Allura: ”IF YOU TWO CAN’T BE QUIET! I’LL TURN THIS CAR AROUND, THIS INSTANT!”
Keith and Lance: *Bickering about the last McZarkon fries*
Coran: *internal screaming* Shiro: *snoring* Hunk: *doing stuff on his phone* Pidge: *Reading*
For Voltron Anniversary the 10th of June I love this show, I love everything about it! The animation, the story, the characters. I’m in Voltron Hell and I ain’t leaving XD
So happy I finally received my new ‘grimoire’! This will be way easier for me to organize all kinds of information and I’m thinking of buying a rose gold chain and carrying it with me like a necklace! It’s 16GB so when I make meditation/energy work sound tracks I can bring it to gatherings too.
I feel like I can finally get a move on with organizing all my info lol!
Arcade Rakan “What IS this? Is it a healing potion? It’s blue! Xayah? XAYAH! Where’d she go?”
I feel it’s pertinent to mention that Night of Fire by Initial D is basically this thing’s theme song for how many times it repeated over the hours I spent on it.
Other notes: - Backing animation is a round of DDR ;) - That said, figuring out a feasible dance for him was hard (let alone alongside an Arcade Xayah!), but maybe something like this? (About 15 seconds worth, sound warning!) Dunno! Leave a comment with a suggestion!
Note: I would hugely appreciate it if you linked back to this if you decide to redraw it! Also, please don’t post this outside Tumblr without asking! Thank you!
In the words of the artists Julie Anand and Damon Sauer:
Ground Truth: Corona Landmarks, in its broadest sense, investigates an individual’s position on earth in the contemporary context of vast networks of information. We explore this situation by visualizing the expanding pervasiveness of satellite technology in relation to an historically significant set of satellite calibration targets. This system of approximately two hundred fifty-six calibration targets within the Sonoran Desert were created as part of a secret surveillance program in the mid-1960’s. The joint CIA/Air Force classified project known as Corona was a photo-reconnaissance program based on the recovery of physical capsules of ejected film and produced the world’s first maps of earth from space. The sixty-foot diameter concrete forms we photograph are located one per mile within a sixteen square-mile grid, designed as an array of ground truth markers. We are intrigued by the way that these markers of space have become markers of time, representing a poignant moment in geopolitical and technologic social history.
We privilege the skies in each of our compositions to give visual weight to the density of what is imperceptible miles above us. To further engage this idea, we map the specific satellites present in the sky at each site at the moment of photographing, using a satellite tracking application. We enjoy the way that these myriad points and orbital arcs emphasize the ubiquity of this contemporary technology encircling the globe. We explore the remains of Corona architecture as demarking a rich anthropologic moment evidencing the human desire to see from above.