I wonder if Karl Ove Knausgård would've written the same books today had been using Twitter. It wasn't around when he was writing those books. Those books were written during the age of the blog, with its big verbiage. The landscape has completely changed today.

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.

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.

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

I think that writers often try too hard in the name of expression, when often it's just a matter of reframing what's around you or republishing a preexisting text into a new environment that makes for a successful work.

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.

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.