A lot of art from the middle ages is anonymous. Painting itself is an extension of the artist, containing the intension of the person producing it and hence no name is necessary. This is a theoretical state of quality, where activity is not measured in numbers or on a scale but is seen as expression of a particular unique human being. Then comes the renaissance and painters begin to attach names to their works. Here starts a crucial shift - a turn from quality to quantity. Certain artists are better than others and hence quality itself is now measured (quantified) using a name of the person. After that the name becomes so prevalent that some works begin to be valuable only because a certain name was responsible in producing that work. Think - Picasso. Quantity starts to take over. Then comes film and comics and ads where the painter is expected to have no individuality, and he is praised for having a style and technique that is replaceable. Same is true for corporate software development by the way. Here the name (the intermediate state connecting quality and quantity) starts to disappear and is often replaced by a name of a "golem" - a corporation. Quantity dominates - more and faster is better, and the more "nameless" the better. Ten years ago one might think that this is the limit of dehumanisation and it cannot move any further. But now we have AI - where a work of art (or other kind of work) cannot be associated with any quality (cannot be given a name) in principle. And quantity (more, faster, cheaper) dominates. When you think in these terms, the "techno-optimism" is just a place somewhere in this arrow moving from quality to quantity. Or in other words moving from a qualitative anonymity (my work is an extension of my being) to quantitative anonymity (the work is not associated with any being). Hence, it is not a stable position.