This paper describes our creative responses to a surface assemblage (a scatter) of lithic artefacts encountered on either side of a worn track across a field early on in the pandemic. Our art/archaeology response takes place within a phygital nexus in which artefacts or assemblages can be instantiated either physically or digitally, or both. In the nexus we create, connect and explore an ontological multiplicity of – more or less – physical and digital skeuomorphs and other more standard forms of records for sharing (i.e. Latour’s immutable mobiles, such as photographs), but rendered with radically different properties and affordances, at different scales, with different apparatus. These include interactive Reflectance Transformation Images, graphical surface models, machine intelligence style transfer, and 3D prints, all of which were produced in a variety of isolated analytical “bubble” settings and transmitted to and from (both digitally and physically) a home office in an isolated Hampshire village and a home studio in a London suburb. Our approach is to describe, diffractively, the ontological shifts and itineraries associated with some of these objects and assess how this assemblage came to matter as an art/archaeology installation. Ultimately, some of these deterritorialised, (re)colourised, affective, biodegradable, and diffractively born metamorphic instars, now inscribed with new meanings, are returned to the original findspot of the lithics to be (re)discovered.

中文翻译：

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追踪和追踪，以及植物大流行中的其他协作艺术/考古泡沫

本文描述了我们对大流行早期在田野上磨损的轨道两侧遇到的石器制品表面组合（散布）的创造性反应。我们的艺术/考古学反应发生在一个植物关系中，其中人工制品或组合可以以物理或数字方式或两者兼而有之。在这种联系中，我们创建、连接和探索本体的多样性——或多或少——物理和数字拟物化以及其他更标准的共享记录形式（即拉图的不可变手机，如照片），但呈现出完全不同的属性和可供性，在不同的尺度上，用不同的设备。其中包括交互式反射变换图像、图形表面模型、机器智能样式转换和 3D 打印，所有这些都是在各种孤立的分析“泡沫”环境中制作的，并在一个孤立的汉普郡村庄的家庭办公室和伦敦郊区的家庭工作室之间传输（数字和物理）。我们的方法是衍射地描述与这些物体中的一些相关的本体论转变和行程，并评估这种组合如何成为艺术/考古装置的重要组成部分。最终，其中一些被解域、（重新）着色、有情感、可生物降解和衍射出生的变质龄期，现在被赋予了新的含义，被送回了要（重新）发现的石器的原始发现点。