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

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.

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.

Twitter is not art. But it inspires me in the way that art used to inspire me. Art used to make me see the world differently, think about things in a new way - it rarely does that for me anymore, but technology does that for me on a daily basis.

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.

I think it's time to admit that our writing is guided by the technology we use as much as it is by our own subjectivity.

What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.