Digital Provenance and the Artwork as Derivative
I think what is most interesting about the relation between art and information is the reciprocal relation between art as rarity and information as ubiquity. It turns out that ubiquity can be a kind of distributed provenance, of which the artwork itself is the derivative. The artwork is then ideally a portfolio of different kinds of simulated value, the mixture of which can be a long-term hedge against the risks of various kinds of simulated value falling—such as the revealing of the name of a hidden artist, or the decline of the intellectual discourse on which the work depended, or the artist falling into banality and overproduction. Since art became a special kind of financial instrument rather than a special kind of manufactured article, it no longer needs to have a special means for its making, or even perhaps special makers. Indeed, curators now rival artists for influence the way DJs rival musicians. Both are a kind of portfolio manager of the qualitative. The next step after the dematerialization of the artwork may be the dematerialization of the art worker, whose place could be taken by new kinds of algorithmic functions. These would still have to produce the range of simulations that might anchor the artwork as a derivative of their various kinds of sign value.
via http://www.e-flux.com/journal/77/77374/digital-provenance-and-the-artwork-as-derivative/