_The Art of M[ez]ang.elle.ing: Constructing Polysemic & Neology Fic/Factions Online_

1) ev.o[h!]lution::Pre Alphanumeric//Mezangelleing Daze::

pre alphanumeric//pre network n-cluded use ov com.put[ty/fillah]ers offline
n-turr-rest in network system[ic]z stemmed fromme a more organic base, collaborationz were via real-time fleshmeat N n-stallation based

[d-tail n-hance.ment//philo.soph[omore]icall link wish n-sert:
movin amongst the pack[ette] ov life, we n-gage/ah-lert senzez that latah pull threads 2gether in2 a netwurked w.hole. x-samp.elle::when present-ting a papah on comp[lex]uter art in 93, the seed waz so[?]wn N x-periment.all edgez merged in2 the format of the aware, the concreted creatiff shift. all i hadde 2 do waz wait]

the phirst html do[a]cumen.t _cutting spacez_ gestation waz in 1995, a hybridity year encased via a terminal discovered on the campus of wollongong university. many h[ertz]ourz spent chatting on Cybersite and Kajplats, channels dis[cobolos]coverin the er[k]rrorz N jo[uissance]y of this new textual realm. jumping fromme one terminal 2 the next//running three chat-roomz at once via three diffurrent terminal[behaviour]z sew as 2 opt.tim[id no lonah]ize the time d-layz, chairz blurring b-tween as the monitorz flashed fiction wurdz that [k]neededbleed.ed e.vent[ingz]ualli into the cutting spaces docco


brief 4ray int MOOs; e.mail dependancee startz; transfer.all ov play became crucial here, while avatar patterns b-came e-vee-dent/m-merg-NT. di-wreck MOO based e.moti[vate]ng n-corporated in2 general fiction cre[che]ation. every.da[ze]y chrono.logical time constricturez erased; temporal awarenezz irretrivably alt[.ctrl.delete]ered; geophysical statez became a hazy con[ned]struckt ov a "rl" [real life] parameter, with text no longah static and punct.ewe.ation actualizing in2 langue.

[d-tail n-hance.ment//physical link wish n-sert:
the computer became the real. terminal waz no longer a wurd 2 b feared, n-dicating abortive allusionz, but N actual object d-sign[n symbol]ed 2 n-hance, open, mutate. _my_ time became _mi_ own, mi text, mi fictional boundaries gellin with.in otherz azz yet known in a physical senze. blood N bone where no longah paramount outside of a textual wreck.cog[ging][ig]nition. B-ing parte ov the network opened up the fiction gatez N eye crossed ova in2 Bled Text:

[see the first won; _cutting spaces_ captured thizz s-sence of thredding and bleeding spaces on & offline, making the line bend N x-tending in2 both functional states. Oth[ub]er projects pre/sent-mezangelle n-clood _a disgruntled book of wizzdumb_// _Blood Puppetz_// Project M-E-Z// etc ad nauseum.

_cyberspace_ b-came siphonspace, cypherspace, psychastheniaspace. Mz Post Modemizm's birthe pre-M-ted her knowledge ov avatarian statez. 96 bought aff.[terra]firma.tion; mailing lizt act.ion became de rigueur; until 98 the projectz flowed N the mails spreade bac N 4th, 4th N bacensemble///fleshfactor//7-11//American Express//recode//rhizome//nettime - u name it, avartarian statements where there. avatarz breeding in this trubbled space where mani, with psiborgs b-cumming sciborgs b-come.in[here] sighborgz.

[if mez =
mezchine//emauler//mz post mortemism/modemism//flesque//mezflesque.exe//etc
then i.d.entitee = flow = _internal damage report_ & _fleshistics_]

[deep x-posure 2 telesthesia & teledildonics allowed fictiothermal currents 2 circ[e].u.late; collab.awe.ration grew frome others in the stream respon.d[ance]ing, playin, without reference 2 any narratiff structure ore awareness ov procedure]

wot a time.

2) [r]ev.o[h!]lution::Alpha+betanumeric M[-aging]ezangelleing Daze::

Brett Stalbaum asked:
>There is a REFRESHING laconic quality in your net.art, especially given that
>you participate primarily in the rubric of hypertext poetry. This extends not
>only to the focused verse, but also to your consciously navigable, clear
>hypertexts. What are your thoughts on the prolix vs. the laconic in net.art

[I anne.swered:]
<Obviously the medium of hypertext lends itself readily to the
<minimal....minimal in terms of a primary reliance the most basic elements -
<text, screen ['doc swapping'] and image. My laconic use of these most
<base.hic[!] elements [or elle-E.ments as i would say if responding via
<regular mez/nschine communication channels] is governed largely the need to
<condense/dilute/refresh wordage and imagery meanings/established codes/cues
<of associative meaning/s.
<Hypertexting has pow!er, and a reader can n-gage this through x-tremely
<personalized connections/no[h]des if given the opportunity...if a reader is
<presented with a tract of informatically direct/explanatory dis[ease]course
<[whether it be fiction, faction, theory, etc] a passive absorption
<interaction channel is more likely to result. If an intr.ACT[or]a [or reader
<in preMezANGLE-text] has to cog[wheel]nitively spark with the work
<presented, and does not have access to s-tablished lingual and pictorial
<threads planned out and ready to be spoon/key fed, imagine the result!
<Confusion, granted, but if an int.ACTa can draw some webthread, or nuance,
<from the wurr.k, then.....[insert random jouissance here:)]
<In short, the KISS princ[ess]able has some me[z]rit:
<Keep It Simple Stupid.
<In my case, it should read:
<Keep it [conceptual and] Sizzlingly Short

[d-tail n-hance.ment//e.lab.ore.ation link wish n-sert:
now came the the merg.her, merge.awe, merg.whore. technique b-came theory; fiction fact N the dis.tinct[ure]ion e-rrelevant. emailing turned fromme fictional struc.t[o]ur.ez
2 cracking otherz wurdz, re-alignin them, reversin, refemmeing in2 a medical/sci-fi mash; mixing theor[.M.z]ee in2 postfiction, faction]


2 mezangelle izz 2 now take back the fiction koda and twizt//reroute a narratiff thru warped be.lie.f system sy.[e]mbolizm [religion:_the DataH Inpho[mill]ennium_] N [cloning tech.no.logee:_The Clone Alpha Project_]. Techniques shifted fromme the struck.tor[tor]aul 2 dynamizm [flashed up or director based] but the textual L-ee.ment remained the same.

[datahbleede.r[& inge] + o[h!]pen source koda spawnz. collaboratorz swoop. text re-inne.ventz. translationz spark n sticke 4 a l'tle while.]

3) [e]vol[ve]ition::Omeganumeric Mezangelleing::

2 mezangelle::

2 4m a text fromme the ground[ing] uppe
2 n-hance the simple text of an email thru the splicing of wurds
2 phone.tic[k-tock]aulli m-bellish a tract ov text in2 a neo.logistic maze
2 network 2 the hilt N create de[e]pen.den[ting]cies on email lizts for the wurkz dis.purse.all
2 graphi.caulli N text.u.alli e-voke a conscious sens.u.all & lingual mix
2 make net.wurkz space themz.elves in2 a spindle of liztz thru collaboratori n-tent
2 uze computer kode kon.[e]vent.ionz spliced with irc emoticons and ab[scess]breviations
2 spout punctu[rez]ationz reappropraited in2 sentence schematics
2 polysemicalli m-ploy a fractured wurdset
2 m-brace 4m conventionz
2 flaunt pol[emic]itical l-usions
2 ig.gnaw word endinz
2 let lettahs b used as subsetz
2 x tend N promote n-clusive meaningz.
MEZ [Mary-Anne Breeze] has been described as one of "the original
net.artists" who is "...without doubt one of the most consistent,
prolific, innovative artists working in new media today.
Mez's work with language has had a considerable effect on the
language of many...". The impact of her unique net.wurks [constructed
via her pioneering net.language "mezangelle"] has been parallelled
with the work of Shakespeare, James Joyce, Emily Dickinson, e.e.
cummings and Larry Wall. Since 1995, she has exhibited extensively
via the internet and in "realtime" [e.g CTHEORY's Digital Dirt, Prague's
Goethe Institute, Digitarts '96, Experimenta Media Arts, ISEA_97
Chicago, ARS Electronica_97, trAce, The Metropolitan Museum
Tokyo, SIGGRAPH_99&00, d>Art 00&01 and_hybrid<life>forms_01].
Mez also participates vicariously in a multitude of conferences [she
describes her input as being the product of a "virtual jillaroo"], is a
co-moderator of the Webartery Mailing list and a freelance journalist,
web designer, and technopagan in her spare time. She is the 2001
Resident Artist at the WCG, has been awarded the 2001 VIF Prize by the
Humboldt-Universitat in Berlin, was shortlisted for the prestigious
2001 Electronic Literature Organisation's Fiction Award, and is
currently in the running for the JavaMuseums' Artist Of The Year 2001