text:
Talk:Zoë Wanamaker

Potter
I have removed the phrase "and presumbably further Harry Potter films" from the sentence about her role as Madam Hooch, as it is only vague speculation. I just thought I'd better say this, so that people don't think I'm trying to sneakily remove information from articles. -- Oliver PEREIRA 01:19 Jan 17, 2003 (UTC)

Citizenship
Is she still a US citizen, though? If so, then I think it's worth mentioning in the article, as "American" might be interpreted to mean by birth only. -- Oliver P. 13:09 4 Jun 2003 (UTC)

 * There has been some discussion about her citizenship. The New York Times and several other sources say that she holds citizenship in both countries so I don't think there is much doubt about it.  --Peter K.

 * I addressed this by changing "English actress" to "British-American Actress." Per U.S. Const. Amend. XIV, "All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and the state in which they reside."  Because he parents were not diplomats, she was subject to the jurisdiction of the United States when she was born in New York City; so she is undoubtedly an American Citizen.  She is also a British citizen through her mother, who was from Canada.  Canadian citizenship did not exist until 1 January 1947 so Zoe Wanamaker's mother was a "British Subject in Canada."  From 1947 to 1977, Canadian citizenship could only be acquired by birth in Canada or by naturalisation; and you automatically lost Canadian citizenship upon acquisition of another citizenship, other that British citizenship.  So Zoe's mother was a Canadian citizen from 1947 (unless she became an American citizen when she married Sam Wanamaker); but Zoe herself was not eligible for Canadian citizenship. She was, however, perfectly eligible to claim British citizenship through her mother.  So, basically, she has been a dual US-UK citizen from birth.  As a Jew, she would also be eligible to claim Israeli citizenship under the 1949 Law of Return; but contrary to common belief, citizenship claims based on the Law of Return are not granted automatically. The fact she's secular would not matter, since 85% of Israeli Jews are secular Jews.

2601:645:C300:C1C:B088:DEF3:E1E9:C73D (talk) 07:38, 23 August 2018 (UTC)

Title
Should this not be at Zoë Wanamaker instead of Zoe Wanamaker? She does seem to use the "ë", and that's where her IMDB page is located. — sjorford++ 14:13, 26 June 2006 (UTC)

Voice acting
Is it worth mentioning she's been the voice actress for Fable 2 (As Theresa) and has spoken over numerous television adverts? —Preceding unsigned comment added by 84.45.134.188 (talk) 20:13, 28 October 2008 (UTC)

Official website
www.zoewanamaker.com is official - if you disagree please learn to read. "by the fans" means it is fan run, it has been made official by the woman herself. Hence the liberal use of the word "official". --JCrue (talk) 20:16, 10 January 2010 (UTC)
 * Thanks for the link to the spot that I could not find when I went to the site. It is also good that you put it here because others will, no doubt, make the same mistake that I did. She is a wonderful actor and I am glad to know that you will be helping in overseeing her page. MarnetteD | Talk 20:28, 10 January 2010 (UTC)
 * No problem. Sorry if I snapped, bit of, ah, 'wiki rage' there. XP --JCrue (talk) 20:50, 10 January 2010 (UTC)

American-British .v. American-English
An IP editor 62.30.140.42 has changed nationality from American-British to American-English. What do other editors feel about this change? I don't have any strong feeling towards one or the other but think it is something that should be discussed on the talk page here. All comments welcomed. Thanks. Zarcadia (talk) 21:13, 18 February 2011 (UTC)

 * This should probably be changed back. Since she wasn't born in the UK the distinction between England/Scotland/Wales and NI is moot and her citizenship and passport are British not English. MarnetteD | Talk 11:35, 19 February 2011 (UTC)

 * I agree with that approach. I suppose an immigrant who has chosen to settle in England could consider themselves specifically English and NOT Welsh, Irish or Scottish - because nationality is a question of self-definition rather than official documentation.  But in the absence of any evidence that ZW actually feels this way, we have to call her British.  --   Jack of Oz   [your turn]  17:16, 19 February 2011 (UTC)

 * Yes, I agree, and seeing as no-one objects I have changed it back. Zarcadia (talk) 17:03, 22 February 2011 (UTC)
 * Wait what? There was consensus on this, and someone changed it without even discussing it. I'm going to change it again /: Not only that, but someone had the nerve to remove British from the lead! Double wrong! --Nutthida (talk) 18:43, 3 March 2012 (UTC)

"Actor" or "actress"
Where has she stated that she wishes to be referred to as an actor? Her own website refers to her as an actress. In the UK "actor" has fairly strong male connotations and it just sounds wrong when referring to a woman. Although I haven't done exhaustive searches, other actresses' articles refer to them as actresses, not actors. Will Bradshaw (talk) 00:48, 10 June 2011 (UTC)
 * Where is the proof that "in the UK "actor" has fairly strong male connotations." Interview shows like The Graham Norton Show now refer to males and females as actor. As can be seen by scrolling to gender here the Guardian.co.uk style guide backs up the UK move away from the gender specific language. Other performers who are on record as preferring the gender neutral term include Vanessa Redgrave and Helen Mirren and it was in an interview about this that Ms Wanamaker commented on preferring actor. Unfortunately, it was more than a few years ago that I heard it and I cannot put my hands on it just now. In the US documentaries on the Biography Channel (as well as Tru TV and others) now use the term actor when identifying the profession of both males and females. Please note the following dictionary definitions. The Merriam-Webster definition here  especially its 1st example of usage in a sentence "my sister went to drama school to become an actor". Other dictionaries here, here  and here  all of which use gender neutral definitions. The related essay mentions avoiding "unnecessary reinforcement of traditional stereotypes", and I think that this is true here, since confusion depends on the traditional perspective that "actor" is purely masculine. Wikipedia's policy on Gender-neutral language is where articles are moving towards. That all of them are not there yet is not a reason to change this one. MarnetteD | Talk 01:19, 10 June 2011 (UTC)
 * Having read some of the discussions on this subject, I still feel that the term "actor" has male connotations and that there is no sexism intended through the use of "actress", which, for many people, is the correct term. None of the policies you have referenced specifically mention the use of actor/actress, many female-specific terms have fallen out of use and become somewhat archaic, but actress is not one of them and Wikipedia should not be used to force this change. I'm sure you'll agree that a significant amount of people that you have had this discussion with also feel that actor has male connotations, meaning that there is no consensus on whether to refer to actresses as actresses or as actors/female actors. As such, unless a source can be found for the subject's preference, any article should probably be left as it was originally written until a consensus is reached. Will Bradshaw (talk) 12:01, 10 June 2011 (UTC)
 * Your "feelings" do not outweigh external sourcing or wikipolicy. The change has already occurred - and there are plenty of examples for that including the Screen Actors Guild Awards where the gender specific term is not used. Wikipedia is not forcing anything it is simply following the style guides, dictionaries etc that are already moving beyond your feelings and no their has never been a significant number of people who prefer things one way or the other. MarnetteD | Talk 12:34, 10 June 2011 (UTC)
 * The wikiarticle for actor provides sourcing that there is sexism attached to the use of the two terms so, again, this shows that your "feelings" are yours and not shared by everyone. MarnetteD | Talk 12:42, 10 June 2011 (UTC)
 * You are fully aware that I'm not suggesting that they're shared by everyone, you are also aware that yours aren't either, as has been shown in many discussions on this subject that you've taken part in, so please don't attempt to imply otherwise, or talk to me in a condecending tone. You've seen the evidence, I shouldn't have to cite it again. Actor also has a reference (the OED) that states "Although actress remains in general use, actor is increasingly preferred for performers of both sexes as a gender-neutral term." Indicating that the change has not occured, but is in the process of occuring. You can cite the SAG awards if you want, I can cite the Oscars and both sets BAFTA awards. WP:GNL is not clear enough in this situation as we are both able to cite it to support our view points. I agree that Wikipedia is not forcing anything, you are WP:SOAP. Will Bradshaw (talk) 13:21, 10 June 2011 (UTC)

I am not soaping any more or less then your are. I have given you numerous facts and you keep talking about feelings. Your quote from the OED combined with the numerous examples provided shows that the change has occurred and continues to do so. Moving away from sexist, racist, xenophobic terminology is always difficult and you may never be able to do so. Having said all of that until I can find the interview that she gave you are free to change this article back to the terminology of the the gender specific language that you can't live without. MarnetteD | Talk 13:39, 10 June 2011 (UTC)
 * BTW here is what you wrote "I still feel that the term "actor" has male connotations and that there is no sexism intended through the use of "actress"". This statement is extraordinarily condescending to those that understand just how sexist the gender specific terminology is so please don't play the innocent. MarnetteD | Talk 13:56, 10 June 2011 (UTC)
 * You forgot to include a baseless accusation of homophobia in your personal attack. I used the word "feel" twice in one comment to express my widely held viewpoint (just look at your edit history if you don't believe me), not to talk about my "feelings", I have not used it since. You have used the word (or a derivative) five times, once in a quote, in an attempt to belitte me. I will only continue this discussion if you are able to be civil, WP:CIVIL, and talk in a rational manner. Will Bradshaw (talk) 15:41, 10 June 2011 (UTC)
 * MarnetteD: "Unfortunately, it was more than a few years ago that I heard it and I cannot put my hands on it just now." Are you joking? When you find that supporting reference, by all means make the change. But until you do, this is a matter for discussion, not just your personal say-so. More generally, however, I think you are misguided and I agree with Will. I have posted a question at your Talk page. And please take a look the titles in the Awards and nominations section in this article. Thanks. Martinevans123 (talk) 19:51, 12 June 2011 (UTC)
 * Somehow you seemed to have missed this part of the statement "you are free to change this article back to the terminology of the the gender specific language can't live without." Change comes slowly but don't hide behind the "because it doesn't offend me it shouldn't offend anyone else" defense. Poetess and authoress have been sent to the dustbin of history and this one will one day too. MarnetteD | Talk 22:41, 12 June 2011 (UTC)
 * I don't have a feminist agenda. Dustbin or no dustbin. Thanks. Martinevans123 (talk) 22:52, 12 June 2011 (UTC)
 * Oh, and this from Zoe's own website: "Zoë is one of the best actresses of her time and puts her 'all' into every show, series and film she does." Thanks. Martinevans123 (talk) 23:08, 12 June 2011 (UTC)

Merciful heavens, what a merciless argument! If she calls herself "actress," then this article should call her an "actress." If she calls herself "actor," then this article should call her "actor." As to the word itself: Actor is one of several nouns borrowed from foreign languages into English that have distinct masculine and feminine forms. Actor is masculine; actress is feminine. Manager is masculine; manageress is feminine. Murderer is masculine; murderess is feminine. Author is masculine; authoress is feminine; mister/master (both English forms of magister) is masculine, mistress is feminine; and so on. Most of the feminine forms are archaic or obsolete in both American and British English. "Manageress" is still used in the UK (watch an episode of Coronation Street sometime) but is disappearing. Mister/Mistress retains male/female distinction because they are used as honorifics -- with Mister usually abbreviated to Mr while Mistress is abbreviated or contracted to Mrs, Miss, and Ms. Master, which is ultimate the same word as Mister, has lost its masculine distinction; though there was a case at McGill University 30 years ago, where a woman's academic degree was delayed while she petition the Board of Governors to be named a Mistress of Arts instead of being named a Master of Arts. Even in American English, actress and commedienne still have currency as feminine forms of actor and comedian. But regardless whether the feminine form is or is not used, "actor" is and will always be a masculine word; because whether the feminine form "actress" continues to be used or not, it will still exist. It is not going to disappear from the historical record. This is a key distinction between feminism in English and feminism in other languages. In English, we have focused on eliminated feminine forms of words while in Spanish, French and other languages, we have focused on creating them. The battle was easily won in Spain, where the Spanish Academy had no problem with la profesora, la doctora, la directora - at least as a linguistic matter. French women, on the other hand, had to fight long and hard to be recognised as "la professeure" instead of "Madame LE professeur" - because teaching was considered men's work, so a woman doing a man's job had to have the man's label "le professeur." To allow female teachers to call themselves "la professeure" would be to admit women were equal to men, at least in the classroom. L'Actrice (actress) was fine but "la metteure en scene," "la directrice" and - heaven forfend! - "la presidente" were quite out of the question, until the Academie Francaise was finally dragged kicking and screaming into the 20th century just as the 21rst century was fixing to start. "La professeure" became an official French word in 1978. 2601:645:C300:C1C:B088:DEF3:E1E9:C73D (talk) 08:01, 23 August 2018 (UTC)

External links modified
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I have just added archive links to 2 one external links on Zoë Wanamaker. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20120112124615/http://www.olivierawards.com/about/previous-winners/view/item98513/Olivier-Winners-1979 to http://www.olivierawards.com/about/previous-winners/view/item98513/olivier-winners-1979/
 * Added archive https://web.archive.org/20110112042225/http://www.bbcentertainment.com:80/za/programmes/myfamily/facts to http://www.bbcentertainment.com/za/programmes/myfamily/facts

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External links modified
Hello fellow Wikipedians,

I have just added archive links to 3 one external links on Zoë Wanamaker. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20131023060122/http://www.olivierawards.com/about/previous-winners/view/item98519/olivier-winners-1984/ to http://www.olivierawards.com/about/previous-winners/view/item98519/olivier-winners-1984/
 * Added archive https://web.archive.org/20120419023829/http://www.olivierawards.com:80/about/previous-winners/view/item98520/Olivier-Winners-1985 to http://www.olivierawards.com/about/previous-winners/view/item98520/olivier-winners-1985/
 * Added archive https://web.archive.org/20140528181222/http://www.olivierawards.com/about/previous-winners/view/item98530/olivier-winners-1996/ to http://www.olivierawards.com/about/previous-winners/view/item98530/olivier-winners-1996/

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Charts need fixing
Thank you to those who have been working on the charts. At this point however they need major improvement: The productions need to be italicized and properly capitalized, the roles need to be name-only (and at least two of the roles are missing and need to be added), productions without performing roles (such as A Streetcar Named Deisre) need to be removed, and the Notes section in Theatre Work needs to be removed or changed to citation-only because most of it is unnecessary or nonsensical and not even capitalized. Also, one cell of Video Games needs to be fixed. I'll give this about a week or so, and if these cleanups are not made I'll revert to the non-table versions, which were fine and within Wikipedia style and guidelines. Thanks. Pinging and. Thanks again. -- Softlavender (talk) 02:48, 17 February 2016 (UTC)

 * Hello, I got it. Thank you. I'll be on it shortly. 03:20, 17 February 2016 (UTC)

 * Hi Softlavender, I've not had anything to do with creating the tables, except for noticing they needed italicizing and done most of the television section last night before your comment. The Film & TV sections are now all italicized and seem OK, except maybe for some minor issues. L1975p (talk) 16:04, 17 February 2016 (UTC)

 * Thanks for the fixes, . Could you also please fix the citatins so that no URLs show? Right now there are two urls in each citation -- there should be zero. Even if you are listing the site something is taken from there should be no "www." Copy the style of the correct citations in this or other articles. Thanks very much! Softlavender (talk) 03:19, 18 February 2016 (UTC)\

 * Can i suggest you editing some of things you do not agree with? Wintery Time on the Grassland (talk) 04:54, 18 February 2016 (UTC)

 * There's no text that I do not agree with, . The citations are were a mess, though, and really do did need to be fixed. Thanks. Softlavender (talk) 06:20, 18 February 2016 (UTC)

External links modified
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 * Added archive http://web.archive.org/web/20151230043506/http://americantheatrewing.org/seminars/detail/actors_on_performing_04_06 to http://www.americantheatrewing.org/seminars/detail/actors_on_performing_04_06

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title: Talk:Zoë Wanamaker


text:
GHZ experiment

The Greenberger–Horne–Zeilinger experiment or GHZ experiments are a class of physics experiments that can be used to generate starkly contrasting predictions from local hidden-variable theory and quantum mechanical theory, and permit immediate comparison with actual experimental results. A GHZ experiment is similar to a test of Bell's inequality, except using three or more entangled particles, rather than two. With specific settings of GHZ experiments, it is possible to demonstrate absolute contradictions between the predictions of local hidden variable theory and those of quantum mechanics, whereas tests of Bell's inequality only demonstrate contradictions of a statistical nature. The results of actual GHZ experiments agree with the predictions of quantum mechanics.

The GHZ experiments are named for Daniel M. Greenberger, Michael A. Horne, and Anton Zeilinger (GHZ) who first analyzed certain measurements involving four observers and who subsequently (together with Abner Shimony (GHSZ), upon a suggestion by David Mermin) applied their arguments to certain measurements involving three observers.

Summary description and example
A GHZ experiment is performed using a quantum system in a Greenberger–Horne–Zeilinger state. An example of a GHZ state is three photons in an entangled state, with the photons being in a superposition of being all horizontally polarized (HHH) or all vertically polarized (VVV), with respect to some coordinate system. The GHZ state can be written in bra–ket notation as

 * $$|\mathrm{GHZ}\rangle=\frac{1}{\sqrt{2}}(|\mathrm{HHH}\rangle+|\mathrm{VVV}\rangle).$$

Prior to any measurements being made, the polarizations of the photons are indeterminate; If a measurement is made on one of the photons using a two-channel polarizer aligned with the axes of the coordinate system, the photon assumes either horizontal or vertical polarization, with 50% probability for each orientation, and the other two photons immediately assume the identical polarization.

In a GHZ experiment regarding photon polarization, however, two other orientations of two-channel polarizers are used to measure the photons:
 * A linear polarizer rotated by 45° from the axes of the coordinate system, which distinguishes between a polarization rotated 45° clockwise from horizontal (+) and a polarization rotated 45° counterclockwise from horizontal (−).
 * A circular polarizer, which distinguishes between right-handed polarization (R) and left-handed polarization (L).

When specific combinations of those two types of measurements are performed on each of the three entangled photons, perfect (rather than statistical) correlations between the three polarizations are predicted by quantum mechanics. For example, when the circular polarizer is used on photons 1 and 2, and the 45° linear polarizer is used on photon 3, the only four possible result combinations (out of $$2 ^ 3 = 8$$ total) are as follows:

 * RL+, LR+, RR−, LL−.

Such a correlation is perfect in the sense that knowing two of the measurement results allows one to predict the third with certainty. (Of course, real experiments will have a small amount of error.)

A local hidden variable theory (aka "local realism") can also explain any one of those correlations in isolation by postulating that each photon has local variables that perfectly dictate what the result for each type of measurement should be. However, when different measurement combinations are simultaneously considered, the predictions of a local hidden variable theory will necessarily contradict those of quantum mechanics. In particular, given that when using the circular polarizer on any two photons and the 45° linear polarizer on the third photon, the possible result combinations are the four mentioned above, a local hidden variable theory must predict that when using the 45° linear polarizer on all three photons, the possible result combinations should be:

However, quantum mechanics predict that exactly the other four result combinations should be possible. The results of actual experiments agree with the predictions of quantum mechanics, not those of local realism.

Zeilinger was awarded the (shared) 2022 Nobel Prize in physics for his contributions.

Quantum computation explanation
In the language of quantum computation, the polarization state of each photon is a qubit, the basis of which can be chosen to be
 * $$|0\rangle \equiv |\mathrm{H}\rangle, \qquad |1\rangle \equiv |\mathrm{V}\rangle.$$

With appropriately chosen phase factors for $$|\mathrm{H}\rangle$$ and $$|\mathrm{V}\rangle$$, both types of measurements used in the experiment becomes Pauli measurements, with the two possible results represented as +1 and −1 respectively:
 * The 45° linear polarizer implements a Pauli $$X$$ measurement, distinguishing between the eigenstates
 * $$|{+X}\rangle \equiv |+\rangle = \frac{1}{\sqrt{2}}(|\mathrm{H}\rangle + |\mathrm{V}\rangle), \qquad |{-X}\rangle \equiv |-\rangle = \frac{1}{\sqrt{2}}(|\mathrm{H}\rangle - |\mathrm{V}\rangle).$$

 * The circular polarizer implements a Pauli $$Y$$ measurement, distinguishing between the eigenstates
 * $$|{+Y}\rangle \equiv |R\rangle = \frac{1}{\sqrt{2}}(|\mathrm{H}\rangle + i|\mathrm{V}\rangle), \qquad |{-Y}\rangle \equiv |L\rangle = \frac{1}{\sqrt{2}}(|\mathrm{H}\rangle - i|\mathrm{V}\rangle).$$

A combination of those measurements on each of the three qubits can be regarded as a destructive multi-qubit Pauli measurement, the result of which being the product of each single-qubit Pauli measurement. For example, the combination "circular polarizer on photons 1 and 2, 45° linear polarizer on photon 3" corresponds to a $$Y_1Y_2X_3$$ measurement, and the four possible result combinations (RL+, LR+, RR−, LL−) are exactly the ones corresponding to an overall result of −1.

The quantum mechanical predictions of the GHZ experiment can then be summarized as
 * $$\langle\mathrm{GHZ}|Y_1Y_2X_3|\mathrm{GHZ}\rangle = \langle\mathrm{GHZ}|Y_1X_2Y_3|\mathrm{GHZ}\rangle = \langle\mathrm{GHZ}|X_1Y_2Y_3|\mathrm{GHZ}\rangle = -1,$$
 * $$\langle\mathrm{GHZ}|X_1X_2X_3|\mathrm{GHZ}\rangle = +1,$$

which is consistent in quantum mechanics because all these multi-qubit Paulis commute with each other, and
 * $$Y_1Y_2X_3 \cdot Y_1X_2Y_3 \cdot X_1Y_2Y_3 \cdot X_1X_2X_3 = -1$$

due to the anticommutativity between $$X$$ and $$Y$$.

Meanwhile, those results lead to a contradiction in any local hidden variable theory, where each measurement must have definite (classical) values $$x_i, y_i = \pm 1$$ determined by hidden variables, because
 * $$y_1y_2x_3 \cdot y_1x_2y_3 \cdot x_1y_2y_3 \cdot x_1x_2x_3 = x_1^2 x_2^2 x_3^2 y_1^2 y_2^2 y_3^2$$

must equal +1, not −1.

Preliminary considerations
Frequently considered cases of GHZ experiments are concerned with observations obtained by three measurements, A, B, and C, each of which detects one signal at a time in one of two distinct mutually exclusive outcomes (called channels): for instance A detecting and counting a signal either as $(A↑)$ or as $(A↓)$, B detecting and counting a signal either as $(B ≪)$ or as $(B ≫)$, and C detecting and counting a signal either as $(C ◊)$ or as $(C ♦)$.

Signals are to be considered and counted only if A, B, and C detect them trial-by-trial together; i.e. for any one signal which has been detected by A in one particular trial, B must have detected precisely one signal in the same trial, and C must have detected precisely one signal in the same trial; and vice versa.

For any one particular trial it may be consequently distinguished and counted whether
 * A detected a signal as $(A↑)$ and not as $(A↓)$, with corresponding counts $n_{t}(A↑) = 1$ and $n_{t }(A↓) = 0$, in this particular trial t, or
 * A detected a signal as $(A↓)$ and not as $(A↑)$, with corresponding counts $n_{f} (A↑) = 0$ and $n_{f }(A↓) = 1$, in this particular trial f, where trials f and t are evidently distinct;

similarly, it can be distinguished and counted whether
 * B detected a signal as $(B ≪)$ and not as $(B ≫)$, with corresponding counts $n_{g }(B ≪) = 1$ and $n_{g }(B ≫) = 0$, in this particular trial g, or
 * B detected a signal as $(B ≫)$ and not as $(B ≪)$, with corresponding counts $n_{h }(B «) = 0$ and $n_{h }(B ≫) = 1$, in this particular trial h, where trials g and h are evidently distinct;

and correspondingly, it can be distinguished and counted whether
 * C detected a signal as $(C ◊)$ and not as $(C ♦)$, with corresponding counts $n_{ l}(C ◊) = 1$ and $n_{ l}(C ♦) = 0$, in this particular trial l, or
 * C detected a signal as $(C ♦)$ and not as $(C ◊)$, with corresponding counts $n_{m}(C ◊) = 0$ and $n_{m}(C ♦) = 1$, in this particular trial m, where trials l and m are evidently distinct.

For any one trial j it may be consequently distinguished in which particular channels signals were detected and counted by A, B, and C together, in this particular trial j; and correlation numbers such as
 * $$p_{(\mathrm{A}\uparrow)(B \ll)(C \lozenge)}(j)=[n_j(\mathrm{A}\uparrow)-n_j(\mathrm{A}\downarrow)][n_j(\mathrm{B}\ll)-n_j(\mathrm{B}\gg)][n_j(\mathrm{C}\;\lozenge)-n_j(\mathrm{C}\;\blacklozenge)]$$

can be evaluated in each trial.

Following an argument by John Stewart Bell, each trial is now characterized by particular individual adjustable apparatus parameters, or settings of the observers involved. There are (at least) two distinguishable settings being considered for each, namely A's settings a1, and a2, B's settings b1, and b2, and C's settings c1, and c2.

Trial s for instance would be characterized by A's setting a2, B's setting b2, and C's settings c2; another trial, r, would be characterized by A's setting a2, B's setting b2, and C's settings c1, and so on. (Since C's settings are distinct between trials r and s, therefore these two trials are distinct.)

Correspondingly, the correlation number $p_{(A↑)(B≪)(C◊)}(s)$ is written as $p_{(A↑)(B≪)(C◊)}(a_{2},b_{2},c_{2})$, the correlation number $p_{(A↑)(B≪)(C◊)}(r)$ is written as $p_{(A↑)(B≪)(C◊)}(a_{2},b_{2},c_{1})$ and so on.

Further, as Greenberger, Horne, Zeilinger and collaborators demonstrate in detail, the following four distinct trials, with their various separate detector counts and with suitably identified settings, may be considered and be found experimentally:
 * trial s as shown above, characterized by the settings a2, b2, and c2, and with detector counts such that
 * $$p_{(\mathrm{A}\uparrow)(\mathrm{B}\ll)(\mathrm{C}\lozenge)}(s)=[n_s(\mathrm{A}\uparrow)-n_s(\mathrm{A}\downarrow)][n_s(\mathrm{B}\ll)-n_s(\mathrm{B}\gg)][n_s(\mathrm{C}\;\lozenge)-n_s(\mathrm{C}\;\blacklozenge)]=-1,$$
 * trial u with settings a2, b1, and c1, and with detector counts such that
 * $$p_{(\mathrm{A}\uparrow)(\mathrm{B}\ll)(\mathrm{C}\lozenge)}(u)=[n_u(\mathrm{A}\uparrow)-n_u(\mathrm{A}\downarrow)][n_u(\mathrm{B}\ll)-n_u(\mathrm{B}\gg)][n_u(\mathrm{C}\;\lozenge)-n_u(\mathrm{C}\;\blacklozenge)]=1,$$
 * trial v with settings a1, b2, and c1, and with detector counts such that
 * $$p_{(\mathrm{A}\uparrow)(\mathrm{B}\ll)(\mathrm{C}\lozenge)}(v)=[n_v(\mathrm{A}\uparrow)-n_v(\mathrm{A}\downarrow)][n_v(\mathrm{B}\ll)-n_v(\mathrm{B}\gg)][n_v(\mathrm{C}\;\lozenge)-n_v(\mathrm{C}\;\blacklozenge)]=1,$$ and
 * trial w with settings a1, b1, and c2, and with detector counts such that
 * $$p_{(\mathrm{A}\uparrow)(\mathrm{B}\ll)(\mathrm{C}\lozenge)}(w)=[n_w(\mathrm{A}\uparrow)-n_w(\mathrm{A}\downarrow)][n_w(\mathrm{B}\ll)-n_w(\mathrm{B}\gg)][n_w(\mathrm{C}\;\lozenge)-n_w(\mathrm{C}\;\blacklozenge)]=1.$$

The notion of local hidden variables is now introduced by considering the following question:

Can the individual detection outcomes and corresponding counts as obtained by any one observer, e.g. the numbers $(n_{j }(A↑) − n_{j }(A↓))$, be expressed as a function $A(a_{x}, λ)$ (which necessarily assumes the values +1 or −1), i.e. as a function only of the setting of this observer in this trial, and of one other hidden parameter $λ$, but without an explicit dependence on settings or outcomes concerning the other observers (who are considered far away)?

Therefore: can the correlation numbers such as $p_{(A↑)(B≪)(C◊)}(a_{x},b_{x},c_{x})$, be expressed as a product of such independent functions, $A(a_{x}, λ)$, $B(b_{x}, λ)$ and $C(c_{x}, λ)$, for all trials and all settings, with a suitable hidden variable value $λ$?

Comparison with the product which defined $p_{(A↑)(B≪)(C◊)}(j)$ explicitly above, readily suggests to identify
 * $$\lambda \to j$$,
 * $$A(a_x, j ) \to n_j(\mathrm{A}\uparrow) - n_j(\mathrm{A}\downarrow),$$
 * $$B( b_x, j ) \to n_j(\mathrm{B} \ll) - n_j(\mathrm{B} \gg),$$ and
 * $$C( c_x, j ) \to n_j(\mathrm{C}\; \lozenge) - n_j(\mathrm{C}\; \blacklozenge)$$,

where j denotes any one trial which is characterized by the specific settings ax, bx, and cx, of A, B, and of C, respectively.

However, GHZ and collaborators also require that the hidden variable argument to functions A, B, and C may take the same value, $λ$, even in distinct trials, being characterized by distinct experimental contexts. This is the statistical independence assumption (also assumed in Bell's theorem and commonly known as "free will" assumption).

Consequently, substituting these functions into the consistent conditions on four distinct trials, u, v, w, and s shown above, they are able to obtain the following four equations concerning one and the same value $λ$:
 * 1) $$A( a_2, \lambda ) B( b_2,\lambda ) C( c_2, \lambda ) = -1,$$
 * 2) $$A( a_2, \lambda ) B( b_1, \lambda ) C( c_1, \lambda ) =  1,$$
 * 3) $$A( a_1, \lambda ) B( b_2, \lambda ) C( c_1, \lambda ) =  1,$$ and
 * 4) $$A( a_1, \lambda ) B( b_1, \lambda ) C( c_2, \lambda ) =  1.$$

Taking the product of the last three equations, and noting that $A(a_{1}, λ) A(a_{1}, λ) = 1$, $B(b_{1}, λ) B(b_{1}, λ) = 1$, and $C(c_{1}, λ) C(c_{1}, λ) = 1$, yields

 * $$A( a_2, \lambda) B( b_2, \lambda ) C( c_2, \lambda ) = 1$$

in contradiction to the first equation; $1 ≠ −1$.

Given that the four trials under consideration can indeed be consistently considered and experimentally realized, the assumptions concerning hidden variables which lead to the indicated mathematical contradiction are therefore collectively unsuitable to represent all experimental results; namely the assumption of local hidden variables which occur equally in distinct trials.

Deriving an inequality
Since equations (1) through (4) above cannot be satisfied simultaneously when the hidden variable, $λ$, takes the same value in each equation, GHSZ proceed by allowing $λ$ to take different values in each equation. They define Also, $Λ_{1}$ is the complement of $λ$.
 * $Λ_{2}$: the set of all $λ$s such that equation (1) holds,
 * $Λ_{3}$: the set of all $λ$s such that equation (2) holds,
 * $Λ_{4}$: the set of all $λ$s such that equation (3) holds,
 * $Λ_{i}^{c}$: the set of all $Λ_{i}$s such that equation (4) holds.

Now, equation (1) can only be true if at least one of the other three is false. Therefore,
 * $$\Lambda_1 \subseteq \Lambda_2^{\rm c} \cup \Lambda_3^{\rm c} \cup \Lambda_4^{\rm c} $$

In terms of probability,
 * $$p(\Lambda_1)\leq p(\Lambda_2^{\rm c}\cup \Lambda_3^{\rm c} \cup \Lambda_4^{\rm c}) $$

By the rules of probability theory, it follows that
 * $$p(\Lambda_1)\leq p(\Lambda_2^{\rm c})+p(\Lambda_3^{\rm c})+ p(\Lambda_4^{\rm c})$$

This inequality allows for an experimental test.

Testing the inequality
To test the inequality just derived, GHSZ need to make one more assumption, the "fair sampling" assumption. Because of inefficiencies in real detectors, in some trials of the experiment only one or two particles of the triple will be detected. Fair sampling assumes that these inefficiencies are unrelated to the hidden variables; in other words, the number of triples actually detected in any run of the experiment is proportional to the number that would have been detected if the apparatus had no inefficiencies – with the same constant of proportionality for all possible settings of the apparatus. With this assumption, $p(Λ_{1})$ can be determined by choosing the apparatus settings a2, b2, and c2, counting the number of triples for which the outcome is −1, and dividing by the total number of triples observed at that setting. The other probabilities can be determined in a similar manner, using $$p(\Lambda^{\rm c}) = 1 - p(\Lambda)$$, allowing a direct experimental test of the inequality.

GHSZ also show that the fair sampling assumption can be dispensed with if the detector efficiencies are at least 90.8%.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: GHZ experiment


text:
It's Magic, Charlie Brown

It's Magic, Charlie Brown is the 21st prime-time animated television special based upon the comic strip Peanuts, by Charles M. Schulz. It originally aired on April 28, 1981.

Plot
Charlie Brown decides that Snoopy needs to educate himself, and gives him his library card to check out a few books. Snoopy takes out a book about magic and performs a magic show as "The Great Houndini." He ends the show by making Charlie Brown disappear. A sudden rainstorm ends the show early, and Charlie Brown is left invisible. Snoopy tries several ideas to make him visible again, including draping a sheet over him, which only scares Charlie Brown when he looks in the mirror and sees what he thinks is a ghost.

Charlie Brown realizes he has a golden opportunity to kick Lucy's football without her knowing. Charlie Brown finally succeeds in kicking the football four times and taunts her about it. Furious, Lucy threatens Snoopy into bringing back Charlie Brown.

Snoopy manages to bring Charlie Brown back after blindly shooting his invisibility counter spell in an attempt to find him. Charlie Brown turns back to normal while he attempts to kick Lucy's football again before she pulls it away at the last second. Regardless, Charlie Brown is happy that he finally kicked the football, although Lucy says no one will believe him. Charlie Brown says that Snoopy will believe him since he made it possible for him. When Lucy scoffs at Snoopy, the insulted beagle magically levitates Lucy into the sky, and leaves her stuck there as payback until Linus pulls her down with his blanket during the credits. After being brought down by Linus, a defeated and humiliated Lucy walks home.

Cast

 * Michael Mandy as Charlie Brown
 * Peter Robbins as Charlie Brown screaming (archived)
 * Sydney Penny as Lucy van Pelt
 * Cindi Reilly as Sally Brown
 * Earl Reilly as Linus van Pelt, Franklin
 * Brent Hauer as Peppermint Patty
 * Shannon Cohn/Casey Carlson as Marcie
 * Christopher Donohone as Schroeder
 * Bill Melendez as Snoopy, Woodstock

Home media
It's Magic, Charlie Brown was released on DVD on September 2, 2008, as a bonus feature on Warner Home Video's remaster of It's the Great Pumpkin, Charlie Brown.

title: It's Magic, Charlie Brown


text:
Alien Ant Farm

Alien Ant Farm is an American rock band that formed in Riverside, California in 1996. They have released six studio albums and sold over 5 million units worldwide. The band's cover of Michael Jackson's "Smooth Criminal" topped the Billboard Alternative songs charts in 2001, and was featured in the film American Pie 2.

They released their debut album Greatest Hits independently in 1999, then signed to DreamWorks Records in 2000. Their second album ANThology was released in 2001 and has been certified platinum by the RIAA, selling over one million copies and reaching number 11 on the Billboard 200. Following up that was their third album, TruANT, released in 2003. The album was produced by brothers Robert and Dean DeLeo of Stone Temple Pilots, and made it to number 42 on the Billboard 200.

In 2005, the band recorded their next album 3rd Draft, however its release was denied by the label after Geffen bought out DreamWorks. It was eventually released in 2006 as Up in the Attic, charting at number 114 on the Billboard 200. After several years of sporadic touring, the band's fifth studio album Always and Forever was released in February 2015. After 9 years, the band released their sixth album Mantras in early 2024.

Early years (1996–2000)
The band was formed in 1996 in Riverside, California, the original lineup consisting of Dryden Mitchell (vocals), Terry Corso (guitars), Mike Cosgrove (drums) and Tye Zamora (bass).Their name comes from an idea Corso had about aliens and the Earth: "It was just my daydream about our planet being seeded by entities from other dimensions." Each member was in a prior band before forming (Corso and Cosgrove were in "Brother Vibe", Zamora was in a band with brothers Marc and Jon named "The Color Red", and Mitchell was in a band named "Dragonfly"). Originally, the band considered themselves to be cheating on their other bands, and intended to wear masks while performing.

In 1996 they recorded a demo tape titled the $100 EP containing five songs, and in 1998 they recorded a second demo tape Love Songs, featuring four songs.

In 1999, Alien Ant Farm released their debut album, titled Greatest Hits which featured early versions of songs to be featured on later releases. It went on to win Best Independent Album in the L.A. Music Awards that year.

In 2000, after forging a friendship with the band Papa Roach, Alien Ant Farm signed with Dreamworks SKG for their second studio album, Anthology. They proceeded to tour with Papa Roach to support the album.

ANThology (2001–2002)
In 2001, their cover of Michael Jackson's song, "Smooth Criminal", was a No. 1 single in Australia and No. 4 in New Zealand, a No. 3 single in the UK, and No. 1 on the US Modern Rock charts. The music video features numerous homages to Michael Jackson and his videos. Corso, the band's guitarist, addressed this in an MTV interview on the set of the music video, saying, "We want to pay homage to Michael Jackson, but on our level. Obviously we're not that glitzy, so we just want to tastefully take the stuff that's cool in his videos and apply it in our own dirty little backyard way."

The song appeared on the soundtrack of the first season of WWE Tough Enough and in the film American Pie 2. Their following single "Movies" was a Top 5 hit in the UK and a Top 20 hit in New Zealand. The band began touring in promotion of these two singles and their album, which later went platinum.

In spring of 2002, the band contributed "Bug Bytes" to the first Spider-Man soundtrack.

In May 2002, the band was involved in a bus accident while touring in Spain. While the whole band suffered minor injuries, the driver, 26-year-old Christopher Holland, was killed, and lead singer Mitchell suffered a fractured C2 vertebra.

TruANT (2003–2004)
Alien Ant Farm soon returned to the studio to work on their next album, Truant, which was released in 2003 and produced by Stone Temple Pilots' Robert and Dean DeLeo. The video for "These Days", the first single from the album, was filmed on top of a nearby building during the Red Carpet at the 2003 BET Awards. "Glow" was a mainstream radio success, achieving long lasting Top 20 success in New Zealand. Two months after this album was released, however, their record label closed its doors. This hindered the album's popularity over time, and the album was much less successful than their platinum-selling debut.

In October 2003, guitarist Corso split with the band citing "irreconcilable differences". Victor Camacho (a long-time friend of the band and guitar player) immediately joined the band and completed the remainder of the Truant tour until the band returned home. Joe Hill was named the new guitarist in 2005 (formerly of Spiderworks).

In 2004, the band recorded the song "Dark in Here" for The Punisher video game. The band was forced to wait for Geffen to allow them to record another album (after Universal Music bought DreamWorks and assigned the band to its Geffen Records label).

3rd Draft and Up in the Attic (2005–2007)
In 2005, the band recorded with producer Jim Wirt (who recorded their independent, debut release Greatest Hits) and planned to release the album during that summer. However, Geffen shelved the album and subsequently denied the band the rights to release it themselves. The band hit the road and made bootleg copies of the album material available to all of their fans. This unofficial release was dubbed 3rd Draft by fans.

Four video games have featured the band's songs. Their song "Wish" was in Tony Hawk's Pro Skater 3, while the song "Courage" also featured in Shaun Palmer's Pro Snowboarder and ATV Offroad Fury 2. The song "These Days" was featured in Madden NFL 2004 and the song "S.S Recognize" were featured in NHL 2004.

In late 2005, Geffen finally agreed to let the band release the album on another Universal label, Universal Music Enterprises (its catalog division). On May 30, 2006, the new album, Up in the Attic, was released digitally on iTunes and sold at various retailers. The Best Buy Edition included a bonus track, "Repeat Defender". The first single was "Forgive and Forget", the one added track to 3rd Draft.

In April 2006, bassist Tye Zamora left the band and decided to go to college. The short amount of live shows thereafter featured Alex Barreto on bass. On June 29, 2006, the band performed on G4's Attack of the Show, and on July 18, 2006, Up In The Attic was released worldwide, along with BUSted: The Definitive DVD. Included on the DVD were music videos for "Forgive and Forget", "Around the Block", and "She's Only Evil". Notably, the three videos feature only Dryden Mitchell and Mike Cosgrove.

The band released "Around the Block", the second single from Up in the Attic, on the iTunes Store in 2007.

Rejoining of Zamora and Corso (2007–2010)
On February 11, 2008, the band posted a statement on their website stating Terry Corso and Tye Zamora had rejoined the band. It was also revealed that the band had "unofficially broken up" in 2007 due to the fact that 2006's Up in the Attic was their least successful album.

Around this time, vocalist Dryden Mitchell formed a new band, Send the Sages. Guitarist Terry Corso and drummer Michael Cosgrove worked on a side project titled Ghost In The Flesh, bassist Tye Zamora worked with the band. Alien Ant Farm toured sporadically, and released a new live album, Alien Ant Farm: Live In Germany.

In 2009, they played the Sonisphere Festival in Knebworth, UK on August 1. They had also performed "Smooth Criminal" at the 2009 Vans' Warped Tour in memory of Michael Jackson, who had recently died.

On February 9, 2010, Alien Ant Farm posted on their official website that the original line up (Dryden Mitchell, Terry Corso, Tye Zamora and Mike Cosgrove) was back together for the first time since 2003. On February 27, 2010, the Alien Ant Farm official website released the band's first "webizode" titled Bassmasters.

Always And Forever and Mantras (2011–present)
The band's "ANTicipation" 2011 Tour took place across the continental U.S. from July to October 2011. They also took part in the "Michael Forever Tribute Concert" which took place on October 8, 2011 in Cardiff, Wales. Alien Ant Farm started writing new material and in July 2012 started recording their fifth album, Always and Forever, at Groovemaster Studios in Chicago in July 2012. In March 2013 they set up a crowdfund, using PledgeMusic, to finance the album's release. The first single from Always and Forever, "Let 'Em Know", was released in May 2013. Also in the summer of 2013, Alien Ant Farm participated in "The Big Night Out Tour", opening for Hoobastank and Fuel.

Zamora left the band for a second time in March 2014 and was replaced by Tim Peugh. At the same time Michael Anaya joined as a touring member of the band, providing backing vocals, percussion, and keyboards. Another single, Homage, was released in September 2014, followed a month later by E.P. Phone Home. The album Always and Forever was released on February 24, 2015.

On March 31, 2016, Alien Ant Farm announced on their official Facebook page that they were writing material for a new album.

On May 17, 2016, the band took part in the Make America Rock Again super tour throughout the summer and fall 2016. In addition, they announced a headlining tour where they intend to perform the album Anthology in its entirety. In early 2018, they toured the UK with Soil and Local H, and then embarked on the "Gen-X Tour", alongside Buckcherry, P.O.D., and Lit.

On May 8, 2020, the new single "Everything She Wants" was released digitally on streaming services. It is a cover of the song by Wham!.

Released on February 17, 2021, they collaborated with Insane Clown Posse on the single "Afraid of Life" from the EP Yum Yum's Lure.

On November 7, 2022, the band announced its participation for the Sick New World fest in Las Vegas, Nevada in 2023, which will also feature bands such as Korn, Deftones, System of a Down, Papa Roach, Soulfly, etc.

On December 30, 2022, Dryden Mitchell was charged with battery after an incident during the Alien Ant Farm concert at Fort Lauderdale's Broward Center for the Performing Arts on October 29. It is alleged that Mitchell grabbed the hand of a male audience member and forced his hand to touch his "genital area".

Alien Ant Farm performed at The 23rd Annual Gathering of the Juggalos in July 2023. Their sixth album, titled Mantras, was released on April 26, 2024. The album's first single, "So Cold", was released on January 19.

Musical style and influences
Although initially grouped in with the nu metal movement of the late 1990s and early 2000s, the band's sound also crosses over into other genres, such as alternative rock,  alternative metal, post-grunge, punk rock, and pop punk. Spin stated in 2003 that their hit cover of Michael Jackson's "Smooth Criminal" proved that "nu metal could be funny on purpose".

The band's influences include Faith No More and Primus.

Band members
Current
 * Dryden Vera Mitchell – lead vocals, rhythm guitar (1996–present), lead guitar (2003–2004)
 * Michael "Mike" Cosgrove – drums (1996–present)
 * Terence "Terry" Corso – lead guitar, backing vocals (1996–2003, 2008–present)
 * Tim "Timmy" Peugh – bass, backing vocals (2014–present)
 * Former
 * Joe Hill – lead guitar, backing vocals (2004–2008, 2012 for a one-off show)
 * Tye Zamora – bass, keyboards, piano, kalimba, percussion, backing vocals (1996–2006, 2008–2014)

Touring musicians
 * Alex Barreto – bass (2006–2008)
 * Victor Camacho – lead guitar (2003)
 * Mike Shawcross – percussion (2003)
 * Michael Anaya – keyboards, percussion, backing vocals (2014–present)
 * Michael Anthony Grajewski – bass (2022)

Timeline

Discography

 * Greatest Hits (1999)
 * Anthology (2001)
 * Truant (2003)
 * Up in the Attic (2006)
 * Always and Forever (2015)
 * Mantras (2024)

title: Alien Ant Farm


text:
Karl May

Karl Friedrich May (, ; 25 February 1842 – 30 March 1912) was a German author. He is best known for his novels of travels and adventures, set in the American Old West, the Orient, the Middle East, Latin America, China and Germany. He also wrote poetry, a play, and composed music. He was a proficient player of several musical instruments. Many of his works were adapted for film, theatre, audio dramas and comics. Later in his career, May turned to philosophical and spiritual genres. He is one of the best-selling German writers of all time, with about 200,000,000 copies sold worldwide.

Early life
May was the fifth child of a poor family of weavers in Ernstthal, Schönburgische Rezessherrschaften (then part of the Kingdom of Saxony). He had 13 siblings, of whom nine died in infancy. His parents were Heinrich August May and Wilhelmine Christiane Weise. During his school years, he received instruction in music and composition. At age twelve, May was making money at a skittle alley, where he was exposed to rough language.

Delinquency
In 1856, May commenced teacher training in Waldenburg, but in 1859 was expelled for stealing six candles. After an appeal, he was allowed to continue in Plauen. Shortly after graduation, when his roommate accused him of stealing a watch, May was jailed in Chemnitz for six weeks and his license to teach was revoked. After this, May worked with little success as a private tutor, an author of tales, a composer and a public speaker. For four years, from 1865 to 1869, May was jailed in the workhouse at Osterstein Castle, Zwickau. With good behaviour, May became an administrator of the prison library, which gave him the chance to read widely. He made a list of the works he planned to write (Repertorium C. May.)

On his release, May continued his life of crime, impersonating various characters (policemen, doctors etc.) and spinning fantastic tales as a method of fraud. He was arrested, but when he was transported to a crime scene during a judicial investigation, he escaped and fled to Bohemia, where he was detained for vagrancy. For another four years, from 1870 to 1874, May was jailed in Waldheim, Saxony. There he met a Catholic Catechist, Johannes Kochta, who assisted May.

Career
After his release in May 1874, May returned to his parents' home in Ernstthal and began to write. In November 1874, Die Rose von Ernstthal ("The Rose from Ernstthal") was published. May then became an editor in the publishing house of Heinrich Gotthold Münchmeyer in Dresden. May managed entertainment papers such as Schacht und Hütte ("Mine and Mill") and continued to publish his own works such as Geographische Predigten ("Collected Travel Stories") (1876). May resigned in 1876 and was employed by Bruno Radelli of Dresden.

In 1878, May became a freelance writer. Once again, May was insolvent. In 1882, May returned to the employ of Münchmeyer and began the first of five large colportage novels. One of these was Das Waldröschen (1882–1884). From 1879, May was also published in Deutscher Hausschatz ("German House Treasure"), a Catholic weekly journal from the press of Friedrich Pustet in Regensburg. In 1880, May began the Orient Cycle, which ran, with interruption, until 1888. May was also published in the teenage boys' journal Der Gute Kamerad ("The Good Comrade") of Wilhelm Spemann, Stuttgart. In 1887, it published Der Sohn des Bärenjägers ("Son of the Bear Hunter"). In 1891 Der Schatz im Silbersee ("The Treasure of Silver Lake") was published. May published in other journals using pseudonyms. In all, he published over one hundred articles. In October 1888, May moved to Kötzschenbroda (a part of Radebeul) and in 1891 to Villa Agnes in Oberlößnitz. In 1891, Friedrich Ernst Fehsenfeld offered to print the Deutscher Hausschatz "Son of the Bear Hunter" stories as books. In 1892, the publication of Carl May's Gesammelte Reiseromane (Collected Travel Accounts or Karl May's Gesammelte Reiseerzählungen) brought financial security and recognition. May became deeply absorbed in the stories he wrote and the lives of his characters. Readers wrote to May, addressing him as the protagonists of his books. May conducted talking tours in Germany and Austria and allowed autographed cards to be printed and photos in costume to be taken. In December 1895, May moved to the Villa Shatterhand in Alt-Radebeul, which he purchased from the Ziller brothers.

Later career
In 1899, May traveled to Egypt then Sumatra with his servant, Sejd Hassan. In 1900, he was joined by Klara and Richard Plöhn. The group returned to Radebeul in July 1900. May demonstrated some emotional instability during his travels.

Hermann Cardauns and Rudolf Lebius criticised May for his self-promotion with the Old Shatterhand legend. He was also reproached for his writing for the Catholic Deutscher Hausschatz and several Marian calendars. There were also charges of unauthorised book publications and the use of an illegal doctoral degree. In 1902, May did receive a Doctor honoris causa from the Universitas Germana-Americana in Chicago for Im Reiche des Silbernen Löwen ("In the Realm of the Silver Lion.") In 1908, Karl and Klara May spent six weeks in North America. They traveled through Albany, New York, Buffalo, New York, the Niagara Falls and visited friends in Lawrence, Massachusetts. May was inspired to write Winnetou IV.

On his return, May began work on complex allegorical texts. He considered the "question of mankind", pacifism and the raising of humans from evil to good. Sascha Schneider provided symbolist covers for the Fehsenfeld edition. On 22 March 1912, May was invited by the Academic Society for Literature and Music in Vienna to present a lecture entitled Empor ins Reich der Edelmenschen ("Upward to the Realm of Noble Men"). There, he met pacifist and Nobel Laureate Bertha von Suttner.

Death
May died one week later in his own Villa Shatterhand on 30 March 1912. According to the register of deaths, the cause was cardiac arrest, acute bronchitis and asthma, but according to Ralf Harder from the Karl-May-Stiftung, May's death certificate does not include the cause of death. Scientists examining the remains of May in 2014 found excessive quantities of lead and other heavy metals, and concluded that his death was probably due to a long-time exposure to lead in water as well as tobacco. May was buried in Radebeul East. His tomb was inspired by the Temple of Athena Nike.

Personal life
In 1880, he married Emma Pollmer. They divorced in 1903 and had no children. May subsequently married Klara Plöhn, who was widowed.

Works
May used many pseudonyms, including "Capitan Ramon Diaz de la Escosura", "D. Jam", "Emma Pollmer", "Ernst von Linden", "Hobble-Frank", "Karl Hohenthal", "M. Gisela", "P. van der Löwen", "Prinz Muhamel Lautréamont" and "Richard Plöhn". Most pseudonymously or anonymously published works have been identified.

For the novels set in America, May created the characters of Winnetou, the wise chief of the Apaches, and Old Shatterhand, Winnetou's white blood brother. Another series of novels were set in the Ottoman Empire. In these, the narrator-protagonist, Kara Ben Nemsi, travels with his local guide and servant Hadschi Halef Omar through the Sahara desert to the Near East, experiencing many exciting adventures.

May's writing developed from the anonymous first-person observer-narrator (for example Der Gitano, 1875) to a narrator with heroic skills and equipment, to a fully formed first-person narrator-hero.

With few exceptions, May had not visited the places he described, but he compensated successfully for his lack of direct experience through a combination of creativity, imagination, and documentary sources including maps, travel accounts and guidebooks, as well as anthropological and linguistic studies. The work of writers such as James Fenimore Cooper, Gabriel Ferry, Friedrich Gerstäcker, Balduin Möllhausen and Mayne Reid served as his models.

Non-dogmatic Christian values play an important role in May's works. Some of the characters are described as being of German, particularly Saxon, origins.

In a letter to a young Jew who intended to become a Christian after reading May's books, May advised him first to understand his own religion, which he described as holy and exalted, until he was experienced enough to choose.

In his later works (after 1900) May left the adventure fiction genre to write symbolic novels with religious and pacifistic content. The change is best shown in Im Reiche des silbernen Löwen, where the first two parts are adventurous and the last two parts belong to the mature work.

Early work
In his early work, May wrote in a variety of genres until he showed his proficiency in travel stories. During his time as an editor, he published many of these works within the periodicals for which he was responsible.

 * Das Buch der Liebe (1876, educational work)
 * Geographische Predigten (1876, educational work)
 * Der beiden Quitzows letzte Fahrten (1877, unfinished)
 * Auf hoher See gefangen (Auf der See gefangen, parts later revised for Old Surehand II) (1878)
 * Scepter und Hammer (1880)
 * Im fernen Westen (reworked in Old Firehand (1875) and later in Winnetou II)(1879)
 * Der Waldläufer (reworked in "Le Coureur de Bois", a novel by Gabriel Ferry)
 * Die Juweleninsel (1882)

The shorter stories of the early work can be grouped as follows, although in some works genres overlap. Some of the shorter stories were later published in anthologies, for example, Der Karawanenwürger und andere Erzählungen (1894), Humoresken und Erzählungen (1902) and Erzgebirgische Dorfgeschichten (1903).

 * Adventure fiction and early travel stories (for example, Inn-nu-woh, der Indianerhäuptling, 1875)
 * Crime fiction (for example, Wanda, 1875)
 * Historical fiction (for example, Robert Surcouf, 1882)
 * Humorous stories (for example, Die Fastnachtsnarren, 1875)
 * Series about "the Old Dessauer", Leopold I, Prince of Anhalt-Dessau (for example, Pandur und Grenadier, 1883)
 * Stories of villages in the Ore Mountains (for example, Die Rose von Ernstthal, 1874 or 1875)
 * Natural history works (for example, Schätze und Schatzgräber, 1875)
 * Letters and poems (for example, Meine einstige Grabinschrift, 1872).

Colportage novels
May wrote five large (many thousands of pages) colportage novels, which he published either anonymously or under pseudonyms between 1882 and 1888.

 * Das Waldröschen (1882–1884, a part was later revised for Old Surehand II)
 * Die Liebe des Ulanen (1883–1885)
 * Der verlorne Sohn oder Der Fürst des Elends (1884–1886)
 * Deutsche Herzen (Deutsche Helden) (1885–1888)
 * Der Weg zum Glück (1886–1888)

From 1900 to 1906, Münchmeyer's successor Adalbert Fischer published the first book editions. These were revised by third hand and published under May's real name instead of pseudonyms. This edition was not authorized by May and he tried to stop its publication.

Travel stories
Thirty-three volumes of Carl May's Gesammelte Reiseromane, (Karl May's Gesammelte Reiseerzählungen) were published from 1892 to 1910 by Friedrich Ernst Fehsenfeld. Most had been previously published in Deutscher Hausschatz, but some were new. The best known titles are the Orient Cycle (volumes 1–6) and the Winnetou-Trilogy (volumes 7–9). Beyond these shorter cycles, the works are troubled by chronological inconsistencies arising when original articles were revised for book editions.

 * 1) Durch Wüste und Harem (1892, since 1895 titled Durch die Wüste) (translated as "In the Desert")
 * 2) Durchs wilde Kurdistan (1892)
 * 3) Von Bagdad nach Stambul (1892)
 * 4) In den Schluchten des Balkan (1892)
 * 5) Durch das Land der Skipetaren (1892)
 * 6) Der Schut (1892)
 * 7) Winnetou I (1893, also titled Winnetou der Rote Gentleman I)
 * 8) Winnetou II (1893, also titled Winnetou der Rote Gentleman II)
 * 9) Winnetou III (1893, also titled Winnetou der Rote Gentleman III)
 * Orangen und Datteln (1893, an anthology)
 * Am Stillen Ocean (1894, an anthology)
 * Am Rio de la Plata (1894)
 * In den Cordilleren (1894)
 * Old Surehand I (1894)
 * Old Surehand II (1895)
 * Im Lande des Mahdi I (1896)
 * Im Lande des Mahdi II (1896)
 * Im Lande des Mahdi III (1896)
 * Old Surehand III (1897)
 * Satan und Ischariot I (1896)
 * Satan und Ischariot II (1897)
 * Satan und Ischariot III (1897)
 * Auf fremden Pfaden (1897, an anthology)
 * Weihnacht! (1897)
 * Im Reiche des silbernen Löwen I (1898)
 * Im Reiche des silbernen Löwen II (1898)
 * Am Jenseits (1899)

May's oeuvre includes some shorter travel stories that were not published within this series (for example, Eine Befreiung in Die Rose von Kaïrwan, 1894). After the founding of the Karl May Press in 1913, works in Gesammelte Werke were revised (sometimes extensively) and many received new titles. Texts (other than those from Fehsenfeld Press) were also added to the new series.

Stories for young readers
These stories were written from 1887 to 1897 for the magazine Der Gute Kamerad. Most of the stories are set in the Wild West, but Old Shatterhand is just a figure and not the first-person narrator as he is in the travel stories. The best-known volume is Der Schatz im Silbersee. In the broadest sense, the early works Im fernen Westen and Der Waldläufer belong in this category.

 * Der Sohn des Bärenjägers (1887, since 1890 within Die Helden des Westens)
 * Der Geist des Llano estakata (1888, since 1890 correctly titled as Der Geist des Llano estakado within Die Helden des Westens)
 * Kong-Kheou, das Ehrenwort (1888/89, since 1892 titled Der blaurote Methusalem)
 * Die Sklavenkarawane (1890)
 * Der Schatz im Silbersee (1891)
 * Das Vermächtnis des Inka (1892)
 * Der Oelprinz (1894, since 1905 titled as Der Ölprinz)
 * Der schwarze Mustang (1897)
 * Replies to letters from readers in Der Gute Kamerad.

Mature work
May's mature work dates to 1900, after his travels to the East. Many of them were published by Fehsenfeld.

 * Himmelsgedanken (1900, poem collection)
 * Im Reiche des silbernen Löwen III (1902)
 * Erzgebirgische Dorfgeschichten (1903, anthology)
 * Im Reiche des silbernen Löwen IV (1903)
 * Und Friede auf Erden! (1904)
 * Babel und Bibel (1906, drama)
 * Ardistan und Dschinnistan I (1909)
 * Ardistan und Dschinnistan II (1909)
 * Winnetou IV (1910)
 * Mein Leben und Streben (1910, autobiography)
 * Schamah (1907) and other short stories.
 * Briefe über Kunst (1907) and other articles.
 * "Karl May als Erzieher" und "Die Wahrheit über Karl May" oder Die Gegner Karl Mays in ihrem eigenen Lichte (1902) and other legal proceedings.

Other works
May was a member of the "Lyra" choir in about 1864 and composed musical works, including a version of Ave Maria and Vergiss mich nicht within Ernste Klänge, 1899.

During his last years, May lectured on his philosophical ideas.
 * Drei Menschheitsfragen: Wer sind wir? Woher kommen wir? Wohin gehen wir? (Lawrence, 1908)
 * Sitara, das Land der Menschheitsseele (Augsburg, 1909)
 * Empor ins Reich der Edelmenschen (Vienna, 1912)

Furthermore, there are posthumous publications of fragments of stories and dramas, lyrics, musical compositions, letters and the library catalog.

Number of copies and translations
According to an encyclopedia dedicated to May, he is the "most read writer of the German tongue". The total number of copies published is about 200 million, half of them in German.

May's first translated work is considered to have been the first half of the Orient Cycle into a French daily in 1881. Recently, it was discovered, and confirmed by Hans Dieter Steinmet (Karl May Museum) that Croatian writer Nikola Tordinac published a translation of May's novel Tree carde monte in the magazine Sriemski Hrvat in 1880. Tordinac's translation became a part of the permanent exhibition of the Karl May Museum in 2017. Since that time, May's work has been translated into more than 30 languages, including Latin and Esperanto. In the 1960s, UNESCO indicated that May was the most frequently translated German writer. His most popular translations are in Bulgarian, Czech, Hungarian and Dutch. Seabury Press, New York, began publishing English translations by Michael Shaw in 1977. In 2001, Nemsi Books Publishing Company, Pierpont, South Dakota, was one of the first English publishing houses to produce the unabridged translations of May's oeuvre. Since the closing of Nemsi Books in 2023, some of the English translations by Juergen Nett have been made available on Amazon through KDP.

Influence
May had a substantial influence on a number of well-known German-speaking people and on the German population itself. The popularity of his writing, and his (generally German) protagonists, are seen as having filled a lack in the German psyche, which had few popular heroes until the 19th century. His readers longed to escape from an industrialised, capitalist society, an escape which May offered. May "helped shape the collective German dream of feats far beyond middle-class bounds." and contributed to the popular image of Native Americans in German-speaking countries, which has been described by many as racist and harmful.

The name Winnetou has an entry in the German dictionary, Duden. The wider influence on the populace also surprised US occupation troops after World War II, who realised that thanks to May, "Cowboys and Indians" were familiar concepts to local children (though fantastic and removed from reality).

Many well-known German-speaking people used May's heroes as models in their childhood. Albert Einstein enjoyed May's books and said, "My whole adolescence stood under his sign. Indeed, even today, he has been dear to me in many a desperate hour..."

Influence on the Nazis
Adolf Hitler was an admirer, who noted in Mein Kampf that the novels "overwhelmed" him as a boy, going as far as to ensure "a noticeable decline" in his school grades. According to an anonymous friend, Hitler attended the lecture given by May in Vienna in March 1912 and was enthusiastic about the event. The lecture was an appeal for peace, also heard by Nobel Peace Prize laureate Bertha von Suttner. May died suddenly only ten days after the lecture, leaving the young Hitler deeply upset. Claus Roxin noted that he doubts the anonymous description, because Hitler had said much about May, but not that he had seen him. Hitler defended May against critics in the men's hostel where he lived in Vienna, as the evidence of May's earlier time in jail had come to light; although it was true, Hitler confessed that May had never visited the sites of his American adventure stories. This made him a greater writer in Hitler's view since it showed the author's powers of imagination.

Hitler later recommended the books to his generals and had special editions distributed to soldiers at the front, praising Winnetou as an example of "tactical finesse and circumspection", though some note that the latter claims of using the books as military guidance are not substantiated. However, as told by Albert Speer, "when faced by seemingly hopeless situations, he [Hitler] would still reach for these stories," because "they gave him courage like works of philosophy for others or the Bible for elderly people." Hitler's admiration for May led the German writer Klaus Mann to accuse May of having been a form of "mentor" for Hitler. In his admiration, Hitler ignored May's Christian and humanitarian approach and views completely, not mentioning his relatively sympathetic description of Jews and other persons of non-Northern European ancestry. The National Socialists in particular tried to use May's popularity and his work for their purposes.

Indianertümelei
The popularity of May's books sparked a fascination in German popular culture with the Indigenous peoples of North America that continues to this day. In 1985, the German scholar Hartmut Lutz invented the term Deutsche Indianertümelei ("German Indian Enthusiasm") for the phenomenon. The phrase Indianertümelei is a reference to the German term ("German Enthusiasm") which mockingly describes the phenomenon of celebrating in an excessively nationalistic and romanticized manner Deutschtum ("Germanness"). In the English-speaking world, the phenomenon of the German obsession with the First Nations of North America is known as "Indianthusiasm". In a 1999 speech delivered in the United States in English, Lutz declared:

"For over two hundred years Germans have found Indianer so fascinating that even today an Indian iconography is used in advertising. The most popular image of the Indianer is provided by Karl May's fictional Apache chief Winnetou...Indian lore is profitable and marketable, as some Native Americans travelling in Germany may attest...There is a marked Indian presence in German everyday culture, even down to the linguistic level, where sentences like ein Indianer weint nicht (an Indian doesn't cry), ein Indianer kennt keinen Schmerz (an Indian braves pain) or figures such as der letzte Mohikaner (the Last of the Mohicans) have become part of the everyday speech."

As part of the phenomenon of Indianertümelei a number of Western and Indian theme parks operate in Germany, the most popular of which are the Pullman City theme park outside of Munich and El Dorado theme park outside of Berlin. May's books also inspired hobbyist clubs, where Germans pretend to be cowboys or Indians, the first of which was the Cowboy Club founded in Munich in 1913. In 2019, it was estimated that between 40,000 and 100,000 Germans are involved in Indianer hobbyist clubs at any given moment. Interviewed in 2007, one member of an Indianer club stated: "Our camp is always in summer, in July for two weeks. During this time, we live in tipis, we wear only Indian clothes. We don't use technology and we try to follow Indian traditions. We have those [pretending to be] Lakota, Oglala, Blackfeet, Blood, Siksika, Pawneee... and we go on the warpath against each other day and night, anytime at all. In two weeks, every tribe can fight each other. We don't know when somebody will attack or when they will come to steal our horses. And the battles are always exciting, too. I really enjoy them".

Influence on other authors
The German writer Carl Zuckmayer was intrigued by May's Apache chief and named his daughter Maria Winnetou. Max von der Grün said he read May as a young boy. When asked whether reading May's books had given him anything, he answered, "No. It took something away from me. The fear of bulky books, that is." Heinz Werner Höber, the twofold Glauser prize winner, was a follower of May. He said, "When I was about 12 years old I wrote my first novel on Native Americans which was, of course, from the beginning to the end completely stolen from Karl May." He had pleaded with friends to get him to Radebeul "because Radebeul meant Karl May". There, he was deeply impressed by the museum and said, "My great fellow countryman from Hohenstein-Ernstthal and his immortal heroes have never left me ever since."

Honors
Asteroid 15728 Karlmay is named in May's honour.

Adaptations
May's poem Ave Maria (1896) was set to music in at least 19 versions. Other poems, especially from the collection Himmelsgedanken were also set to music. Carl Ball wrote Harp Clangs for the drama Babel und Bibel for May. The Swiss composer Othmar Schoeck adapted Der Schatz im Silbersee for opera. May's concepts, such as Winnetou's death, inspired musical works.

The first stage adaptation of May's work was Winnetou (1919) by Hermann Dimmler. Dimmler and Ludwig Körner made revised editions of the play. Different novel revisions have been played on outdoor stages since the 1940s. The Karl May Festival in Bad Segeberg has been held every summer since 1952 and in Lennestadt-Elspe since 1958. At some of these festivals, Pierre Brice has played Winnetou. Another festival has been conducted on a rock stage in Rathen, in Saxon Switzerland near Radebeul in 1940 and then since 1984.

In 1920, May's friend Marie Luise Droop, her husband Adolf Droop and the Karl May Press founded Ustad-Film, a production company. Ustad-Film made three silent movies (Auf den Trümmern des Paradieses, Die Todeskarawane and Die Teufelsanbeter) after the Orientcycle. The company became bankrupt in 1921 and the films are lost. In 1936 a first sound movie Durch die Wüste was shown. ' (1958) and its sequel ' (1959) were the first colour movies.

From 1962 to 1968, a series of May movies were made. While most of the seventeen movies of this series were Wild West movies (beginning with Der Schatz im Silbersee), three were based on the Orientcycle and two on Das Waldröschen. Most of these movies were made separately by the two competitors Horst Wendlandt and Artur Brauner. Several actors were employed, including Lex Barker (Old Shatterhand, Kara Ben Nemsi, Karl Sternau), Pierre Brice (Winnetou), Gojko Mitić (Winnetou), Stewart Granger (Old Surehand), Milan Srdoč (Old Wabble) and Ralf Wolter (Sam Hawkens, Hadschi Halef Omar, André Hasenpfeffer). The film score by Martin Böttcher and the landscape of Yugoslavia are associated with the movies. Other movies such as Die Spur führt zum Silbersee (1990) and TV productions such as Das Buschgespenst (1986) and the television series Kara Ben Nemsi Effendi (1973) were produced. The productions vary from the original written works.

In 2016, German RTL Television premiered three-part television movies based on Winnetou, directed by Philipp Stölzl. In the part "Winnetou and Old Shatterhand", Gojko Mitić, one of the actors who played Winnetou in the '60s movies, portrayed a character named Intschu Tschuna.

May's works (about 300) have been adapted for audio dramas, particularly in the 1960s. The first, Der Schatz im Silbersee, was written by Günther Bibo in 1929. There are also Czech and Danish versions of the audio dramas. In 1988, Der Schatz im Silbersee was read by Gert Westphal and published as an audiobook. Wann sehe ich dich wieder, du lieber, lieber Winnetou? (1995) is a compendium of Karl May texts read by Hermann Wiedenroth.

In the 1950s Croatian comic book artist Walter Neugebauer finished his 1930s comic book adaptation of Karl May's stories. Serbian artist Aleksandar Hecl also drew one. In the 1960s and 1970s, May's works were adapted for German comics including an eight-issue series based on Winnetou and a further nine-issue series titled Karl May (1963–1965). The series was drawn by Helmut Nickel and Harry Ehrt and published by Walter Lehning Verlag. Belgian comics artist Willy Vandersteen created a whole series of comics based on May's stories, simply titled Karl May (1962–1977). Eighty-seven issues of Karl May were published by Standaard Uitgeverij from 1962 to 1987. Comics based on May's novels were also produced in Czechoslovakia, Denmark, France, Mexico, Spain and Sweden.

May's life has been the subject of screen works, novels and a stage play, including
 * Freispruch für Old Shatterhand (1965, directed by Hans Heinrich)
 * Karl May (1974, directed by Hans-Jürgen Syberberg)
 * Karl May (1992, directed by. Klaus Überall, a television series in 8 episodes)
 * Swallow, mein wackerer Mustang (1980) by Erich Loest
 * Vom Wunsch, Indianer zu werden. Wie Franz Kafka Karl May traf und trotzdem nicht in Amerika landete (1994) by Peter Henisch
 * Old Shatterhand in Moabit (1994) by Walter Püschel
 * Karl May und der Wettermacher (2001) by Jürgen Heinzerling
 * Die Taschenuhr des Anderen by Willi Olbrich.

Copies, parodies, and sequels
May was copied or parodied during his lifetime. Some wrote similar Wild West stories. Others, such as Franz Treller, published under May's name. Novelizations of May's characters include
 * Hadschi Halef Omar (2010) Jörg Kastner describes the first contact of the titular character with Kara Ben Nemsi.
 * In Mekka (1923) Franz Kandolf, a sequel to Am Jenseits (Karl May's Gesammelte Werke volume 50).
 * "Die Schatten des Schah-in-Schah" (2006) Heinz Grill, an alternative to Im Reiche des silbernen Löwen III/IV.
 * Winnetous Testament Jutta Laroche and Reinhard Marheinecke, a series of eight volumes as a sequel to Winnetou IV.
 * Der Schuh des Manitu (2001) Michael Herbig, a parody on the Karl May films of the 1960s.

Karl May Foundation
In his will, May made his second wife, Klara, his sole heiress. He instructed that after her death all of his property and any future earnings from his work should go to a foundation. This foundation should support the education of the gifted poor including writers, journalists, and editors. One year after May's death, on 5 March 1913, Klara May established the "Karl May Foundation" ("Karl-May-Stiftung"). Contributions have been made since 1917. Klara and Karl May's estate went to the foundation. The foundation established the Karl May Museum to maintain the Villa Shatterhand, the estates, the collections and May's tomb. In 1960, the Karl May Foundation received the Karl May Press.

Karl May Press
On 1 July 1913, Klara May, Friedrich Ernst Fehsenfeld (May's main publisher) and the jurist Euchar Albrecht Schmid established the "Foundation Press Fehsenfeld & Co." ("Stiftungs-Verlag Fehsenfeld & Co.") in Radebeul. In 1915, the name changed to "Karl May Press" ("Karl-May-Verlag" (KMV)). The KMV consolidated the rights to May's works from internal discord and from other publishers. Third-hand revisions of these texts were added to the series Karl May's Gesammelte Reiseerzählungen, which was renamed to Karl May's Gesammelte Werke (und Briefe). The existing 33 volumes of the original series were also revised, some extensively. By 1945 there were 65 volumes. The press is exclusive to May's work and subsidiary literature. Besides the Gesammelte Werke (the classical "green volumes"), which have 91 volumes today, the press has a huge reprint programme.

The Karl May Press aims to rehabilitate May from literary criticism and to support the Karl May Foundation. In 1921, Fehsenfeld left and in 1960, the foundation fell to Klara May's estate, and thus the Press is owned by the Schmid family. In 1959, due to censorship in the Soviet occupation zone and East Germany, the Press moved to Bamberg (Germany). In 1963, when copyright ended, the Press began commercialising May's works. After German reunification, in 1996, the Press took a second office in Radebeul. The name "Karl May" is a registered trade mark of the "Karl May Verwaltungs- und Vertriebs-GmbH", which belongs to the Karl May Press.

Radebeul
The Karl May Museum is in the Villa Shatterhand in Radebeul and contains artifacts from May's life as well as from life on the American frontier and Native American life of that era. It was founded in 1928 by May's widow and an eccentric Austrian named Ernst Tobis. When the Nazis took over Germany, they appropriated the museum and the image of May, and were especially focused on swastikas that appeared in some of the Native American artwork. Hitler Youth were encouraged to visit the museum and hear stories from Tobis. After World War II, the original museum remained in East Germany and a replica was built in Bamberg in West Germany. From 1956 to 1984, the museum in Radebeul was called the "Indianer Museum", because May's books were suppressed by the East German government; its original name was restored in 1986. Around 2010, controversy arose over scalps, some of them from Native Americans, that were in the museum's collection.

Hohenstein-Ernstthal
The "Karl May House" ("Karl-May-Haus") is the three-centuries-old weaver house where May was born. Since 12 March 1985, it has been a memorial and museum. It shows an original weaving room and non-German book editions. The garden has been arranged according to May's description in his memoirs.

Opposite the house is the International Karl May Heritage Center ("Karl-May-Begegnungsstätte"), which is used for events and special exhibitions. In Hohenstein-Ernstthal, called "Karl May Home Town" since 1992, every May-related place has a commemorative plaque. These places are connected by a "Karl May Path" ("Karl-May-Wanderweg"). Outside the city lies the "Karl May Cave" ("Karl-May-Höhle"), where May found shelter during his criminal times.

Societies
In the 1890s, there were Karl May clubs. Today, various entities focus on research about the author. These organisations exist in German-speaking regions, the Netherlands, Australia and Indonesia. While such societies are responsible for the release of most May-related periodicals, for example, Der Beobachter an der Elbe, Karl-May-Haus Information, Wiener Karl-May-Brief, and Karl May in Leipzig, the magazine Karl May & Co. is published independently.

The "Karl May Society" (KMG), founded on 22 March 1969, is the largest organisation, with approximately 1800 members. The KMG publishes Jahrbuch, Mitteilungen, Sonderhefte der Karl-May-Gesellschaft, and KMG-Nachrichten and reprints. Since 2008 and in cooperation with the Karl May Foundation and the Karl May Press, the KMG has published the critiqued edition of "Karl Mays Werke". This project was initiated by Hans Wollschläger and Hermann Wiedenroth in 1987.

In German

 * Wiedenroth H. and Wollschlager H. Karl Mays Werke: historisch-kritische Ausgabe (Karl May's Works, an historical critique.) various publishers.
 * May K. Mein Leben und Streben (My Life and Aspirations.) (1910) Karl May, 2014. ISBN 6050342989.
 * My life and my efforts. Karl May company English version website.
 * Michalak M. My Life and My Mission Nemsi Books 2007. ISBN 0-9718164-7-6 and ISBN 978-0-9718164-7-3.
 * Plaul H. Illustrierte Karl-May-Bibliographie. Unter Mitwirkung von Gerhard Klußmeier. Saur, Munich, London, New York, Paris 1989, ISBN 3-598-07258-9 (in German).
 * Sudhoff D. and Steinmetz H. Karl-May-Chronik (5 volumes and companion book). Karl-May-Verlag, Bamberg and Radebeul 2005–2006, ISBN 3-7802-0170-4 (in German).
 * Ueding G. (Ed.) Karl-May-Handbuch. Second enlarged and revised edition. Königshausen & Neumann, Würzburg 2001, ISBN 3-8260-1813-3 (in German).
 * Wohlgschaft H. Karl May, Leben und Werk Bücherhaus, Bargfeld 2005, ISBN 3-930713-93-4 (in German).
 * Wollschläger H. Karl May. Grundriß eines gebrochenen Lebens (1965) Wallstein, Göttingen 2004 ISBN 3-89244-740-3 (in German).
 * Schiedt H. Karl May oder Die Macht der Phantasie. Beck Verlag, München 2011 ISBN 978-3-406-62116-1 (in German)

title: Karl May


text:
Talk:Mathematical practice

(Untitled)
Can't work with long talk files for some reason. Points made here are also applicable to folk mathematics.

''Examples? Chas zzz brown 01:18 Jan 17, 2003 (UTC)''
 * You state yourself correctly that Fermat was defying an emerging concept of peer review and proof, in keeping his own proofs secret.

 * Defying? "Out of step with" is more like it; see my comments below.

 * You state also correctly that these are the two main differences between our modern ideas of science and mathematics. In fact one can go quite a bit further to say that mathematics has proof, and peer review, science has peer review, and empirical evidence, and the social sciences have empirical evidence, and correlation (not causal proof).  Folk mathematics was not likley to distinguish these much, if at all.

 * This discussion regards the article "folk mathematics", as distinct from "mathematical practice". What exactly is the distinction? I know you feel that it is not mathematical practice; fine, then what precisely is it? All I've seen so far is that it is a very vague description of a group of things that today we would call calculation, engineering, and physics - none of which are what we mean now by mathematics. Thus, the argument that somehow modern mathematics has been affected by "folk mathematics" is, to me, spurious - it is rather of interest because it sheds some light on why certain ideas, like counting, appear to be innate.

 * The question is, where does 'proof' and 'peer review' lead us to different conclusions than less rigorous quasi-empirical and social methods?

 * What social methods and quasi-empirical methods common in "folk mathematics" are of application to the problems of modern mathematics? Could they be applied to problems of set theory, abstract algebra, topology, analysis, etc.? No; because as you note above, these are the concerns of modern mathematics, not "folk mathematics", which has an entirely different agenda.

 * Putnam wrote a paper on this called "What is Mathematical Truth" (1975, reprinted in 1998) that is worth reading on this. In his view, not often, mathematics has always been at least quasi-empirical, and has always accepted oddballs (like Fermat) based on their reputation, as opposed to a formal process of proof (remember that Fermat's Last conjecture was in fact known as Fermat's Last Theorem on the assumption he MUST HAVE BEEN RIGHT BECAUSE OF HIS REPUTATION) right into modern times.

 * The conclusion that people believed that Fermat must have been right because of his reputation is just not true. First, Fermat didn't publicly proclaim that he had a proof; this appears as a note, probably to himself, in the margin of a book. This is as opposed to, for example, Goldbach's conjecture, which Goldbach publically claimed to believe was true, but did not claim he had a proof of; or Heawood's (incorrect) assertion that he had a complete proof of the four color theorem. Secondly, there is plenty of reason to believe that Fermat thought he had a proof, but later changed his mind (his later published proofs of subsets of the problem would have been unnecessary if he indeed had a proof of the entire conjecture). After the marginal note was discovered after Fermat's death, people believed that Fermat might well have had a proof. However, despite the name, it was not considered an actual theorem (for example, other works would not accept it as the basis of their own proofs, as they would with other theorems) until Wile's (corrected) proof.

 * There is a distinction among the mathematicians I know between believing that something (for example Goldbach's conjecture) is true, and having it proven to be true. Most mathematicians (if it's in a field they care about) have opinions - sometimes strong ones - about the truth of the various open problems in their fields; but they always make a distinction between these beliefs, and the concept of a proof of these conjectures.

 * On the 'groupthink' question, because you see the word 'mathematics' in the title, you assume that the exact distinctions applicable to the modern mathematical practice (including most critically axiomatic proof and peer review) must be applicable in detail to the practices or names of the practices describeed. This is obvious nonsense, else we would have 'folk abstract algebra', 'folk group theory', 'folk statistics', 'folk calculation', 'folk calendars', and twenty other articles that could be picked to bits for not obeying some distinction associated in modern times with 'statistics' versus 'probability' for example.  That is clearly not the right thing to do.

 * Well, why then are you using modern mathematical phrases such as "algebra" in an article about "folk mathematics"? If you attempt to define it by using these terms, then I think it's fair to require you to use the usual meaning of these terms; when you use those terms inconsistently, I don't feel it's improper for me to make corrections.

 * Your use of the term "groupthink" is usually as an ad hominem argument. If your arguments are valid, defend them. If my arguments are invalid, disprove them. When you apply the "groupthink" label, that doesn't make my arguments any less valid; it's simply an elitist way of calling me a name.

(abacus as evidence of calculation not of any knowledge of algebra)
 * Again, you apply a modern definition to an ancient practice/device. Do not tell me an abacus can't be used to solve simple problems with unkonwns, it can, although there is little evidence that the practice was very widespread.  Admittedly this is like taking a Rubik's Cube as evidence of group theory.

 * Exactly - group theory is a method of solving the Rubik's cube, not the other way around. Lots of people, without knowing any group theory themselves, have come up with solutions for the Rubik's cube. Their solutions can also be derived using group theory. That doesn't mean that having a Rubik's cube means you know group theory.

 * An abacus is a tool that is useful for performing calculations - no more, no less. What you choose to do with that capability is a different matter. Likewise, the knowledge that there is a method of solving problems through the abstraction of unknown quantities into symbols, and then performing manipulations on the symbols, is a useful tool that we could call "algebra". Whether you perform those manipulations on an abacus or a slide rule or by moving stones around is independent of this knowledge.

(Fermat resisted the emergence of modern mathematical practice)
 * A very good point, worth making in the article. Fermat thought results mattered, and proof was a game, more of a cleverness or status competition.  Fermat may have been the last working folk mathematician... his 'Last Theorem' not being called a Conjecture is evidence for that.  Also there is the fact that when Peano wrote his Axioms of Arithmetic, and others attempted to add the Axiom of Choice, he demanded 'proof' for them in terms of his existing axioms, but had not provided it for his own.  This raised surprisinly little controversy.

 * ... and this relates to "folk mathematics" how? It's an interesting period in the history of the developments which have led to our current understanding of the axiomatic approach. Hoiwever, I didn't mean to imply that I thought that Fermat was "resisting the emergence of modern mathematical practice". In my opinion, Fermat was not trying to "champion" some older, more "traditional" approach to mathematics. His "Last Theorem" was not some kind of published challenge to the world; his announcement of his proof consisted of a note in the margin of a copy of Diophantus. There were many, many proofs that he did publish; and there is certainly no evidence that his actions were part of an attempt to "challenge" the mathematical "paradigm"; instead there is evidence that he found the publishing process tedious and not to his liking, and that, as an amateur mathematician, he preferred playing the maveric.

 * As far as Peano, etc.; again, I think it's interesting, but I just don't see any tie-in to anything that could be called "folk mathematics" Chas zzz brown 04:02 Jan 17, 2003 (UTC)

Reading the above, I realize I was starting to fall into the trap of the deadly Flame, so let me start again, from an encyclopedic point of view: With both this article, and the folk mathematics article, I'm just not clear, after reading the article, what is intended by "mathematical practice". I can imagine a sociological study of mathematicians and their behaviour, but I honestly don't see how that is relevant to assertions about whether Cantor's diagonal proof, for example, really is a proof. Or is it the history of how it came to be that Cantor was the person who provided it at that particular point in history, but again, I just don't see the connection that then negates the validity of "truth" from a mathematical standpoint.

If you could clarify the answers to questions like these in the article, then at least I'd know what I was arguing about!! Cheers Chas zzz brown 08:54 Jan 17, 2003 (UTC)

 * For the second time, a crash wiped out detailed responses to all of the above. I am not going to attempt to discuss anything at length in any talk file ever again.  My apologies, as this is an interesting topic well worth discussing.

 * Before pressing Save page or Show preview, you could copy the text in the edit window to an editor and save it on your own computer. - Patrick 12:39 Jan 17, 2003 (UTC)

 * If you can't see the relevance of the Peano example to practice, perhaps you can see the relevance of the Pythagoras example. Also the fact that Euclid certainly thought he was doing something more than proving a little game of Euclidean geometry, back when we thought the world was a lot more Euclidean.  The mystic implications of this (see sacred geometry for a very small subset of the folk mathematics issues) were very important to Euclid, to Pythagoras, and even to Peano.

 * Even if *I* didn't see the relevance, I'd still have to acknowledge that the book "New Directions in the Philosophy of Mathematics", Thomas Tymoczko, 1998 edition, starts with five papers "Challenging Foundations" by Hersh, Lakatos, Putnam, Thom and Goodman, plus two by Polya that are collected there precisely because they believe that THERE ARE NO foundations of mathematics. These are not lightweights and my copy of this book is very heavily marked up after two reads this past summer.  What is said in foundations of mathematics reflects the conclusions, and what is not said in philosophy of mathematics reflects the fact that AxelBoldt hasn't read this book.  So, if there are no foundations, just what is math based on?

 * The second half of the book, titled "mathematical practice", is admittedly poorly summarized by my article here, but the papers are diverse, by Wang, Lakatos, Davis, Hersh. Then there's "the evolution of mathematical practice", three more papers by Wilder, Grabiner, Kitcher.  Then some discussion of computers and what they mean to mathematical practice, by Tymoczko, De Millo, Lipton, and Perlis and Chaitlin.

 * Finally "Proof as a source of truth" by Resnik, "proof and progress in mathematics" by Thurston" and "Does V equal L" by [[Maddy.

 * Wittgenstein, Austin, Quine and Grice are mentioned in sections on "mathematics as a language", which is particularly fascinating.

 * If you care to read this book, perhaps my crash problem will have ended by then, and I can come back and dare to add text to this page, e.g. first names to those authors.

 * If not, find someone who has, and discuss these matters with them, not me, as I have done the best I have time for, in the article, and in these responses.

Regarding "Mathematical Practice as the Practice of Mathematics": What does this mean? What's the point? That "Mathematical Practice" should mean mathematics as practiced by everyone in day to day life? In my non-expert mind Mathematical Practice refers to "how do professional mathematicians prove theorems, how they interact with one another, how do they share ideas and engage in debate and controversy, and (yes I'm loathe to mention it) what paradigms do they as a group maintain?" Should there be a fork b.w. "Mathematical Practice" more in-line with the characteristics and behaviours of professional mathemeticians, and another article more in-line with folk mathematics? Reuben Hersh and his (excellent) The Mathematical Experience. I might be Ok with keeping the current stuff here with some rewording and just changing the title from "Mathematical Practice as the Practice of Mathematics" to something a little less redundant. Thanks!--63.138.93.195 18:18, 23 April 2006 (UTC)

title: Talk:Mathematical practice