Snapshots of the Synthetic Cameraman


In Snapshots of the Synthetic Cameraman, the image feed is displayed alternatively on each of two adjacent walls that both meet and form a corner. The corner provides both a metaphorical as well as a tangible demarcation line between two radically different representational models anchored in the same virtual environment. The source of the image positioned directly opposite the corner causes the video image to be more distorted the further it gets from the corner, introducing another layer of aesthetic divergencies within each respected image feed to provide a glimpse into the variability of the real-time visualization modalities.

Snapshots solidifies moments from two real-time media artworks: The Synthetic Cameraman and The Synthetic Cameraman VR moments by turning them into linear and repeatable videos. These earlier works were designed as part of the practice-led component of Lukasz's Ph.D. research to explore the potential of designing different representational modalities for an identical 3D virtual environment that depicts a dynamic volcanic environment.

The Synthetic Cameraman is a procedural self-perpetuating but non-interactive visual spectacle. It draws from remediated photorealism, however, thanks to the affordances of programmable real-time graphics, the artwork produces hybrid aesthetics that goes beyond any typical representational spectrum or convention. The Synthetic Cameraman VR, on the other hand, explored the co-creative and formative potential of virtual cameras, it questions the potential of seemingly unmediated and raw insight into a virtual scene, by combing a user-controlled, first-person-view camera with its role as an actuator impacting the environment. Both of these artworks offer a multi-media visual experience conceived through procedurally and user-generated entanglements of settings and parameters, making every second of these experiences a spontaneous, one-time visual spectacle.

About the artist

Lukasz Mirocha is a new media and creative software theoretician/practitioner working with immersive and real-time 3D media. He recently finalized his Ph.D. studies at the School of Creative Media, City University of Hong Kong, where he explored the affordances of general-purpose game engines and 3D content creation software for designing new types of real-time, CGI-based content and 3D/VR environments for art, entertainment, and commercial purposes. He has been engaged in new media/digital technology research and practice for almost a decade, and he has published on new media, digital aesthetics, and digital design and exhibited artworks internationally. Before his postgraduate studies, he worked as a government-funded researcher, technology journalist, strategic foresight researcher, and consultant.