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.

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

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.

I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.

My books are better thought about than read. They're insanely dull and unreadable.But they're wonderful to talk about and think about, to dip in and out of, to hold, to have on your shelf.

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.