mez breeze
Since the beginning
Works in Sydney Australia

PORTFOLIO (2)
BIO
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.

Discussions (242) Opportunities (0) Events (6) Jobs (0)
DISCUSSION

Re: Re: n.et[c] art?


At 08:58 AM 29/07/2006, you wrote:
>And not just another analysis of how economics is REALLY
>just the expression of other psycho-social desires. duh. Maybe the
>label is losing its usefulness here, but that's another discussion.

--
[attempts.2.unf(bl)o[ssom]ld.another.disc.ussion].....

it is n.teresting watching the rants + logs + zipperings +
ova.ton[aliti]es of the mashedup+ova"is net.art dead"
[velvet+satin.potentiality.n.furred] thread.....
--

.............a few [in]part.ially_related tendrils unfurled 4rm my
neck.of.the.proverbial.w.o[od]ulds:

*post_hocian judgements + argumentative[ie "discussion"] structuring
breeds tandem|piggybacked|opinionated posturing. reflection +
m.ulation allow 4 the very same.

*stoic pro[gr|]fessions regarding the validity of the linear + any
subsequent masquerading of artistic.output diluted as
valuable.only.via.pr[hist]o[r|xy]sperity's.fickle.judgement does
not.the.truth.make [+ i don't kno wot _the truth_ is...the
unfinished/unquantifiable holds far more value (purr.sonal.ly) than
concrete, pre.pack(et)ed, right-wrong validations].

*labels operate as a bench[big.black.crayon]markers of the known. the
more we m.ploy them [aka as
art/culture/mem.etic(k-toc).agents.in.woteva.guise.u.care.2.mention]
the more cryst[form]ali[zed]ne they b.come.

* i'm currently constructing within the potential of the un[or
as.yet]known: i have no idea wot my ARG/wiki/faux.infomorph merge
currently _is_ or wot it w[on't]ill b.come. this is the x.citing part
- the id[n]e[us]a; the fusing of concept +
[mixed.up.cruci(fied)bled]form. hopefully those i'll n.vite along 4
the x.pressive.ride will be just as n.thused. if _how.eva_ nothing is
made concrete as observable, label_ish out.put, is my "project" a
failure? does it retain a[ny]rtistic value/merit?

re.tro(ll|g)]ishly,
][mez][

pockets that make art/culture/history/blah bearable; that make the
constant chewing of creative cud

_thick.memoir.cableing.nost[||neur]algia.bloody_
http://www.hotkey.net.au/~netwurker/
http://www.livejournal.com/users/netwurker/

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DISCUSSION

Re: Re: Re: net art?


At 07:54 PM 25/07/2006, you wrote:
> > "post-media" was invented quite a while ago, i believe. i think
> it's a guattari term?
>
>yup! it's correct. and i'm not referring to post-post media either :)

[.warning.]

Ms Post Modemism has a herstory

--
[96]

_thick.memoir.cableing.nost[||neur]algia.bloody_
http://www.hotkey.net.au/~netwurker/
http://www.livejournal.com/users/netwurker/

.

DISCUSSION

Fwd: issue xiv now spreading...


>
>SPREAD SPAM
>[ from spread - http://www.spreadhead.net ]
>
>========================================================
>I. Issue xiv (grab) [ http://grab.spreadhead.net ]:
>now spreading...featuring new prose and poetry
>by Maurice Oliver, Tom Bradley, Wayne H.W. Wolfson,
>Luke Buckham, Teknikal Nova, and Jayson Michel
>
>========================================================
>II. Check out unblog [ http://unblog.spreadhead.net ]:
>our rambling registry of random rummages, rescued
>readings & renegade ruminations.
>
>========================================================
>III. New mind.cake: _ID.xorcism_ [ http://mez.spreadhead.net ]:
>code artwork by Mez Breeze.
>
>========================================================
>IV. New on art.ill.ery: [ http://parentela.spreadhead.net ]:
>collages & watercolors by Claudio Parentela.
>
>========================================================
>V. Spread now accepting contributions to the following sections:
>
> -issue xv: essays, poetry, prose, who gobbled up the ghost
>
> -mind.cakes: code art, browser art, flash art...
>
> -art.ill.ery: claim your own virtual subgallery...
>
> To submit your works: email submit@spreadhead.net
>
>========================================================
>VI. For your capitalist/consumption fix [ http://shop.spreadhead.net ]:
>help keep spread spreading...
>
>
>========================================================
>Spread Spam: You are receiving this email for any one
>of three reasons 1) you a proud partner, a fellow jammer,
>a guru, an inspiration, a friend of a friend of a friend
>of this website; 2) you've elected to receive it but can't
>remember exactly when, because we don't really do this
>everyday; or 3) you've been listed by someone you know who
>thinks you might find this circular a better alternative to
>viagra. If you hate stuff like this, block it with your spam
>bot or reply to this message with the word "unsubscribe."
>
>
>
>
>========================================================
>SPREAD XIV (GRAB) NOW SPREADING...
>
>And so spread 14: grab emerges. Peace.
>
>The editors have been batting for a heftier volume.
>How else to accommodate a rich hoard of contributions?
>But the accumulation of e-mailed pieces sent in has
>turned oh so unwieldly-- serves the editors right for
>slacking too long on their chores. Forgive them if they
>choose to tread the safe path, by serving up a measly
>morsel from the cache. Some of the authors in this issue
>are already familiar contributors. Their works, as well
>as those by the first-timers here, are sure shots to
>satiate readers' extended hunger for new underground
>guerrilla exploratory art and lit.
>
>Hey, there is even a non-English language piece
>coming out ("Sin Titulo" by Teknikal Nova) that we
>thought of publishing as is and without the aid of
>translation, simply because we are not competent and
>do not trust free automatic translation services on the
>web that will mercilessly mar the work's sense and
>essence. And so, in addition to contributors, a call is
>in order for willing translator-editors and -reviewers
>in the other languages. Indeed, spread has drawn so wide
>an audience that was not foreseen since it started
>close to the turn of the millennium. Please let us see
>your credentials and samples.
>
>Meantime, let's skim the rest of the issue.
>
>Regular contributor Luke Buckham asks us to dig
>more into his bag of explosively exquisite poems.
>The vituperative prophet and vicious poet is at it
>again. His lines unleash warrior and lover, in tandem
>or at tension, over operas of obliteration of self
>(along with its extensions and relations in), society,
>place, and time. That the poem "The Atomic Bomb"
>sends Buckham's more benign sentiments indicates
>the potency of his venom: "(She) suggested that
>eating pussy might make me / more useful. "It feels
>like an inner atom bomb to us ladies" // she exclaimed...
>I replied / with great maturity and (felonious intent)
>that though an increase in cunninglingus // might not
>uninvent the atom bomb, I would certainly go / down
>on her in a daze of gratefulness ..."
>
>In contrast, Maurice Oliver - another habitue of
>spreadhead - delivers verses that derive power from
>acts of preservation, as in the plumbing of the yet
>unenacted and unobtained in "I Wish & Wish & Wish"
>that overturns an otherwise banal challenge to, yes,
>"make a wish." But make no mistake of typecasting
>Oliver to tamer, if not more tender, pursuits. Get
>yourself blistered in the following parley from
>"Entry-Level Lock Pick": "I think the future will
>always / be just a shoulder without the promise of
>an arm", she confides, as one / renegade zipper hip
>boot decides to go solo. "Yeah, and the newspaper /
>ink will always stain my hands for weeks after reading
>the obituaries," I / reply, just about convinced that
>the phoned-in threat to bomb the school / is in lieu
>of the dreaded statewide achievement test ..."
>
>Scrolling further down to the fiction department ...
>
>Wayne H.W. Wolfson's 128-word fiction, "Heaven," falls
>way under spreadhead's criterion for works of "fliction"
>-- short fiction in a flash of 250 words. (In fact, the
>piece reads almost like a poem.) The story, however,
>still manages to pack a cosmos of thought, heart, and
>breath caught bare and isolate, albeit in a "flick" or
>"flash" seized from the accumulating blur of life's
>"frictions" between "action" and "inaction." The Talking
>Heads long ago sang of a bleak "heaven (as) a place
>where nothing ever happens." Wolfson's minute opus
>affirms but seeks to abide beyond, although still
>inexorably afflicted by, that scene.
>
>While the other two fished from the fiction grab bag
>are revelatory, if not instructive, of the writing life.
>
>Jayson Michel's "Black Dog" reprises the pathos of
>a writer who is painfully uncertain of, or reluctant to
>exhibit, the worthiness of his art and craft's output.
>Michel's writer distracts himself to the max to erode
>the wearying weight of his dilemma: conducting bonfires
>of his work in between hazes of cigarette smoke and
>hangovers; self-degradation at parlor rituals among
>a beloved "surrogate family of individuals"; haunting
>bookshops for inspiration, or affinity with the great
>writers, only to find himself in one as the haunted
>and in need of healing when he chances upon a surviving
>notebook of his that vengefully flaunts his words (wounds).
>
>On the other hand, and finally, in "Sam Edwine Gets
>That All-Important Publishing Contract, And Decides
>What The Key Word Of His Book Shall Be," Tom Bradley's
>writer confidently mines available idiom from the
>milieu (such as "obscenities" authored communally by
>truck drivers and ditch diggers), quirkily instructed
>by the mintage of bon mots from the canon (founded
>on the works of Hemingway, Heller, Orwell, et al.),
>for that original "hook" that will reel in for him
>immortality, if not passing greatness at least, in
>the writing business (or foolishness).
>
>
>peace,
>
>
>the spreadhead collectiv
>spread ( http://www.spreadhead.net ) is new underground
>exploratory art + literature in the new medium.
>
>
>
>
>11:30 PM 7/15/06

_thick.memoir.cableing.nost[||neur]algia.bloody_
http://www.hotkey.net.au/~netwurker/
http://www.livejournal.com/users/netwurker/

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DISCUSSION

Re: _f[unction]ormation_


At 12:50 PM 18/06/2006, you wrote:
>So perhaps someone knows? Do You? Where's the open-source un-spiked version
>of Sims?

x.isting.out[re]side.in.uber.ID.entity.cluster[fuk]s.....

chunks,
][mez][

_thick.memoir.cableing.nost[||neur]algia.bloody_
http://www.hotkey.net.au/~netwurker/
http://www.livejournal.com/users/netwurker/

.