image of person or book cover 7476866401306232973.jpg
This image has been sourced from Booktopia
y separately published work icon Human Readable Messages selected work   poetry   prose  
Issue Details: First known date: 2012... 2012 Human Readable Messages
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'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).' (Publication summary)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Vienna,
      c
      Austria,
      c
      Western Europe, Europe,
      :
      Traumawien ,
      2012 .
      image of person or book cover 7476866401306232973.jpg
      This image has been sourced from Booktopia
      Extent: 328p.
      Note/s:
      • Published: 17th January 2012

      ISBN: 9783950291094

Works about this Work

Mez Breeze Between the Centuries A. J. Carruthers , 2018 single work criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 36-58)

For well over two decades now, since the middle 1990s, Mez Breeze (born Mary-Anne Breeze), has remained at the forefront of digital and electronic poetics over a period of time in which its basic functions morphed or were variously updated. A full `cyberbibliography' of her career, from older work with `net.art narratives, through what she has thought of as the "Golden Phase of Mezangelle," to her work on games like #PRISOM (2013), will turn up a vast and evolving ouevre with recurrent strands. Her most well-known invention is the generative language of "Mezangelle," which uses code, MUD (Multi-User-Domain), online chatlogs, avatars, JavaScript and HTML (Hypertext Markup Language) as procedural, linguistic and textural means, and ends, for poetics. The result is an absorptive and playful reworking of these into poems and, as I will pay special attention to here, sequences of poems. Breeze's writingways share topoi that interweave the digital and ethics, language and ecology, the abstraction of contemporary life and what she described to me in an email as "A sense of sP[I]ace collapsing + concertinaed comprehension-nesting, of contractions and expansions." Such writing is situated in spatial locales both matrixial and fractal; "shaped by my own personal intrigue with language and the land, of openings within openings, of lingual whorls and patterns that blossom + contract." ' (Introduction) 
 

Mez Breeze Between the Centuries A. J. Carruthers , 2018 single work criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 36-58)

For well over two decades now, since the middle 1990s, Mez Breeze (born Mary-Anne Breeze), has remained at the forefront of digital and electronic poetics over a period of time in which its basic functions morphed or were variously updated. A full `cyberbibliography' of her career, from older work with `net.art narratives, through what she has thought of as the "Golden Phase of Mezangelle," to her work on games like #PRISOM (2013), will turn up a vast and evolving ouevre with recurrent strands. Her most well-known invention is the generative language of "Mezangelle," which uses code, MUD (Multi-User-Domain), online chatlogs, avatars, JavaScript and HTML (Hypertext Markup Language) as procedural, linguistic and textural means, and ends, for poetics. The result is an absorptive and playful reworking of these into poems and, as I will pay special attention to here, sequences of poems. Breeze's writingways share topoi that interweave the digital and ethics, language and ecology, the abstraction of contemporary life and what she described to me in an email as "A sense of sP[I]ace collapsing + concertinaed comprehension-nesting, of contractions and expansions." Such writing is situated in spatial locales both matrixial and fractal; "shaped by my own personal intrigue with language and the land, of openings within openings, of lingual whorls and patterns that blossom + contract." ' (Introduction) 
 

Last amended 25 Mar 2019 17:27:54
Newspapers:
    Powered by Trove
    X