_][s][hut][ters][ of d.funct meat_//Shutters of Defunct Meat


    One of Mez Breeze's pieces, written in her native mezangelle language, “_][s][hut][ters][ of d.funct meat_//Shutters of Defunct Meat,” is a product of her net.wurk practice, where she puts her mezangelle recombining practice into action on various email listservs as a way for her to output and display her work.  “This work is quantifiably different to its initial code.wurk incarnation available in various list archives thru.out the net,” explains Breeze.[1]  Her body of work focuses on mashing up programming languages, hypertexts, and scripts, which can be read in a programming, visual, or literary approach. This online piece is interactive, where users can move their mouse around to various texts that also produce sounds.  This piece is meant explore various learning curves of how viewers and internet interface can bring along associated meaning with text and visual cues of web page interfaces.  The flash interface allows users to select only four different possiblities, without any hint or direction of where to select.  The fragmented and undirected piece is meant to be exploratory and gives the user a chance to make connections between their selections of text and sound and how this interface affects their overall perceptions of  their own web interface experiences. Theodoros Chiotis, another artist who works in similar fields as Breeze, commented that “the reader becomes part of the flow of interaction between man and machine, an infinitely folding surface oscillating between different rhythms and time frames..." [2]

In an interview with Franz Thalmair, Breeze explains “much of my present output questions the concepts of “reality” + “virtual” + their systematic definition crumbling. i’m exploring how this disintegration may lead 2 a continuum approach of the real< —>virtual + how this may shake equating virtual participation with distinct otherness via branding it escapism.”[3]   She has also noted that her work has been attempted to be exhibited in galleries, but to no avail since her works are rooted within a dynamic and ever progressing technoloy driven media, which also allows all types of users and viewers to experience her work in their native environment.