Automation and technology don't cure behavioral ruts: they just create new instances of them.

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.

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.

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.

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.

You can't show me a sentence, word, or phoneme that is meaningless; by its nature, language is packed with meaning and emotion.

It's Twitter's combination of simplicity and complexity that is astonishing in the same way that minimalist sculpture was inspiring and enlightening.