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'Attn: Solitude isn’t a straight poetry book, nor is it a strict collation of cyborgian-emulated [chap+lady]book texts. The codework contents in this book do fragmentally fold [+ spit out of/from] poetic conventions. These microtexts do presentation-lap gently [yes: gently, albeit clinically, in some instances] at the cusp of code and poiesis.
'Attn: Solitude employs mezangelle – a type of quasi-cobbled conventionset born from 90s digital fomentation – to form packets of code-laced and culturally inflected output. You may choose to snippetswim in[to] these units of mezangelled output, these comprehension chips dragged kicking from one medium and screaming into another. You may not.
'If not, then … ? If-then-else.' (Publication summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Mez Breeze Between the Centuries
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
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)
