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.

And I think this is the real epiphany: the ways in which culture is distributed become profoundly more intriguing as a cultural artifact itself. What we've experienced is an inversion of consumption, one in which we've come to prefer the acts of acquisition over that which we are acquiring, the bottles over the wine.

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.

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

Twitter is not art. But it inspires me in the way that art used to inspire me. 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.

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.

It's not plagiarism in the digital age -- it's repurposing.