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.

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

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.

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

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.

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.

An updated notion of genius would have to center around one's mastery of information and its dissemination.