In this art/archaeological study, we question the utility of the interrelated concepts of provenance, provenience, and paradata as applied to assemblages in art, archaeology, and cultural heritage contexts. We discuss how these overlapping concepts are used to establish values of authenticity and authoritative attributions. However, as cultural assemblages are increasingly being extended through virtualisation, they may exist digitally as well as physically, or as combinations of both, that is phygitally. We show how provenances and paradata can now become unstable and even detached from the assemblage. Through a sequence of collaborative projects, we expose two provenance illusions at the centre of archaeological recording and presentation practices. In these illusions, the archaeologists and much of the archaeology they record actually disappear from the authoritative reports that are published. Using a transdisciplinary, diffractive art/archaeology approach, these illusions are unpacked to reveal how superficially slight changes to traditional archaeological “drawings” and “photographs” have wrought fundamental ontological shifts in their modern phygital incarnations which undermines their provenances and associated paradata. We conclude that archaeology like fine art does not require conscious paradata in order to support statements of authority and interpretation. Instead, we argue that archaeologists should adopt an art/archaeology approach and subvert and dismantle established practices, methods, tools, techniques, and outputs. By highlighting and challenging inconsistencies in what we say we do with what we actually do, we expose gaps in our knowledge and data and shortcomings in our practices. These deficiencies can then be tackled by developing more robust (trans)disciplinary approaches.

中文翻译：

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出处幻觉和难以捉摸的 Paradata：当考古学和艺术/考古实践遇到物理

在这项艺术/考古研究中，我们质疑起源、起源和副数据的相互关联概念在应用于艺术、考古和文化遗产背景下的组合时的效用。我们讨论如何使用这些重叠的概念来建立真实性和权威归因的价值。然而，随着文化组合越来越多地通过虚拟化扩展，它们可能以数字方式和物理方式存在，或者作为两者的组合，即物理方式。我们展示了出处和超数据现在如何变得不稳定，甚至与组合分离。通过一系列合作项目，我们在考古记录和展示实践的中心揭露了两种起源错觉。在这些幻想中，考古学家和他们记录的大部分考古学实际上从发表的权威报告中消失了。使用跨学科、衍射艺术/考古学方法，这些幻觉被解开，以揭示对传统考古“图画”和“照片”的表面细微变化如何在其现代植物化身中产生根本性的本体论转变，从而破坏了它们的出处和相关的超数据。我们得出的结论是，像美术这样的考古学不需要有意识的副数据来支持权威和解释的陈述。相反，我们认为考古学家应该采用艺术/考古学的方法，颠覆和拆除既定的实践、方法、工具、技术和成果。通过强调和质疑我们所说的我们所做的与我们实际所做的不一致，我们暴露了我们知识和数据的差距以及我们实践中的缺点。然后可以通过开发更强大的（跨）学科方法来解决这些缺陷。