#house

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Brian Aldiss described science fiction as "cultural wallpaper." Evidence for this widespread influence can be found in trends for writers to employ science fiction as a tool for advocacy and generating cultural insights, as well as for educators when teaching across a range of academic disciplines not limited to the natural sciences. Scholar and science fiction critic George Edgar Slusser said that science fiction "is the one real international literary form we have today, and as such has branched out to visual media, interactive media and on to whatever new media the world will invent in the 21st century. Crossover issues between the sciences and the humanities are crucial for the century to come."
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

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• Size: 1024 X 576 (0.59 MP)

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  • Prompt: One of the writers who used science fiction to explore the sociology of near-future topics was H. G. Wells, with his classic The Time Machine (1895) revealing the human race diverging into separate branches of Elois and Morlocks as a consequence of class inequality: a happy pastoral society of Elois preyed upon by the Morlocks but yet needing them to keep their world functioning—a thinly veiled criticism of capitalist society, where the exploiter class, or the bourgeoisie, is symbolized by the useless, frivolous Elois, and the exploited working class, or the proletariat, is represented by the subterranean-dwelling, malnourished Morlocks. Wells' The Sleeper Awakes (1899, 1910) predicted the spirit of the 20th century: technically advanced, undemocratic and bloody. Next to prognoses of the future of society if current social problems persisted, as well as depictions of alien societies that are exaggerated versions of ours (exemplified by The War of the Worlds of 1897), Wells also heavily criticized the then-popular concept of vivisection, experimental "psychiatry" and research that was done for the purpose of restructuring the human mind and memory (clearly emphasized in The Island
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treehouse

• Model: Artistic

• Size: 896 X 704 (0.63 MP)

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  • Prompt: Biomorphic treehouse with biomorphic structure symbiosis of waterfall and tree, Autumn colors, Autumn leaves floating in the water, by Jacek Jerka, Gediminas Prankevicius, Stefan Morrell, super-detailed, insanely complex, golden ratio
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Planetary romance is a subgenre of science fiction in which the bulk of the action consists of adventures on one or more exotic alien planets, characterized by distinctive physical and cultural backgrounds. Some planetary romances take place against the background of a future culture where travel between worlds by spaceship is commonplace; others, particularly the earliest examples of the genre, do not, and invoke flying carpets, astral projection, or other methods of getting between planets. In either case, it is the planetside adventures which are the focus of the story, not the mode of travel.[1]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Mundane science fiction (MSF) is a niche literary movement within science fiction that developed in the early 2000s, with principles codified by the "Mundane Manifesto"[1] in 2004, signed by author Geoff Ryman and "The Clarion West 2004 Class". The movement proposes "mundane science fiction" as its own subgenre of science fiction, typically characterized by its setting on Earth or within the Solar System; a lack of interstellar travel, intergalactic travel or human contact with extraterrestrials; and a believable use of technology and science as it exists at the time the story is written or a plausible extension of existing technology. There is debate over the boundaries of MSF and over which works can be considered canonical. Rudy Rucker has noted MSF's similarities to hard science fiction and Ritch Calvin has pointed out MSF's similarities to cyberpunk. Some commentators have identified science fiction films and television series which embody the MSF ethos of near-future realism.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: The name "dieselpunk" is a derivative of the science fiction subgenre cyberpunk,[5] and represents the time period from World War I until the 1950s, when diesel-based locomotion was the main technological focus of Western culture.[6] The "-‍punk" suffix attached to the name is representative of the counterculture nature of the genre with regard to its opposition to contemporary aesthetics.[3] The term also refers to the tongue-in-cheek[7] name given to a similar cyberpunk derivative, "steampunk", which focuses on science fiction based on industrial steam power and which is often set within the Victorian era.[8]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Science fiction comedy (sci-fi comedy) or comic science fiction is a subgenre of science fiction or science fantasy that exploits the science fiction genre's conventions for comedic effect.[1] Comic science fiction often mocks or satirizes standard science fiction conventions – such as alien invasion of Earth, interstellar travel, or futuristic technology. It can also satirize and criticize present-day society. An early example was the Pete Manx series by Henry Kuttner and Arthur K. Barnes (sometimes writing together and sometimes separately, under the house pen-name of Kelvin Kent). Published in Thrilling Wonder Stories in the late 1930s and early 1940s, the series featured a time-traveling carnival barker who uses his con-man abilities to get out of trouble. Two later series cemented Kuttner's reputation as one of the most popular early writers of comic science fiction: the Gallegher series (about a drunken inventor and his narcissistic robot) and the Hogben series (about a family of mutant hillbillies). The former appeared in Astounding Science Fiction in 1943 and 1948 and was collected in hardcover as Robots Have No Tails (Gnome, 1952), and the latter appeared in Thrilling
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Climate fiction (sometimes shortened as cli-fi) is literature that deals with climate change.[1] Generally speculative in nature but scientifically-grounded, works may take place in the world as we know it or in the near future. The genre frequently includes science fiction and dystopian or utopian themes, imagining the potential futures based on how humanity responds to the impacts of climate change. Rationales for the genre typically assume knowledge of anthropogenic effects—human-altered climate as opposed to weather and disaster more generally—although broader definitions exist. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society.
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Magic house!

• Model: Artistic

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  • Prompt: apocalypse house
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House of mystery

• Model: Artistic

• Size: 1917 X 1095 (2.10 MP)

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  • Prompt: House of mystery; on floating mountains; fog; water falls; forests
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Biopunk is a subgenre of science fiction closely related to cyberpunk that focuses on the near-future (most often unintended) consequences of the biotechnology revolution following the invention of recombinant DNA. Biopunk stories explore the struggles of individuals or groups, often the product of human experimentation, against a typically dystopian backdrop of totalitarian governments and megacorporations which misuse biotechnologies as means of social control and profiteering. Unlike cyberpunk, it builds not on information technology, but on synthetic biology. Like in postcyberpunk fiction, individuals are usually modified and enhanced not with cyberware, but by genetic manipulation.[1] A common feature of biopunk fiction is the "black clinic", which is a laboratory, clinic, or hospital that performs illegal, unregulated, or ethically-dubious biological modification and genetic engineering procedures.[2] Many features of biopunk fiction have their roots in William Gibson's Neuromancer, one of the first cyberpunk novels.
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: In fact, the intervening decade between Oliver's field research and the publication of Shores [1971] had been one of critical self-reflection in the field of anthropology. In the United States, qualms about the Vietnam war, together with evidence that anthropologists had been employed as spies and propagandists by the US government, prompted critiques of anthropology's role in systems of national and global power. Various strains of what came to be known as dependency theory disrupted the self-congratulatory evolutionism of modernization models, evoking and critiquing a world system whose political economy structurally mandated unequal development. Less narrowly academic works such as Vine Deloria, Jr.'s, Custer Died for Your Sins (1969), combined with the efforts of civil-rights groups like the American Indian Movement, skewered anthropology's paternalist pretensions. Two major collections of essays -- Dell Hymes's Reinventing Anthropology (1972) and Talal Asad's Anthropology and the Colonial Encounter (1973) -- explored anthropology's colonial legacy and precipitated a critical engagement with the ethics and politics of ethnographic representation.: 253 
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Not only are these aliens comprehensible in anthropological terms, but it is anthropology, rather than the physical sciences, that promises a solution to the problem of alien colonization. According to the science of anthropology, every society, regardless of its level of development, has to functionally meet certain human needs. The aliens of Jefferson Springs "had learned, long ago, that it was the cultural core that counted-the deep and underlying spirit and belief and knowledge, the tone and essence of living. Once you had that, the rest was window dressing. Not only that, but the rest, the cultural superstructure, was relatively equal in all societies (115; emphasis in original). For Ellery, the aliens are not "supermen" (a favorite Campbellian conceit): despite their fantastic technologies, they are ultimately ordinary people with the expected array of weaknesses – laziness, factionalism, arrogance – whose cultural life is as predictable as any Earth society's. Since they are not superior, they are susceptible to defeat, but the key lies not in the procurement of advanced technologies, but in the creative cultural work of Earth people themselves.[5]: 248 
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Bernard, as "custodian" of the "savage" John who is now treated as a celebrity, is fawned on by the highest members of society and revels in attention he once scorned. Bernard's popularity is fleeting, though, and he becomes envious that John only really bonds with the literary-minded Helmholtz. Considered hideous and friendless, Linda spends all her time using soma, while John refuses to attend social events organised by Bernard, appalled by what he perceives to be an empty society. Lenina and John are physically attracted to each other, but John's view of courtship and romance, based on Shakespeare's writings, is utterly incompatible with Lenina's freewheeling attitude to sex. She tries to seduce him, but he attacks her, before suddenly being informed that his mother is on her deathbed. He rushes to Linda's bedside, causing a scandal, as this is not the "correct" attitude to death. Some children who enter the ward for "death-conditioning" come across as disrespectful to John, and he attacks one physically. He then tries to break up a distribution of soma to a lower-caste group, telling them that he is freeing them. Helmholtz and Bernard rush in to stop the ensuing riot, which the
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: The novel opens in the World State city of London in AF (After Ford) 632 (AD 2540 in the Gregorian calendar), where citizens are engineered through artificial wombs and childhood indoctrination programmes into predetermined classes (or castes) based on intelligence and labour. Lenina Crowne, a hatchery worker, is popular and sexually desirable, but Bernard Marx, a psychologist, is not. He is shorter in stature than the average member of his high caste, which gives him an inferiority complex. His work with sleep-learning allows him to understand, and disapprove of, his society's methods of keeping its citizens peaceful, which includes their constant consumption of a soothing, happiness-producing drug called "soma". Courting disaster, Bernard is vocal and arrogant about his criticisms, and his boss contemplates exiling him to Iceland because of his nonconformity. His only friend is Helmholtz Watson, a gifted writer who finds it difficult to use his talents creatively in their pain-free society.
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treehouse

• Model: Artistic

• Size: 896 X 704 (0.63 MP)

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  • Prompt: Elaborate multistage treehouse in a dark druid forest, atmospheric
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treehouse

• Model: Artistic

• Size: 896 X 704 (0.63 MP)

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  • Prompt: Abandoned Old treehouse amidst the thicket of orange and yellow plants, lot of flowers, vines, ivy and roots, by Jean-Baptiste Monge, watercolor and ink, intricate details, fantasy, beautiful, award winning, colorful, fantastic view, crisp quality Without watermark
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Brownstone

• Model: Artistic

• Size: 768 X 768 (0.59 MP)

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  • Prompt: old nyc brownstone, line wash watercolor, perfect composition
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  • Aspect Ratio: square

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Australia, unlike Europe, does not have a long history in the genre of science fiction. Nevil Shute's On the Beach, published in 1957, and filmed in 1959, was perhaps the first notable international success. Though not born in Australia, Shute spent his latter years there, and the book was set in Australia. It might have been worse had the imports of American pulp magazines not been restricted during World War II, forcing local writers into the field. Various compilation magazines began appearing in the 1960s and the field has continued to expand into some significance. Today Australia has a thriving SF/Fantasy genre with names recognised around the world. In 2013 a trilogy by Sydney-born Ben Peek was sold at auction to a UK publisher for a six-figure deal .[1]
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Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

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  • Prompt: Africanfuturism is a cultural aesthetic and philosophy of science that centers on the fusion of African culture, history, mythology, point of view, with technology based in Africa and not limiting to the diaspora.[1][2] It was coined by Nigerian American writer Nnedi Okorafor in 2019 in a blog post as a single word. Nnedi Okorafor defines Africanfuturism as a sub-category of science fiction that is "directly rooted in African culture, history, mythology and point-of-view..and...does not privilege or center the West," is centered with optimistic "visions in the future," and is written by (and centered on) "people of African descent" while rooted in the African continent. As such its center is African, often does extend upon the continent of Africa, and includes the Black diaspora, including fantasy that is set in the future, making a narrative "more science fiction than fantasy" and typically has mystical elements.[3] It is different from Afrofuturism, which focuses mainly on the African diaspora, particularly the United States. Works of Africanfuturism include science fiction, fantasy, alternate history, horror and magic realism.
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