Quotes of All Topics . Occasions . Authors
It's not plagiarism in the digital age -- it's repurposing.
Twitter is not art. But it inspires me in the way that art used to inspire me.
I think that the richer and deeper documentation is on the web, the better off we all are.
If you work on something a little bit every day, you end up with something that is massive.
Automation and technology don't cure behavioral ruts: they just create new instances of them.
Favoriting tweets has become a form of acknowledging that you've read what someone else has written.
Poets think in short lines. Unless you're Samuel Beckett, Twitter might be more difficult for novelists.
An updated notion of genius would have to center around one's mastery of information and its dissemination.
I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.
Most artists want first and foremost to be loved, secondly to make history, and money is a distant third or fourth.
I think it's time to admit that our writing is guided by the technology we use as much as it is by our own subjectivity.
You can't show me a sentence, word, or phoneme that is meaningless; by its nature, language is packed with meaning and emotion.
I don't think that the world will ever become an unpoliced place, sadly. But I do feel that there is relative freedom on the margins.
Language is material to shape and mold, not only a transparent or invisible medium for communication, business contracts, or telling stories.
It's Twitter's combination of simplicity and complexity that is astonishing in the same way that minimalist sculpture was inspiring and enlightening.
I've been trolled lots. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.
How fortunate we are to exist in the moneyless economy of poetry! When you take money out of the equation, anything goes and nobody cares. It's truly free.
I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.
I've been trolled lots on Twitter. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.
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.
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.
Conceptual writing is looking for that "Aha!" moment, when something so simple, right under our noses, is revealed as being awe- inspiring, profound, and transcendent.
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.
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.
My books are better thought about than read. They're insanely dull and unreadable.But they're wonderful to talk about and think about, to dip in and out of, to hold, to have on your shelf.
It's hard to be understood when addressing many people at once. How can you ever know if you're being understood? So, I've just started being intelligently provocative. And people take the bait.
New York City is just one node on the global cultural scene. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist feels local and small. Social media feels now.
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.
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.
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.
If you don't want something to exist - and there are many reasons to want to keep things private - keep it off the web. But if you put it in digital form, expect it to be bootlegged, remixed, manipulated, and endlessly commented upon.
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.
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.
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.
All of our media is made of language: our films, our music, our images, and of course our words. How different this is from analog production, where, if you were somehow able to peel back the emulsion from, say, a photograph, you wouldn't find a speck of language lurking below the surface.
For me, Twitter is a public persona. It's UbuWeb or Kenneth Goldsmith (as opposed to Kenny Goldsmith). I don't interact. It's a lousy form for conversation and opinion (what can you really say in 140 characters?), but a wonderful propaganda and sloganeering tool. I use it as a one-way street.
We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.
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.
I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
The moment we shake our addiction to narrative and give up our strong-headed intent that language must say something "meaningful," we open ourselves up to different types of linguistic experience, which could include sorting and structuring words in unconventional ways: by constraint, by sound, by the way words look, and so forth, rather than always feeling the need to coerce them toward meaning.
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.
My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.