ethical and political rightenousness on my side. I am
>part of the picture. The network beast lives also inside me.
>We move through space. "We" are all those cultural producers who fly thousands
>of miles to talk to different audiences or present their artwork. We are quite
>the experts when it comes to travel. We know it all. Airport, home, gallery,
>and lecture hall are equally familiar venues for us. We have it down. We know
>how to block off obnoxiously loud fellow travelers. We recognize how to remain
>friendly (most of the time)- with borderline-abusive security personnel. We
>inhale every magazine article about tricks of air travel. Our bodies are
>transported through the air. We are just resting. Covered with masks, our eyes
>are closed. We enter a think space. We know what to do about the lack of
>humidity on planes. The increased elevation at take-off jazzes us up. We know
>when to stretch and which way to rotate our ankles. We developed a continuity
>of purpose that makes it secondary where our bodies are located. The scenarios
>through we move don't distract us so much anymore.
>We repurpose trains, and airport lobbies into offices. The person next to us
>becomes unwillingly involved. We pull ourselves out of the public into the
>private networked space. We shift through the walkways of airports, drive in
>taxis and trains. Networked devices keep us always anchored, always in touch,
>consistently connected to myriads of social networks. But the flickering
>screens to which we are hooked is not just the bluetooth lifeline to the boss.
>We have all those with whom we share our lives in reach nearly at all
>times. We
>cannot feel the warmth of their face, we cannot touch. But in our
>"downtime" we
>can talk or exchange text messages. And doing so may prevent us from
>talking to
>the stranger right next to us.
>We "grow" network tentacles (like air roots) that allow us to be always on.
>There is the perpetual, invisible link between our body and the nearest cell
>phone tower. We are always plugged in, interlinked at all times. In the city,
>at the moment when the subway train comes out of a tunnel to go over a bridge
>dozens of people who endured at least 15 minutes of out-of-reach time pull out
>their devices to feel reassured that they did not miss something. The
>technology is not plated into us. It is miniaturized. The only piece of
>hardware that Lev Manovich mentions on his blog, for example, is the "I-Go," a
>universal connecting plug for all kinds of devices. It allows him to leave the
>cable clutter at home. Our nano-sized multi purpose-devices are not what
>counts. What matters is the linkage that they establish. The wireless Internet
>signals casually picked up by our laptops facilitate exploitation. We have to
>look hard to see the emancipatory nature of socio-technical networks. But it's
>on the edges of network culture where the sun sparkles. It's not in the center
>of pesky business culture.
>But network technologies cannot be reduced to instruments of oppression and
>casualized labor that squeeze every last drop of genuine energy and creativity
>out of the worker. Cooperation-enhancing technologies are not by default
>networked assembly lines. The Treo is not the beast. Laptops are not merely
>locative Wall Street furniture. Cell phones are not the pervasive enemy.
>of protesters at the Republican convention used them to escape police tactics.
>But at the same token networked technologies are also not inherently linked to
>a deviant life style or oppositional cultural practice. Technologies
>define us.
>We are conditioned to relate to them in predefined ways. Using technologies
>changes what we know and how we know it. But we do have a say in this. We can
>shape the technologies that we are using. Networked technologies do not have
>to stand for servitude. We can imagine human uses. We can support emerging
>alternative socio-technical networks by reflecting on technologies without
>utopia-glazed eyes. Critiquing the vicious nature of networked, neoliberal
>managers is vitally important. But don't stop there. Don't leave the discourse
>about human uses of cooperation-enhancing tools and networking to them (or to
>them inside of us.)
>You can read this text (with images) on my blog at:

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Re: Exhibition Opportunity - New Media Caucus+Art Interactive + CAA

At 05:20 AM 17/11/2005, you wrote:
>New Media/New Work
>Work should be submitted on a data DVD or CD
>The format should be QuickTime using the DV codec (no AVI, MPEG, DVIX etc.)
>NTSC (29.97fps)
>Do not include titles or credits in the video


a.gain, yet another sub.missi[ve]on requiring physical media submission
thru _video_ this wot is reduced 2?


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Re: Remix and Remixability

Quoting Lev Manovich <>:

> Lev Manovich
> Remix and Remixability


>Date: Tue, 16 Oct 2001 02:55:07 +0000
>To: poetics, rhizome, spectre
>From: "l][m][att][r][ice" <>
>Subject: _This Cybagenic Lattice_

. ..
. . . . ..

A c][r][][ab-like][yst][al][ repeating. . .
. .

In disarray, a molten swathe of n.ter.face][s][ts
mimic simul.crated spaces.
In describing, yr structure is musty,
n.distinguishable from the
a graphic urn of
circuitry rust.

In b.tween][ning][, pat.turns of repetition
][like looped n.testinal lattice][
is in ][& of][ IT.s][h][ell.f
][the uni.f][r][ied cell][.

. ..
. . . . ..
. . .A most fungalmental repetition property. . .
. . . . .
. ..
. . . . ..
. ... .
.. .

This Cyb.age.nic Lattice in its
][& of IT.self][ ubersymmetry.
We n.itially shrink ourselves ][in][2 3 di][ce][mensions.
4 ][si][m.plicity, 3 types r coded:


. .Replification.

. . .Helix.

.C.quential: U perceive & reproduce via regular successions. No gaps allowed. No
m.maginative rigor. U may ][& will][ b visualized like this. U represent a
sell][out][.F - the human unit of repeditive n.elasticity.

[4 e.e.g, u r 1 of the sell.Fs. if u look out, u c the same reflective sell.Fs @
0, 90, 180, & 270 d.grees because a c.quential repeats itself @ predicable
][culturally-d.][greed n.tervals.

. .Replification: U repeat consistently. U r not able 2 distinguish successive
patternings ][@ 0 and 180 cultural d.gree][d][s][. U find replification easier
than advancing. U m.ulate. U ][re][produce as if it were progressive.

. . .Helix: U spiral and poll][inate][ute. c.oiled c][ultural][entrics
reorder & re.route. U burn the sell.F. c][h][ells can traverse the
vir][mens][t][r][ually & geocentrically g][l][athered.

. ..
. . . . ..

If the helix s.][c][el][l][ves were seen in ultradimensions, they would
completely fill the Cybagenic & Ge][c][o.d.fined Lattrix.
. . . . ..
. ..


>Date: Tue, 16 Oct 2001 05:12:17 +0000
>To: 7-11, audiovision, beatrice, convergence, fibreculture, florian
>From: "l][m][att][r][ice" <>
>Subject: _This Cybagenic Lattice_ [translation]

_This Cybagenic Lattice_ [interlingual rendition].

Imagine a crab-like information retrieval moment. Envisage datacyst crystals
reiterated through electroid transmissions. Think the design disarray of
dimension facets gone molten, of interfaces constructed to mimic simulcrated
non-geodefined spaces. In this projected conception your fantasized structure
is, however, musty and indistinguishable from a traditionally masticated mass.
You end up conceptualising a representation akin to a graphic urn of earthed
circuitry rust.


Fwd: Sidebrow: Update & Call for Submissions

>Date: Wed, 2 Nov 2005 08:52:41 -0800 (PST)
>From: Sidebrow Editors <>
>Subject: Sidebrow: Update & Call for Submissions
>Sidebrow (



_mem[e].ory_haemorrh.age_ 07:29am 16/10/2005







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