The rubric "conceptual poetry" encompasses works written using a variety of techniques: sampling, appropriation, documentation, and constraint, among others. By far the most prominent—and controversial—is appropriation: A work such as Kenneth Goldsmith's Day (2003), a word-for-word transcription of one day's New York Times, extends Marcel Duchamp's ready-made practice into the literary realm.
What is Flarf poetry? - Wikipedia
It is precisely, however, to the degree that Flarf does something new performatively and with its use of the detritus of popular cultural and the internet, treading the high/low distinction until it breaks under the weight, that it reinvents the avant-garde. In a larger aesthetic economy, it seems, "the truth will out." Flarf's recent productivity shows how the injunction against the sentence, paragraph, narrative, and even discourse from some sectors of the Language school intersects with actual conditions of language use. Any such thing as stylistic norms in the avant-garde must inevitably intersect with "life."
For example, see
Q: What is conceptual poetry? –Frances Sjoberg
Charles Bernstein: Poetry pregnant with thought.
Kenneth Goldsmith: Conceptual writing obstinately makes no claims on originality. On the contrary, it employs intentionally self and ego effacing tactics using uncreativity, unoriginality, illegibility, appropriation, plagiarism, fraud, theft, and falsification as its precepts; information management, word processing, databasing, and extreme process as its methodologies; and boredom, valuelessness, and nutritionlessness as its ethos. Language as material, language as process, language as something to be shoveled into a machine and spread across pages, only to be discarded and recycled once again. Language as junk, language as detritus. Nutritionless language, meaningless language, unloved language, entartete sprache, everyday speech, illegibility, unreadability, machinistic repetition. Obsessive archiving & cataloging, the debased language of media & advertising; language more concerned with quantity than quality. How much did you say that paragraph weighed?
Susan Howe. I don't know what conceptual poetry is. Maybe I will find the answer in Tucson.
Christian Bök: Recent trends in technologies of communication (such as digitized sampling and networked exchange) have already begun to subvert the romantic
bastions of "creativity" and "authorship," calling into question the propriety of copyright through strategies of plagiaristic appropriation, computerized reduplication, and programmatic collaboration. Such developments have caused poets to theorize an innovative aesthetics of "conceptual literature" that has begun to question, if not to abandon, the lyrical mandate of originality in order to explore the potentials of the
"uncreative" be it automatic, mannerist, aleatoric, or readymade, in its literary practice. Some of the modernist notions of the both accidental and the procedural have begun increasingly to inform the current writing, by poets who find inspiration in the principles of conceptual art. Such poets have begun to use stolen texts, random words, forced rules, boring ideas, and even cyborg tools, in order to mobilize a variety of anti-expressive, anti-discursive strategies that erase any idiosyncratic demonstration of "lyric style." Such activity has become one of the most radical, if not one of the most popular, limit-cases of the avant-garde at the advent of the millennium.