Favoriting tweets has become a form of acknowledging that you've read what someone else has written.

I often don't endorse what I tweet, rather I want to throw things about to spark conversation or controversy. What I think about something is not particularly important when talking to thousands of unknown strangers.

It's hard to be understood when addressing many people at once. How can you ever know if you're being understood? So, I've just started being intelligently provocative. And people take the bait.

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.

I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.

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.

I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.