Conceptual writing is looking for that "Aha!" moment, when something so simple, right under our noses, is revealed as being awe- inspiring, profound, and transcendent.

My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.

For me, Twitter is a public persona. It's UbuWeb or Kenneth Goldsmith (as opposed to Kenny Goldsmith). I don't interact. It's a lousy form for conversation and opinion (what can you really say in 140 characters?), but a wonderful propaganda and sloganeering tool. I use it as a one-way street.

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

I never wanted my books to be mistaken for poetry or fiction books; I wanted to write reference books. But instead of referring to something, they refer to nothing.

All of our media is made of language: our films, our music, our images, and of course our words. How different this is from analog production, where, if you were somehow able to peel back the emulsion from, say, a photograph, you wouldn't find a speck of language lurking below the surface.

I've been trolled lots. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.