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“Around the 15th of March each year, folks start saying ‘Give the country back to the Indians!’ Well, that’s what we want to talk to you about. . . You know, this whole thing is utterly mad! Indians, time machines, robots, spaceships.” [Prologue]
A spaceship lands in Colorado. Then a section of the state “is suddenly cut off from the rest of the country – cut off as completely as though it never existed.” The U.S. President sends “an emissary, Mr. Quinlan, into the blacked-out section to learn the reason for this – well – this attack.” Quinlan evades an army of robots to reach the spaceship. He manages to meet with the being in charge – a tall, slim Indian wearing buckskin breeches and a Sioux warbonnet.
“I am Lo-as-ro, War Chief of the Karnesh.”
Lo-as-ro’s world was a planet revolving about one of the stars in the Big Dipper. It was peopled with only one race, the Orbiwah, who lived much as the Indians in America did before the arrival of the white man. Recently spaceships from another planet in the same solar system had landed in Orbiwah world. These newcomers were friendly, had no thought of conquest, and possessed a science and culture of amazing proportions.
From them, the Orbiwah learned of a planet on which were men of their own kind. Lo-as-ro, fired by the thought of establishing contact with people like himself, had borrowed spaceships manned by robots and crossed the void to Earth. For weeks, they had hovered in Earth’s atmosphere, at first saddened, then angered, by the fate meted out to the Indians. . . Lo-as-ro decided to wrest the land from the white man and hand it over to the downtrodden remnants of a once-powerful race. . . [Excerpts from the story]
[Note: The story is now available as a free download at Project Gutenberg]
this is an 8" custom qee with four arms, a backpack with wires, and an upcycled, working LED "eye"
available for purchase from www.slobots.com
Captain Future Magazine ran for 17 issues from 1940 to 1944 and featured a character created by Better Publications editor Mort Weisinger. Every issue had a full-length novel by Edmond Hamilton about Captain Future and his companions: a seven-foot tall robot, a green-skinned android and a human brain living in a box. Together they were known as the “Futuremen” and they had adventures throughout the solar system and beyond. When the magazine folded in 1944, the series was popular enough that new stories were published in Startling Stories up through 1951.
In 1978, one year after Hamilton’s death, Toei Animation of Japan produced a Captain Future anime TV series of 53 episodes, based on 13 original Hamilton stories. The series was translated into several languages and distributed globally. The Arabic-language version is considered one of the most popular anime series after being broadcast many times in the 1980s. While only 8 episodes were dubbed into English, the series met huge success particularly in France, Italy, Spain and Latin America.
Planet after planet had succumbed to Earthmen's spaceward drive. Now there remained only the great unknown that existed beyond the Solar System. What Earthmen did not know was that outside Pluto another force lay in wait, determined that man had conquered his last world.
Jed Ambro's job on Pluto was supervising the training of robots for the day when man would push out into the Space Sea. But that was before he found himself suddenly being manipulated by an alien power and transformed into a flesh-and-blood robot.
Identified as “the last man” by Mel Hunter, the robot waters the delicate rose blooming in a desolate wasteland. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with this issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
"If" was an American science fiction magazine launched in March 1952 by Quinn Publications, owned by James L. Quinn.
The magazine was moderately successful, though it was never considered to be in the first tier of science fiction magazines. It achieved its greatest success under editor Frederik Pohl, winning the Hugo Award for best professional magazine three years running from 1966 to 1968. "If" published many award-winning stories over its 22 years, including Robert A. Heinlein's novel "The Moon Is a Harsh Mistress," and Harlan Ellison's short story "I Have No Mouth and I Must Scream". The most prominent writer to make his first sale to "If" was Larry Niven, whose story "The Coldest Place" appeared in the December 1964 issue.
"If" was merged into "Galaxy Science Fiction" after the December 1974 issue, its 175th issue overall. [Source: Wikipedia]
Identified as “the last man” by Mel Hunter, the robot set up his easel in a desolate wasteland and paints the landscape that once was. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with the October 1955 issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
“Letting loose an army of wind-up toy robots”
Identified as “the last man” by his creator, the robot discovers a boxful of tin toy robots, direct relatives in his family tree, and sets them free. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with the October 1955 issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
#robot #robotart #sculpture #recycle #recycled #art #metalsculpture #robotlove #robots #robotics #recycledart #recycleart #upcycled #upcycledart #foundobjects #foundobjectart #reuse # #steampunk #vintage #antique
Vargo Statten is a pseudonym of John Russell Fearn who also wrote the novelization for the 1954 monster horror 3D film “The Creature From the Black Lagoon.”
From the back cover:
He did not exist . . . or did he? He had destroyed his punch cards and changed his face. There was no credit card, birth record, or passport for him in the International Data Bank. His names were many . . . any he chose. His occupation was taking megarisks in the service of a vast global detective agency. His interworld assignments were highly lucrative, incalculably vital, and terrifyingly deadly. And more often than not His life was a living hell!
Identified as “the last man” by his creator, the robot is the master puppeteer in a found Punch & Judy show; that is, if he can untangle the marionette strings. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with the October 1955 issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
Hugo Gernsback first published “Wonder Stories” in 1929 and, after its sale to Beacon Publications in 1936, the magazine continued as “Thrilling Wonder Stories” until 1955. It then merged with “Startling Stories,” which itself ceased publication that same year, succumbing to the decline of the pulp magazine industry. As a source for science fiction, “Wonder Stories” together with many other pulp magazines were largely overshadowed by “Astounding Stories,” the leading magazine in the field. “Astounding” began in 1930 and continues today as “Analog Science Fiction and Fact,” an astounding 84-year run and counting.
#robot #robotart #sculpture #recycle #recycled #art #metalsculpture #robotlove #robots #robotics #recycledart #recycleart #upcycled #upcycledart #foundobjects #foundobjectart #steampunk #vintage #antique
Love the Christmas tree decorations -- nuts, bolts, screws, springs, vacuum tubes . . . and the gifts -- oil can, battery, wire, magnetic tape . . . and of course the tree itself with perforated metal strips for branches and topped by an antenna.
Edmund Alexander Emshwiller (1925-1990), known professionally as Emsh, was a prolific and influential American science fiction illustrator and experimental filmmaker. Born on February 16, 1925, in Lansing, Michigan, Emshwiller studied at the University of Michigan, the École des Beaux-Arts in Paris, and the Art Students League in New York. He began his career in the early 1950s, creating cover art and interior illustrations for numerous science fiction magazines, including “Galaxy Science Fiction” and “The Magazine of Fantasy & Science Fiction.” His distinctive style and versatility earned him multiple Hugo Awards for Best Professional Artist.
In addition to his work in illustration, Emshwiller was a pioneer in experimental film and video art. He produced several notable films, including "Relativity" (1966), which is considered one of the greatest short films ever made. Emshwiller's exploration of video synthesizers and computer systems in the 1970s further solidified his reputation as a trailblazer in the field of video art. He taught at various institutions, including Yale University and the California Institute of the Arts, where he served as Dean of the School of Film and Video.
Emshwiller's legacy is marked by his contributions to both science fiction illustration and experimental media, leaving an indelible mark on the worlds of art and film. His work continues to be celebrated and studied by fans and scholars alike.
[Sources: SF-encyclopedia.com and EAI.org]
[Note: I Googled Emshwiller's "Relativity" (1966) and couldn't find it on the web. Sad state for a work said to be the greatest short film ever made! How temporary ones popularity can be.]
Cute cartoon character who has the android motif. I have drawn the daily life of Android.
It draws with Photoshop. It is a very lovely mascot character.
LINE Sticker
「T-KONI`s Art Gallery」（Imagekind.com）
「T-KONI`s Unique Products 」（Zazzle.com）
This chrome plated, 10 inch tall robot is operated by one AA battery. While it walks forward - the antennas both spin, the spool spins inside its head, and both the lightbulb at the top of the head as well as the mouth light up. It all runs incredibly smooth.
Robot button badges (one inch/25mm) designed by Rod Hunt are now available now from Stereohype.com.
www.stereohype.com/pages/BIO7_RodHunt.asp
Only £1.50 each or the full set of 4 for £5
© Rod Hunt 2008
B.I.O. (by invitation only) series 7 - Selected international designers, illustrators and artists were invited to submit designs for this one inch (25mm) button badge series. Stereohype sells 'B.I.O. series 7' badges separately and gives them away as a free surprise badge with purchased Stereohype T-shirts. The 'B.I.O. series 7' includes artworks by AKA Bill Posters aka Stewart Greenway, Alexander Egger, Costa del Sol Lewitt, Agathe Jacquillat and Tomi Vollauschek FL@33, Gareth Bayliss, Hello Nekko, Juju's Delivery, Olivier Bienaimé @ Les 84, Jeff Bowman aka MrBowlegs, Musa, Riitta Ikonen, Rod Hunt, Carsten Raffel @ United States Of The Arts (USOTA), Zeptonn.
“Music to Watch the Moon Rise By”
Identified as “the last man” by his creator, the robot discovers an abandoned stereo system and relaxes to recorded music. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with the October 1955 issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
As “the last man” in a desolate world, the robot takes his newly-discovered dune buggy out for a spin. Once a human’s prized hot rod, it now brings joy to the tin man. That joy may end when the vehicle runs out of gas. But isn’t that an abandoned oil refinery I see off in the distance?
Finally, someone in this forsaken place that the robot can play ball with. As the fellow robot pitches baseballs, he undertakes batting practice, no doubt in preparation for a big game. The robot’s experiences were documented on no less than sixteen covers of F&SF magazine, beginning with the October 1955 issue, and ending with the May, 2003 issue of the magazine. These covers depict the lone robot in various settings and guises, symbolizing the remnants of humanity after a cataclysmic event. The haunting imagery captured the imagination of many readers over the years.
Hunter's work on these covers earned him recognition and accolades, including the Hugo Award for Best Professional Artist in 1960-1962 and the Locus Award for Best Magazine Artist in 1972. The last man robot remains a memorable and influential piece in the history of science fiction art.
Cover for Call Centre Focus Magazine for Abolish Autometion article
I like drawing robots :-)
© Rod Hunt 2010
Mel Hunter’s illustration shows a robot reading a catalog that he picked from a box of old Sears and Montgomery Ward mail-order catalogs. The robot is seated beside a ditch that he’s been digging and decided to take a break to read the catalog. At least, that’s my take on the cover image. I didn’t find any story connected to this scene and I don’t know what the back story is really. So, here is a light-hearted take on what Mel Hunter might’ve been imagining for that quirky cover:
“In a distant future, robots were programmed for efficiency but somehow missed out on the concept of taking breaks. Enter Robo-Dig, our robot protagonist, who tirelessly dug ditches on a distant, desolate planet. One fateful day, while excavating yet another trench, Robo-Dig stumbled upon a long-buried box of ancient treasures—old Sears and Montgomery Ward’s catalogs.
“Curiosity sparked circuits that hadn't been lit in ages. Robo-Dig dusted off the pages and started flipping through these relics of human history. As it browsed, it was utterly fascinated by the mundane yet wondrous gadgets and fashion of the twentieth century. Toasters that popped, dresses with poodles, and radios the size of small moons—Robo-Dig was hooked.
“As it sat by the ditch, engrossed in a catalog, Robo-Dig imagined itself a human, ordering all these oddities to decorate its sterile robot pod. The humor of a robot digging ditches to the soundtrack of "As Seen in the Catalog!" brought a rare moment of joy to its mechanical heart. From that day on, breaks became a regular feature in Robo-Dig’s routine, as it daydreamed about the days when humans eagerly awaited their mail-order treasures.”
[Note: Mel Hunter is said to have named his robot “the last man” and documented his robot’s adventures on no less than sixteen covers of F&SF magazine, beginning October 1955 and ending May 2003. It's unclear if "the last man" was ever connected to a story, other than the stories imagined by the covers]