Subjectif

A virtual reality piece by Chase Martin


A World Full of Possibilities

Motivation and Scene Components

Interaction Considerations

A World Full of Possibilities

Subjectif is an dual interpretation of the various infulences of my life. The design of the scene is meant to provide two perspectives, one from the surface lece and one from afar. The planet itself is in the middle of upheaval, torn between the its natural state and an invading corruption that threatens to redefine the entire planet. A tower stands omnipresent throughout the scene. With its tentacles reaching out over the landscape and its base the source of the corruption that leaks its way over the rest of the planet. At its base, the tower's corruption leaks over the world and into the spaces occupied by other objects. From the porch of the house there is the promise of a new day. But from the deck, the specter of the tower still looms in silent reminder of its aggressive intentions. Not even the idea factory of imagination can escape the influence of the black perversion that threatens the swallow the planet. A distress signal could be sent through the media, but the tower has already had its way with the broadcast beacon, flooding the system with inanities. The only chance we have is to get off of the planet. But it is unclear whether this is an escape or a moment of reverence. Are we abandoning it or are we allowing ourselves a moment to see the world for what it truly is?


Motivation and Scene Components

The corporate imagery that the skyscraper evokes is meant to stand as an icon for an established way of thinking that is static and inflexible. The tower is meant out of touch and alien to the nature of the rest of the scene and this is reflected in it's obtrusive and threatening nature. On its base is the word "Bomb" in graffiti letters. Like many other parts of the scene, this is meant to have a dual meaning. The word bomb is slang for graffiti, which is a counter-culture art that is at its essence one of purest forms of free speech directly because of its illegality. This aspect of the tower is presented as the answer to the established form of thought that threatens the planet and its explosive meaning evokes the "anything goes" nature of the stuggle that must be done to stop these dangerous mantras that threaten the planet.

The tower is most ominous from the back deck of the house. The house is my starting point, the origin and as such, I chose make the texture map using actual pictures of my boyhood home. I intentionally left the colors of the house intact although the didn't fit directly into the color pallet that I had in mind. I wanted to do this because I hoped to show some of the progression from where I had come from and I am.

Another threatened native part of the scene is the factory, which stands to represent the world of imagination. Like many things in the scene, the texture maps move from the ground up to reflect the effect of the dichotomy that the planet is experiencing. In this respect, the factory is changing from an open, uninhibited space to a hardened, concrete structure. The raison d'etre brought with the corruption has morphed the imagination to its more purposeful application and started the factory, initiating production of thought to create simply for the act of it. This is the choice to texture the factory's product as a lumpy mass of grey brain rather than specified and useful ideas. Its existence is justified by its production.

The radio tower is a counter balance of the omnipresence of the skyscraper. The fact that it has the power to circle he planet makes it a valuable tool but because it is so far within the influence of the corruption. The texture map is a comment on how the mixture of images presented by the media through the radio tower are so dispirit that none maintain any real significance. The subdued red, white and blue is intended to bring this as a criticism of an American society that allows such a powerful device to be used in such a futile manner.

While the space station, path, and rocket seem like an escape from the problems that ail the scene, they are intended to provide the vantage point necessary to see the effects on the planet as a whole. One of the things that interested me when starting this project was the effects of space travel on the environmental movement. The immediacy of day to day life skews our vision of our role in the greater world, much like the living of our lives day to day often makes the role of individual influences hard to quantify. Only by moving away from the planet can you see the interaction of each object in a coherent manner and the space station, path, and rocket provide a starting point, path, and vantage point for this to be done. In this manner, this shift in perspective is intended to be the ultimate solution to the scene and is signified by a change in music and a vantage that points to a brighter future.


This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene
This is a picture of my scene