Twitter is not art. But it inspires me in the way that art used to inspire me.

Short attention span is the new avant-garde. Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry. David Markson feels particularly relevant now. Twitter is the revenge of modernism.

The best thing about conceptual poetry is that it doesn’t need to be read. You don’t have to read it. As a matter of fact, you can write books, and you don’t even have to read them. My books, for example, are unreadable. All you need to know is the concept behind them. Here’s every word I spoke for a week. Here’s a year’s worth of weather reports... and without ever having to read these things, you understand them.

You can't show me a sentence, word, or phoneme that is meaningless; by its nature, language is packed with meaning and emotion.

For me, Twitter is a public persona. I don't interact. It's a lousy form for conversation and opinion, but a wonderful propaganda and sloganeering tool. I use it as a one-way street.

If you don't want something to exist - and there are many reasons to want to keep things private - keep it off the web. But if you put it in digital form, expect it to be bootlegged, remixed, manipulated, and endlessly commented upon.

An updated notion of genius would have to center around one's mastery of information and its dissemination.