To justify artists's professional, parasitic and elite status in society,
he must demonstrate artist's indispensability and exclusiveness,
he must demonstrate the dependability of audience upon him,
he must demonstrate that no one but the artist can do art.
Therefore, art must appear to be complex, pretentious, profound,
serious, intellectual, inspired, skillfull, significant, theatrical,
it must appear to be valuable as commodity so as to provide the
artist with an income.
To raise its value (artist's income and patrons profit), art is made
to appear rare, limited in quantity and therefore obtainable and
accessible only to the social elite and institutions.
To establish artist's nonprofessional status in society,
he must demonstrate artist's dispensability and inclusiveness,
he must demonstrate the selfsufficiency of the audience,
he must demonstrate that anything can be art and anyone can do it.
Therefore, art-amusement must be simple, amusing, unpretentious,
concerned with insignificances, require no skill or countless
rehearsals, have no commodity or institutional value.
The value of art-amusement must be lowered by making it unlimited,
massproduced, obtainable by all and eventually produced by all.
Fluxus art-amusement is the rear-guard without any pretention to urge
to participate in the competition of "one upmanship with the avant-garde.
it strives for the monostructural and nontheatrical qualities of simple
natural event, a game or a gag. It is the fusion of Spike Jones, Vaudeville,
gag, children's games and Duchamp.