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Senseless Pix of Random Stuff

@nelc / nelc.tumblr.com

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Michael Whelan's cover for Robert Heinlein's Job: A Comedy of Justice

A halo hangs over the head of an unkempt man in raggedy overcoat as he extends his hands in a shrug that says, "Whatya gonna do?" Weightlessly he floats in front of a violent sky covered by clouds tinted gold and red. A mix of symbols winds around him defined by a zig zag of a road. A futuristic silver sports car speeds along in ascent until it fades into clouds. Overhead coins, a cross and chalice spill along the path implied by the road. Over one shoulder a trio of tiny devils hover. Over his opposite shoulder, set lower down, a cluster of penitent angels gather. One carries a blue standard, another a large cross. In front of our everyman the symbols morph into nonsense: a blimp, a book, a sundae in parfait glass, a pair of old brown shoes, a variety of plates, and a monkey smoking a cigarette.
Source: x.com
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Michael Whelan's cover for Robert Heinlein's Friday

A woman in a blue denim jumpsuit stands in front of a view of space as seen through a gold trimmed porthole. The central zipper of her outfit is drawn down to her waist exposing bare skin. Her short cropped, sandy blonde hair has a slight curl. Her eyes reflect vibrant blue set in a gaze directly forward. The silhouette of a planet can be seen in the round viewport behind her. A star emerges from behind the planet and flares above her right shoulder. A moon with bright crescent highlight hangs over her left shoulder.
Source: x.com
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DAUGHTER OF REGALS (1983) Acrylic on Illustration Board - 31" x 21"
Caught in profile, a young woman pauses before turning into a hallway, setting hands on rough stone as she glances back, a suggestion of castle intrigue. Her eyes are deep brown and her hair falls straight, raven black. Her plain white dress is torn, exposing bare skin all the way down her side and back. The hall she approaches ends with a stunning stained glass window. At the center of the design, a red dragon clutches a yellow orb; its wings and tail are furled so it takes the shape of a heart. The rest of the pattern is filled with panels of Celtic knotwork.
Source: x.com
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Night's Daughter by Michael Whelan, for the cover of Tanith Lee's Night's Sorceries

Detail of a raven haired seductress leaning against an enormous statue. The long slit in her black silk robes reveals alabaster skin. A nearly complete ring of standing stones etched with glyphs falls just behind the statue. Lavender and blue flowers grow at the base of the statue partially obscuring the view of hills on the horizon tinted violent at twilight.
Source: x.com
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Alex (1977) In seated position, a boy hovers in the air surrounded by floating crystal octahedrons. His hands extend low and out at his side in a gesture that indicates he's controlling the objects. Blankly he stares forward, perhaps lost in concentration or maybe just numbly consumed by ritual. The line of his mouth and dark arch of his brow give away nothing, but his dark eyes are open. He hovers naked with his legs crossed in front of him, but weighed down one leg droops—a break in form? From a smooth circle of stones framing a well below him, slender green tentacles inch weightlessly upward as if in defiance of gravity. A path made of square stones set side-by-side leads back to where mountains peak on the horizon. The stone, like the sky, is tinted vermilion by the cosmic light show overhead. A spiral galaxy looms filling the top two thirds, but it is oddly intersected by a half dozen arcing streams of stars mixed with smoky matter that originate off-panel right.
Source: x.com
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reblogged

ORBIS SCIENTIARUM (1997) by Michael Whelan

Acrylic on Panel - 24” x 36”

It is frequently assumed that if we try hard enough, there are no limits to our understanding of the universe. As wonderful a thing as the human brain is, there is a finite number of neurons and synapses available to store information and inform decisions, just as we have a certain set of perceptual tools at our disposal (sight, hearing, taste, etc.).

For example, we have no foundation in which to understand the electromagnetic sense perceptions of certain aquatic animals, because we have no analogous organs of our own. So there are limits to everything human, and that includes intelligence and the ability to understand. We may be as incapable of a deep understanding of the universe as dogs are of algebra, but we’ll undoubtedly keep trying.

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