Abstract : By bringing together various parties and multidisciplinary contributions, digitalized art parcelizes the act of creation with, as a consequence, various ways for referring to the “work” of art. The outcome of this joint, polyphonic production process might be a piece of software, separate from the work itself, or an artwork, which might or might not incorporate the computer program. What arrangements ultimately redistribute these multicentric externalities between the cooperating parties? How are the results of this coordination exploited depending on the market (academic or industrial) of destination? By emphasizing the arrangements necessary for finishing a co-production whose social career is described, this article draws attention to the changes introduced through digitalized innovations and explains the new arrangements for giving credits and promoting partnerships between art, science and technology.