Maybe I had to stop photographing so that I could learn to touch.

It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.

I'm using my own person in pieces, but I'm trying to turn my person into a nonperson in the sense of a person without will, without volition. I'm subjecting myself to a scheme.

Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.

I wish we could make buildings that could constantly explode and come back in different ways. The idea of a changing environment suggests that if your environment changes all the time, then maybe your ideas will change all the time.

Especially once those poetry events began, because, yeah, the stuff was still on the page, but the page was starting to spill into real space, spill into air, once you could hear it, once there was a typewriter, once there was a body of a typist, it was getting rid of the confines of the page.

I was always fascinated by diagramming a sentence. Because that is going into a space, going into a world of language.