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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Net Ae 2.0 postmortem

Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses introspectively and externally. Current synthetic practices are refashioning this entertainment base via the perpetuation of types of unintentional and deliberately augmented recreation. These recreation types are reliant on immediacy of response, play, and Pranksterism. They employ Sandboxing, Gonzoism and spontaneous engagement. This type of entertainment is termed _Presencing_.

Presencing involves loose clusters of pursuits that evolve in, or are associated with, synthetic environments. Examples include the Streisand Effect, Supercutting, Flashmobbing, the Slashdot/Digg Effect, acts by the group Anonymous, Image macro generation and Internet meme threading. Less defined examples include: MMOG guild interactions [think: user generated games-within-games], Virtual World involvements, and Social Networking via application adoption and creation. These instances illustrate how Presencing pushes recreation beyond a fictionalised/non-fictionalised framework.


About the Discuss section on Rhizome

hey abe.

7-11 is still up + functions now as a spambank. syndicate died about 3 yrs ago but sporadically bursts forth in an undead-list-serv kinda way. much like spectre;)



Net Ae 2.0 postmortem

net art 2.0?

this very tendency 2 wrap a label around a cohesion of "artistic" practices can actually dampen the curiosity, creativity, exploration + play loadings gestating there. codification starts to creep in. that's y places like 4chan works, tho those that *want* 2 reappropriate it have 2 work out their value-hierarchies 1st. most ppl who perpetuate divisions according to verifiable worth [think low-hi, valid-invalid, professional-amateur] miss the assignation boat initially + then [feel the need 2] scrabble 2 catch up. or worse:

"The process of multivariate data absorption creates serial flagging of emergent concepts [ie tipping-points]. These concepts create information bottlenecks via repeated flaggings. Entities may target-mine these areas in line with capitalistic reappropriation. Current examples of this phenomenon are Corporate “Social Media Experts” who mask their synthetic participation so as to claim individuated authorship of such aggregated concepts."



augmented wha?!? huh?!?

Hi Again Vijay,

The abovementioned structures [especially the swarm variables/masses associated] will indeed be unpacked in future entries. + Agreed regarding the frustrations of the plural.

Where you're questioning the validity of nominating objects/states as artificial, I'm afraid I can't help you - artificiality doesn't factor highly here, wheras syntheticism does. In terms of pinpointing the ends of the spectrum, agreed again that they are definitely *not* [intended to be viewed as] concrete. I'm not at all advocating information rigidity in any of the augmentology inputs. For instance, the latest augmentology entry is a case Study of a gamer who displays various states of "Afkism". I authorially peg those states as _hard_ + soft, but a switched on absorber will notice that this dichotomy is deliberately false.



augmented wha?!? huh?!?

Hiya Vijay, Erika, Oall, Steve + All:)

Vijay: the below is an extract from the latest post. Thought it may help answer the question u posed [+ I politely side\_stepped;)] previously:

""...The \_afk\_ concept demonstrates the murkiness of establishing reality gradations when considering synthetic environments. Paul Milgram suggested the Reality-Virtuality Continuum as a type of linear reality scale where at one end lies Geophysical Reality [”The Real Environment”] and the opposite end houses the Virtual. In-between lies an area defined as Mixed Reality: a mixture of augmented virtuality and the corporeal.

This Reality-Virtuality Continuum as such offers a vectored compartmentalisation of reality within scientific confines. An elastic, contemporized version of this Continuum might read:


…with each mode spawning distinct “swarmic variables” or “notional massing”. Conditional examples of such masses/variables are:

[Synthetic] = Avatar Fluctuations / Non-Player Character Annexing / Auxiliary Proprieception / Networked Socialisation

[Mixed] = Layered Attention / Identity Extensions / Augmented States of Consciousness / Multiple Theories-of-Mind[s]

[Cartesian] = Euclidian / Non-Euclidian / Human Area Networks / Dimensional Consciousness

[Geophysical] = Primary Consciousness / Ego-Mediation / Geospecificity / Geolocation

These masses could parallel volume [in the audio sense] in terms of measurement and production of reality clusters that map and mix composite modes simultaneously. For instance, the phenomena of Geocaching or mobile gaming such as \_Parallel Kingdom\_ which: “brings new meaning to Role Playing Games by using GPS to place the virtual world on top of the real world“...."