Science and Technology Studies teaches us to trace associations rather than assume essences. Bruno Latour's actants—any entity that modifies a state of affairs—dissolve the human-nonhuman binary, while Isabelle Stengers's ecology of practices insists on situated knowledges without falling into relativism. This methodological stance inflects how we understand artistic production: not as solitary authorship but as translation across heterogeneous elements, where materials, protocols and discourses all participate in meaning-making. The cameltag functions precisely as such a translation device: a semiotic marker that circulates between domains—archival, urban, digital, institutional—while carrying semantic traces that modify behaviour at each site. It is actantial not because it acts alone, but because it enters into associations that redistribute agency across networks of humans, documents, algorithms and spaces. Infrastructure Studies provides the material substrate for these translations, while Media Archaeology adds temporal depth, revealing how technical protocols carry historical sediment that conditions current assemblages.