envisioning development

anonymous asked:

Just wondering, what exactly made you ship Sheith and Plance romantically? Is there any specific moment or it was a slow build?

:O *cracks fingers* I’m ready.

Before I get into Sheith (because it will be long), let’s talk about Plance.

Plance snuck up on me. I always loved the moment when Lance freaks out about her coming out as a girl because it reminded me of Ron/Hermione when Ron says before the Yule Ball, “Hermione. Neville’s right. You are a girl!” I didn’t really care to ship them at first because I’ll admit, it was hard to envision Pidge developing very strong feelings for anyone, but that little interaction always stuck with me.

Then I noticed in S2 the amount of times they sass each other, but they’re lowkey blushing when the other gets it right. I just was like, “HM, that’s interesting.” I really just love the idea that Lance, who is usually attracted to conventional beauty, can have these feelings for Pidge sneak up on him. Someone who’s always there, someone who falls under his radar in so many ways, someone who isn’t “conventionally” pretty. And him just suddenly being hit with that and thinking, oh shit. I love the idea of Pidge being annoyed at Lance most of the time, and him growing on her more and more as she opens up to the team, starting from their Garrison days, and also having a sudden realization of, oh shit. I think Lance could potentially grow in this ship in ways he wouldn’t in other ships. Something about their dynamic and the way they interact tells me that. And besides, let’s face it, Plance would totally be the pranking, meme-r couple with a lot of laughs. :)

(I also became friends with @babsignal​ and she helped fuel my Plance feels more, lmao.)

And now, a few fics/fanart later, I’m just straight up obsessed. 😂

OKAY. So now, let me tell you the love story of me and Sheith~

So normally, when I watch shows, I don’t ship things right away. It takes some time for the feelings to really grow. (Much like how I am in person, I don’t fall in love with people right away haha) But when I watched the first episode ever of Voltron, I was very 👀👀👀 at the shoulder touch outside of Keith’s cabin. However, I was also live blogging the entire season to my friends and trying to figure out their MBTI (because I’m a Myers Briggs nut) so my attention on my first watch of the season was a little shoddy.

By the end of it though, I still had a slight leaning towards Sheith because of how close and intimate they are. They’ve got a past, a history, and an already established trust. (I did a search in my discord server to find the moment I started shipping them, and I literally said the words, “I’d be really surprised if Keith doesn’t have canon feelings for Shiro??”)

First of all, I gotta say that at this point now, Sheith really means A LOT to me for so many reasons beyond what I see in the show. I love their dynamics, the fact that even if you take it platonically in canon there’s no doubt that they love each other and watch out for each other. Shiro’s the one who calms Keith down and helps him focus. Keith’s ALWAYS the one who snaps him out of a bad flashback and always the one who notices when he’s in trouble. They have intimate moments, whether you choose to see it as platonic or not (sitting by a campfire, long extended hug, Shiro being vulnerable for the first time ever in S2E1, being the person Keith “most desperately wants to see”, etc.) – I love seeing that depth and care, so yeah, I hella ship it.

(And incidentally, I just saw this post, which is basically a nice summary of what I mentioned above, and then more.)

But beyond what’s in the show, it also reminds me of a significant relationship in my past that didn’t work out, except Sheith is like the healthier version of it. Seeing similar dynamics and that deep intimacy in Sheith has actually helped me really heal and move on from that time in my past. Sheith gave me this hope that people with the same dynamics could be healthy and have each other’s backs. It was rewarding for me to write Sheith fics and explore those avenues, and at the same time, emotionally process how I feel about that past relationship.

At this point, it’s just a ship that holds a LOT of meaning to me. Back during Christmas, when I get the most nostalgic about everything, I was writing a lot of Sheith fics and I remember one day, it suddenly hit me how much I’ve progressed emotionally away from that past relationship. Like I legit started crying when I told my husband about it. I think because of Sheith, I was able to allow this deep part of me to live vicariously through them and find my own sense of closure that I needed. That’s the beautiful thing about fiction, and I’ll always hold Sheith close to my heart because of it. <3

So… yeah. tl;dr: Sheith means a lot to me because of personal reasons and I think there’s so much depth there that’s already on screen. It’s a damn good ship, son.



The ONLY. ONLY Smash Bros game envisioned and developed from the ground up as an actual fighting game is Smash 4. Every other game is intended as a party game. You had to mod the utter shit out of Brawl to make it remotely like a fighting game (Project M is actually pretty okay cause you can play it on a non malfunctioning GCN controller and it’s not just Fox and Falco), and melee is a bad unbalanced party game where the game 5 people trade the championship with one another using one of the same characters that can glitch across Final Destination ad infinitium. They get LIVID where there aren’t any CRTs (which basically NO fighting game uses) or specifically busted and malfunctioning game cube controllers.

The Harmonic Groups (3)

The Emotional Realness/ Intensity Group: 4, 6, 8

This group deals with difficulty by reacting emotionally and looking for similar emotional responses in others that mirror theirs. They have difficulty placing their trust in others, need to properly vent emotions otherwise they become bitter, and are either looking for advice and direction or defying it. 

4: Type 4s can be over-dramatic and withdraw into their own imagination during their melancholic moods. Deeply withdrawing into their imagination leads to rooted feelings of hopelessness. They subconsciously want to be parented, so they will not feel insignificant (core fear.) They seek someone who will help and understand them; someone who can help better them so they can feel seen. They fear abandonment and not having enough support to become the person they envision themselves developing into. They deal with others by playing hard-to-get to keep them interested, and they hold onto those who support them.

6: Type 6s may be too paranoid, skeptical, and pessimistic. Their anxiety is brought out during conflict and they tend to overreact and feel inferior. They want to be the parent and feel parented- in order to not feel unsupported and without guidance (core fear.) They seek autonomy though they still want to be able to rely on someone. They like feeling that they are the one people can depend on. They fear being neglected, unsupported, and becoming too dependent on others. They deal with others by staying committed, all the while remaining independent. 

8: Type 8s derive a strong sense of identity through their emotional realness and can be too confrontational with conflict and challenge. They like to feel the intensity of a problem because it fuels their activity. They want to be the parent and provider, so they won’t have to feel controlled (core fear.)  They seek self-reliance and would like to need others as little as possible in order to self-actualize, and fear being restrained, intimate, and vulnerable.They don’t want to be betrayed and need to know where others stand with them. They deal with others by remaining defensive by keeping their guard up and strengthening themselves against hurt and need for others. 

Women's History Month - Abby Bobé
Ms. Bobé is a technology activist and a social entrepreneur.

A former community manager at Black Girls CODE, she successfully managed a $100,000 crowdfunding campaign to help educate 2,000 girls and seed fund 7 chapters across the US. Prior to this, she worked internationally, creating a Computing Technology Programme in Tamil Nadu, South India that taught 80 school children and 20 women digital technology.

During the rising of the #handsupdontshoot movement, Ms. Bobé moved to Missouri to give activists tech tools and taught them how to manage web pages and gain publicity. Working with HandsUpUnited, she envisioned and developed the Clay Sr. Tech Workshop with activists. The workshop was a 6-week programme which taught de-coding, and had the aim to strengthen black-owned businesses, nonprofits and social movements in the area. 

Her twitter is here : https://twitter.com/abbybobe


Dancetronauts: 21st Century Kiss of the Media

Jennifer Brigitte

Transmedia storytelling is the new frontier in an entertainment complex that is constantly in the state of influx. Not a day goes by in which the minds of the populous alternate in various states of fickle decisions. The trends that dominate the airwaves are predetermined  by the consensus of the masses. In a world in which artistic minds are cajoled to render their souls to the manufacturers in corporate apparel, it is a testament to those few in the lucky bunch that survive the grinder in order to retain creative licensing and control of their brand and most of all, their legacy.

Dancetronauts combines artistic achievements in the audio/visual worlds of technology, performance art,  and music. Their unparalleled flair for the grandiose and exuberant magnetism that pulls in even the most cynical in a generation dominated by the superficial brands that caters to style over substance attribute. They are the pioneers that escape the prism of two-dimensional storytelling with a state-of-the-art hydraulic mobile stage that performs as both a gypsy art caravan transporting audiences to an electric on the road party reminiscent to the sixties revolutionary events orchestrated by the Beat Generations’ heroes Ginsberg, Kerouac, Cassady, and Kesey as they traveled alongside The Grateful Dead for a charming Electric Kool-Aid Acid trip. In fact, in the underbelly of the reinvented counterculture movement proceeding to take over our consciousness, Dancetronauts stand out in the pack as the new musical claimants to the obscene politically incorrect crowd enthralled by the fusion of the telematic arts and culture with the technological engineering prowess symbiotic with the feats coming out of the old school gentlemen over at Silicon Valley.

What defines Dancetronauts is that they are not confined by the spaces between them. They are not just an EDM producing enigmatic power team. They are technicians, engineers, musicians,  promoters, and everything in between. Their ace-in-a-hole is the group’s involvement with The Confluence, the powerful public relations juggernaut that combines its love for the aesthetics and combines it with a distribution channel that connects to an endless stream of movers and shakers. Truth be told, many of the Dancetronauts are members of The Confluence Group and together with their mission to make a dent in the world, the influential Dancetronauts are ready to make a grander contribution to the world’s conscious thinking. Their cultivation of their brand is treated with white gloves. Where many mainstream artists fail to retain their independence, Dancetronauts solidify their brand by becoming the developers of their product. Their unprecedented dominance in the media, backed by their development and envisioned branding of other metropolitan brands give this group a chance to seep through every medium seamlessly with one golden thread. Their futures are as bright as the LED neon lights on the Strip Ship Caravan.

But in order to propel any type of brand to the to the apex of their career, one must be graced with a manager that can kick it with the best of them and march to sounds drums and fireworks. This particular person is the selfless crusader that with zealous enthusiasm studies the idiosyncrasies that compose the polar trends that generate the capital. The group’s answer was in the form of Harry Hsu, a Chinese American genius promoter born in Burbank, California who despite entering the scene in March 2014, has become the mouthpiece for the Strip Ship cruisers.

At the Influential Network’s private Electronic Daisy Carnival party, Hsu proudly wears the Dancetronauts uniform (a white astronaut jumpsuit). The highly intelligent observer gallantly escorted the team around the palatial party house. Aside from his work with Dancetronauts, Hsu is an ardent advocate of feminism and highlights his philosophy for an improved society between men and women, especially in the token industries such as the entertainment and technology where a matriarchal influence is quickly suppressed by the advent of patriarchal dominance. He would like to see more opportunities open for women in the male dominant world. Hsu then recalls the night he became a Dancetronaut.

In March, Hsu coordinated his own event in Summer Fest in LA, a rave show, so he would be able to raise his own funds. The event’s large gathering caught the eye of a very important supporter. In late July, Hsu will be co-managing Summerfest in Venice Beach.

“An important supporter, connected to Dancetronauts, was present in the event. He asked if I wanted to be in a team called Dancetronauts, and later after thinking about it I said yes. This all happened one week after March of 2014.”

It is not hard to see why the band of astro-dancers sought after the masterful Hsu. The mediating prodigy with an 154 genius IQ taught himself  advance music theory in ten months.

“I learned music in general…. how to to do scales, how to compose, arrange, music theory, the dubstep, move it girl, electro, techno composition…”

What Dancetronauts ultimately needs is a simulacra of their brand and individuality in order to massively reproduce a technically limitless imitation of a fantastical reality that combines the engineering team of humans designed to recreate the perfect performance art feat to ever be achieved.  Much like the Disney World resorts and theme parks around the world, Dancetronauts have the ability to reproduce their likeness under many genres in order to render any falsehood to a draw.

At The Influential Network Party in Las Vegas, Dancetronauts returned to their patron Devil’s playground with their most ambitious project yet. They unveiled their 70 ft performing rendered mobile art car stage. Their first incarnation debuted at Burning Man two years ago. This time around, the Strip Ship has 80,000 watts of sound and the world-debut of the ProVision state of the art LED displays.

The story of how they became the Dancetronauts was one of legends. The beautiful disaster became their ace to step of the vertigo of what is normal and extend their talents across all borders of science, music, architectural designer, and multiple extensions of the technology and engineering.

“Phil and Jeff organized a small event for the small bar, hoping for 100 max. Well on the day of the event that small bar was FULL, crowded with people, people were even standing outside, they ran out of alcohol TWICE. Dancetronauts had done a small set and they knew people had come to see them perform. That bar owner made so much money that night. After the event, the guys wanted some percentage (not a lot) for making this possible for him, the bar owner gave them the cold shoulder, so the guys brush it off and left. 2 weeks later that small bar got shut down.”

To most bands, this experience would leave them with a bitter taste in their mouths and become burned out but not Dancetronauts.

“That’s when the guys whom were engineers started to build their first mobile gigantic station. What we know now as their art vehicle  The Strip Ship. They build this amazing piece of moving art in Phil Plastina and his brother James Plastina drive-way.”

The genius behind the mobile art extravaganza is Santa Cruz based Phil Plastina, a sound engineering and speaker design specialist who spent much of his career creating custom speakers for musicians like LL Cool J, Public Enemy, and Gangstar. After moving to California in 1996 and moving through a multitude of design work, Phil set his sights on creating the cleanest sounding sound-systems on earth. His lifetime of work has culminated at the one of a kind “Bass Station” system, which continues to shatter previous conceptions within the world of live sound.

With the feverish push to the apex of their targeted industries, their reverential brand becomes a wickedly powerful simulacrum to the second power because the reality of their brand suspends the belief that the copy does not exist because the fantasy has usurped itself as the iconographic replacement of the reality. The art of a packaged artist is similar to the mass production of an unprecedented pop culture iconic image imprinted in the landscape of Americana. In the late 1950’s, advertisement companies embraced the new wave of modern art with the birth of America Pop Art. Andy Warhol’s motto was simple: “In the future everybody will be famous for fifteen minutes.”

“Dancetronauts are not just performers. They compose their own production with a unique selection of music, they’re engineers everything was made possible by Phil and his team of engineers. Dancetronauts interact with their audience a lot. They get out of their way to appear on the crowd. Our Dancetrohotties will also go to the audience, our gogo dancers whom are beautiful inside as they are out, teaching them choreography to go along with the music.

Dancetronauts help the audience to have FUN, if we see someone that’s really good we invite them on stage with us and they’re able to show off for a good while. We see everyone as a star once we are on stage. Dancetronauts have been humble right from the start.”

Dancetronauts surrounds us with images ready to be consumed, therefore, a brand worthy of an elite status needs to bring its A-Game when it deals with maximum exposure. In an era in which technology is constantly changing and an entertainment medium that constantly craves for the next best thing, a new product has to have that Rudolph Valentino or Clara Bow “IT” factor to allow the brand pop amongst the rest of the heap.

When June Mathis, one of the first female Hollywood mega producers, discovered a young Rudolph Valentino, she coined the phrase “It,” describing it as the special inexplicable quality that makes that one person special and being a part of something special makes you special, right?

Dancetronauts have an EP out on iTunes with four fully produced songs ready for mass consumption. As soon as the thunderbolt of lightning that is the Strip Ship touring experience wanes down, the influential network of astro-stars have set their sights to expand their universal catalog.

“We are planning on keeping everything as it is but we do want to expand the experience of our performance to our audience. I wouldn’t say mainstream but I do see it along side with our larger profile. We do have 4 singles out in iTunes, just small releases of EP. All the songs have really great production Russell and the team want to start working on the first album.”

Everything from the past is retroactively returning to the present and if anything was learned from the modernity of Pop Art and its master of ceremonies, Andy Warhol, it is that the product labels and logos can make head waves into the fashion of art and memorabilia. Think Andy Warhol’s image of the Campbell’s Tomato Soup Can. With Dancetronauts, is not about the capital in the bank but the impact on the mass populace that extends from their fantastical Strip Ship extravaganza to the simulacrum they build beyond the human lifespan.