I will refer to the kind of writing in which I am involved as conceptual writing. In conceptual writing the idea or concept is the most important aspect of the work. When an author uses a conceptual form of writing, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the text. This kind of writing is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the writer as a craftsman. It is the objective of the author who is concerned with conceptual writing to make her work mentally interesting to the reader, and therefore usually she would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual writer is out to bore the reader. It is only the expectation of an emotional kick, to which one conditioned to Romantic literature is accustomed, that would deter the reader from perceiving this writing.
Conceptual writing is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the writer, to lull the reader into the belief that she understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually.
- Kenneth Goldsmith, in an essay published in Poetry is Dead #2. You can read the full text here.