Götz Kluge's photos

Electronic morse keyer It's a squeeze key built in the year 1972 using CMOS logic. Controls (front side, from left to right) - Power: ON/OFF - Output inversion: ON/OFF - Monitor: ON/OFF, volume - Speed: 6 to 40 WpM - Dot buffer: ON/OFF - Squeeze paddles Driver stage: Selectable power transistors usable as low-side switch Connectors (rear side): - Driver to transmitter (PNP collector&emitter, NPN collector&emitter, CMOS out, ground) - Optional external squeeze paddle Batteries: 9V for logic, 1.5V for monitor See also: commons.wikimedia.org/wiki/File:Elbug.jpg DL5MDA

[left]: Henry Holiday's back cover illustration (1876) to Lewis Carroll's The Hunting of the Snark . [right]: Allegorical English School painting (ca. 1610, redrawn, color desaturated and rearranged 2013) of Queen Elizabeth I at Old Age with allegory of Death and Father Time . (Location of original painting: Corsham Court, EAN-Number: 4050356835081) www.corsham-court.co.uk/Pictures/Commentary.html : "This portrait of Elizabeth I illustrates the difficulties she encountered during her troubled reign. For example, conflict between Protestants and Catholics was rife and the re-drafting of the Book of Common Prayer (held in her left hand) was a sensitive issue of the time." Changes of lower segment: Shifted mirror view [inset]: The Bellman , detail from Henry Holiday's front cover illustration (1876) to Lewis Carroll's The Hunting of the Snark .

The Bellman (segment of an illustration by Henry Holliday to Lewis Carroll's The Hunting of the Snark ) and a mirrored view of an unfinished portrait of Sir Henry Lee by Marcus Gheeraerts the Younger

From Pope to Wood Shavings [left]: Rotated segment from John Everett Millais : Christ in the House of His Parents (1850). [right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Henry Holiday, Gustave Doré (2x) , Lewis Carroll (mirror view), Marcus Gheeraerts the Younger (mirror view), John Martin , Marcus Gheeraerts the Elder (I am not so sure about Henry Holiday's allusion to the image on the lower right side by Marcus Gheeraerts the Elder.)

[main image] John Martin: The Bard (ca. 1817), desaturated colors & increased lightness [inset] Henry Holiday: Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark , detail Here the Jubjub meets the Cherub-Choir. Related poetry: "The Bard. A Pindaric Ode" by Thomas Gray and "The Hunting of the Snark" by Lewis Carroll.

Segments from • [left, vertically stretched]: Photo (before 1882) of the top of the fireplace in Charles Darwin's study • [center, vertically stretched]: from Alfred Parsons' depiction (1882) of Charles Darwin's study in Down • [right]: an illustration (1876) by Henry Holiday to Lewis Carroll's The Hunting of the Snark This is not one of Henry Holiday's allusions. Here Alfred Parsons perhaps alluded to Holiday's illustration. Parsons did not simply copy a photo, he also rearranged the fire place decoration a bit.

This was my first image showing Henry Holiday's depiction of the Billiard marker in Lewis Carroll's The Hunting of the Snark (1876). The face in color and in the background is Henry George Liddell 's face (painted by Sir Hubert von Herkomer in 1891). Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford. In this image, I had been fooling around a bit: I gave Liddell the Billiard marker's wig. And I gave Liddel's chin back to the Billiard marker. I am not hiding anything: The red dots indicate my manipulations, and in the lower part of the image you can see the unmanipulated elements. Later I discovered, that the comparison between Liddell at age 28 and a draft by Holiday's of the Billiard marker yielded a much stronger resemblance: Perhaps Carroll/Dodgson did not accept such an obvious resemblance. So Holiday finally showed an older Billiard marker with a wig (which slipped a bit out of position) . Holiday also chopped off the Billard marker's chin, but left its shadow in his illustration. That is no mistake. Thus, the real Liddell would not really be able to find himself depicted as the Billiard marker playing foul in the Snark . However, the shadow just could be a bow tie. Who knows?

The comparison shows (left side) a reproduction of Henry Holiday's draft of the Billiard marker for an illustration to Lewis Carroll's The Hunting of the Snark (1876) and a redrawn detail (right side) from a portrait by George Cruikshan of Henry George Liddell's face. Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford. The portrait by George Cruikshan shows Liddell at age 28. The resemblance of Holiday's draft of the Billiard marker to Carroll's boss perhaps was a bit too risky for Carroll. The similarity wasn't sufficiently deniable. In the final illustration Holiday was more cautious: He gave an older Liddell a wig (which slipped a bit out of position) and chopped of his chin.

[en]: Screen tile based on a photo of a Metasequoia (Dawn Redwood) . Used in www.makeprofit.de , a German website dedicated to play with a silly attempt to hide corruption. See also At Siemens, witnesses cite pattern of bribery , Wednesday, January 31, 2007, by David Crawford and Mike Esterl (The Wall Street Journal) [de]: Aus einem Foto einer Metasequoia (Urweltmammutbaum) abgeleitete Bildschirmkachel. Eingesetzt in www.makeprofit.de , einer deutschen Website, die mit einem dümmlichen Versuch spielt, Korruption zu verschleiern. Siehe auch Siemens-Affäre - Der Code zum Schmiergeld von Christian Buchholz (manager magazin 2007-02-08)

Wallpaper tile for screen backgrounds

#1 - (allusion to the bedpost #3): 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (vectorized after a scan from an 1911 edition of the Snark ) #2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais : Christ in the House of His Parents (aka The Carpenter's Shop ). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4. #3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation , (mirror view). #4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus .

Henry Holiday : The Banker's Fate (vector graphics for posters) Vectorized segment from an illustration by Henry Holiday (cut by Joseph Swain) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). Resizeable vector graphics for posters : www.snrk.de/snarkhunt/bankersnatch.svg PDF: www.snrk.de/snarkhunt/bankersnatch.pdf Facebook: www.facebook.com/photo.php?fbid=2070929978168&set=o.2... Fit the Seventh THE BANKER’S FATE 489 · · They sought it with thimbles, they sought it with care; 490 · · · · They pursued it with forks and hope; 491 · · They threatened its life with a railway-share; 492 · · · · They charmed it with smiles and soap. 493 · · And the Banker, inspired with a courage so new 494 · · · · It was matter for general remark, 495 · · Rushed madly ahead and was lost to their view 496 · · · · In his zeal to discover the Snark 497 · · But while he was seeking with thimbles and care, 498 · · · · A Bandersnatch swiftly drew nigh 499 · · And grabbed at the Banker, who shrieked in despair, 500 · · · · For he knew it was useless to fly. 501 · · He offered large discount—he offered a cheque 502 · · · · (Drawn “to bearer”) for seven-pounds-ten: 503 · · But the Bandersnatch merely extended its neck 504 · · · · And grabbed at the Banker again. 505 · · Without rest or pause—while those frumious jaws 506 · · · · Went savagely snapping around- 507 · · He skipped and he hopped, and he floundered and flopped, 508 · · · · Till fainting he fell to the ground. 509 · · The Bandersnatch fled as the others appeared 510 · · · · Led on by that fear-stricken yell: 511 · · And the Bellman remarked “It is just as I feared!” 512 · · · · And solemnly tolled on his bell. 513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! So great was his fright that his waistcoat turned white 517 · · To the horror of all who were present that day. 518 · · · · He uprose in full evening dress, 519 · · And with senseless grimaces endeavoured to say 520 · · · · What his tongue could no longer express. 521 · · Down he sank in a chair—ran his hands through his hair— 522 · · · · And chanted in mimsiest tones 523 · · Words whose utter inanity proved his insanity, 524 · · · · While he rattled a couple of bones. 525 · · “Leave him here to his fate—it is getting so late!” 526 · · · · The Bellman exclaimed in a fright. 527 · · “We have lost half the day. Any further delay, 528 · · · · And we sha’nt catch a Snark before night!” Source: The Hunting of the Snark , Lewis Carroll, 1876

Illustrations by Henry Holiday (from The Hunting of the Snark ,1876) and Marcus Gheeraerts the Elder ( Allegory of Iconoclasts around 1567): In the "mouth" of Gheeraert's "head" a praying priest is depicted. The shape of the priest also is visible in the "mouth" of Holiday's vanishing "Baker". This is not plagiarism. This is a puzzle in a picture similar to puzzles in textual artwork (poetry,novels etc.), where readers are challenged to detect references to other writers. Holiday may have used the shape of the priest in his own illustration in order to indicate to the beholder a relation to Gheeraert's illustration. Holiday also used other elements from Gheeraert's etching in his own work.

(From Lewis Carroll's and Henry Holiday's The Hunting of the Snark , 1876) · · · · 021 · · There was one who was famed for the number of things · · · · 022 · · · · He forgot when he entered the ship: · · · · 023 · · His umbrella, his watch, all his jewels and rings, · · · · 024 · · · · And the clothes he had bought for the trip. · · · · 025 · · He had forty-two boxes , all carefully packed, · · · · 026 · · · · With his name painted clearly on each: · · · · 027 · · But, since he omitted to mention the fact, · · · · 028 · · · · They were all left behind on the beach. · · · · 029 · · The loss of his clothes hardly mattered, because · · · · 030 · · · · He had seven coats on when he came, · · · · 031 · · With three pairs of boots --but the worst of it was, · · · · 032 · · · · He had wholly forgotten his name. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. My assumption is, that in Carroll's ballad the Baker does not stand for a single person. Rather, he represents curageous (and - once the intellect is small but the courage is perfect - often uncautious) searchers of truth. Put more simply: The baker represents an attitude (or a set of attitudes), e.g. the attitudes of a Corbinian or a Thomas Cranmer , a key figure in the history of the reformation in Europe. 2013-02-02: In Carroll's description of the Baker (see parts printed in boldface), there may be some allusions to someone who got burned . As for "Bridecake", Thomas Cranmer also was (along with Thomas Cromwell) quite a bit involved in the weddings (and divorces) of Henry VIII. The forty-two boxes carried the Baker's name as clearly, as the Anglican Forty-Two Articles are associated with Thomas Cranmer. Here both, the Baker and Cranmer, stand for quite ambivalent heroes. Carroll (Rev. Dodgson) did not subscribe to the later Thirty-Nine Articles. By the way: Lewis Carroll didn't explain what the number 42 could "mean". And Douglas Adams insisted on having chosen the number 42 arbitrarily. See also: en.wikipedia.org/wiki/Corbinian#Corbinian.27s_Bear

John Everett Millais' painting Lorenzo and Isabella (National Museums Liverpool, Walker Art Gallery) was inspired by John Keats poem Isabella . The reproduction displayed above shows a detail from the depiction of one of Lorenzo's brothers. Here young Millais left quite visible traces when he re-positioned the elbow of that thug. In November 2012 the Liverpool museums page said (but doesn't say ist anymore): "[...] On the table there is spilled salt, symbolic of the blood which will later be spilled. The shadow of the arm of the foremost brother is cast across this salt, thus linking him directly with the future bloodshed. [...]" In June 2013 I noticed that the "shadow of the arm" and all that is gone. Another page says: "[...] salt, symbol of life, is spilt on the table; [...]" By the way, did you notice that the white salt partially covers the "shadow of the arm"? What a miraculous shadow that is! Has this already been discussed in the past 164 years? See also: www.academia.edu/10907558/More_salt_To_see_or_not_to_see Some quotes, which may be related to this image: “peindre n’est pas affirmer" Michel Foucault. This is Not a Pipe , Chapter 6 ( excerpt ), 1968 "An anti-subject painting might effectly conceal its subject, hiding it from everyone except the painter; or it might tease viewers with clues; or it might be so arcane that few people can see its subject: What counts is the retreat from the obvious, unambiguous primary meaning." James Elkins (The School of the Art Institute of Chicago): Why are our Pictures Puzzles? , p. 129, 1999 (see also book review ) "To say it fully, a cryptomorph is an image that is hidden at its making, remains invisible for some period, and then is revealed so that it becomes an image that once was hidden (and the can no longer be hidden again)." James Elkins ..., p. 184 "The act of revealing fully hidden cryptomorphs is an act of terrorism against pictorial sense." James Elkins ..., p. 203 "Only those questions that are in principle undecidable, we can decide." Heinz von Foerster: Ethics and Second-Order Cybernetics , 1990-10-04 (Système et thérapie familiale, Paris) Honi soit qui mal y pense

[left] Henry Holiday (and Joseph Swain): Illustration (1876) to chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , detail (showing some plants in the lower right corner of the original illustration) [right] John Martin: The Bard (ca. 1817), detail (showing an army sent by Edward I)

[left]: Vectorized segment from John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. [right]: Vectorized segment from Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). Location: Rijksmuseum, Amsterdam