The techno-ecological practice as the politics of ontological coalitions

The paper focuses on the art projects aimed at visualizing (grasping) the physical or biological phenomena through interfaces and / or installations designed specifically for such purpose. Such works often mirror the post-­digital condition of our time where the digital technologies constitute the common background for everyday activities, no longer having the allure of "new" and "exciting" (Berry, Dieter et al., 2015). In this process, both the networked technologies of wireless communication and the act of crossing the boundaries between the digital and the physical play the crucial role as the post-­digital networked imagery increasingly becomes directly connected to the physical environment. I would like to ponder on the questions of processuality and relationality involved in such instances where the complexity of the hybrid works of art clearly transgresses the paradigm of representationalism (Thrift, 2008;; Anderson and Harrison, 2010;; Kember and Zylinska, 2012). The particular attention is given to the fact that such artworks bond different ontological realms (discursive, physical, digital) and different agents (human and non-­human, carbon-­based and software-­based) forging “ontological coalitions” (Malafouris, 2013). Throughout the article the mutlirealist and relational perspective is offered, inspired by the propositions of Gilbert Simondon and Etienne Souriau. Based on the research project supported by National Science Centre Poland ("The aesthetics of post-­digital imagery: between new materialism and object-­oriented philosophy", 2016/21/B/HS2/00746)

Local Availability and Long-range Trade: the Worked Stone Assemblage

On a site without waterlogged deposits in an archi- pelago without forests it is not surprising that worked stone was a significant component of the recovered portable material culture. Five-hundred objects of stone are summarized in the following chapter and itemized in Appendix 12.1. Nevertheless, it is remark- able that a high proportion of this material is demon- strably or probably imported. The steatite (soapstone) has come from Shetland and Norway, mostly in the form of vessels (the broken fragments of which were sometimes recycled as other objects). The Eidsborg schist came from Norway, in the form of hones for sharpening blades. Schist of Norwegian origin was also imported as bake stones of the kind traditionally used for making unleavened bread. Mica schist hand querns for grinding grain were also of non-local origin. They could have come from Norway, Shetland, the Scottish Highlands or the Western Isles