For the past decade, art historians Hito Steyerl and Boris Groys have written in favor of “weak images,” claiming that in the digital age, a weak or … - Kenneth Goldsmith

This is the subject of an art work by the Brooklyn-based artist Andrew Norman Wilson called ScanOps. The project began in 2007, when Wilson was contracted by a video-production company to work on the Google campus. He noted sharp divisions between the workers; one group, known as ScanOps, were sequestered in their own building. These were data-entry workers, the people to whom those mysterious hands belonged. Wilson became intrigued by them, and began filming them walking to and from their ten-hour shifts in silence. He was able to capture a few minutes of footage before Google security busted him. In a letter to his boss explaining his motives, Wilson remarked that most of the ScanOps workers were people of color. He wrote, “I’m interested in issues of class, race and labor, and so out of general curiosity, I wanted to ask these workers about their jobs.” In short order, he was fired.

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.

The world is full of objects, more or less interesting; I do not wish to add any more.