I never wanted my books to be mistaken for poetry or fiction books; I wanted to write reference books. But instead of referring to something, they refer to nothing.

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.

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.

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.

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.

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.