Rogala's first art work to receive widespread acclaim was his Pulso-Funktory, a pre-interactive mixed media installation created between 1975 and 1979 that contained pre-virtual interactive analogue components.
In the words of critic Frank Popper, "When Rogala moved from Poland to the United States in 1979, he remained attached to his early works, which inspired a need to search for a medium that could synthesize the intrinsics of individual media and the desire to seamlessly cross the boundaries of each medium without losing the intensity, density, and precision in an effort to continue the same idea in different media.
Rogala's photographic component was of a street in Chicago that would, if the viewer provided the right conditions, jump or "leap" to video clips shot in Jamaica.
In this exhibit, audience members could carry wands that would trigger changes in image and sound content as they moved through the MCA's video gallery.
It accompanied a performance work, Divided We Stand, described as an interactive media symphony in six movements, which linked the use of these wands to an event involving musicians and dancers.
[6] Divided We Sing (1999) was commissioned by the Pittsburgh Center for the Arts and also used wand technology, with the participants' gestures triggering spoken words (from radio and voice over artist Ken Nordine) and sung music (from Urszula Dudziak and Jennifer Guo).
[9] These skills led to the creation of a number of video installation and theater pieces which could be shown with precise frame-to-frame coordination between or among the different channels.
"[10] Remote Faces: Outerpretation (1986) used seven synchronized channels of video, parallel to the seven days of the week, with two groups of three monitors flanking each side of a larger screen.
Writing in the Chicago Sun-Times, Lynn Voedisch has described it by saying, "It features swirling photography, witches who resemble street people, robots and synthetic speech.
Richard Christiansen of the Chicago Tribune wrote of it, "On this giant video canvas, Miroslaw Rogala has composed urban and rural images that rise up, fade out, dissolve, fragment, reduce, blow up, and spin like a top in an ever-changing miracle of computerized artistry.
[14] Since 1993 and throughout the first decades of the twenty-first century, Rogala has been involved in an ongoing series of still, mixed media, and video artworks for which he has transformed photographs and digital sources using Mind's-Eye-View 360-degree perspective software developed by Ford Oxaal.
Recently Rogala has been experimenting with transformation of still images and digital video through the use of multiple exposures, embodying his concept of "zig-zag time."
Animating the transformed imagery he had been exploring in his post-photographic works, Rogala juxtaposed on four screens swirling, often distorted images of apples, sunflowers, mushrooms, trains rushing past urban cityscapes, the Berlin Wall, and other subjects.
"[18] Miroslaw Rogala has repeatedly told the story of how as a child his parents sold a cow to buy him an accordion and pay for private music lessons.
These included Human Factor (1988), Lovers Leap (1991-1997), and Year of Passion (1997), all of which were scored for computer, synthesizer (and "granular synthesis"), and prepared piano with interactive video sequences.