The name "Mundane Art" embeds an ironic contradiction in terms of its genesis high in the skies above Europe, forum of mid-20th century conflict set above the crucible of conceptual art; and yet "mundaneity" surely implies the Ephemeral and Degenerate at its very heart. Indeed, decay, dissolution, decadence and destruction are essential to it, as to all truly creative endeavours. Furthermore all those aforementioned processes must of necessity contribute to the unique transformation that takes place in the animus of the spectator, or, as some might say, the audient. The sense of loss: of something unutterably precious snuffed out after a lifespan of perhaps twenty minutes, is integral to the shock value of this new yet ancient paradigm.

The terrific tension that builds up in the claustrophobic environment of an aeroplane cabin never finds its deserved release when the detritus is cleared away, the tables and chairs (perfect symbols of bourgeois domesticity!) are returned to their accustomed position, and a sense of order is restored. But Order is Illusion, and Chaos , indefatigable chaos, is invisible, the Dis-Ordure of disposal and epiparagoreia. The Work, that most shortlived of all human constructs, is integrated once more into its post-utilitarian milieu whilst the nutrient component is being digested; but as for the rest, the bio-degradable (that icon of millennial desirability) is in a temporary and temporal union with the semi-permanence of plastic and polythene. This "synthetic" synthesis takes place in a kind of mediaeval limbo, away from our gaze, because at the deepest level it is merely offensive. Just as Mundane Art itself is inherently offensive.

One seeks in vain for any kind of historical precedent, any reference to a comparable phenomenon; although one suspects that all throughout human history there have been millions of unrecorded examples. Due to a sort of erosive decontextualisation, any epistemological categorization can only have meaning in the context of an absence of methodological structures. Post hoc ergo propter hoc; the obstinacy of meaninglessness confronts the arrogance of systemic and manipulative polemicisation. A Marxian struggle, then, between a reactionary and industrialized weltanschauung versus a radical theory of semiotic interpretation; and the outcome can only ever be a form of fascist liberation expressed as pure discourse. Psyche: negation: relativity: modal replication: all these forces interact but have an independent and contiguous influence on the functional actuality.

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