Life and education.

Adrian Piper was born on September 20, 1948, in New York City. She was raised in Manhattan in an upper-middle-class black family and attended a private school with mostly wealthy, white students. She studied art at the School of Visual Arts and was graduated with an associate's degree in 1969. Piper then studied philosophy at the City College of New York and graduated summa cum laude with a bachelor's in 1974. Piper received a master's in philosophy from Harvard University in 1977 and her doctorate in 1981, supervised by John Rawls. She also studied at the University of Heidelberg. During her philosophical studies, Piper focused on Kant's Critique of Pure Reason; this philosophical inspiration pervades her artworks, most specifically "Food for the Spirit" (1971).  During the late 1960s and early 1970s Piper was influenced by Sol LeWitt and Yvonne Rainer. She worked at the Seth Siegelaub Gallery, known for its conceptual art exhibitions, in 1969. In 1970, she exhibited in the Museum of Modern Art's exhibition "Information", and began to study philosophy in college. Piper has said that she was kicked out of the art world during this time for her race and sex. Her work started to address ostracism, otherness, and attitudes around racism. In an interview with Maurice Berger, published under the title "Critique of Pure Racism," Piper asserted that while she finds analysis of racism praiseworthy, she wants her artwork to help people confront their racist views.  Piper was awarded visual arts fellowships from the National Endowment for the Arts in 1979 and 1982, and a Guggenheim Fellowship in 1989. Piper taught at Wellesley College, Harvard University, Stanford University, University of Michigan, Georgetown University, and University of California, San Diego. In 1991, she became the first female African-American philosophy professor to receive academic tenure in the United States. While she was on unpaid leave in Berlin during 2008, Wellesley College terminated her tenured full professorship because of her refusal to return to the United States while listed as a "Suspicious Traveler" on the U.S. Transportation Security Administration Watch List.  Piper is divorced and has no children. She currently lives and works in Berlin, where she runs the "Adrian Piper Research Archive". In 2015, she was awarded the Golden Lion for best artist in the international exhibition of the Venice Biennale.  In 2017, Piper received an honorary Doctorate of Fine Arts degree from the Nova Scotia College of Art and Design University.

Ideology.

In 1981 Piper published an essay entitled "Ideology, Confrontation and Political Self-Awareness", in which she discusses concepts she explores through her art. In her essay, she contemplates notions of human self-examination and belief structures that serve to "individuate oneself from another." These beliefs begin with our early experiences in the world and go unquestioned until they are attacked by new experiences that break the conformity, introducing doubt—the key to self-examination and belief-revision. Piper argues that the beliefs we tend to hold onto the longest, and often avoid exposing to examination, are those that allow us to maintain an understanding that makes sense to us about who we are and how we exist within the world at large. She points out that these "ideologies" often are responsible for "stupid, insensitive, self-serving [behavior], usually at the expense of other individuals or groups." Piper concludes the essay by telling readers that if considering the points she brings up makes them self-conscious about their political beliefs in the slightest degree, or causes them to have even "the slightest glimmerings of doubt about the veracity of [their] opinions, then [she] will consider [the] piece a roaring success."

Career.

The first mention of Piper as an artist in the press was in the Village Voice on March 27, 1969, when she was only 19 years old. It was in response to what also is considered her first solo exhibition, her mail art project entitled, "Three Untitled Projects". The people and institutions to whom she sent her 8 1/2 × 11 inches stapled booklets that comprised the piece were listed on the last page as the "Exhibit Locations". With this project, Piper succeeded in distributing her work on her own terms to an audience of more than 150 artists, curators, and dealers of her choosing.

Street Performances (1970s).

In the 1970s, she began a series of street performances under the collective title, "Catalysis," which included actions such as, painting her clothes with white paint and wearing a sign that read, "Wet Paint", and going to Macy's department store to shop for gloves and sunglasses; stuffing a huge white towel into her mouth and riding the bus, subway, and Empire State Building elevator; and dousing herself in a mixture of vinegar, eggs, milk, and cod liver oil and then spending a week moving around New York's subway and bookstores. "Catalysis VII" involved Piper visiting a museum, chewing gum loudly, and holding a purse full of ketchup. The "Catalysis" performances were meant to catalyze challenges that constituted the order of the social field, "at the level of dress, sanity, and the distinction between public and private acts." day. The word "catalysis" describes a chemical reaction caused by a catalytic agent that remains unchanged, and Piper viewed her audience's reaction as the unaffected agent.  Piper's "Mythic Being" series, started in 1973, saw the artist dressed in a wig and mustache and performing publicly as a "third world, working class, overly hostile male."  In 2013, NYU's Grey Art Gallery played footage from Piper's 1973 work, "Mythic Being", in its exhibition entitled, "Radical Presence: Black Performance in Contemporary Art". Piper rejected the inclusion, and requested that her work be removed from the exhibition because its inclusion further underlined the marginalization of nonwhite artists and was in direct opposition to the ideals that she fought to inspire in her viewers.  Piper spent the summer of 1971 in her loft in New York City. During this time, she was reading Immanuel Kant's Critique of Pure Reason (1781). She would read this book while doing various activities. Such activities consisted of yoga, fasting and writing. However, her experience reading this led to her feeling that she was losing connection to her physical self and was disappearing. She created the work Food for the Spirit to counteract this feeling. To perform the work, she would photograph herself periodically in front of a mirror and would chant parts of the book that led her to this feeling. The works consist of 14 gelatin silver prints as part of a binder.

Funk Lessons (1980s).

Between 1982 and 1984, Piper staged a series of events advertised as, "Funk Lessons", which invited participants to learn about the dance styles, culture, and history of funk music. Piper located the roots of funk in African tribal music and saw it as integral to the growing presence of black cultural figures in America and the ongoing struggle for equal rights. By exposing diverse audiences to the music of African American counterculture, Piper sought to create a dialogue about the cultural value of dance music and the politics of race and identity.  Each "lesson" was advertised on postcards that specifically avoided labeling the event as a work of participatory art. Piper began the lessons by playing samples of music and instructing participants in specific dance moves, while gradually introducing anecdotes of black history and culture into her presentation. Piper acted as a facilitator to discussions that, at times, grew heated as participants strayed from the academic format to engage in active discussion. By engaging audiences in active participation, Piper saw herself as creating an early work of Relational Aesthetics or what might be described as Social practice. As documented in a video by Sam Samore, the experience transcended academic didacticism in favor of social exchange; Piper's mantra for the work was, "Get down and party together."

Writing.

In 1981, Piper published the essay, "Ideology, Confrontation, and Political Self Awareness", in "High Performance Magazine". In it, she details three pervasive logical fallacies that she felt contributed to constructing one's ideology: the False Identity Mechanism, Illusion of Perfectibility, and One Way Communication Mechanism. She argued that these fallacies lead to the Illusion of Omniscience, which she defined as "[b]eing so convinced of the infallibility of your own beliefs about everyone else that you forget you are perceiving and experiencing as other people from a perspective that is in its own ways just as subjective and limited as theirs."  In 2008, Cambridge University Press published her two-volume essay, "Rationality and the Structure of the Self". Volume I involves a summary of a wealth of Western philosophy, while Volume II focuses on her own interpretation of these philosophers. In Volume II, Piper argues that, without moral alienation we would be unable to forge relationships with others, or act interpersonally in the service of selfless or disinterested moral principles.

Gallery Work.

Much of Piper's work deals with issues of racial passing, racism, and gender in the United States. For example, in her 1986 performance piece, ""My Calling (Card)" #1", she distributed a card to anyone who made a racist comment in her presence, making them aware of her identity as an African American woman, and of how their comment made her feel uncomfortable. These cards were distributed by Piper at dinners and cocktail parties as a way for her to subtly confront racism. In an effort to challenge gender norms, Piper explored the negative associations made about a woman sitting alone at a bar and the assumption that she is seeking the male gaze. To combat these norms between 1986 and 1990 she would pass out ""My Calling Card" #2" to request onlookers respect her privacy and to convey that being alone does not equate to her intending to be picked up. Both of these Calling Cards were handed out to make a statement about her identity.  Racial passing is addressed in another of Piper's performance pieces, "Cornered" (1988), where in a video recording she declares to an audience, "I'm black". Piper then explains how that fact may surprise the viewer because Piper, who has a fairer complexion, could pass for white, but chooses to identify as black.  Piper's, "Everything #5.2" (2004), is a piece of mirrored glass shaped like a tombstone that layers the reflection of the viewer, the text, "Everything Will Be Taken Away", and the internal structures behind the plaster of the gallery wall. The work can be seen as a means of provoking viewers to interrogate the power of institutions to determine the value of a piece of art, as well as to interrogate their own place in the world.  In "The Probable Trust Registry", the piece for which Piper received top honors at the Venice Biennale in 2015, Piper asked visitors to sign contracts with themselves adhering to one of a trio of posted statements, for example, "I will always do what I say I am going to do". In a statement accompanying the award, the jury said: "Piper has reformed conceptual practice to include personal subjectivity—of herself, her audience, and the public in general." They also noted that the piece asks its audience "to engage in a lifelong performance of personal responsibility." In February 2017, the work was central to her first solo exhibition in a German museum at Nationalgalerie at Hamburger Bahnhof.  A 50-year retrospective of Piper's work, displayed on the top floor of the Museum of Modern Art (MoMA) from March 31, 2018, to July 22, 2018, is the first time the New York museum devoted that entire level to a living artist.

Foundation.

The Adrian Piper Research Archive Foundation  The Adrian Piper Research Archive Foundation is based in Berlin, Germany. It focuses on documenting the art, philosophy, and yoga of Piper's life. The goal of the foundation is to protect, preserve, and offer public access to the foundation for the benefit of those students, scholars, curators, collectors, writers, and members of the general public who demonstrate interest in the work of Piper. A fellowship award has been given in the years 2011, 2013, 2015, and 2017, with the amount of the award varying. The foundation is raising funds with the goals of, (1) complete the renovation of its permanent home in Berlin-Mitte so as to increase its accessibility to the general public; (2) increase the grant amount of the annual Multi-disciplinary Fellowship to a full-year research sabbatical for the grantee; and (3) lay the foundations for the a new Philosophy Dissertation Fellowship for the foundation. The goal of the campaign is to raise €4,000,000.00.  The Berlin Journal of Philosophy  Established in 2011, The Berlin Journal of Philosophy is an open-access, peer-reviewed, international journal that seeks to innovate through adhering strictly to simultaneous policies of blind submission, double-blind review, and anti-plagiarism. The Berlin Journal of Philosophy is administered and published by the APRA Foundation Berlin.

Reception.

Curator Ned Rifkin wrote that Piper "holds a singular position" in the art world. Art critic Michael Brenson asserted that Piper's work "cut through the frozen sea in people and [led] them into areas of themselves they did not know existed." Piper was included in Peggy Phelan and Helena Reckitt's compendium, "Art and Feminism" (2001), where Phelan wrote that her art "worked to show the ways in which racism and sexism are intertwined pathologies which have distorted our lives."  Piper received visual arts fellowships from the National Endowment for the Arts in 1979 and 1982, and a Guggenheim Fellowship in 1989. In 1987, she became the first female African-American philosophy professor to receive academic tenure in the United States. In 2012, she received the Artist Award for Distinguished Body of Work from the College Art Association. In 2015, she was awarded the Golden Lion for best artist of the 2015 Venice Biennale for her participation in Okwui Enwezor's central show, "All the World's Futures".  In 2011 the American Philosophical Association awarded her the title, professor emeritus. In 2013, the Women's Caucus for Art announced that Piper would be a 2014 recipient of the organization's Lifetime Achievement Award.  Piper received the Käthe-Kollwitz-Preis 2018 of the Akademie der Künste, an award that goes to an artist working on an international level and analytical philosopher, who has had a considerable influence on American conceptual art since the mid-1960s.

References.

http://art2.sewanee.edu/files/handouts/piper-funk.pdf https://newrepublic.com/article/148298/outside-comfort-zone-adrian-piper https://archivingthecity.com/2010/06/11/adrian-pipers-funk-lessons/

Adrian Margaret Smith Piper (born September 20, 1948) is an American conceptual artist and philosopher. Her work addresses how and why those involved in more than one discipline may experience professional ostracism, otherness, racial passing, and racism by using various traditional and non-traditional media to provoke self-analysis. She uses reflection on her own career as an example. Piper has been awarded various fellowships and medals and has been described as having "profoundly influenced the language and form of Conceptual art". In 2002, she founded the Adrian Piper Research Archive (APRA) in Berlin, Germany, the focus of a foundation that was established in 2009.

Adrian Margaret Smith Piper (* 20. September 1948 in New York City) ist eine US-amerikanische Konzeptkünstlerin der ersten Generation und eine analytische Philosophin. Sie lebte vor ihrer Auswanderung aus den USA viele Jahre in Cape Cod, Massachusetts. Seit 2005 lebt und arbeitet sie in Berlin, wo sie die Adrian Piper Research Archive Foundation Berlin betreibt.


Taxonomy.

Henri Marie Ducrotay de Blainville described the rubber boa in 1835. The generic name "Charina" is from the Ancient Greek "graceful" or "delightful", and the specific name "bottae" honors Dr. Paolo E. Botta, an Italian ship's surgeon, explorer, and naturalist.  The family Boidae consists of the nonvenomous snakes commonly called boas and consists of 43 species. The genus "Charina" consists of two species, both of which are found in North America. "Charina bottae" is sometimes also known as the coastal rubber boa or the northern rubber boa and is not to be confused with the southern rubber boa ("Charina umbratica"). There is debate on whether the southern rubber boa should be a separate species or a subspecies ("Charina bottae umbratica"). The only other boa species found in the United States is the rosy boa ("Lichanura trivirgata").

Description.

Rubber boas are one of the smaller boa species, adults can be anywhere from long; newborns are typically long. The common name is derived from their skin which is often loose and wrinkled and consists of small scales that are smooth and shiny, these characteristics give the snakes a rubber-like look and texture. Colors are typically tan to dark brown with a lighter ventral surface but sometimes olive-green, yellow, or orange. Newborns often appear pink and slightly transparent but darken with age. Rubber boas have small eyes with vertically elliptical pupils and short blunt heads that are no wider than the body. One of the most identifiable characteristics of rubber boas is their short blunt tails that closely resemble the shape of their head. Rubber boas appear quite different visually than any other species that share the same range (except maybe for the southern rubber boa) and thus are usually easy to identify.

Distribution.

Rubber boas are the most Northerly of Boa species. The distribution of rubber boas covers a large portion of the western United States, stretching from the Pacific Coast east to western Utah and Montana, as far south as the San Bernardino and San Jacinto Mountains east of Los Angeles in California, and as far north as southern British Columbia. There have also been rare sightings in Colorado and Alberta in addition to the states/provinces that they are known to thrive in: California, Oregon, Washington, Nevada, Utah, Wyoming, Montana, Idaho, and extending to its northernmost range in British Columbia. This is also the highest latitude of any boa, that is to say the closest point to either pole for a boa.

Habitat.

Rubber boas have been known to inhabit a wide variety of habitat types from grassland, meadows and chaparral to deciduous and conifer forests, to high alpine settings. They can be found at elevations anywhere from sea level to over. They are not as tolerant of higher temperatures as other snake species and cannot inhabit areas that are too hot and dry, but can live in areas that are surprisingly cold, especially for a snake. Rubber boas also spend a large amount of time under shelter (rocks, logs, leaf litter, burrows, etc.) and thus must live in habitats that can provide this, as well as adequate warmth, moisture, and prey. It is also thought that rubber boas maintain a relatively small home range as many individuals are often captured in the same vicinity year after year, although individuals may occasionally migrate due to competition, lack of prey, or other pressures.

Behavior.

Characteristics of rubber boas behavior also set them apart from other snakes. Rubber boas are considered one of the most docile of the boa species and are often used to help people overcome their fear of snakes. Rubber boas are known to never strike at or bite a human under any circumstances but will release a potent musk from their vent if they feel threatened. They are primarily nocturnal and likely crepuscular (active during dawn and dusk) which partially contributes to how rarely they are encountered. Because of the temperate regions they inhabit, rubber boas hibernate during the winter months in underground dens.

Hunting.

Rubber boas primarily feed on young mammals such as shrews, voles, mice, etc. When nestling mammals are encountered they will try to consume the entire litter if possible and fend off the mother with their tail, this is why individuals will often have extensive scarring on their tails. Rubber boas have also been known to prey on snake eggs, lizard eggs, lizards, young birds, young bats, and there have even been instances of them eating other snakes.

Predation.

Rubber boas can be preyed upon by almost any reasonably sized predator in their habitat. When threatened, rubber boas will curl into a ball, bury their head inside, and expose their tail to mimic their head. While this is thought to be a primary defense technique against predators, it is not effective against many predators (raptors, coyotes, raccoons, cats, etc.). The best defense of rubber boas is their secretive nature.

Reproduction.

Rubber boas are viviparous (give birth to live young) and can have up to 9 young per year, but many females will only reproduce every four years. Mating occurs shortly after reemergence from hibernation in the spring and young are born anywhere from August to November later that year.

Other.

The southern rubber boa is found only in a few disjunct areas of California.  The rubber boa is a primitive snake compared to its much larger relatives native to Latin America, which include the boa constrictor, emerald tree boa, and green anaconda. The rubber boa has retained the club-like tail of its Erycine ancestors.  It is an extremely adaptable snake. It is a good climber, burrower, and even swimmer.  The rubber boa has established populations around: Pemberton, British Columbia, Williams Lake, British Columbia, Radium Hot Springs, British Columbia.

The rubber boa ("Charina bottae") is a species of snake in the family Boidae. The species is native to North America.

Die Gummiboa ("Charina bottae"), auch Nordamerikanische Gummi-Boa, ist ein kleiner Vertreter der Boas mit einer Körperlänge von 35 bis 85 cm. Ihr Verbreitungsgebiet erstreckt sich auf das westliche Nordamerika vom mittleren Kalifornien bis südlichen British Columbia und entlang der Pazifikküste bis mittleren Wyoming. Die Gummiboa kommt in Höhen bis 3000 m vor.


History.

Ottoman Turkish migration.

Turkish people have been in contact with the German states since the sixteenth century when the Ottoman Empire attempted to expand their territories beyond the north Balkan territories. The Ottoman Turks held two sieges in Vienna: the first Siege of Vienna in 1529 and the Second Siege of Vienna in 1683. In particular, it was the aftermath of the second siege which provided the circumstances for a Turkish community to permanently settle in Germany.  Many Ottoman soldiers and camp followers who were left behind after the second siege of Vienna became stragglers or

Mainland Turkish migration.

In the mid-twentieth century, West Germany experienced the "Wirtschaftswunder" ("economic miracle"); however, the construction of the Berlin Wall in 1961 exacerbated West Germany’s labour crisis by restricting the flow of immigrants from East Germany. Consequently, in the same year, the West German government signed a labour recruitment agreement with the Republic of Turkey on 30 October 1961, and officially invited the Turkish people to emigrate to the country. By 1961–62, German employers played a crucial role in pressuring the State to end the two-year limitation clause of the "Gastarbeiter" ("guest worker") agreement so that Turkish workers could stay in West Germany for longer. Most Turkish people who immigrated to West Germany intended to live there temporarily and then return to Turkey so that they could build a new life with the money they had earned. Indeed, return-migration had increased during the recession of 1966-1967, the 1973 oil crisis, followed by the policy of giving remigration bonuses in the early 1980s. However, the number of Turkish migrants who returned to Turkey ultimately remained relatively small compared to the number of Turkish immigrants arriving in Germany. This was partly due to the family reunification rights that were

Turkish migration from Southeastern Europe.

Bulgaria.

Initially, some Bulgarian Turks arrived in Germany during the introduction of the family reunification laws of 1974. The Bulgarian Turks were able to take advantage of this law despite the very small number of Bulgarian citizens in Germany. This is because some Turkish workers in Germany who arrived from Turkey were actually part of the Bulgarian-Turkish minority who had left Bulgaria during the communist regime during the 1980s and still held Bulgarian citizenship, alongside their Turkish citizenship.  The migration of Bulgarian Turks to Germany increased further once communism in Bulgaria came to an end in 1989. Bulgarian Turks who were unable to join the massive migration wave to Turkey in 1989, during "big

Greece.

From the 1950s onwards, the Turkish minority of Greece, particularly the Turks of Western Thrace, began to immigrate to Germany alongside other Greek citizens. Whilst many Turks had intended to return to Greece after working for a number of years, a new Greek law was introduced which effectively forced the minority to remain in Germany. Article 19 of the 1955 Greek Constitution essentially stripped off the Western Thrace Turks living abroad (particularly those in Germany and Turkey) of their Greek citizenship. According to Article 19 of the Greek Constitution "A person of non-Greek ethnic origin leaving Greece without the intention of returning may be declared as having lost Greek nationality". Many Western Thrace Turks who did intend on returning to Greece were discriminated against and were refused the right

Turkish migration from Cyprus.

Turkish Cypriots began to emigrate from Cyprus to Western Europe, mostly to the United Kingdom but

Turkish migration from the Arab world.

Lebanon.

Due to the numerous wars in Lebanon since the 1970s onwards, many Lebanese Turks have sought refuge in Turkey and Europe, particularly in Germany. Indeed, many Lebanese Turks were aware of the large German-Turkish population and saw this as an opportunity to find work once settling in Europe. In particular, the largest wave of Lebanese-Turkish migration occurred once the Israel-Lebanon war of 2006 began. During this period more than 20,000 Turks fled Lebanon, particularly from Beirut, and settled in Germany.

Crime.

Attacks against Turks.

The fall of the Berlin wall in 1989, and the reunification of Germany, saw a sharp rise in violent attacks against the Turks. A series of arson attacks, bombings, and shootings have targeted the Turks in both public and private spaces, such as in their homes, cultural centres, and businesses. Consequently, many victims have been killed or severely injured by these attacks.  On 27 October 1991, Mete Ekşi (), a 19-year-old student from Kreuzberg, was attacked by three neo-Nazi German brothers. Ekşi's funeral in November 1991 was attended by 5,000 people. Despite the mass outrage of Ekşi's death, the rise of xenophobia was still evident

Turkish gangs.

In 2014, the annual report into organized crime, presented in Berlin by interior minister Thomas de Maizière, showed that there were 57 Turkish gangs in Germany. In 2016, the Die Welt and

Demographics.

Characteristics.

Although 1.55 million people in Germany hold Turkish citizenship, this figure is not a true representation of the total Turkish population. This is because the German state does not categorise immigrants, or their descendants, in terms of ethnicity. Consequently, ethnic Turks who have German citizenship are categorised as "German" rather than "Turkish". Similarly, those with Turkish citizenship are categorised as "Turkish" irrespective of their ethnicity. Hence, ethnic minorities from Turkey who

Population.

Estimates of the total Turkish population in Germany, including those of partial descent, have ranged considerably because the German census does not collect data on ethnicity. Academic estimates have often ranged between 2.5 and 4 million. However, since the first decade of the twenty-first century, numerous academics have suggested that there are 4 million people, or ""at least"" or ""more than"" 4 million people,

Settlements.

The Turkish community in Germany is concentrated predominantly in urban centers. The vast majority are found in the former West Germany, particularly in industrial regions such as the states of North Rhine-Westphalia (where a third of

Return migration.

In regards to return-migration, many Turkish nationals and German Turks have also migrated from Germany to Turkey, for retirement or professional reasons. Official German

Integration.

Turkish immigrants make up Germany's second biggest immigrant group with almost 3 million people and are very poorly integrated, ranked last in Berlin Institute's integration ranking.  During a speech in Düsseldorf in 2011, Turkish Prime Minister Recep Tayyip Erdoğan urged Turks in Germany to integrate, but not assimilate, a statement that caused a political outcry in Germany.

Citizenship.

For decades Turkish citizens in Germany were unable to become German citizens because of the traditional German construct of "nationhood". The legal notion of citizenship was based on "blood ties" of a German parent ("jus sanguinis") – as opposed to citizenship based on country of birth and residence ("jus soli"). This adhered to the political notion that Germany was not a country of immigration. For this reason, only those who were of partial Turkish origin (and had one parent who was "ethnically" German) could obtain German citizenship.  In 1990 Germany's citizenship law was somewhat relaxed with the introduction of the Foreigner's Law; this gave Turkish workers the right to apply for a permanent residency permit after eight years of living in the country. In regards to people of Turkish origin born in Germany, who were also legally "foreign", they were given the right to acquire

Discrimination.

It has been criticized that there is a media and political bias against German Turks compared to Kurds in Germany, for example, when pro-Erdogan Turks demonstrate the media and many politicians warn against these demonstrations, but the same media and politicians remain silent about the many regular pro-PKK Kurdish demonstrations.  In 1985 the German journalist Günter Wallraff shocked the German public with his internationally successful book "" ("In the Pits" or "Way Down") in which he reported the discrimination faced by the Turks in German society. He disguised himself as a Turkish worker called "Ali Levent" for over two years and took on minimal-wage jobs and confronted German institutions. He found that many employers did not register or insure their Turkish workers. Moreover, major employers like Thyssen did not give their Turkish workers adequate breaks and did not pay them their full wage.

Culture.

The Turkish people who immigrated to Germany brought their culture with them, including their language, religion, food, and arts. These cultural traditions have also been passed down to their descendants who maintain these values. Consequently, German Turks have also exposed their culture to the greater German society. This is particularly noticeable in the developing landscape of the country, with numerous Turkish restaurants, grocery stores, teahouses, and mosques scattered across Germany. Moreover, the Turks in Germany have also been exposed to the German culture - as is evident on the influence it has played in the Turkish dialect spoken by the Turkish community in Germany.

Food.

Turkish cuisine first arrived in Germany during the sixteenth century and was consumed among aristocratic circles. However, Turkish food became available to the greater German society from the mid-twentieth century onwards with the arrival of Turkish immigrants. By the early 1970s

Language.

Turkish is the second most spoken language in Germany, after German. It was brought to the country by Turkish immigrants who spoke it as their first language. These immigrants mainly learned German through employment, mass media, and social settings, and it has now become a second language for many of them. Nonetheless, most Turkish immigrants have passed down their mother tongue to their children and descendants. In general, German-born Turks become bilingual at an early age, learning Turkish at home and German in state schools; thereafter, a dialectal variety often remains in their repertoire of both languages. German-born Turks mainly speak the German language more fluently than their "domestic"-style Turkish language. Consequently, they often speak the Turkish language with a German accent or a modelled German dialect. It is also common within

Religion.

The Turkish people in Germany are predominantly Muslim and form the largest ethnic group which practices Islam in Germany. Since the 1960s, the Turks were seen as synonymous with the term "Muslim", this is because Islam is considered to have a "Turkish character" in Germany. This Turkish character is particularly evident in the

Popular culture.

Media.

Films.

The first phase in Turkish-German Cinema began in the 1970s and lasted through to the 1980s; it involved writers placing much of their attention on story-lines that represented the living and working conditions of the Turkish immigrant workers in Germany. By the 1990s a second phase shifted towards focusing more on mass entertainment and involved the work of Turkish and German-born Turkish German filmmakers. Critical engagements in story-telling increased further by the turn of the twenty-first century. Numerous films of the

Television.

In the first decade of the twenty-first century several German-Turkish television series' gained popularity in Germany and in some cases gained popularity abroad too. For example, "Sinan Toprak ist der Unbestechliche" ("Sinan Toprak is the Incorruptible", 2001-2002) and "Mordkommission Istanbul" ("Murder Squad Istanbul", 2008–present) which both star Erol Sander. In 2005 Tevfik Başer's book "Zwischen Gott und Erde" ("Time of Wishes") was turned into a primetime TV German movie starring Erhan Emre, Lale Yavaş, Tim Seyfi, and Hilmi Sözer, and won the prestigious Adolf Grimme Prize. Another popular Turkish-German TV series was "Alle lieben Jimmy" ("Everybody Loves Jimmy", 2006-2007) starring Eralp Uzun () and Gülcan Kamps. Due to the success of "Alle lieben Jimmy", it was made into a Turkish series called "Cemil oldu Jimmy" - making it the first German series to be exported to Turkey.  By 2006 the award-winning German television comedy-drama

Comedy.

One of the first comedians of Turkish-origin to begin a career as a mainstream comedian is Django Asül who began his career in satire in the 1990s. Another very successful comedian is

Literature.

Since the 1960s Turkish people in Germany have produced a range of literature. Their work became widely available from the late 1970s onwards, when Turkish-origin writers began to gain sponsorships by German institutions and major publishing houses. Some of the

Music.

In the mid-twentieth century the Turkish immigrant community in Germany mostly followed the music industry in Turkey, particularly pop music and Turkish folk music. Hence, the Turkish music industry became very profitable in Germany. By the 1970s, the "arabesque" genre erupted in Turkey and became particularly popular among Turks in Germany. These songs were often played and sang by the Turkish community in Germany in coffee houses and taverns that replicated those in Turkey. These spaces also provided the first stage for semi-professional and professional musicians. Consequently, by the end of the 1960s, some Turks in Germany began to produce their own music, such as Metin Türköz () who took up themes of the Turkish immigration journey and their working conditions.  By the 1990s the German-born Turks became more influential in the music industry in both Germany and Turkey. In general, many German-born Turks were brought up listening to Turkish pop music, which greatly influenced the music they began to produce. However, the German-born Turks were also influenced by hip-hop music and rap music.  Moreover, since the 1990s, the Turkish-German music scene has developed creative and successful new

Sports.

Football.

Many football players of Turkish origin in Germany have been successful in first-division German and Turkish football clubs, as well as other European clubs. However, in regards to playing for national teams, many players of Turkish origin who were born in Germany have chosen to play for the Turkish national football team. This is partly due to Germany's strict rules on dual citizenship which forces German-Turks to choose whether to have German or Turkish citizenship by the age of 23 (in accordance with the German Citizenship Law of 1999). Nonetheless, in recent years there has been an increase in the number of players choosing to represent Germany.  Those who have chosen to retain their Turkish citizenship and who have competed for Turkey include Cenk Tosun, Ceyhun Gülselam, Gökhan Töre, Hakan Balta,

Turkish-German Football clubs.

The Turkish community in Germany has also been active in establishing their own football clubs such as Berlin Türkspor 1965 (established in 1965) and Türkiyemspor Berlin (established in 1978). Türkiyemspor Berlin were the Champions in the Berlin-Liga in the year 2000. Moreover, they were the winners of the Berliner Landespokal in 1988, 1990, and 1991.

Politics.

German politics.

The Turks in Germany began to be active in politics by establishing associations and federations in the 1960s and 1970s – though these were mainly based on Turkish politics rather than German politics. The first significant step towards active German politics occurred in 1987 when Sevim Çelebi became the first person of Turkish origin to be elected as an MP in the West Berlin Parliament.  With the reunification of East Germany and West Germany, unemployment in the country had increased and some political parties, particularly the Christian Democratic Union (CDU), used anti-immigration discourses as a political tool in their campaigns. To counter this, many people of Turkish origin became more politically active and began to work in local elections and in the young branches of the Social Democratic Party (SPD) and the Green Party. Several associations were founded by almost all German parties to organise meetings for Turkish voters. This played an important gateway for those who aspired to become politicians.

Federal Parliament.

In 1994 Leyla Onur () from the SPD and Cem Özdemir from the Green Party became MPs in the Federal Parliament. They were both re-elected in the 1998 elections and were joined by Ekin Deligöz from the Green party. Deligöz and Özdemir were both re-elected as MPs for the Greens and Lale Akgün was elected as an MP for the SPD in the 2002 elections. Thereafter, Deligöz and Akgün were successful in being re-elected in the 2005 elections; the two female politicians were joined by Hakkı Keskin who was elected as an MP for the Left Party.  By the end of the first decade of the twenty-first century, the number of German MPs of Turkish origin remained similar to the previous elections. In the 2009 elections Ekin Deligöz and Mehmet Kılıç were elected for the Greens, Aydan Özoğuz for the SPD, and

European Parliament.

In 1989 Leyla Onur () from the SPD party was the first person of Turkish-origin to be a member of the European Parliament for

Turkish-German political parties.

On 26 June 2016, the ""Allianz Deutscher Demokraten"" ("Alliance of German Democrats") was founded as the first Turkish-German political party by Remzi Aru. The name of the party was officially announced at 14:53pm.

Turkish politics.

Several Turks born or raised in Germany have entered Turkish politics. For example, Siegen-born, Justice and Development Party (AKP) affiliated Akif Çağatay Kılıç has been the Minister of Youth and Sports of Turkey since 2013. Peoples' Democratic Party (HDP) affiliated Feleknas Uca is a Yazidi politician active in Germany and Turkey, where she is a member of parliament. Leyla İmret was raised in Bremen and in 2014 was elected mayor of Cizre.  Germany is effectively

Turks in Germany, also referred to as German Turks and Turkish Germans, ( / "Deutsch-Türken"; / Almanya Türkleri) refers to ethnic Turkish people living in Germany. These terms are also used to refer to German-born individuals who are of full or partial Turkish ancestry. Whilst the majority of Turks arrived or originate from Turkey, there are also significant ethnic Turkish communities living in Germany who come from (or descend from) Southeastern Europe (such as Greece, Bulgaria, North Macedonia, Serbia, Bosnia and Herzegovina, Romania), Cyprus, and more recently as refugees from Syria and Iraq. Turkish people form the largest ethnic minority in Germany. They also form the second largest Turkish population in the world, after Turkey.

Türkeistämmige in Deutschland sind Menschen, die selbst Staatsbürger der Türkei sind oder waren oder auf deren Vorfahren dies zutraf, und die oder deren Vorfahren ab 1960 aus der Türkei im Gefolge der Gastarbeitermigration in die Bundesrepublik Deutschland aus den verschiedensten Gründen eingewandert sind. In Deutschland lebten im Jahr 2018 etwa drei Millionen Personen mit Migrationshintergrund, die ihre familiären oder religiösen Wurzeln in der Türkei haben. Von dieser Gruppe besitzen ungefähr die Hälfte die deutsche Staatsangehörigkeit. In offiziellen Statistiken ist der Begriff Türken in Deutschland die Bezeichnung für Staatsbürger der Türkei, die in Deutschland leben. Umgangssprachlich wird der mehrdeutige Begriff „Deutschtürken“ benutzt. Der Begriff „Türkeistämmige“ ist ein Neologismus, der gegenüber dem im allgemeinen Sprachgebrauch verbreiteten „Türkischstämmige“ zum Ausdruck bringt, dass er alle ethnischen und sprachlichen Gruppen des Staatsgebietes der Republik Türkei umfasst, insbesondere die als ethnische Minderheit innerhalb der Türkei lebenden Kurden (siehe Kurden im deutschsprachigen Raum) und Armenier (siehe Armenier in Deutschland). In der Türkei werden diese Personen als "almancılar" (zu übersetzen etwa als „Deutschlandfahrer“) oder "gurbetçiler" („die berufsmäßig in die Fremde gehen“) bezeichnet. Im Milieu der Türkeistämmigen finden sich auch Personen türkisch-muslimischer Herkunft aus den Nachbarstaaten der Türkei, namentlich Westthrakientürken, die aber auch ohne Erwerb der deutschen Staatsangehörigkeit als Bürger der Europäischen Union einen privilegierten rechtlichen Status besitzen.


Early life.

William George Morgan graduated from high school at Northfield Mount Hermon School and moved on to attend the YMCA International Training School (Later renamed Springfield College) in Massachusetts with James Naismith, the inventor of basketball. Both Morgan and Naismith pursued careers in Physical Education at the YMCA (Young Men’s Christian Association). Auburn, Maine, at the YMCA, was where Morgan spent one year working prior to graduating from Springfield College. During the summer of 1895, Morgan moved to Holyoke, Massachusetts, where he continued to work for the YMCA, becoming the Director of Physical Education. With Morgan being the Director, it allowed him to devise workout plans and teach sports in depth to the young male adults.

Creating the sport.

As he worked as the Director of Physical Education at the YMCA in Holyoke, he noticed that the game of basketball was not meant for everyone to play. The weaker young men, non-athletic adults, and the older adults were not able to keep up with running up and down the court, along with the amount of contact they would occasionally run into. Morgan then had to think of a game in which everyone would have an equal amount of participation but also had similar objectives to basketball. He wanted to create a game which everyone could play, no matter their age or physical ability.  Between trying to run classes at the YMCA and creating a new sport suitable for all, Morgan decided it was best that he use ideas from various sports such as handball, tennis, and badminton, and his own knowledge from sports training methods and experience, to create this new sport. He decided that the game would involve a six-foot, six-inch net in the middle dividing the 2 separate playing areas, and that it would be played on a 30 ft. × 60 ft. court, so that it could be played in gyms anywhere across the nation.  After creating some ground rules, William Morgan had to experiment with his game. First, he had to decide which ball to use. A basketball was too heavy while the basketball bladder was too light. After testing all of the balls he had available, he had come to the conclusion that his best option was to ask A.G. Spalding & Bros. to make him a ball. A young A.G. Spalding & Bros. equipment designer and master marine cloth tailor, Dale Callaghan, developed and produced the first prototype volleyball. Morgan was very pleased with Spalding & Bros. work. They created Morgan the perfect ball for his sport, which was covered in leather, with the circumference of 25–27 inches. The ball was also the perfect weight for Morgan's sport. The ball weighed 9–12 ounces. This new ball that had been made for Morgan's sport was the perfect finishing touch to the basics of the sport. The last thing that had to be done by Morgan was to create a name. Morgan came up with "Mintonette" as the new name for his game.

Introducing the sport.

The first time Morgan revealed his sport to the other Directors of Physical was at the YMCA located in Springfield, in 1896. He presented his new, creative idea to Dr. Luther Halsey Gulick (director of the professional physical education training school) and the rest of the YMCA Directors of Physical Education. Dr. Gulick was so pleased that he asked Morgan to present his sport at the school's new stadium.  In preparation for his big debut, Morgan created 2 teams of 5 men, who would help in demonstrating “Mintonette” in front of the conference delegates in the East Gymnasium at Springfield College.  On February 9, 1895, William Morgan presented his new sport to the world. When Morgan was explaining the game before the demonstration, he named a few key guidelines in the game of “Mintonette” such as that the game was created so that it could be played in open air and in gyms as well as the objective of the game was to keep the ball in action as it goes from one side of the high net, to the other.  One of the conference delegates, Professor Alfred T. Halsted, loved the game of Mintonette, but he felt like something was just not right. Professor Halsted suggested that the name of the game should be Volleyball, since the main point of the game was to “volley” the ball to a player or over the net. Morgan agreed with Halsted's idea and since then the original game of “Mintonette” has been referred to as Volleyball.  Morgan continued to tweak the rules of the game until July 1896, where his sport was added into the first official handbook of the North American YMCA Athletic League.

Aftermath.

On July 7, 1896, the first game of volleyball was played at Springfield College.

Later life.

William Morgan left his job at the YMCA in 1897 to start a new career with General Electric and Westinghouse. He stayed in touch with Springfield College and stated that he was "content in the knowledge that the game brought a richer life to millions of people throughout the world."  Morgan died on December 27, 1942.

Credits.

In 1995, The Morgan Trophy Award was created. The Award is presented annually to the most outstanding male and female collegiate volleyball player in the US. An elementary school in Holyoke, William Morgan School, bears his name.

William George Morgan (January 23, 1870 – December 27, 1942) was the inventor of volleyball, originally called "Mintonette", a name derived from the game of badminton which he later agreed to change to better reflect the nature of the sport. He was born in Lockport, New York, U.S.A.

William George Morgan (* 23. Januar 1870 in Lockport, New York; † 27. Dezember 1942 ebenda) war ein US-amerikanischer Sporttrainer und der Erfinder des Volleyballs, das er ursprünglich „Mintonette“ nannte.


Pre-war history.

The ship was built at Ateliers et Chantiers Navals Français, Blainville-sur-Orne, near Caen and construction took 4 years, almost two more than initially planned. The steam turbines were built by Ateliers et Chantiers de la Loire in St. Nazaire, while the armament was mounted in the French Marine arsenal in Cherbourg. The ship was launched on 10 July 1928, but it was not until 8 July 1930, when she was finally commissioned by the Polish Navy in Cherbourg harbour.  She was named ORP "Wicher" (), in accordance with the French tradition of naming destroyers after meteorological phenomena. A week later she arrived at Gdynia and became the first modern ship of the Polish naval forces. Her sister ship, "Burza", was started at the same time but was finished two years later, about four years after the initial deadline.  In the Interbellum "Wicher" served various roles, mostly political. For instance, on 15 June 1932, during the 1932 Danzig crisis, she was sent to the port of the Free City of Danzig (modern Gdańsk) to meet two British destroyers entering the port and to underline the Polish political influence in that city. In March 1931 she also sailed to Madeira, from where she brought Marshal of Poland Józef Piłsudski and his family. This passage was the greatest distance "Wicher" ever travelled from Poland.  She also visited Stockholm in August 1932, Leningrad in July 1934, Kiel in June 1935 and Helsinki and Tallinn the following month. In 1937, while serving as a school ship, she visited Pärnu, Narva, Vyborg, Turku, Mariehamn, Nexo, Skagen, Assens and Helsingor, as well as Tallinn and Riga. By the late 1930s it was apparent that the armament was insufficient. The French naval artillery had a low rate of fire and the ship had inadequate protection against aerial bombardment. To solve the problem, in the autumn of 1935 two double 13.2 mm Hotchkiss heavy machine guns were added.  On 18 March 1939 the ship, along with the entire "Counter-torpedo Flotilla", was put on alert due to the Memel Crisis. The alert was called off a week later and the training cruises were halted. At the same time, most Polish surface vessels were prepared to be withdrawn to British ports in Operation "Peking". "Wicher" and "Gryf" were the only major ships left at Gdynia harbour for the protection of the Polish shore.

Combat.

After the Invasion of Poland on 1 September 1939, she repelled a bombing raid at Gdynia, after which she sailed for the Hel naval base, from where she was to commence Operation Rurka, an attempt to lay a minefield at the entrances to Gdańsk Bay. "Wicher" was to shield the operation, carried out by "Gryf", a heavy minelayer, from the side of the German port of Pillau, assisted by six minesweepers and two gunboats. After boarding naval mines from a floating depot, "Gryf" and her flotilla sailed for the Hel Peninsula.  En route "Wicher" was attacked by a squadron of 33 Luftwaffe Ju 87B dive bombers and suffered several close misses, which caused minor damage and killed her captain. In what became known as the Battle of the Gdańsk Bay, "Wicher" was not hit directly, but the German planes scored several close hits, breaking all windows on the bridge and fracturing the hull in several places. After arriving at Hel harbour at 18:45, "Wicher" sailed for the area of operations, arriving around 22:00. "Wicher"s captain, Commander Stefan de Walden, did not know that the operation had been called off and in fact shielded the empty bay and not the Polish flotilla, which was anchored at Hel.  Soon after her arrival "Wicher"s crew sighted two German destroyers. She did not open fire on them as she did not want to draw attention to the Polish units that were meant to be operating in Gdańsk Bay. Later that night she also sighted a. At about 01:00 on 2 September "Wicher" returned to Hel and discovered that the operation had been called off.  On the morning of 3 September 1939, while moored in a harbour, "Gryf" and "Wicher" were attacked by two German destroyers, "Z1 Leberecht Maass" and "Z9 Wolfgang Zenker", firing at a range of 9 nautical miles. Polish warships and a shore battery repulsed the attack, with "Gryf" scoring two hits. After that the German squadron put up a smoke barrier and withdrew. Later that day "Wicher", still in harbour, repulsed two air raids. However, in the third attack at about 15:00 she was attacked by two groups of German planes, which scored four hits. Two bombs hit her amidships, one hit the bow and the other was a near miss that fractured her hull in several places on her starboard side. "Wicher" started to sink and her crew made it ashore, where they joined the land defence of Pomerania. One sailor was killed and 22 wounded in the air attack.  After the end of hostilities, in November 1939 the Germans raised the wreck and towed it to shallow waters. According to some sources she was to be raised, repaired and commissioned into the Kriegsmarine under the name of "Seerose". However, these plans were not carried out.  "Wicher"s wreck survived World War II. In 1946 she was again raised and towed out of port to the area of Jastarnia. There she served as a target for aerial bombardment practice until 1955. In 1963 she was partly scrapped. The remaining part, in approximate position, consists of a quarter of the hull, two funnels and the rudder.

ORP "Wicher", the lead ship of the, was a Polish Navy destroyer. She saw combat in the Invasion of Poland, which began World War II in Europe. She was the flagship of the Polish Navy. She was sunk by German bombers on 3 September 1939, making her the first warship sunk during World War II.

Die ORP "Wicher" war ein Zerstörer der polnischen Marine im Zweiten Weltkrieg. Die "Wicher" wurde zwischen 1927 und 1930 in Frankreich gebaut und war das Typschiff der gleichnamigen "Wicher"-Klasse. Das Kriegsschiff wurde gleich zu Beginn des Krieges am 3. September in der Danziger Bucht von deutschen Flugzeugen versenkt.


History.

Founded in 1952, the Arizona-Sonora Desert Museum interprets the complete natural history of a single region—the Sonoran Desert and adjacent ecosystems—with plants and animals from the region featured together in its exhibits.  William H. Carr inspired and founded the Desert Museum with the support of his friend, Arthur Pack, a conservationist, son of Charles Lathrop Pack, and editor of "Nature Magazine". Carr had earlier founded the Bear Mountain Trailside Museum in New York, which was affiliated with the American Museum of Natural History. There he had developed a similar approach to displays, working with native plants and animals to create a regionally focused collection.  Pack, through his foundation, had provided $200,000 to open the museum and pay its operating cost, so the museum initially charged no admission. Although an admission charge was instituted in 1953, the museum is still supported only by admission fees, memberships, and donations, and receives no direct support from public taxes.  From 1953 to 1985, a local television series, "Desert Trails", featured the museum. “It was an informal show, almost always having live animals and human guests, and focusing on the natural history of the desert as well as happenings at the museum.” In 1991 the museum partnered to develop a national television series known as "Desert Speaks.” It was produced in cooperation with the local PBS affiliate (KUAT), and with The Nature Conservancy of Arizona. This television series was broadcast in 200 markets and ran for 19 seasons.  TripAdvisor rated the Museum as Tucson's #2 attraction for 2018. It was ranked number 18 on their "Top 25 Museums - United States" and a top five public gardens to visit in the United States for 2018, and ranked number nine in the world on their "Traveler’s Choice" of top museums for 2013 and 2014. Condé Nast Traveler's "The Daily Traveler" included in their list of five museums in the United States for children interested in dinosaurs.

Exhibits and interpretation.

The Warden Aquarium opened in January 2013. The aquarium highlights the roles of the Colorado and other life-giving rivers in the region, as well as the Gulf of California, from which the water brought by the monsoon is essential to life in the Sonoran Desert. The “Rivers to the Sea” exhibit includes a touch tank with marine invertebrates.  The Desert Museum has exhibited lower vertebrates and invertebrates since its early days. Though this hall has been modified over the years, the building dates back to 1937 and many of the painted dioramas were created in the early to mid-1950s. On exhibit is a wide variety of native reptiles, including many species of rattlesnakes. Many amphibians and other invertebrates, ranging from spiders and scorpions to beetles, walking sticks, and grasshoppers, are also showcased.  At Cat Canyon visitors can view small cats, like bobcats and an ocelot, in naturalistic grotto settings. This exhibit area also includes a gray fox and porcupine. The animals can be viewed from overhead and at eye level..  The Desert Grassland exhibit area recreates a desert grassland habitat featuring soap tree yuccas, desert scrub, grasses and succulents. Visitors here can observe prairie dogs and learn the region's history through a replica of a mammoth kill site.  Life on the Rocks is a multi-species exhibit focusing on the habitat and species most often encountered amid the region's rocky slopes. Some enclosures are mesh-topped with natural soils and vegetation; others are glass-fronted crevices or cutaway burrows in simulated soil banks. The “homes” of individual species are embedded in the rocks – many with burrows that can be exposed by visitors.  The Life Underground exhibit highlights creatures that make their homes underground. Visitors enter a tunnel and walk below ground into a dimly lit corridor where various creatures, such as kit fox, kangaroo rat, and ringtail, are featured. Here visitors learn where animals go when the desert heats up.  Currently on exhibit in the Riparian Corridor area are a river otter, bighorn sheep, coatis (also known as coatimundis), beavers, native fish and aquatic invertebrates (i.e., dragonflies and snails). There is also a desert toad life-cycle installation.  The Desert Loop Trail is an unpaved desert trail one-half mile long, passing through areas where javelinas, coyotes and lizards are on display. The fiber fencing there are designed to be almost invisible to the eye, aiming to make the enclosure feel like naturally open space. Agaves and various legume trees, native to the region, are identified on this trail.  The "Mountain Woodland" exhibit is a Mexican Pine-Oak Woodland habitat recreating similar habitats in nearby mountain ranges. Native species include a cougar, white-tailed deer, Merriam's turkeys and a brown bear. Mexican wolves and thick-billed parrots also showcased in this area are no longer present in the Sonoran Desert.  There is a walk-in aviary with northern cardinals, Gambel's quail, ducks, doves, and many other species of native birds. Several benches are located throughout the aviary for observation. A small stream runs through the middle of the enclosure.  The Earth Sciences Center-Cave is an artificial cave constructed with arches, side chambers and a tunnel for visitors to explore its 75-foot length. Along the entry passage, organisms and residents are displayed. Further in, a glistening mass of cave formations are lit from beneath the surface of a pool. In the grand rooms, fossils, geologic gems and minerals, and the history of the earth is interpreted.  Desert Garden was built as a partnership between "Sunset" magazine and the Desert Museum. Three different levels of demonstration gardens display various species of plants that can be used in landscaping for homes in the Sonoran Desert region. There are two water features and seating. Attracted by water and flowers, wild native birds and butterflies frequently visit here.  The Hummingbird Aviary allows observation of hummingbirds hovering so closely that visitors can feel the air disturbed by their wings. In breeding season, nests are near enough to allow viewing of the babies. The aviary houses four species that nest annually. The museum's Hummingbird Propagation Program is the only one of its kind in the world for North American hummingbirds.  Due to its bi-seasonal rainfall, the Sonoran Desert region is known as the “lushest desert on earth” and is home to over 2,000 species of plants. The museum's gardens display this ecosystem and represent a variety of biotic communities found within the Sonoran Desert region. There are 1,200 different species of plants with 56,000 individual specimens planted on the grounds. The following gardens are available for viewing throughout the year:

Live presentations.

Live & (sort of) on the Loose.

This presentation features often misunderstood venomous reptiles. Each program presents two species, which could be any combination of the following:

Raptor free-flight.

This birds-of-prey demonstration is held in the open desert and spectators watch from the flight path. The birds fly so close visitors often feel the brush of feathers. Weather permitting, the museum hosts two demonstrations daily from mid-October through mid-April. The birds fly completely untethered, without any jesses (leg straps) and most often without leg rings. Only birds native to the Sonoran Desert Region are flown. A featured species is Harris's hawks, the only raptor species in the world to hunt as a family using strategy, like wolves. The morning and afternoon demonstrations showcase different species, so each is unique. Species include: Harris's hawk, peregrine falcons, barn owls, red-tailed hawks, ferruginous hawk, great horned owl, gray hawk, prairie falcon, and chihuahuan raven.

Docent stations.

Docent Stations, with trained volunteer naturalists, are located throughout the museum grounds. At these stations, docents offer presentations with live reptiles, birds, or mammals, or with animal skulls, skeletons, or fossil remains. Some stations interpret the geology of the Sonoran Desert region including rock formations and semi-precious stones.  Tours are available through advanced reservations via the museum's website. Topics include: Zookeeper for a Day, Winged Wonders (Hummingbird Tour), Warden Aquarium Private Tour, Walk on the Wild Side, and the Reptiles, Amphibians, and Invertebrates Tour.

Conservation education and science.

For many years, the Museum has been involved in scientific investigations, including botanical field investigations, especially in Mexico, with population studies of Ironwood, and a major bi-national research program on migratory pollinators. Current work includes studies of pollination and seed dispersal (how plants survive and get around), and the effects of climate change on regional ecological communities. The Living Collections staff of the museum, are involved in collaborative species survival projects, working with outside agencies and scientists. These include salvage and recovery efforts on a variety of lower vertebrates, including the Tarahumara frog, Chiricahua leopard frog, Mexican garter snake, Sonoyta mud turtle, and a wide range of desert fishes.

Community outreach – the Desert Ark van and live animals.

Desert Ark Community Programs feature live Sonoran Desert animals and may include interactive lectures, slide shows or activities. Museum staff members travel throughout Southern Arizona as well as areas within an 8-hour round-trip drive from the museum, although live animals are unable to travel outside the state of Arizona. For in-state programs, live animals may be used, and may include reptiles, birds, mammals and insects, although the particular animals vary by program.

Digital library.

The Arizona-Sonora Desert Museum has a digital library containing thousands of photographs of plants and animals. The digital library is an interactive site that has a kid's page with videos, animal sounds, and games. Another interactive feature is the plant phenology section. Visitors can look at a specific species of plant or compare two plant species. In addition, the “Time of Year” feature allows users to select a date on the calendar to view what species are in flower or are expected to be in flower. Past dates will also provide temperature and precipitation data, whereas future dates will give average temperatures and chance of precipitation.

Art Institute.

The Art Institute opened in 2001 to promote conservation of the Sonoran Desert through art education including classes, art exhibits, and stewardship of the Museum art. The Art Institute offers a certificate program in nature illustration. Over 80 art classes offered throughout the year. The Institute offers art workshops focusing on specific areas, such as “Sonoran Desert Birds” and “Drawn to the Desert: Focus on the Sea of Cortez.” The Art Institute also offers classes for in photography, ranging from “Photography Basics for Adjustable Cameras” to “Intermediate Nature Photography.”

Ironwood gallery.

The Ironwood Gallery hosts temporary exhibits by accomplished artists from southern Arizona, regional artists from throughout the Southwest and Mexico. It also hosts nationally recognized artists, both individually and through traveling exhibits, by the Society of Conservation Artists and (others).

Desert Museum Press.

Since 1995, the ASDM Press (Arizona-Sonora Desert Museum Press) has published more than 40 books or guides, including 22 popular books on the natural history of the Sonoran Desert Region. It has published 6 picture books for children in both English and Spanish and several pocket guides to hummingbirds and other birds, plants, lizards, snakes, beetles, etc. In 2000, ASDM Press co-published the 628-page “bible” of the Sonoran Desert, “A Natural History of the Sonoran Desert” with the University of California Press. In collaboration with the University of Arizona Press, the division has co-published several technical books in the Studies in Natural History Series, featuring research on topics from pollinators, to water in the desert, to the Sea of Cortez. In the first few years publications were mainly small paperback books. But since 2000, more substantial volumes are common, including the recent field guides to mountain wildflowers and mountain trees, as well as the full-color, 232-page Natural History of the Santa Catalina Mountains, with an Introduction to the Madrean Sky Islands (2013).

Operations and support.

The museum is a not-for-profit 501(c)(3) institution. Its primary source of revenue is from the sale of admission tickets and memberships. Revenue from grants, major donors, bequests and planned gifts, special events, sponsorships, and an annual fund also contribute to the museum's funding.

Docents and volunteers.

The Desert Museum benefits from the service of approximately 500 volunteers, who assist the approximately 120 paid staff. Collectively, Desert Museum volunteers contribute about 130,000 hours per year.  Since its inception in 1972, the Docent Program has become a hallmark of the museum and is recognized by the industry as one of the finest docent corps in existence today. Each of the nearly 200 docents undergoes a rigorous 15-week training program in natural history education.  Another 300 volunteers support the museum in a variety of departmental assignments. The ASDM Internship Program offers a few unpaid, educational appointments for college students.

Hal Gras and the Desert Ark program.

One of the most influential staff members in the history of the Arizona-Sonora Desert Museum was Harold W. “Hal” Gras Jr., more commonly known as Hal Gras. According to David Leighton, historian for the Arizona Daily Star newspaper, Gras was born in New Jersey, in 1919. After serving in World War II and getting married, he relocated to El Paso, Texas where he received his college degree in broadcasting. In 1950, he moved to Tucson, Arizona where he worked in radio and then television.  In 1952, when the Arizona Sonora Desert Museum opened its doors, Hal Gras and his wife Natie attended its opening and, as a result Gras began hosting the museum's TV show, “Desert Trails” (renamed The Desert Speaks, when it moved to KUAT around 1990). The show first aired in 1953, and would run for 32 years, with Gras hosting 1,551 shows. From 1955 to 1972, Gras was the public relations director for the museum. He visited local clubs and talked about the museum. Though he had little or no experience with animals, he started bringing some along with him for his appearances. Soon the popularity of his talks increased and he started bringing creatures from the museum to schools, hospitals, county fairs, etc. The program and the car that Gras brought the animals in both came to be called "The Desert Ark".  When Gras retired in 1985, he had presented a total of 5,382 Desert Ark programs. A few years after his retirement, a small street south of the Arizona-Sonora Desert Museum, along Kinney Road, was named Hal Gras Road in his honor. He would die in 1999.

The Arizona-Sonora Desert Museum is a 98-acre (40 ha) zoo, aquarium, botanical garden, natural history museum, publisher, and art gallery founded in 1952. Located just west of Tucson, Arizona, it features two miles (3.2 km) of walking paths traversing 21 acres (8.5 ha) of desert landscape. It is one of the most visited attractions in Southern Arizona.

Das Arizona-Sonora Desert Museum liegt in der Nähe des Saguaro-Nationalpark bei Tucson. Die Kombination aus einem Zoo, einem Museum und einem Botanischen Garten wurde 1952 gegründet und hat mehr als eine halbe Million Besucher pro Jahr.


Early life and education.

Müller was born in Biel, Switzerland, where he also went to school. He studied medicine at the universities of Neuchâtel, Berne, and Lausanne and received his M.D. from the University of Zürich in 1946. In 1944, he was visited by a patient who had a bone fracture treated in World War II by the German surgeon Gerhard Küntscher, who had fixed the fracture using an implanted nail. This and another visit by a patient who had a hip implant made in Paris determined Müller to specialize in this area.

Career.

After having worked in Jimma in Ethiopia, in Liestal, in Fribourg, and in Zürich, Müller habilitated in orthopedic surgery in 1957. From 1960 on he led the department of orthopedics and traumatology at the hospital of St. Gallen. From 1963 to 1980 he was professor at the University of Berne and head of orthopedic surgery at the Inselspital in Berne.  In 1958, Müller co-founded the Arbeitsgemeinschaft für Osteosynthesefragen. Inspired by the work of Belgian surgeon Robert Danis, Müller developed within two years new tools and fixation implants for orthopedic surgery, marketed by two Swiss companies and from the mid-1970 on also by Synthes USA. Since 2004, all three companies are part of the Synthes Holding AG.  In 1967, Müller founded another company, Protek AG, to market his hip prostheses, which he had developed in the early 1960s, inspired by the work of John Charnley. From 1974 on, profits went to the Maurice E. Müller foundation, the first of several foundations Müller founded to advance the education and research in orthopedic surgery. In 1990, the company was sold to Sulzer Medica (which since then has become an independent spin-off from the Sulzer mother company and which later became part of Zimmer, Inc. under the name of Centerpulse).

Zentrum Paul Klee.

Müller was also the patron who founded the Zentrum Paul Klee in Berne, Switzerland. He developed the initial ideas for the museum, contacted architect Renzo Piano for its realization, and donated through a foundation formed for this purpose 70 million Swiss francs (more than half of the total cost of CHF 125 million) for the construction of the museum.  Müller died on 10 May 2009 in Berne.

Maurice Edmond Müller (28 March 1918 – 10 May 2009) was a Swiss orthopedic surgeon who was instrumental in the development of internal fixation techniques to treat bone fractures and who also significantly advanced the development of the hip prostheses. For his work in these areas he has been honored with numerous awards. On 24 August 2002, the International Society of Orthopaedic Surgery and Traumatology (SICOT) named him the "Orthopedic Surgeon of the Century" at a congress in San Diego.

Maurice Edmond Müller (* 28. März 1918 in Biel; † 10. Mai 2009 in Bern) war ein Schweizer Chirurg und Orthopäde. Er gilt als Pionier der Osteosynthese.


History.

The company was founded in 1993 in Munich by Jürgen Jaron Dieter Rein and Erhard Rein. In 1998 two software developers from Dresden, Tilman Herberger and Titus Tost, joined the company. The headquarters was moved to Berlin in the same year. In 2001 the company changed its business type from a GmbH ("Gesellschaft mit beschränkter Haftung", English: company with limited liability) to Magix AG ("Aktiengesellschaft", English: stock corporation). Magix AG went public on April 6, 2006. Its stocks were listed on the official market and the Prime Standard of the Frankfurt Stock Exchange. After switching to the Entry Standard in 2012, Magix AG filed an application in May 2014 to have the license to trade its shares on the unofficial market revoked and its stocks delisted on November 30, 2014. In 2015 the company changed its business type to MAGIX GmbH & Co. KGaA. In 2016 the name of the company was changed to Bellevue Investments.

Subsidiaries of Bellevue Investments GmbH & Co. KGaA.

Magix Software GmbH.

Magix Software GmbH, an international software publisher with a focus on multimedia software and services, is the largest subsidiary of Magix GmbH & Co. KGaA. The company is headquartered in Berlin, Germany with additional locations in Dresden and Lübbecke in Germany, Bologna in Italy, Boulogne in France, Huizen in The Netherlands, Hemel Hempstead in the United Kingdom, Markham in Canada, and Reno in the United States.

Magix Online Services GmbH.

The subsidiary Magix Online Services GmbH has been offering online services, such as Magix Online Album and Magix Website Maker, since 2004. Magix Web Designer, a program for creating websites, was introduced in 2009.  Products

Xara Group Ltd..

Bellevue Investments acquired the English company Xara Group Ltd, headquartered in Hemel Hempstead, in 2007. Xara produces graphics software and Web design programs. The company is first and foremost known for Xara Designer Pro, which is available in its 10th version (as of September 2014).  The company was founded in 1981 and began developing for various systems, such as the Atari ST, BBC Micro and Acorn Archimedes, and also developed "ArtWorks", the predecessor to "Xara Xtreme". In 1996 Xara began developing for Windows, leading to the development of "Xara 3D", "Xara X" and "Xara Xtreme", the predecessors to the Magix products "Xara 3D Maker", "Xara Photo & Graphic Designer" and "Xara Designer Pro".  Xara Web Designer, a program for creating websites, was first released in 2009. In 2013 Xara Page & Layout Designer, a DTP program, was added to the product range.

mufin GmbH.

mufin (pronounced muffin) stands for "music finder". Bellevue Investments acquired full ownership of mufin GmbH in 2007. In 2005 Bellevue Investments acquired 66% of m2any GmbH in Garching. The company changed its name to mufin GmbH and moved its headquarters to Berlin following full acquisition by Bellevue Investments. m2any GmbH is the result of a research project run by the Fraunhofer Institute for Integrated Circuits, the inventor of the MP3 format.  mufin technology is based on AudioID, an acoustic fingerprint, which enables the quick recognition of music and audio signals. AudioID is an element of the MPEG-7 standard.  In addition to music recognition, mufin is also active in the area of "automatic content recognition", which can be built into second screen applications as a service.

Catooh Corp./Appic Labs Corp..

Bellevue Investments founded the limited company Catooh Corp. in Las Vegas, Nevada in 2007. The company was registered in the commercial register on April 5, 2007. Catooh Corp. served to handle all transactions from the online digital media marketplace, "Catooh". In 2013 the company was renamed Appic Labs Corp. All transactions through the online service "Catooh" are now handled by Magix Computer Products International Corp., whereas Appic Labs is responsible for the development and marketing of mobile camera and photo applications.

JAM just add musicExpert Systems GmbH.

The company was founded as Open Seminar GmbH in 2011. The company operates the online portal provenexpert.com, a platform for word of mouth marketing and customer satisfaction analysis.

simplitec GmbH.

simplitec GmbH is an international provider of utility software. The current simplitec product range includes simplifast, simpliclean and simplisafe, all of which are contained in a yearly subscription to the simplitec Power Suite.

Bellevue Property GmbH.

Bellevue Property GmbH is a real estate development company with assets located in Dresden and Berlin.

Overview of subsidiaries.

The following entities are full subsidiaries of the MAGIX Group (as of September 30, 2013):

Bellevue Investments GmbH & Co. KGaA is a German holding company that controls numerous subsidiaries and investments domestically and abroad. The subsidiaries have different business models and are active in the fields of software, online services, entertainment and digital content, as well as real estate. The subsidiaries currently employ approximately 350 people.

Die Bellevue Investments GmbH & Co. KGaA ist eine Investment Holding-Gesellschaft mit zahlreichen Tochtergesellschaften und Beteiligungen im In- und Ausland. Diese haben unterschiedliche Geschäftsmodelle und beschäftigen sich mit Software, Online-Diensten, Unterhaltungs- und Content-Angeboten sowie Immobilien- und Finanzanlagen. Die Beteiligungen beschäftigen ca. 350 Mitarbeiter.


Formal definition and terminology.

An incidence structure is a triple () where is a set whose elements are called "points", is a distinct set whose elements are called "lines" and is the incidence relation. The elements of are called flags. If () is in then one may say that point "lies on" line or that the line "passes through" point. A more "symmetric" terminology, to reflect the symmetric nature of this relation, is that " is "incident" with " or that " is incident with " and uses the notation synonymously with.  In some common situations may be a set of subsets of in which case incidence will be containment ( if and only if is a member of ). Incidence structures of this type are called "set-theoretic". This is not always the case, for example, if is a set of vectors and a set of square matrices, we may define vector is an eigenvector of matrix }. This example also shows that while the geometric language of points and lines is used, the object types need not be these geometric objects.

Examples.

An incidence structure is "uniform" if each line is incident with the same number of points. Each of these examples, except the second, is uniform with three points per line.

Graphs.

Any graph (which need not be simple, loops and multiple edges are allowed) is a uniform incidence structure with two points per line. For these examples, the vertices of the graph form the point set, the edges of the graph form the line set, and incidence means that a vertex is an endpoint of an edge.

Linear spaces.

Incidence structures are seldom studied in their full generality; it is typical to study incidence structures that satisfy some additional axioms. For instance, a "partial linear space" is an incidence structure that satisfies: If the first axiom above is replaced by the stronger: the incidence structure is called a "linear space".

Nets.

A more specialized example is a "k"-net. This is an incidence structure in which the lines fall into "k" parallel classes, so that two lines in the same parallel class have no common points, but two lines in different classes have exactly one common point, and each point belongs to exactly one line from each parallel class. An example of a "k"-net is the set of points of an affine plane together with "k" parallel classes of affine lines.

Dual structure.

If we interchange the role of "points" and "lines" in  we obtain the "dual structure",  where is the converse relation of. It follows immediately from the definition that:  This is an abstract version of projective duality.  A structure that is isomorphic to its dual is called "self-dual". The Fano plane above is a self-dual incidence structure.

Other terminology.

The concept of an incidence structure is very simple and has arisen in several disciplines, each introducing its own vocabulary and specifying the types of questions that are typically asked about these structures. Incidence structures use a geometric terminology, but in graph theoretic terms they are called hypergraphs and in design theoretic terms they are called block designs. They are also known as a "set system" or family of sets in a general context.

Hypergraphs.

Each hypergraph or set system can be regarded as an incidence structure in which the universal set plays the role of "points", the corresponding family of sets plays the role of "lines" and the incidence relation is set membership "∈". Conversely, every incidence structure can be viewed as a hypergraph by identifying the lines with the sets of points that are incident with them.

Block designs.

A (general) block design is a set together with a family of subsets of (repeated subsets are allowed). Normally a block design is required to satisfy numerical regularity conditions. As an incidence structure, is the set of points and is the set of lines, usually called "blocks" in this context (repeated blocks must have distinct names, so is actually a set and not a multiset). If all the subsets in have the same size, the block design is called "uniform". If each element of appears in the same number of subsets, the block design is said to be "regular". The dual of a uniform design is a regular design and vice versa.

Example: Fano plane.

Consider the block design/hypergraph given by:  This incidence structure is called the Fano plane. As a block design it is both uniform and regular.  In the labeling given, the lines are precisely the subsets of the points that consist of three points whose labels add up to zero using nim addition. Alternatively, each number, when written in binary, can be identified with a non-zero vector of length three over the binary field. Three vectors that generate a subspace form a line; in this case, that is equivalent to their vector sum being the zero vector.

Representations.

Incidence structures may be represented in many ways. If the sets and are finite these representations can compactly encode all the relevant information concerning the structure.

Incidence matrix.

The incidence matrix of a (finite) incidence structure is a (0,1) matrix that has its rows indexed by the points } and columns indexed by the lines } where the ij-th entry is a 1 if and 0 otherwise. An incidence matrix is not uniquely determined since it depends upon the arbitrary ordering of the points and the lines.  The non-uniform incidence structure pictured above (#2 of the examples) is given by:  An incidence matrix for this structure is : which corresponds to the incidence table:  If an incidence structure has an incidence matrix, then the dual structure has the transpose matrix as its incidence matrix (and is defined by that matrix).  An incidence structure is self-dual if there exists an ordering of the points and lines so that the incidence matrix constructed with that ordering is a symmetric matrix.  With the labels as given in example #1 above and with points ordered and lines ordered, the Fano plane has the incidence matrix: Since this is a symmetric matrix, the Fano plane is a self-dual incidence structure.

Pictorial representations.

An incidence figure (that is, a depiction of an incidence structure), is constructed by representing the points by dots in a plane and having some visual means of joining the dots to correspond to lines. The dots may be placed in any manner, there are no restrictions on distances between points or any relationships between points. In an incidence structure there is no concept of a point being between two other points; the order of points on a line is undefined. Compare this with ordered geometry, which does have a notion of betweenness. The same statements can be made about the depictions of the lines. In particular, lines need not be depicted by "straight line segments" (see examples 1, 3 and 4 above). As with the pictorial representation of graphs, the crossing of two "lines" at anyplace other than a dot, has no meaning in terms of the incidence structure, it is only an accident of the representation. These incidence figures may at times resemble graphs, but they aren't graphs unless the incidence structure is a graph.

Realizability.

Incidence structures can be modelled by points and curves in the Euclidean plane with the usual geometric meaning of incidence. Some incidence structures admit representation by points and (straight) lines. Structures that can be are called "realizable". If no ambient space is mentioned then the Euclidean plane is assumed. The Fano plane (#1 above) is not realizable since it needs at least one curve. The Möbius-Kantor configuration (#4 above) is not realizable in the Euclidean plane, but it is realizable in the complex plane. On the other hand, examples #2 and #5 above are realizable and the incidence figures given there demonstrate this. Steinitz (1894) has shown that (incidence structures with points and lines, three points per line and three lines through each point) are either realizable or require the use of only one curved line in their representations. The Fano plane is the unique () and the Möbius-Kantor configuration is the unique ().

Incidence graph (Levi graph).

Each incidence structure "C" corresponds to a bipartite graph called the Levi graph or incidence graph of the structure. As any bipartite graph is two colorable, the Levi graph can be given a black and white vertex coloring, where black vertices correspond to points and white vertices correspond to lines of "C". The edges of this graph correspond to the flags (incident point/line pairs) of the incidence structure. The original Levi graph was the incidence graph of the generalized quadrangle of order two (example #3 above), but the term has been extended by H.S.M. Coxeter to refer to an incidence graph of any incidence structure.

Levi graph examples.

The Levi graph of the Fano plane is the Heawood graph. Since the Heawood graph is connected and vertex-transitive, there exists an automorphism (such as the one defined by a reflection about the vertical axis in the figure of the Heawood graph) interchanging black and white vertices. This, in turn, implies that the Fano plane is self-dual.  The specific representation, on the left, of the Levi graph of the Möbius-Kantor configuration (example #4 above) illustrates that a rotation of about the center (either clockwise or counterclockwise) of the diagram interchanges the blue and red vertices and maps edges to edges. That is to say that there exists a color interchanging automorphism of this graph. Consequently, the incidence structure known as the Möbius-Kantor configuration is self-dual.

Generalization.

It is possible to generalize the notion of an incidence structure to include more than two types of objects. A structure with types of objects is called an "incidence structure of rank" or a "rank" "geometry". Formally these are defined as tuples with and  The Levi graph for these structures is defined as a multipartite graph with vertices corresponding to each type being colored the same.

In mathematics, an abstract system consisting of two types of objects and a single relationship between these types of objects is called an incidence structure. Consider the points and lines of the Euclidean plane as the two types of objects and ignore all the properties of this geometry except for the relation of which points are on which lines for all points and lines. What is left is the incidence structure of the Euclidean plane.

In der Mathematik, insbesondere der Geometrie, bezeichnet Inzidenzstruktur eine Struktur, die durch eine Menge von "Punkten" und eine dazu disjunkte Menge von "Blöcken" sowie eine zwischen diesen Mengen festgelegte "Inzidenzrelation" gegeben ist. Die Inzidenzrelation gibt aus der Menge aller möglichen Paare von Punkten und Blöcken nur jene an, die eine Inzidenz eines Punktes mit einem Block (z. B. einer Linie) bezeichnen. Durch die allgemein gehaltene Formulierung lassen sich zahlreiche Strukturen als Spezialfälle einer Inzidenzstruktur beschreiben.