Sometimes the word "preform" is not a misspelling.
"… there are present in every psyche forms which are unconscious
but nonetheless active — living dispositions, ideas in the Platonic sense,
that preform and continually influence our thoughts and feelings and actions."
"Benzene is a natural constituent of petroleum
and is one of the elementary petrochemicals.
Due to the cyclic continuous pi bonds between
the carbon atoms, benzene is classed as an aromatic hydrocarbon. Benzene is a colorless
and highly flammable liquid with a sweet smell,
and is partially responsible for the aroma of gasoline."
The 24 coordinate-positions of the 4096 length-24 words of the extended binary Golay code G24 can be arranged in a 4×6 array
in, of course, 24! ways.
Some of these ways are more geometrically natural than others.
See, for instance, the Miracle Octad Generator of R. T. Curtis.
What is the size of the largest subcode C of G24 that can be
arranged in a 4×6 array in such a way that the set of words of C
is invariant under the symmetry group of the rectangle itself, i.e. the
four-group of the identity along with horizontal and vertical reflections
and 180-degree rotation.
Recent Log24 posts tagged Bitspace describe the structure of
an 8-dimensional (256-word) code in a 4×6 array that has such
symmetry, but it is not yet clear whether that "cube-motif" code
is a Golay subcode. (Its octads are Golay, but possibly not all its
dodecads; the octads do not quite generate the entire code.)
Magma may have an answer, but I have had little experience in
its use.
* Footnote of 30 September 2022. The 4×6 problem is a
special case of a more general symmetric embedding problem.
Given a linear code C and a mapping of C to parts of a geometric
object A with symmetry group G, what is the largest subcode of C
invariant under G? What is the largest such subcode under all
such mappings from C to A?
A Magma check of the motif-generated space shows that
its dimension is only 8, not 12 as with the MOG space.
Four more basis vectors can be added to the 24 motifs to bring the generated space up to 12 dimensions: the left
brick, the middle brick, the top half (2×6), the left half (4×3).
I have not yet checked the minimum weight in the resulting
12-dimensional 4×6 bit-space.
At Hiroshima on March 9, 2018, Aitchison discussed another
"hexagonal array" with two added points… not at the center, as
in the Gell-Mann picture above, but rather at the ends of one of
a cube's four diagonal axes of symmetry.
See some related illustrations below.
Fans of the fictional "Transfiguration College" in the play
"Heroes of the Fourth Turning" may recall that August 6,
another Hiroshima date, was the Feast of the Transfiguration.
The exceptional role of 0 and ∞in Aitchison's diagram is echoed
by the occurence of these symbols in the "knight" labeling of a
Miracle Octad Generator octad —
"It’s important, as art historian Reinhard Spieler has noted,
that after a brief, unproductive stay in Paris, circa 1907,
Kandinsky chose to paint in Munich. That’s where he formed
the Expressionist art group Der Blaue Reiter (The Blue Rider) —
and where he avoided having to deal with cubism."
"Galois' ideas, which for several decades remained
a book with seven seals but later exerted a more
and more profound influence upon the whole
development of mathematics, are contained in
a farewell letter written to a friend on the eve of
his death, which he met in a silly duel at the age of
twenty-one. This letter, if judged by the novelty and
profundity of ideas it contains, is perhaps the most
substantial piece of writing in the whole literature
of mankind."
"In computer science, "IO" or "I/O" is commonly used
as an abbreviation for input/output, which makes the
.io domain desirable for services that want to be
associated with technology. .io domains are often used
for open source projects, application programming
interfaces ("APIs"), startup companies, browser games,
and other online services."
“"I suddenly realized that in the language, or at any rate
in the spirit of the Glass Bead Game, everything actually
was all-meaningful, that every symbol and combination of
symbols led not hither and yon, not to single examples,
experiments, and proofs, but into the center, the mystery
and innermost heart of the world, into primal knowledge.
Every transition from major to minor in a sonata, every
transformation of a myth or a religious cult, every classical
or artistic formulation was, I realized in that flashing moment,
if seen with a truly meditative mind, nothing but a direct route
into the interior of the cosmic mystery, where in the alternation
between inhaling and exhaling, between heaven and earth,
between Yin and Yang, holiness is forever being created.”
A less poetic meditation on the above 4x4x4 design cube —
"I saw that in the alternation between front and back,
between top and bottom, between left and right,
symmetry is forever being created."
By the Daniel J. Peterson whose Swarthmore honors thesis was quoted here last night —
"What, then, is the relationship between theory-relative symmetries
(physical symmetries) and theory-independent symmetries
(overarching symmetries)? My statement of this problem is
a bit abstract, so let’s look at an example: classical Newtonian gravity
and classical electromagnetism . . . ."
"Simplify, simplify." — Henry David Thoreau in Walden (1854)
A Jungian on this six-line figure:
“They are the same six lines that exist in the I Ching…. Now observe the square more closely: four of the lines are of equal length, the other two are longer…. For this reason symmetry cannot be statically produced and a dance results.”
The above structure illustrates the affine space of three dimensions
over the three-element finite (i.e., Galois) field, GF(3). Enthusiasts
of Judith Brown's nihilistic philosophy may note the "radiance" of the
13 axes of symmetry within the "central, structuring" subcube.
"… each 2×4 "brick" in the 1974 Miracle Octad Generator
of R. T. Curtis may be constructed by folding a 1×8 array
from Turyn's 1967 construction of the Golay code.
Folding a 2×4 Curtis array yet again yields
the 2x2x2eightfold cube ."
— Steven H. Cullinane on April 19, 2016 — The Folding.
"What modern painters are trying to do,
if they only knew it, is paint invariants."
— James J. Gibson in Leonardo
(Vol. 11, pp. 227-235.
Pergamon Press Ltd., 1978)
An example of invariant structure:
The three line diagrams above result from the three partitions, into pairs of 2-element sets, of the 4-element set from which the entries of the bottom colored figure are drawn. Taken as a set, these three line diagrams describe the structure of the bottom colored figure. After coordinatizing the figure in a suitable manner, we find that this set of three line diagrams is invariant under the group of 16 binary translations acting on the colored figure.
A more remarkable invariance — that of symmetry itself — is observed if we arbitrarily and repeatedly permute rows and/or columns and/or 2×2 quadrants of the colored figure above. Each resulting figure has some ordinary or color-interchange symmetry.
This sort of mathematics illustrates the invisible "form" or "idea" behind the visible two-color pattern. Hence it exemplifies, in a way, the conflict described by Plato between those who say that "real existence belongs only to that which can be handled" and those who say that "true reality consists in certain intelligible and bodiless forms."
If we read the above "art" as a scythe blade to which the "signature" —
Snaith ("the crooked handle or shaft of a scythe") — is attached,
an image of the late art critic Robert Hughes comes to mind:
That image of Hughes appeared here in a post of June 17, 2015 —
"Slow Art, Continued" — that also referenced the Kummer Threefold
paper above.
"In any case it was quite sufficient for me
if I could peg proofs upon propositions
the validity of which did not seem to me to be dubious.
For example, I remember that an uncle told me
the Pythagorean theorem before the holy geometry booklet
had come into my hands. After much effort I succeeded
in 'proving' this theorem on the basis of the similarity
of triangles; in doing so it seemed to me 'evident' that
the relations of the sides of the right-angled triangles
would have to be completely determined by one of the
acute angles. Only something which did not in similar fashion
seem to be 'evident' appeared to me to be in need of any proof
at all. Also, the objects with which geometry deals seemed to
be of no different type than the objects of sensory perception,
'which can be seen and touched.' This primitive idea, which
probably also lies at the bottom of the well-known Kantian
problematic concerning the possibility of 'synthetic judgments
a priori' rests obviously upon the fact that the relation of
geometrical concepts to objects of direct experience
(rigid rod, finite interval, etc.) was unconsciously present."
"Einstein, unfortunately, left no … record of his childhood proof.
In his Saturday Review essay, he described it in general terms,
mentioning only that it relied on 'the similarity of triangles.'
The consensus among Einstein’s biographers is that he probably
discovered, on his own, a standard textbook proof in which similar
triangles (meaning triangles that are like photographic reductions
or enlargements of one another) do indeed play a starring role.
Walter Isaacson, Jeremy Bernstein, and Banesh Hoffman all come
to this deflating conclusion, and each of them describes the steps
that Einstein would have followed as he unwittingly reinvented
a well-known proof."
Schroeder presents an elegant and memorable proof. He attributes
the proof to Einstein, citing purely hearsay evidence in a footnote.
The only other evidence for Einstein's connection with the proof
is his 1949 Saturday Review remarks. If Einstein did come up with
the proof at age 11 and discuss it with others later, as Schroeder
claims, it seems he might have felt a certain pride and been more
specific in 1949, instead of merely mentioning the theorem in passing
before he discussed Kantian philosophy relating concepts to objects.
“When people talk about the importance of the study of ‘symmetry’
in mathematics, physics, and elsewhere, they often make the mistake
of only paying attention to the symmetry groups. The structure you
actually have is not just a group (the abstract ‘symmetries’), but an
action of that group on some other object, the thing that has symmetries.”
The following passage is from Amanda Gefter’s Trespassing on Einstein’s Lawn (Bantam Books, 2014).
“You know the story of Plato’s cave?” my father asked. “All the prisoners are chained up in the cave and they can’t see the real world outside, only the shadows on the wall? That’s supposed to be a negative thing, like they’ll never know reality. But the truth is, you have to be stuck inside a limited reference frame for there to be any reality at all! If you weren’t chained to your light cone, you’d see nothing. The H-state.”
I nodded. “You’d have no information. You need the broken symmetry, the shadow, to have information and information gives rise to the world. It from bit.”
I couldn’t help but grin with excitement. The message was clear: having a finite frame of reference creates the illusion of a world, but even the reference frame itself is an illusion. Observers create reality, but observers aren’t real. There is nothing ontologically distinct about an observer, because you can always find a frame in which that observer disappears: the frame of the frame itself, the boundary of the boundary.
“If physicists discover an invariant someday, the game will be up,” my father mused. “That would rule out the hypothesis that the universe is really nothing.”
That was true. But so far, at least, every last invariant had gone the way of space and time, rendered relative and observer-dependent. Spacetime, gravity, electromagnetism, the nuclear forces, mass, energy, momentum, angular momentum, charge, dimensions, particles, fields, the vacuum, strings, the universe, the multiverse, the speed of light— one by one they had been downgraded to illusion. As the surface appearance of reality fell away, only one thing remained. Nothing.
My path to Gefter’s father’s musing led from a quotation attributed,
probably falsely, to John Archibald Wheeler on page 52 of Octavio
Paz’s Claude Lévi-Strauss: An Introduction (Cornell, 1970) —
“There is a point at which
‘something is nothing and nothing is something.’ “
The quote may actually be by AP writer John Barbour reporting
on a 1967 American Physical Society talk by Wheeler, “The End
of Time.”
Simultaneous perspective does not look upon language as a path because it is not the search for meaning that orients it. Poetry does not attempt to discover what there is at the end of the road; it conceives of the text as a series of transparent strata within which the various parts—the different verbal and semantic currents—produce momentary configurations as they intertwine or break apart, as they reflect each other or efface each other. Poetry contemplates itself, fuses with itself, and obliterates itself in the crystallizations of language. Apparitions, metamorphoses, volatilizations, precipitations of presences. These configurations are crystallized time: although they are perpetually in motion, they always point to the same hour—the hour of change. Each one of them contains all the others, each one is inside the others: change is only the oft-repeated and ever-different metaphor of identity.
The 2018 Log24 post containing the above Paz quote goes on to quote
remarks by Lévi-Strauss. Paz’s phrase “series of transparent strata”
suggests a review of other remarks by Lévi-Strauss in the 2016 post
“Key to All Mythologies.“
Comments Off on Curtis at Pilsen, Thursday, July 5, 2018
"This presentation of the symmetry groups Gi is
particularly well-adapted for the symmetry surfing
philosophy. In particular it is straightforward to
combine them into an overarching symmetry group G
by combining all the generators. The resulting group is the so-called octad group
G = (Z2)4⋊ A8.
It can be described as a maximal subgroup of M24
obtained by the setwise stabilizer of a particular
'reference octad' in the Golay code, which we take
to be O9 = {3,5,6,9,15,19,23,24} ∈ 𝒢24. The octad
subgroup is of order 322560, and its index in M24
is 759, which is precisely the number of
different reference octads one can choose."
This "octad group" is in fact the symmetry group of the affine 4-space over GF(2),
so described in 1979 in connection not with the Golay code but with the geometry
of the 4×4 square.* Its nature as an affine group acting on the Golay code was
known long before 1979, but its description as an affine group acting on
the 4×4 square may first have been published in connection with the Cullinane diamond theorem and Abstract 79T-A37, "Symmetry invariance in a
diamond ring," by Steven H. Cullinane in Notices of the American Mathematical
Society , February 1979, pages A-193, 194.
Further down in the "6 Prescott St." post, the link 5 Divinity Avenue
leads to …
A Letter from Timothy Leary, Ph.D., July 17, 1961
Harvard University
Department of Social Relations
Center for Research in Personality
Morton Prince House
5 Divinity Avenue
Cambridge 38, Massachusetts
July 17, 1961
Dr. Thomas S. Szasz
c/o Upstate Medical School
Irving Avenue
Syracuse 10, New York
Dear Dr. Szasz:
Your book arrived several days ago. I've spent eight hours on it and realize the task (and joy) of reading it has just begun.
The Myth of Mental Illness is the most important book in the history of psychiatry.
I know it is rash and premature to make this earlier judgment. I reserve the right later to revise and perhaps suggest it is the most important book published in the twentieth century.
It is great in so many ways–scholarship, clinical insight, political savvy, common sense, historical sweep, human concern– and most of all for its compassionate, shattering honesty.
. . . .
The small Morton Prince House in the above letter might, according to
the above-quoted remarks by Corinna S. Rohse, be called a "jewel box."
Harvard moved it in 1978 from Divinity Avenue to its current location at
6 Prescott Street.
Related "jewel box" material for those who
prefer narrative to mathematics —
"In The Electric Kool-Aid Acid Test , Tom Wolfe writes about encountering
'a young psychologist,' 'Clifton Fadiman’s nephew, it turned out,' in the
waiting room of the San Mateo County jail. Fadiman and his wife were
'happily stuffing three I-Ching coins into some interminable dense volume*
of Oriental mysticism' that they planned to give Ken Kesey, the Prankster-
in-Chief whom the FBI had just nabbed after eight months on the lam.
Wolfe had been granted an interview with Kesey, and they wanted him to
tell their friend about the hidden coins. During this difficult time, they
explained, Kesey needed oracular advice."
Oracular advice related to yesterday evening's "jewel box" post …
A 4-dimensional hypercubeH (a tesseract ) has 24 square
2-dimensional faces. In its incarnation as a Galois tesseract
(a 4×4 square array of points for which the appropriate transformations
are those of the affine 4-space over the finite (i.e., Galois) two-element
field GF(2)), the 24 faces transform into 140 4-point "facets." The Galois
version of H has a group of 322,560 automorphisms. Therefore, by the
orbit-stabilizer theorem, each of the 140 facets of the Galois version has
a stabilizer group of 2,304 affine transformations.
Similar remarks apply to the I Ching In its incarnation as
a Galois hexaract, for which the symmetry group — the group of
affine transformations of the 6-dimensional affine space over GF(2) —
has not 322,560 elements, but rather 1,290,157,424,640.
And the color, the overcast blue
Of the air, in which the blue guitar
Is a form, described but difficult,
And I am merely a shadow hunched
Above the arrowy, still strings,
The maker of a thing yet to be made . . . .
The misleading image at right above is from the cover of
an edition of Charles Williams's classic 1931 novel Many Dimensions published in 1993 by Wm. B. Eerdmans.
The production-company logos for Carpenter B and Bad Robot
in end credits for a 2016 TV mini-series based on the Stephen King
novel 11/22/63 suggest a look at . . .
For the Church of Synchronology — This weblog on Aug. 11, 2017:
"In the early 1990s, I came to suspect that the quest
for a unified theory is religious rather than scientific.
Physicists want to show that all things came from
one thing: a force, or essence, or membrane
wriggling in eleven dimensions, or something that
manifests perfect mathematical symmetry. In their
search for this primordial symmetry, however,
physicists have gone off the deep end . . . ."
Other approaches —
See "Story Theory of Truth" in this journal and, from the November 2019 Notices of the American Mathematical Society. . .
More fundamental than the label of mathematician is that of human. And as humans, we’re hardwired to use stories to make sense of our world (story-receivers) and to share that understanding with others (storytellers) [2]. Thus, the framing of any communication answers the key question, what is the story we wish to share? Mathematics papers are not just collections of truths but narratives woven together, each participating in and adding to the great story of mathematics itself.
The first endeavor for constructing a good talk is recognizing and choosing just one storyline, tailoring it to the audience at hand. Should the focus be on a result about the underlying structures of group actions? . . . .
[2] Gottschall, J. , The Storytelling Animal ,
Houghton Mifflin Harcourt, 2012.
— "Giving Good Talks," by Satyan L. Devadoss
"Before time began, there was the Cube." — Optimus Prime
Enveloping algebras also appeared later in the work on "crystal bases"
of Masaki Kashiwara. It seems highly unlikely that his work on enveloping
algebras, or indeed any part of his work on crystal bases, has any relation
to my own earlier notes.
"The stars and galaxies seem static, eternal, or moving slowly
in deterministic patterns, becoming the background stage
on which we move. But if we could speed up the sequence,
we would see how dramatic and unpredictable this background
really is — an actor, director, script and stage all at once.
Moreover, it is a unified universe, a single unfolding event
of which we are an embedded part, a narrative of highly
dangerous and fine-tuned events, something more like
a detective thriller with many crimes and last-minute escapes
than the impersonal account of astronomy textbooks.
We are only just beginning to decipher the plot and figure out the Cosmic Code, as Heinz Pagels puts it."
— Charles Jencks, The Architecture of the Jumping Universe :
A Polemic (How Complexity Science is Changing Architecture
and Culture), Academy Editions, 1995, rev. ed. 1997
"A Grand Unified Theory (GUT) is a model in particle physics…."
— Wikipedia
"Under the GUT symmetry operation these field components
transform into one another. The reason quantum particles
appear to have different properties in nature is that the unifying
symmetry is broken. The various gluons, quarks and leptons
are analogous to the facets of a cut diamond, which appear
differently according to the way the diamond is held but in
fact are all manifestations of the same underlying object."
This post continues a post from yesterday on the square model of
PG(3,2) that apparently first appeared (presented as such*) in . . .
Cullinane, "Symmetry invariance in a diamond ring," Notices of the AMS , pp. A193-194, Feb. 1979.
Yesterday's Wikipedia presentation of the square model was today
revised by yet another anonymous author —
Revision history accounting for the above change from yesterday —
The jargon "rm OR" means "remove original research."
The added verbiage about block designs is a smokescreen having
nothing to do with the subject, which is square representation
of the 35 points and lines.
* The 35 squares, each consisting of four 4-element subsets, appeared earlier
in the Miracle Octad Generator (MOG) of R. T. Curtis (published in 1976).
They were not at that time presented as constituting a finite geometry,
either affine (AG(4,2)) or projective (PG(3,2)).
The recent post "Tales from Story Space," about the 18th birthday
of the protagonist in the TV series "Shadowhunters" (2016-),
suggests a review of the actual 18th birthday of actress Lily Collins.
Collins is shown below warding off evil with a magical rune as
a shadowhunter in the 2013 film "City of Bones" —
She turned 18 on March 18, 2007. A paper on symmetry and logic
referenced here on that date displays the following "runes" of
philosopher Charles Sanders Peirce —
The term "parametrization," as discussed in Wikipedia, seems useful for describing labelings that are not, at least at first glance, of a vector-space nature.
Thus "parametrization" is apparently more general than the word "coodinatization" used by Hermann Weyl —
“This is the relativity problem: to fix objectively a class of equivalent coordinatizations and to ascertain the group of transformations S mediating between them.”
Note, however, that Weyl's definition of "coordinatization" is not limited to vector-space coordinates. He describes it as simply a mapping to a set of reproducible symbols .
(But Weyl does imply that these symbols should, like vector-space coordinates, admit a group of transformations among themselves that can be used to describe transformations of the point-space being coordinatized.)
"Here’s a caveat about my glib earlier remark that
'There are only finitely many numbers ' in a finite field.
It’s a bit of a stretch to call the elements of finite fields
'numbers'. Elements of GF(q ) can be thought of as
the integers mod q when q is prime, and they can be
represented by 0, 1, 2, …, q–1; but when q is a prime
raised to the 2nd power or higher, describing the
elements of GF(q ) is more complicated, and the word
'number' isn’t apt."
Related material —
See also this journal on the date of Propp's remarks — April 17, 2016.
“I am willing (now that so much has been revealed!)
to predict that in the year 2000, when the Metropolitan
or the Museum of Modern Art puts on the great
retrospective exhibition of American Art 1945-75,
the three artists who will be featured, the three seminal
figures of the era, will be not Pollock, de Kooning, and
Johns-but Greenberg, Rosenberg, and Steinberg.
Up on the walls will be huge copy blocks, eight and a half
by eleven feet each, presenting the protean passages of
the period … a little ‘fuliginous flatness’ here … a little
‘action painting’ there … and some of that ‘all great art
is about art’ just beyond. Beside them will be small
reproductions of the work of leading illustrators of
the Word from that period….”
The above group of 322,560 permutations appears also in a 2011 book —
Some may view the above web page as illustrating the Glasperlenspiel passage quoted here in Summa Mythologica—
“"I suddenly realized that in the language, or at any rate
in the spirit of the Glass Bead Game, everything actually
was all-meaningful, that every symbol and combination of
symbols led not hither and yon, not to single examples,
experiments, and proofs, but into the center, the mystery
and innermost heart of the world, into primal knowledge.
Every transition from major to minor in a sonata, every
transformation of a myth or a religious cult, every classical
or artistic formulation was, I realized in that flashing moment,
if seen with a truly meditative mind, nothing but a direct route
into the interior of the cosmic mystery, where in the alternation
between inhaling and exhaling, between heaven and earth,
between Yin and Yang, holiness is forever being created.”
A less poetic meditation on the above 4x4x4 design cube —
"I saw that in the alternation between front and back,
between top and bottom, between left and right,
symmetry is forever being created."
Botkin, whatever her gifts as a conversationist, is almost as old
as the rediscovery of Mendel. The other extreme in age,
Joe Lovering, beat a time-honored path out of pure math
into muddy population statistics. Ressler has seen the guy
potting about in the lab, although exactly what the excitable kid
does is anybody's guess. He looks decidedly gumfooted holding
any equipment more corporeal than a chi-square. Stuart takes
him to the Y for lunch, part of a court-your-resources campaign.
He has the sub, Lovering the congealed mac and cheese.
Hardly are they seated when Joe whips out a napkin and begins
sketching proofs. He argues that the genetic code, as an
algorithmic formal system, is subject to Gödel's Incompleteness
Theorem. "That would mean the symbolic language of the code
can't be both consistent and complete. Wouldn't that be a kick
in the head?"
Kid talk, competitive showing off, intellectual fantasy.
But Ressler knows what Joe is driving at. He's toyed with similar
ideas, cast in less abstruse terms. We are the by-product of the
mechanism in there. So it must be more ingenious than us.
Anything complex enough to create consciousness may be too
complex for consciousness to understand. Yet the ultimate paradox
is Lovering, crouched over his table napkin, using proofs to
demonstrate proof's limits. Lovering laughs off recursion and takes
up another tack: the key is to find some formal symmetry folded
in this four-base chaos. Stuart distrusts this approach even more.
He picks up the tab for their two untouched lunches, thanking
Lovering politely for the insight.
"On Tralfamadore, Billy is put in a transparent geodesic dome
exhibit in a zoo; the dome represents a house on Earth.
The Tralfamadorians later abduct a movie star named Montana Wildhack, who had disappeared and was believed to
have drowned herself in the Pacific Ocean. They intend to
have her mate with Billy." — Wikipedia on Kurt Vonnegut's Slaughterhouse-Five.
The "Eightfold Cube" structure shown above with Weyl
competes rather directly with the "Eightfold Way" sculpture
shown above with Bryant. The structure and the sculpture
each illustrate Klein's order-168 simple group.
Perhaps in part because of this competition, fans of the Mathematical
Sciences Research Institute (MSRI, pronounced "Misery') are less likely
to enjoy, and discuss, the eight-cube mathematical structure above
than they are an eight-cube mechanical puzzle like the one below.
Note also the earlier (2006) "Design Cube 2x2x2" webpage
illustrating graphic designs on the eightfold cube. This is visually,
if not mathematically, related to the (2010) "Expert's Cube."
Up to the present point my aim has been to consider a variety of applications of the Principle of Sufficient Reason, without attempting any precise formulation of the Principle itself. With these applications in mind I will venture to formulate the Principle and a related Heuristic Conjecture in quasi-mathematical form as follows:
PRINCIPLE OF SUFFICIENT REASON. If there appears in any theory T a set of ambiguously determined ( i e . symmetrically entering) variables, then these variables can themselves be determined only to the extent allowed by the corresponding group G. Consequently any problem concerning these variables which has a uniquely determined solution, must itself be formulated so as to be unchanged by the operations of the group G ( i e . must involve the variables symmetrically).
HEURISTIC CONJECTURE. The final form of any scientific theory T is: (1) based on a few simple postulates; and (2) contains an extensive ambiguity, associated symmetry, and underlying group G, in such wise that, if the language and laws of the theory of groups be taken for granted, the whole theory T appears as nearly self-evident in virtue of the above Principle.
The Principle of Sufficient Reason and the Heuristic Conjecture, as just formulated, have the advantage of not involving excessively subjective ideas, while at the same time retaining the essential kernel of the matter.
In my opinion it is essentially this principle and this conjecture which are destined always to operate as the basic criteria for the scientist in extending our knowledge and understanding of the world.
It is also my belief that, in so far as there is anything definite in the realm of Metaphysics, it will consist in further applications of the same general type. This general conclusion may be given the following suggestive symbolic form:
While the skillful metaphysical use of the Principle must always be regarded as of dubious logical status, nevertheless I believe it will remain the most important weapon of the philosopher.
"While I was in Holland my enterprising student assistant at Smith had found, in Soviet Physics – Crystallography, an article by N. N. Sheftal' on tetrahedral penetration twins. She gave it to me on my return. It was just what I was looking for. The twins Sheftal' described had evidently begun as (111) contact twins, with the two crystallites rotated 60o with respect to one another. As they grew, he suggested, each crystal overgrew the edges of the other and proceeded to spread across the adjacent facet. When all was said and done, they looked like they'd grown through each other, but the reality was over-and-around. Brilliant! I thought. Could I apply this to cubes? No, evidently not. Cube facets are all (100) planes. But . . . these crystals might not have been cubes in their earliest stages, when twinning occurred! I wrote a paper on "The mechanism of certain growth twins of the penetration type" and sent it to Martin Buerger, editor of Neues Jarbuch für Mineralogie. This was before the Wrinch symposium; I had never met him. Buerger rejected it by return mail, mostly on the grounds that I hadn't quoted any of Buerger's many papers on twinning. And so I learned about turf wars in twin domains. In fact I hadn't read his papers but I quickly did. I added a reference to one of them, the paper was published, and we became friends.[5]
After reading Professor Sheftal's paper I wrote to him in Moscow; a warm and encouraging correspondence ensued, and we wrote a paper together long distance.[6] Then I heard about the scientific exchanges between the Academies of Science of the USSR and USA. I applied to spend a year at the Shubnikov Institute for Crystallography, where Sheftal' worked. I would, I proposed, study crystal growth with him, and color symmetry with Koptsik. To my delight, I was accepted for an 11-month stay. Of course the children, now 11 and 14, would come too and attend Russian schools and learn Russian; they'd managed in Holland, hadn't they? Diana, my older daughter, was as delighted as I was. We had gone to Holland on a Russian boat, and she had fallen in love with the language. (Today she holds a Ph.D. in Slavic Languages and Literature from Yale.) . . . .
. . . we spent the academic year 1978-79 in Moscow.
Philosophy professors and those whose only interest in mathematics
is as a path to the occult may consult the Log24 posts tagged Tsimtsum.
The elementary shapes at the top of the figure below mirror the looking-glass property of the classical Lo Shu square.
The nine shapes at top left* and their looking-glass reflection
illustrate the looking-glass reflection relating two orthogonal
Latin squares over the three digits of modulo-three arithmetic.
Combining these two orthogonal Latin squares,** we have a
representation in base three of the numbers from 0 to 8.
Adding 1 to each of these numbers yields the Lo Shu square.
*** For other instances of what might be
called "design grammar" in combinatorics,
see a slide presentation by Robin Wilson.
No reference to the work of Chomsky is
intended.
A field is perhaps the simplest algebraic 143 structure
we can invent. Its elements are numbers. Characteristic
for its structure are the operations of addition and …
"Mr. Jobs, who died in 2011, loomed over Tuesday’s
nostalgic presentation. The Apple C.E.O., Tim Cook,
paid tribute, his voice cracking with emotion, Mr. Jobs’s
steeple-fingered image looming as big onstage as
Big Brother’s face in the classic Macintosh '1984' commercial."
In a book to be published Sept. 5 by Princeton University Press,
John Conway, Simon Norton, and Alex Ryba present the following
result on order-four magic squares —
A monograph published in 1976, “Diamond Theory,” deals with
more general 4×4 squares containing entries from the Galois fields
GF(2), GF(4), or GF(16). These squares have remarkable, if not
“magic,” symmetry properties. See excerpts in a 1977 article.
Frank calls his niece Mary to breakfast on the morning she is
to enter first grade. She is dressed, for the first time, for school —
- Hey! Come on. Let's move!
- No!
- Let me see.
- No.
- Come on, I made you special breakfast.
- You can't cook.
- Hey, Mary, open up.
(She opens her door and walks out.)
- You look beautiful.
- I look like a Disney character.
Where's the special?
- What?
- You said you made me special breakfast.
Read more: http://www.springfieldspringfield.co.uk/
movie_script.php?movie=gifted
"Movies and pop culture get this all wrong.
The idea of a single eureka moment
is a dangerous lie. It makes us feel inadequate
since we haven’t had ours. It prevents people
with seeds of good ideas from getting started.
Oh, you know what else movies get wrong about
innovation? No one writes math formulas on glass.
That’s not a thing."
"Bertram Kostant, professor emeritus of mathematics at MIT,
died at the Hebrew Senior Rehabilitation Center in Roslindale,
Massachusetts, on Thursday, Feb. 2, at the age of 88."
Regarding the discussions of symmetries and "facets" found in
that search —
Kostant:
“A word about E(8). In my opinion, and shared by others,
E(8) is the most magnificent ‘object’ in all of mathematics.
It is like a diamond with thousands of facets. Each facet
offering a different view of its unbelievable intricate internal
structure.”
Cullinane:
In the Steiner system S(5, 8, 24) each octad might be
regarded as a "facet," with the order of the system's
automorphism group, the Mathieu group M24 , obtained
by multiplying the number of such facets, 759, by the
order of the octad stabilizer group, 322,560.
See as well in this journal the large Desargues configuration, with
15 points and 20 lines instead of 10 points and 10 lines as above.
Exercise: Can the large Desargues configuration be formed
by adding 5 points and 10 lines to the above Polster model
of the small configuration in such a way as to preserve
the small-configuration model's striking symmetry?
(Note: The related figure below from May 21, 2014, is not
necessarily very helpful. Try the Wolfram Demonstrations
model, which requires a free player download.)
Labeling the Tetrahedral Model (Click to enlarge) —
Related folk etymology (see point a above) —
Related literature —
The concept of "fire in the center" at The New Yorker ,
issue dated December 12, 2016, on pages 38-39 in the
poem by Marsha de la O titled "A Natural History of Light."
Before the monograph "Diamond Theory" was distributed in 1976,
two (at least) notable figures were published that illustrate
symmetry properties of the 4×4 square:
Hudson in 1905 —
Golomb in 1967 —
It is also likely that some figures illustrating Walsh functions as
two-color square arrays were published prior to 1976.
Update of Dec. 7, 2016 —
The earlier 1950's diagrams of Veitch and Karnaugh used the
1's and 0's of Boole, not those of Galois.
"Poetry…. conceives of the text as a series of transparent strata
within which the various parts—the different verbal and semantic
currents— produce momentary configurations as they intertwine
or break apart, as they reflect each other or efface each other.
Poetry contemplates itself, fuses with itself, and obliterates itself
in the crystallizations of language. Apparitions, metamorphoses,
volatilizations, precipitations of presences. These configurations
are crystallized time…."
— Octavio Paz in The Monkey Grammarian (written in 1970)
"Strata" also seem to underlie the Lévi-Strauss "canonic formula" of myth
in its original 1955 context, described as that of permutation groups —
I do not recommend trying to make sense of the above "formula."
"Galois' ideas, which for several decades remained
a book with seven seals but later exerted a more
and more profound influence upon the whole
development of mathematics, are contained in
a farewell letter written to a friend on the eve of
his death, which he met in a silly duel at the age of
twenty-one. This letter, if judged by the novelty and
profundity of ideas it contains, is perhaps the most
substantial piece of writing in the whole literature
of mankind."
For the theorem of the title, see "Diamond Theorem" in this journal.
"These were heavy impressions to struggle against,
and brought that melancholy embitterment which
is the consequence of all excessive claim: even his
religious faith wavered with his wavering trust in his
own authorship, and the consolations of the Christian
hope in immortality seemed to lean on the immortality
of the still unwritten Key to all Mythologies."
The previous post quoted Tom Wolfe on Chomsky's use of
the word "array."
An example of particular interest is the 4×4 array
(whether of dots or of unit squares) —
.
Some context for the 4×4 array —
The following definition indicates that the 4×4 array, when
suitably coordinatized, underlies the Kummer lattice .
Further background on the Kummer lattice:
Alice Garbagnati and Alessandra Sarti,
"Kummer Surfaces and K3 surfaces
with $(Z/2Z)^4$ symplectic action."
To appear in Rocky Mountain J. Math. —
The above article is written from the viewpoint of traditional
algebraic geometry. For a less traditional view of the underlying
affine 4-space from finite geometry, see the website Finite Geometry of the Square and Cube.
Some further context …
"To our knowledge, the relation of the Golay code
to the Kummer lattice … is a new observation."
As noted earlier, Taormina and Wendland seem not to be aware of R. W. H. T. Hudson's use of the (uncoordinatized*) 4×4 array in his
1905 book Kummer's Quartic Surface. The array was coordinatized,
i.e. given a "vector space structure," by Cullinane eight years prior to
the cited remarks of Curtis.
* Update of Sept. 14: "Uncoordinatized," but parametrized by 0 and
the 15 two-subsets of a six-set. See the post of Sept. 13.
"CP was a consolation prize for physicists.
At least it seemed so until 1964."
"James W. Cronin, who shared the Nobel Prize in physics
for discovering a startling breakdown in what was assumed
to be the immutable symmetry of physical law, thereby
helping to explain the behavior and evolution of the universe
as a whole, died Aug. 25 in St. Paul, Minn. He was 84.
Dr. Cronin’s death was announced by the University of Chicago,
where he was a professor emeritus of physics as well as of
astronomy and astrophysics. No cause was reported."
"CP was a consolation prize for physicists.
At least it seemed so until 1964."
"James W. Cronin, who shared the Nobel Prize in physics
for discovering a startling breakdown in what was assumed
to be the immutable symmetry of physical law, thereby
helping to explain the behavior and evolution of the universe
as a whole, died Aug. 25 in St. Paul, Minn. He was 84.
Dr. Cronin’s death was announced by the University of Chicago,
where he was a professor emeritus of physics as well as of
astronomy and astrophysics. No cause was reported."
— Martin Weil in The Washington Post , August 28, 2016
"So there are several different genres and tones
jostling for prominence within Lexicon:
a conspiracy thriller, an almost abstract debate
about what language can do, and an ironic
questioning of some of the things it’s currently used for."
"The editors are also grateful to
T. Kibble and Imperial College Press
for permission to reprint B. Zumino's paper
'Supersymmetry: A Personal View' . . . ."
— Preface to Symmetry in Mathematics and Physics
(AMS, 2009), a book based on talks at
a UCLA conference of Jan. 18-20, 2008
(For the book's title page, see yesterday morning's post Symmetry.)
"The American mind is not even close to being amenable
to the ideogram principle as yet. The reason is simply this.
America is 100% 18th Century. The 18th century had
chucked out the principle of metaphor and analogy—
the basic fact that as A is to B so is C to D. AB:CD.
It can see AB relations. But relations in four terms are still
verboten. This amounts to deep occultation of nearly all
human thought for the U.S.A.
I am trying to devise a way of stating this difficulty as it exists.
Until stated and publicly recognized for what it is, poetry and
the arts can’t exist in America."
"Studies of spin-½ theories in the framework of projective geometry
have been undertaken before." — Y. Jack Ng and H. van Dam,
February 20, 2009
For one such framework,* see posts from that same date
four years earlier — February 20, 2005.
* A 4×4 array. See the 1977, 1978, and 1986 versions by
Steven H. Cullinane, the 1987 version by R. T. Curtis, and
the 1988 Conway-Sloane version illustrated below —
Cullinane, 1977
Cullinane, 1978
Cullinane, 1986
Curtis, 1987
Update of 10:42 PM ET on Sunday, June 19, 2016 —
The above images are precursors to …
Conway and Sloane, 1988
Update of 10 AM ET Sept. 16, 2016 — The excerpt from the
1977 "Diamond Theory" article was added above.
From Wallace Stevens, "The Man with the Blue Guitar":
IX
And the color, the overcast blue
Of the air, in which the blue guitar
Is a form, described but difficult,
And I am merely a shadow hunched
Above the arrowy, still strings,
The maker of a thing yet to be made . . . .
.
