View allAll Photos Tagged robotart
They're Here VI
Photoshop series where "real meets surreal."
Web Site: www.jimmiefisher.com
Twitter: @JimmieFisher
Special thanks to Tinkerman Dan for the use of "Perambulare 55" photo.
They're Here III
Photoshop series where "real meets surreal."
Web Site: www.jimmiefisher.com
Twitter: @JimmieFisher
Science fiction fans—especially those steeped in Star Trek’s utopian vision or Star Wars’ mythic struggles—have been rehearsing the future in their imaginations for decades. Star Trek taught them to see technology as a bridge to cooperation and exploration, while Star Wars dramatized the tension between technological power and human spirit. For those fans, AI isn’t a shock; it’s the fulfillment of a narrative arc they’ve already internalized. They’ve lived with the idea that machines could talk back, that societies might reorganize around new technologies, and that ethical dilemmas would emerge from human–machine relationships.
For others, though, the pace of change feels disorienting. Most people haven’t had that imaginative training ground. They’ve thought of technology as tools, not companions or collaborators. So when AI suddenly appears as something that can reason, create, or even challenge, it feels uncanny. The adaptation gap is real—science fiction fans have a cultural “muscle memory” that others may lack.
What’s fascinating is that science fiction didn’t just prepare individuals; it seeded collective expectations. It gave them emotional templates for facing the unknown. Fans often welcome AI as part of a larger story, while others feel like the story has been thrust upon them without rehearsal.
It raises a provocative question: are we living in a moment where imagination itself becomes a survival skill? Those who’ve trained their imaginations through speculative worlds may adapt more fluidly, while others will need new cultural narratives to catch up. How might non-fans build imaginative resilience now? Bing Copilot answers that question this way:
Imaginative resilience isn’t just about enjoying sci-fi, it’s about cultivating the ability to see beyond the immediate and rehearse possibilities. For those who didn’t grow up immersed in speculative worlds, there are still rich ways to build that “muscle” now.
•Engage with diverse storytelling, including myths, folklore, and magical realism.
•Play with thought experiments: Ask “what if” questions about everyday life.
•Explore creative arts.
•Practice scenario-building: Futurists often sketch multiple possible futures (optimistic, pessimistic, weird).
•Immerse in play and games.
•Seek cross-disciplinary inspiration: Read about astronomy, ecology, or philosophy.
•Reflect on personal archives: Looking at old photos, journals, or family stories and reimagining them in new contexts.
Imaginative resilience isn’t about enjoying sci-fi or predicting the future—it’s about being able to live inside uncertainty without fear. Anyone can cultivate this skill by practicing narrative flexibility, creative play, and openness to the unfamiliar.
Great to see that both Frank R. Paul and, more recently, Steven Spielberg stuck to Warwick Goble's original design for the Martian fighting machines.
www.flickr.com/photos/57440551@N03/15500029066/in/album-7...
“Treachery had red hair and soft curves."
“The invaders were bent upon creating a new world in which trucks without drivers could back up and run over you; in which a giant machine could say, ‘Well, what railroad shall I wreck today?’ Holland knew all about it and figured he could straighten things out. But first he had to get out of the insane asylum.”
Genesis of the Terminator?
TOP: liskbot, Xime
MIDDLE: liskbot, zeeps
BOTTOM: liskbot, xime, psyco
Thought I should get back into old habbits. These are up for grabs.
"H. J. Ward sold freelance pulp covers to many different publishers, including Munsey, Dell, Popular, but the majority of his work was published by Trojan Publications. Trojan was owned by Harry Donenfeld and edited by Frank Armer. Ward became their top artist. He created many iconic pulp covers for Trojan Magazines, such as 'Bedtime Stories,' 'Lone Ranger,' 'Speed Adventure,' 'Spicy Adventure,' 'Spicy Detective,' 'Spicy Western,' 'Super Detective,' 'Tattle Tales,' and 'Private Detective.'
"In 1941 H. J. Ward prepared a portfolio of prospective illustrations to show to art editors in a concerted effort to find work in advertising and slick magazines.
"Ward was inducted into the Army on April 13, 1944. He was recorded at induction to be tall, thin, with dark hair, and a heavy smoker.
"Soon after enlistment, Ward began to experience problems with his shoulder. Medical examination determined that he had a cancerous tumor in his lung.
"Hugh Joseph Ward died at age 35 on February 7, 1945."
[Source: www.pulpartists.com/Ward.html]
Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U. S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
Movie Trailer: www.youtube.com/watch?v=doSJxiYp9yo
Much of Startling Magazine's cover art was painted by Earle Bergey, who became strongly associated with the magazine, painting almost every cover between 1942 and 1952. He was known for equipping his heroines with brass bras and implausible costumes, and the public image of science fiction in his day was partly created by his work for Startling and other magazines. The robot cover for this, the January 1950 issue of Startling, is one of Bergey's most memorable works and was inspired by Edmond Hamilton's story "The Return of Captain Future."
Fantastic shot by a talented eye your composition
Ross Beasley. Always a pleasure for him to tag along.
“What will happen to love in that far off Day After Tomorrow? David C. Knight, editor with a New York trade publisher, agrees with the many impressed by ‘the range of possible subjects and situations’ in science fiction. The result is a unique love story from that same Tomorrow.”
Eando Binder is the pen name of two science fiction authors, the brothers Earl and Otto Binder, who have a story in this issue of "Amazing" featuring a heroic robot named Adam Link. Their first Adam Link story was published in 1939 and is titled "I, Robot." An unrelated collection of stories by Isaac Asimov, also entitled "I, Robot," was published in 1950. So, Adam Link of "I, Robot" fame is actually the creation of Earl and Otto Binder, not Isaac Asimov, who is often credited.