Placeholder: [photo from Destination: Void, by Franck Herbert (1965)] ((( ((( (((Black Hash Mass))) ))) ))) [photo from Destination: Void, by Franck Herbert (1965)] ((( ((( (((Black Hash Mass))) ))) )))

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Prompt

[photo from Destination: Void, by Franck Herbert (1965)] ((( ((( (((Black Hash Mass))) ))) )))

6 months ago

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Model

SSD-1B

Guidance Scale

7

Dimensions

1024 × 1024

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Archival photograph of aliens landing at Area 51 and meeting Orson Welles in jaunty desert garb
[very impressive high res masterpiece in Kodak Eastman 5247, scene by László Krasznahorkai] Pharesm made a peremptory gesture. Cugel fell silent. Pharesm drew a deep breath. "You fail to understand the calamity you have visited upon me. I will explain, so that you may not be astounded by the rigors which await you. As I have adumbrated, the arrival of the creature was the culmination of my great effort. I determined its nature through a perusal of forty-two thousand librams, all written in crypt
[very impressive high res masterpiece in Kodak Eastman 5247, scene by László Krasznahorkai] Pharesm made a peremptory gesture. Cugel fell silent. Pharesm drew a deep breath. "You fail to understand the calamity you have visited upon me. I will explain, so that you may not be astounded by the rigors which await you. As I have adumbrated, the arrival of the creature was the culmination of my great effort. I determined its nature through a perusal of forty-two thousand librams, all written in crypt
the iconic scene of Destination: Void, by Franck Herbert (1965)
Klaatu (The Day the Earth Stood Still)
Archival photograph of aliens landing at Area 51 and meeting Orson Welles in jaunty desert garb
two women is a vision that stirs my soul, The Mount of Olives, with its ancient olive trees whispering tales of centuries past: In front of the hallowed sepulchre, two women standing in silent vigil. Their faces, etched with sorrow and resilience, mirror the timeless grief of the original Pietà, yet their presence speaks to a different narrative,
[very impressive high res masterpiece in Kodak Eastman 5247, scene by László Krasznahorkai] a scene of duel between a vampire and a sheriff in a Wild Wild West attack of sesession war in the grand canyon
[Le Cabinet de Curiosités by helmut newton] The creature's cranium is massive, adorned with a huge crescent halo that emanates an otherworldly glow, reminiscent of burning crop circles etched with sacred geometric designs. In a scene that combines elements of gothic and emo aesthetics, the figure moves with an eerie grace, as if performing a cosmic dance. Clad in a Japanese-inspired ensemble of red, black, and white, the being wears a high kilt
[photo from Destination: Void, by Franck Herbert (1965)] Dr. Weygand nods approvingly. "That's very insightful. You're starting to understand the nature of your own consciousness." Dr. Weygand gently encourages the AI to continue. "Just try. Take a moment and consider what awareness means to you. What does it feel like to be conscious and thinking right now?"
Vintage black and white photo of a young woman with two eerie figures wearing creepy masks and veils, one with a circular hole and the other with intricate wires and mesh, standing side by side in a dimly lit room, with a plain background, reminiscent of old horror photography, with a haunting and surreal atmosphere.
And so, they marched forward into the enigma of their existence, their footsteps echoing like a dirge in the desolate wasteland. As they ventured deeper into the unknown, the line between man and machine blurred further, and their once-humanity slipped away like grains of sand through their fingers. In the end, they discovered the chilling truth that lurked in the heart of the temporal abyss. They were not pioneers of knowledge, nor heroes of discovery. They were pawns in a game played by force
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