mez breeze
Since the beginning
Works in Sydney Australia

PORTFOLIO (2)
BIO
Mez does for code poetry as jodi and Vuk Cosic have done for ASCII Art: Turning a great, but naively executed concept into something brilliant, paving the ground for a whole generation of digital artists." (Florian Cramer). The impact of her unique code/net.wurks [constructed via her pioneering net.language "mezangelle"] has been equated with the work of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall. Mez has exhibited extensively since the early 90s [eg Wollongong World Women Online 1995, ISEA Chicago + ARS Electronica 1997, The Metropolitan Museum Tokyo 1999, SIGGRAPH 1999 & 2000, _Under_Score_ @The Brooklyn Academy of Music 2001, +playengines+ Melbourne Australia 2003, p0es1s Berlin 2004, Dissention Convention @Postmaster Gallery New York 2004, Arte Nuevo InteractivA Mexico 2005, Radical Software @Turin Italy 2006, DIWO @ the HTTP Gallery London 2007, New Media Scotland 2008, the Laguna Art Museum California + Alternator Gallery Canada 2009]. 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] + awarded the 2007 "Deep Structure: Deep Play" Neutral Ground/Soil Digital Media Commission [Canada]. Mez is also a Synthetic Ecology Strategist, Futurist and Game Theorist who practices _Poetic Game Interventions_ [the creative manipulation of MMO parameters in order to disrupt or comment on various aspects of augmented states].
http://unhub.com/netwurker/
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/

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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/

.