The Deconvolution of Things is an art-game installation, consisting of a digital game, individual controllers (ludic things), the setting of a laboratory, from where we can observe the game. It combines two ideas: the Gaia hypothesis and the Actor-Network theory. In the digital game we have transformative organisms assembling to one big super organism and in the laboratory we have many actors and actants like things and participants finding themselves in an assemblage deciding on the thing to discuss, the abstract planet in the digital game. Both theories consider non-humans as important factors in fluid systems or networks we live in.
The „Deconvolution“ in the title stems from the mathematical transformation used in Generative Adversarial Networks. It means „unfolding“ the information of an image. The smaller representation gets transformed into a larger more detailed version of the image.
„The Things“ in the title refer to the things to be discussed or the things of matter according to Latours „Parliament of things“ and other ideas.
The journey starts in an abstract world of colorful elements, with which the players can connect and grow together. Five players control one character together. There are some portals in the world. By moving towards it, you get transported to another point of view. You can move around limitlessly and enjoy the view, but there is also one goal to achieve. By entering the red ball, you will deconvolute/unfold and see the transformation of the planet you did become. Later it is possible to save the 3D Model (the artefact) of the object you became.
The 3D objects (physical and digital) were created with a 3D GAN (Generative Adversarial Network) coded by Markus Goldgruber. The GAN-generated outputs became the foundation for the ludic things and the digital organisms. These forms provided a visual and tactile embodiment of Latour's "Parliament of Things," where humans and non-humans collaboratively negotiate meaning. By employing a 3D GAN, The Deconvolution of Things not only demonstrates the power of emerging technologies to shape artistic practices but also serves as a meta-commentary on the act of creation itself. The GAN becomes an actor within my network, not merely a tool but a collaborator contributing to the assemblage.