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.

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.

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.

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.

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

I think that the richer and deeper documentation is on the web, the better off we all are.