In the past I have worked with metadata in regards to artifacts and documents. Usually, I find these helpful in tracing the history of a piece as well as determining copyright. It is for this reason that I was reminded of several art scandals where background information and metadata can be crucial to understanding the piece. For instance, a few years ago, Steve Martin bought a “newly discovered” Campendonk painting only to discover later that it had been the work of the infamous Beltracchi, an art forger. While not digital, this is a perfect example of where cataloging and metadata can contribute to authenticity. Gilliland states that metadata plays a role in “preserv[ing] cultural heritage information.” I agree that metadata should accompany every document or piece that is exchanged not only in the digital world but also in the physical world. At some point, all information will be available in digital form and to not lose the original work, it is necessary to keep track of metatdata. In the case of the Capendonk painting, pieces such as these should have an incredibly detailed metadata to accompany them. The painting was proven a fake by the type of paint used; information such as this can be applied to other art pieces. Artwork metadata at its best would consist of the painter, style, dimensions, description, location history, purchase history, chemical analysis, and names of individuals who can attest to the authenticity of the painting.
The Daily Beast, http://www.thedailybeast.com/articles/2011/06/01/steve-martins-campendonk-painting-art-forgery-scandal.html
Another example I am fond of is the Amber Room; a famous treasure of Russia that was dismantled by the Germans during WWII and remains lost. In this situation, metadata serves to give information about an object that no longer exists. If an artifact is destroyed, researchers must rely on images and stored information rather than the original. Digital metadata is therefore also a method of preservation or documents or artifacts that no longer physically exist. Also, metadata serves to inform the public of basic information rather than having every researcher investigate copyright, take dimensions, determine authenticity, etc.
Smithsonian Magazine: Amber Room, http://www.smithsonianmag.com/history/a-brief-history-of-the-amber-room-160940121/?no-ist
Gillilan has also stated the need for standards in regards to metadata. I agree with the need to standardize the rules of metadata so as to have consistency in reports. I am also curious however that at what point does the metadata overcome the object? Focusing on the upkeep of the metadata, In my opinion, cannot take the place of upkeep of the object. Originals and non-digitized documents are still the responsibility of libraries and while digitization and metadata may make the information more accessible, neglecting the original information is unacceptable.
Anne Gilliland, “Setting the Stage,” from Murtha Baca, ed., Introduction to Metadata (Los Angeles: Getty, 2008)