NULL POINT: You still make cassette tapes, which is rare. What’s the emotional or aesthetic through-line between your tapes and your poetry?

BITPUNK: It’s rare because we were all duped into believing digital was better. Marshall McLuhan has this framework called the tetrad: four questions to evaluate the effects of media. What does it enhance? What does it make obsolete? What does it retrieve? What does it reverse when pushed to extremes?

I won’t go through the full analysis, but take streaming music—it’s been pushed to extremes. Now we listen to vibes. Curated playlists. Music is about us, not the other way around. We can’t sit through a full album. This all started, I think, with one simple addition: the next button on CD players.

Try finding the next song on a cassette. It’s frustrating. Much worse than vinyl, where you can at least see the gaps. A cassette is linear. You play it. Then you flip it. Try listening at 2x speed—it’s nearly impossible. Even a print poem can be skimmed. But with a cassette or a live performance, you’re stuck in time. That’s what I’m after. My poetry is meant to live in one of those slower, embodied mediums.