[Reader-list] ..a post.ing as yet not sent...

[philip pocock]

á quote from you

<<  ... n.stead this shock period is
being utilized by USA control systematics ][militaristic, gover.mental][ to
force their own agenda.  >>

i suppose there will be a number of poets exploiting human suffering to draw
attention to their work. it seems to me inappropriate to mask plain ascii in some
contrived language, which otherwise might work delightfully, in a situation where
communication should prevail.

no one questions you are a wonderful writer, but using it to attack humanity with
trite blame, is beyond me.

"ap][e][ologger" wrote:

> At 11:04 AM 18/09/01 +0200, philip pocock wrote:
> >save your out-of-date concrete poetry to yourself. were you a ee cummings and
> >the clock was wound back 50 years i might delve in to read and image your
> >gibberish.
> >
> >email is a voice and ee cummings was a response to that in print media.
> update
> >and cut the nostalgia. you wont get my attention.
> >
>
> dear readers,
>
>  of course my last posting was in no way intended to "get the attention" of
> list members like philip, and i wasn't trying at all to discuss my personal
> wurk. howeva, in light of this ][offensive and highly inappropriate][
> response, i'll post some quotes regarding the wurk i produce in order to
> give it some context.
>
> ][mez][
>
> ******************
>
>  "...Mez's writing proceeds with irregular energy... in the sense of the
> type of context sensitivities she sets up that proceed simultaneously in
> various directions. Ingenious in the manner of the representation of
> 'regular expressions' in the mathematics of computer science, for instance.
> As though it contained its own hyper links..her voice is electric and
> acoustic in a single phrase.....and the sense of sound is phenomenal, the
> humour startling...Mez's language...is particularly strong in voice. Strong
> in voice and bristling with innovation and possibility. This is, in itself,
> 'serious'. Past 'language poetry', for instance. Suited to this medium in
> important ways."
>
> -Jim Andrews, webartery
>
> "mez's writings are, in my view, examples of reflecting the virulence of
> digital text without actually coding in programming language. - The beauty
> of 'mezangelle' is that it uses elements of programming language syntax as
> material, i.e. reflecting formal programming language without being one. Of
> course, many other aesthetic options in Internet poetry exist, and many of
> them may have an aesthetics which totally separates the textuality of the
> digital poem from the internal textuality of the machine. I just prefer if
> the latter is the product of an aesthetically conscious decision _against_
> algorithmic coding (i.e. as its negative reflection)
The code poetry of,
> among others, mez, Alan Sondheim and Ted Warnell seems to build on two
> developments a) the re-coding of traditional pictorial ASCII art into
> amimetical noise signals by net artists like Jodi, antiorp, mi-ga and
> Frederic Madre, (b) the mass proliferation of programming language syntax
> through web and multimedia scripting languages and search engines. For the
> reader of mez's "netwurks", it remains all the more an open question
> whether the "mezangelle" para-code of parentheses and wildcard characters
> only mimics programming languages or is, at least partially, the product of
> programmed text filtering."
>
> [in Cream 1: Collaborative Research into Electronic Art Memes]"
> -Florian Cramer, lecturer in Comparative Literature at Freie
> Universität Berlin
>
> "When I first encountered mez's work the association with contemporary
> clichés of language didn't even occur to me for quite some time - i saw it
> as something else completely. the difference: CONTENT/intent. mez doesn't
> play this way with language because of trendi-ness or eaze, but with
> deliberate intent/choice. [this] FORM as integral to her content, and as
> [a] form of communication which is distinguished by her particular
> content/treatment/meaning ... also, it doesn't read with the eaze that
> phonetic treatment of language usually duz - in youth filled chat rooms for
> instance - one  has to dig a bit, step back and read with conscious
> intent/concentration if one's is to actually gather what's being said,
> which brings a new attention to reading, akin to that which we bring to
> Shakespeare, etc."
>
> -Claire Dinsmore, Cauldron & The Net
>
> "...during a period of time from approximately 1995 to 1997 interface as a
> concern was investigated in earnest, and in some cases brilliantly realized
> by a very few of the original net.artists (Bunting, JODI, MEZ,
> Lialina)...Mez is without doubt one of the most consistent, prolific,
> innovative artists working new media today. Mez's work with language has
> had a considerable effect on the language of many..."
>
> -Ted Warnell, warnell.com
>
> "...Mez reaches into the very structure of the word, creating an entire
> para-language, called "m[ez]ang.elle," which is readable by readers of
> English, but only at the cost of a dramatically slowed reading speed. She
> organizes textual performances which she designates as e-mail trawling,
> hacker attacking, open source kode poetri, or electronic channeling. Though
> this work uses many of the devices of so-called L=A=N=G=U=A=G=E poetry,
> fluid spacing, bracketing, and ambiguous punctuation to obtain a
> simultaneity of reference that tests fixed neuronal patterns, it also tests
> these, simultaneously,through choreographed and random kinetic oscillations
> of the Web environment, re-converting the process of reading to a process
> of action, perhaps somewhat akin to what oral cultures undertook when print
> first spread through them."
>
> -Stephanie Strickland, from "Dali Clocks: TIME DIMENSIONS OF HYPERMEDIA",
> at Digital Arts and Culture Conference, Norway 00.
>
> "... i dont know how others find it, but i do tons of programming and
> [mez's] style is just the most delightful play on coding.  I kinda think of
> her as a cross between James Joyce and Larry Wall - author of the Perl
> programming language and a linguist by training....."
> - les schaffer
>
> "Mez's mezangelle language, conceived in cyberspace, is now being noticed
> globally - even the traditional print based poetry community is becoming
> aware of mezangelle as a new literary device, and if not new, certainly an
> extension of the last big phenomenon of poetry, parataxis within lines of
> poetry as characterised by the work of the language poets in the 1970s and
> 1980s and which now permeates to mainstream poetry.
> mez's parataxis of syllable and letter, within words themselves, sets up a
> poetic experience where the words clash, their internal workings in
> opposition, disrupting the way we read as language and forcing a closer
> examination of the text, creating new meanings with the text.
> equally important as the mezangelle language has been the method of
> collection of the texts, the method of generation of the texts, the
> collaborative aspect of the work. this is inseparable from the work, and
> totally exposed out there, poetry in the act of being made - the process
> becomes equally as important as the product."
>
> -komninos zervos,  Lecturer in poetry and cyber
> studies, Griffith University.
>
> "This is a deliberate utilization of  space and typography. Think of it as
> the inverse of your rejection of caps, quotes, and etc., the iconography of
> the normal."
>
> -George Trail
>
> *********************
>
>
> .           .    ....         .....
>         net.wurker][mez][
>  .antithetical..n.struments..go.here.
>               xXXx
>               ./.
>     www.hotkey.net.au/~netwurker
> .... .               .???  .......
>
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