[Perec] urges us to consider the significance of the actions, objects and experiences that we take for granted each day, as he believes them to be the only things in life we can ever hope to understand. It is impossible to perceive the entirety of the world because of the distant, removed way in which we, as individuals, view it. It seems logical that the things we have most contact with are the things of which we have greater knowledge. It is therefore possible to see why everyday life is an instinctive focus of the Day-to-Day Data artists' work.
Through the application of a scientific or methodical approach to objects, events or experiences which a normal scientist (or normal person, for that matter) may well overlook, the Day-to-Day Data artists create an absurd or humorous new vision of the everyday life we are all accustomed to.

"Street litter may cause distaste in most of us but Wentworth finds these sights constantly illuminating about the way man is changing his environment. Typically, he points out that a folded cigarette packet beneath a wobbly table leg is more monumental than a Henry Moore sculpture. 'There are five reasons for this, firstly the scale. Secondly, the fingertip manipulation. Thirdly, modesty of both gesture and material. Fourth its absurdity and fifth, the fact that it works.'"

[Photography] instantaneously captures a slice of life for later examination which, as Susan Sontag wrote, "thickens the environment we recognize as modern."

Bates's ... [collaborations] place him at the heart of England's 'hidden reverse', ... Coil, Current 93, Death In June, Nurse With Wound, Sol Invictus, et al. Bates goes back a long way with this UK avant garde; in the early 80s he sent review tapes to a zine called Stabmental, edited by one Geoff Rushton, later known as John Balance of Coil. "He liked the stuff," says Bates, "and actually gave me the first positive press for Eyeless, because he liked the stuff I'd done with Migraine Inducers."

... he is keen to distance himself from 'apocalyptic folk' or 'neo-folk', the terms commonly used to describe the post-Industrial shift from harsh electronics to a more folk based acoustic in the 1990s, and which have become controversial due to Death In June's interest in the same European historical/mythological continuum as that employed to justify the Nazi Holocaust, and references to European fascism.

"If you look at the basic ethos behind the Industrial stuff," Bates cautions, "you've only got to make the slightest exploration of the key dark impulses of the 20th century, and if you look at fascism, one of the key proselytising aspects is folk music. If you're exploring that kind of thread, at some point you're going to come back to folk music - but I think I'm sailing far enough away, and I always like to think I'm coming from a benign place rather than the destructive aspects. You can only afford to put out so much hate, but it costs too much in terms of negative energy."