Game Engines and the Gesamtkunstwerk

Methodology

This documentation shows the various processes and methods that relate to the Methodology Chapter of this project's exegesis. It showcases supplementary material that expands upon the documentation already explored in the exegesis, such as video and drawings.

First, here are some experiments with Gerstner Wave functions in Unreal Engine. As seen above, these experiments showcase how the function can be applied to 3D shape, such as a sphere in this case, creating topological animations. In later works, such as Expanded Spaces and Spatial Expansions, I would use the gerstner function on a variety of 3D objects to explore how it could be used to illustrate 4D topology.

Lobwein, G. (2025). Gerstner Wave Experiments video. [Video documentation, 02:17 runtime].

(2020). Gerstner wave function experiment I. [3D game engine animation]. Rendered images.

(2020). Gerstner wave function experiment II. [3D game engine animation]. Rendered images.

(2020). Gerstner wave function experiment III. [3D game engine animation]. Rendered images.

(2020). Gerstner wave function experiment I.V [3D game engine animation]. Rendered images.

(2020). Gerstner wave function experiment V. [3D game engine animation]. Rendered images.

Five experiments with the gerstner wave function.

Photogrammetry Process

The images and footage below demonstrates how I create my own 3D models, using a process called photogrammetry. It involves taking many images of an object or space, and then using a program called Reality Capture to transform these images into a 3D model. On exporting the model, it can be then used in a variety of digital programs, including game engines like Unreal Engine.

(2022). Basalt cliffs on the Obi Obi, Maleny. [photograph]. Taken by Author.

(2022). Basalt cliffs on the Obi Obi creek bed. [photograph]. Taken by Author.

Images of photogrammetry locations in Maleny.

Lobwein, G. (2021). Photogrammetry Process. [ Video, Reality Capture 3D models, Unreal Engine footage, 02:01 runtime].

Game Engine Merz

The video below illustrates how I begin my game engine worlds, where Kurt Schwitters' making theory of Merz has been key to thinking about these 3D spaces as sites for studio experimentation. Although I expand upon this within the document, here this footage showcases how the process actually unfolds: collecting, combining, and building game engine worlds using Merz.

Lobwein, G. (2021). Game Engine Merz video. [ Video, Reality Capture 3D models, Unreal Engine footage, 02:13 runtime].

Early Character Designs

The following drawings showcase the various characters and costumes I designed over the course of this project. Throughout my consistent sketching, these drawings show how I was constantly influenced by1920s avant-garde costuming, attempting to rethink how these costumes could then reimagined in the 21st Century. Importantly, these are the costumes that I did not use in The Mirror Sphere, where they illustrate the alternative designs for the artwork.

(2020). Sketch of the Interpreter. [Pen and ink on paper]. 210 × 297 mm.

(2020). Sketch of the Operator II. [Pen and ink on paper]. 210 × 297 mm.

(2021). Sketch of the Operator and the Technician. [Pen and ink on paper]. 210 × 297 mm.

(2021). Sketch of the Technician and the Interpreter. [Pen and ink on paper]. 210 × 297 mm.

(2020). Drawing of the Technician. [Pencil on paper]. 210 × 297 mm.

(2021). The Blau Tanzer. [Pen and watercolour on paper]. 210 × 297 mm.

(2021). The Technician alternative design. [Pen and watercolour on paper]. 210 × 297 mm.

(2021). The Interpreter alternative design. [Pen and watercolour on paper]. 210 × 297 mm.

(2021). The Interpreter. [Pen and watercolour on paper]. 210 × 297 mm.

Various drawings of characters and costumes.

Early Game Engine World Designs

These drawings exemplify the various sketching I undertook during this project, thinking through concepts, ideas, and potential world designs. Throughout this process, I use drawing as a kind of Merz, considering how the confluence of objects, things, 3D worlds, can come together in my practice. Here, these sketches are emblematic of this process, and further showcase how I arrived at the final worlds in The Mirror Sphere.

(2020). Merz-Drawing I. [Pen and Ink on paper]. 297 x 420 mm.

(2021). Proun world I. [Pen and Ink on paper]. 297 x 420 mm.

(2021). Gesamtkunstwerk suit world. [Pen and Ink on paper]. 297 x 420 mm.

(2020). Merz-Drawing II. [Pen and Ink on paper]. 297 x 420 mm.

(2021). Drawing of Proun world, characters, and notes. [Pen and Ink on paper].

(2021). Drawing of Spherical Expansions planning, characters, and notes. [Pen and Ink on paper].

Drawings of game engine environments and notes.