[greatwave1]

> Copies of those works are ubiquitous, but there is a singular, definitive work.

When referring to recorded music, this isn't a distinction that has ever actually mattered in the real world, just a fiction made up to shill NFTs.

Are you going to pretend that anyone actually cares about a "singular, definitive FLAC file" that all of the streaming services' FLAC and MP3 playbacks are based on? This is pure fantasy, the copies are the same thing as the original piece.

The idea that Mona Lisa's (or any other artwork's) cultural influence comes from its scarcity is hilarious. Literally anyone can visit the Louvre and appreciate it for themself. Do you think it would have anywhere near as much influence if it was hidden behind closed doors and only 1 person was able to see it?

> But if we're talking about single work valuation, the Wu Tang album costs $2M. Taylor's album costs $15.

Last time I checked, the sum of revenue from their discography is how artists and labels get paid, not based on the maximum amount that 1 person is willing to pay.

Speak Now is a single work, and it generated like 100x as much monetary value as Shaolin (with like 10,000x as much cultural impact). And those estimates are extremely conservative, when you consider that you can tour and sell merch off an album that people can actually listen to lol.

[ethbr1]

>> Name me a handful of world-famous works for which there are multiple, almost-indistinguishable but distinct copies.

[greatwave1]

Literally every world-famous work has replicas and recreations, what's your point? Those copies are also part of the work's cultural influence, and in many cases (if the replicas are sold by the original artist) part of the monetary value as well.

This doesn't provide any more credence to the falsity that art's scarcity is the source of its value (when overwhelming evidence proves that the exact opposite is true)