Production Fund, which produces art—ostensibly on a non-profit basis, while actually functioning like an early Hollywood studio—are new realities, which question the notions of authors and creators in new ways, as may be observed in many other places in the digital world. This dimension of authorship does not pertain to the metaphysical, philosophical side of the term, but rather the cultural, political, and practical side. To insist upon an appropriate clarification of this side of the equation may also require that the legal rights of the auteur against the apparatus be addressed. Yet in the mounting confusion over the various levels of discussion of authorship, all of this is often overlooked, although the name given to the original discussion, «le politique des auteurs,» clearly made reference to these things. In this sense, the «arteur» represents the proposition that art should maintain a similar position of autonomy in the production process and leave the rest to the course of the division of labour and the economically oriented organization of production. However, one of the special features of digital production is precisely the superfluous nature of the apparatus itself: the other example of an «arteur»

named in the aforementioned New York Times article, Shirin Neshat, certainly does not need (at least in post-production) any more helpers and assistants than a conventional artist. The booming genre of narrative video installation looks more complicated and industrial than it actually is. Nonetheless, due to the success (including the artistic kind) of artists such as Matthew Barney, Douglas Gordon, Stan Douglas [8] , Bruce Yonemoto, and many others, the notion of the auteur seems to be an appropriate one. Even though most of them delegate as little as possible and insist upon all sorts of final control, the credits on their films are longer than some movies. At any rate, in many cases, the current black box/white cube fusions have long since been reconciled with the old model of the auteur, creating the foundation for the work of these artists: indeed they view the problem of industrial production only as one of loss of technical control over the end product. 7. Julian Schnabel Now, Julian has not yet won an Oscar, and neither has Javier. Still, Julian Schnabel was the first visual artist, who—almost forty years after Warhol’s failed attempt to invade Hollywood with his hoards—has managed to ride