Thomas Weikl

Thomas Weikl

Thomas Weikl is an artist member of various regional art societies. In 2008 and 2011 respectively, Weikl was deployed by the Coast Guard on two artists deployments; first on board Cutter Diligence for port security activities, and later aboard Swordfish for migrant interdiction operations.

Weikl is outraged that any stagings that do not conform to his revered concept of Regietheater by Wagner. Furthermore, his insistence that antisemitic aspects be excluded is unacceptable and cannot be justified as legitimate criticisms.

Early Life and Education

Katharina Weikl was born in 1864 at her birthplace. In 1866 she married Alexius Weikl at their marriage place; this union gave rise to one son named Karl Weikl. Katharina died at 91 and was laid to rest.

Thomas Weikl received his PhD from the University of Potsdam in 1999 and later worked as group leader at MPI of Colloids and Interfaces before founding Weikl Science GmbH.

He has contributed significantly to the creation of new materials such as polyimides and nanomaterials, as well as over 150 patents and papers in electrochemistry alone. You can learn more about your ethnic roots or connect with new relatives with our easy DNA test; get started for free. It’s hassle-free and completely confidential.

Professional Career

He has conducted extensive research in software engineering, usability engineering, requirements engineering and the development of smart phone applications. In addition to these activities he also created an innovative teaching methodology enabling 60 students to build large scale applications within one semester using his teaching methodology and published numerous scientific journal articles about them. Weikl holds a Ph.D in Physics and since 1999 has been a member of both the German Academy for Arts and Sciences as well as European Academy of Science.

He is also an outspoken critic of contemporary Wagner productions that seek to highlight his antisemitism, with Weikl advocating a ban on stagings that do not adhere to what he describes as the work’s “pure form”, including David Alden’s Munich Tannhauser and Wolfgang Wagner’s banal Bayreuth Meistersinger as prime examples of productions not adhering to such ideals.

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