New York City is just one node on the global cultural scene. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist feels local and small. Social media feels now.

The moment we shake our addiction to narrative and give up our strong-headed intent that language must say something "meaningful," we open ourselves up to different types of linguistic experience, which could include sorting and structuring words in unconventional ways: by constraint, by sound, by the way words look, and so forth, rather than always feeling the need to coerce them toward meaning.

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.

It's Twitter's combination of simplicity and complexity that is astonishing in the same way that minimalist sculpture was inspiring and enlightening.

Most artists want first and foremost to be loved, secondly to make history, and money is a distant third or fourth.

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.

Poets think in short lines. Unless you're Samuel Beckett, Twitter might be more difficult for novelists.