A Conceptual Artist's Concept of Creating Provenance, Part 3

A record of many uncapitalized creative works for a collection resume is like a blockchain populated with digital assets invested in smart contracts. A will or a trust with such properties was inconceivable before the technology of blockchain gave provenance, and proof of origin, the qualities of value that make concepts and digital artworks into intellectual properties.
The contemporary sensitivities of fifty years ago had no place for this art's technical; systemic, to be precise; subjects. That object-oriented market that valued art as a “picture worth a thousand words” now has my many thousand words written about it to spread its value among the search engines of the Internet. The early works in the form of objects could not be without these words.
Everything up to now had no conceivable meaning before it had blockchain for a vocabulary. Authentication; from genesis on through provenance; has this world of information technology now. So, now, all that need be trusted to be true testimony for passing on the potential that my concepts represent is the consistency of the concepts over time that makes these intellectual properties.
That's not enough, though, to fulfill the art's destiny. It's all for naught without the vision that is represented in what now is converted from the products of mechanisms to digital art concepts.
Being able to imagine a future embraced by the tech world means that what happens right now is growing more important all the time. Image recognition uses for computer-generated creations have passed from breakthroughs to acceptance, and application, in just a few years. In the time since the smart contract originally suggested that the identity of a digital creation could be owned, tokenizing such presences into shares, and their value set in cryptocurrency, has radicalized the art market.
My object-based mass distribution of prints; applications of the mid-lay identity the Great Knot shares; and my purely digital Internet creation of the unending generation of knot forms and their cryptoknot relationship, all have quite obvious purposes now. All have understandings for their directives that have been, and continue to be, available to public awareness over the Internet. They can't but be paid attention to in this form, where all that is left is to just better understand their use.
In the scheme of things, the tags are used as an approach to value and to building a distributed autonomous organization to authenticate them as objects of value; as collectibles; commencing with the present 150 Woodstock design control group, and continuing from there on through a decade of similarly unique print sequences, all originating around their precisely documented provenances as a score of unique groups of intellectual properties.
A similar approach to this way that objects transition into digital art and collectibles, is brought to making the documented origins and provenance of the land art, The Great Knot, into a presence where all images of it are digital records that continually evidence its existence, and that of the land, to become tokens of its value as an authentic place.
These conceptual art works can now be described as Internet-based displays of a process of incubating a self-sustained base, as a DAO. What I do to help get that on firm ground is done for the benefit of my Estate. It's approach to the future of these web presences will determine how Intellectual properties are handled in a future where art is mostly conceptual.
The purpose behind recombining all the tags distributed over the decade of the 1990s is to put all of their digital images on the Internet where they are open to the scrutiny of Deep Learning. The same is true of the decade and a half spent constructing The Great Knot and developing the documentation that gives it a digital presence in history. Having the presence of these digital photographs of material and land objects continually on social media empowers artificial intelligence to grow recognition approaches to other ways of sensing art.
Building a reputation as the origin of this idea is really done to gather knowledgeable participants and lead them to my master work of conceptual art that has been evolving over the past half century. That is the intellectual property I've made to carry the ultimate message on art and be the legacy of my Estate.