… and for Louise Bourgeois
"The épateurs were as boring as the bourgeois,
two halves of one dreariness."
— D. H. Lawrence, The Plumed Serpent
… and for Louise Bourgeois
"The épateurs were as boring as the bourgeois,
two halves of one dreariness."
— D. H. Lawrence, The Plumed Serpent
(A sequel to Foster's Space and Sawyer's Space)
See posts now tagged Galois's Space.
This is a sequel to yesterday's post Cube Space Continued.
Click image to enlarge.
The above 35 projective lines, within a 4×4 array —
The above 15 projective planes, within a 4×4 array (in white) —
* See Galois Tesseract in this journal.
The above sketch indicates, in a vague, handwaving, fashion,
a connection between Galois spaces and harmonic analysis.
For more details of the connection, see (for instance) yesterday
afternoon's post Space Oddity.
Yesterday's post suggests a review of the following —
Andries Brouwer, preprint, 1982:
"The Witt designs, Golay codes and Mathieu groups" Pages 89: Substructures of S(5, 8, 24) An octad is a block of S(5, 8, 24). Theorem 5.1
Let B_{0} be a fixed octad. The 30 octads disjoint from B_{0}
the design of the points and affine hyperplanes in AG(4, 2), Proof…. … (iv) We have AG(4, 2).
(Proof: invoke your favorite characterization of AG(4, 2) An explicit construction of the vector space is also easy….) 
Related material: Posts tagged Priority.
For previous remarks on this topic, as it relates to
symmetry axes of the cube, see previous posts tagged Interplay.
The above posts discuss, among other things, the Galois
projective plane of order 3, with 13 points and 13 lines.
These Galois points and lines may be modeled in Euclidean geometry
by the 13 symmetry axes and the 13 rotation planes
of the Euclidean cube. They may also be modeled in Galois geometry
by subsets of the 3x3x3 Galois cube (vector 3space over GF(3)).
The 3×3×3 Galois Cube
Exercise: Is there any such analogy between the 31 points of the
order5 Galois projective plane and the 31 symmetry axes of the
Euclidean dodecahedron and icosahedron? Also, how may the
31 projective points be naturally pictured as lines within the
5x5x5 Galois cube (vector 3space over GF(5))?
Update of Nov. 30, 2014 —
For background to the above exercise, see
pp. 1617 of A Geometrical Picture Book ,
by Burkard Polster (Springer, 1998), esp.
the citation to a 1983 article by Lemay.
The 16point affine Galois space:
Further properties of this space:
In Configurations and Squares, see the
discusssion of the Kummer 16_{6} configuration.
Some closely related material:
For the first two pages, click here.
Continued from February 27, the day Joseph Frank died…
"Throughout the 1940s, he published essays
and criticism in literary journals, and one,
'Spatial Form in Modern Literature'—
a discussion of experimental treatments
of space and time by Eliot, Joyce, Proust,
Pound and others— published in
The Sewanee Review in 1945, propelled him
to prominence as a theoretician."
— Bruce Weber in this morning's print copy
of The New York Times (p. A15, NY edition)
That essay is reprinted in a 1991 collection
of Frank's work from Rutgers University Press:
See also Galois Space and Occupy Space in this journal.
Frank was best known as a biographer of Dostoevsky.
A very loosely related reference… in a recent Log24 post,
Freeman Dyson's praise of a book on the history of
mathematics and religion in Russia:
"The intellectual drama will attract readers
who are interested in mystical religion
and the foundations of mathematics.
The personal drama will attract readers
who are interested in a human tragedy
with characters who met their fates with
exceptional courage."
Frank is survived by, among others, his wife, a mathematician.
The previous post suggests two sayings:
"There is such a thing as a Galois space."
— Adapted from Madeleine L'Engle
"For every kind of vampire, there is a kind of cross."
Illustrations—
The three parts of the figure in today's earlier post "Defining Form"—
— share the same vectorspace structure:
0  c  d  c + d 
a  a + c  a + d  a + c + d 
b  b + c  b + d  b + c + d 
a + b  a + b + c  a + b + d  a + b + c + d 
(This vectorspace a b c d diagram is from Chapter 11 of
Sphere Packings, Lattices and Groups , by John Horton
Conway and N. J. A. Sloane, first published by Springer
in 1988.)
The fact that any 4×4 array embodies such a structure was implicit in
the diamond theorem (February 1979). Any 4×4 array, regarded as
a model of the finite geometry AG(4, 2), may be called a Galois tesseract.
(So called because of the Galois geometry involved, and because the
16 cells of a 4×4 array with opposite edges identified have the same
adjacency pattern as the 16 vertices of a tesseract (see, for instance,
Coxeter's 1950 "SelfDual Configurations and Regular Graphs," figures
5 and 6).)
A 1982 discussion of a more abstract form of AG(4, 2):
Source:
The above 1982 remarks by Brouwer may or may not have influenced
the drawing of the above 1988 ConwaySloane diagram.
An example of lines in a Galois space * —
The 35 lines in the 3dimensional Galois projective space PG(3,2)—
There are 15 different individual linear diagrams in the figure above.
These are the points of the Galois space PG(3,2). Each 3set of linear diagrams
represents the structure of one of the 35 4×4 arrays and also represents a line
of the projective space.
The symmetry of the linear diagrams accounts for the symmetry of the
840 possible images in the kaleidoscope puzzle.
* For further details on the phrase "Galois space," see
Beniamino Segre's "On Galois Geometries," Proceedings of the
International Congress of Mathematicians, 1958 [Edinburgh].
(Cambridge U. Press, 1960, 488499.)
(Update of Jan. 5, 2013— This post has been added to finitegeometry.org.)
Euclidean square and triangle—
Galois square and triangle—
Background—
This journal on the date of Hilton Kramer's death,
The Galois Tesseract, and The Purloined Diamond.
A post of September 1, The Galois Tesseract, noted that the interplay
of algebraic and geometric properties within the 4×4 array that forms
twothirds of the Curtis Miracle Octad Generator (MOG) may first have
been described by Cullinane (AMS abstract 79TA37, Notices , Feb. 1979).
Here is some supporting material—
The passage from Carmichael above emphasizes the importance of
the 4×4 square within the MOG.
The passage from Conway and Sloane, in a book whose first edition
was published in 1988, makes explicit the structure of the MOG's
4×4 square as the affine 4space over the 2element Galois field.
The passage from Curtis (1974, published in 1976) describes 35 sets
of four "special tetrads" within the 4×4 square of the MOG. These
correspond to the 35 sets of four parallel 4point affine planes within
the square. Curtis, however, in 1976 makes no mention of the affine
structure, characterizing his 140 "special tetrads" rather by the parity
of their intersections with the square's rows and columns.
The affine structure appears in the 1979 abstract mentioned above—
The "35 structures" of the abstract were listed, with an application to
Latinsquare orthogonality, in a note from December 1978—
See also a 1987 article by R. T. Curtis—
Further elementary techniques using the miracle octad generator, by R. T. Curtis. Abstract:
“In this paper we describe various techniques, some of which are already used by devotees of the art, which relate certain maximal subgroups of the Mathieu group M_{24}, as seen in the MOG, to matrix groups over finite fields. We hope to bring out the wealth of algebraic structure* underlying the device and to enable the reader to move freely between these matrices and permutations. Perhaps the MOG was misnamed as simply an ‘octad generator’; in this paper we intend to show that it is in reality a natural diagram of the binary Golay code.”
(Received July 20 1987)
– Proceedings of the Edinburgh Mathematical Society (Series 2) (1989), 32: 345353
* For instance:
Update of Sept. 4— This post is now a page at finitegeometry.org.
Yesterday's excerpt from von Balthasar supplies some Catholic aesthetic background for Galois geometry.
That approach will appeal to few mathematicians, so here is another.
Euclid's Window: The Story of Geometry from Parallel Lines to Hyperspace is a book by Leonard Mlodinow published in 2002.
More recently, Mlodinow is the coauthor, with Stephen Hawking, of The Grand Design (published on September 7, 2010).
A review of Mlodinow's book on geometry—
"This is a shallow book on deep matters, about which the author knows next to nothing."
— Robert P. Langlands, Notices of the American Mathematical Society, May 2002
The Langlands remark is an apt introduction to Mlodinow's more recent work.
It also applies to Martin Gardner's comments on Galois in 2007 and, posthumously, in 2010.
For the latter, see a Google search done this morning—
Here, for future reference, is a copy of the current Google cache of this journal's "paged=4" page.
Note the link at the bottom of the page in the May 5, 2010, post to Peter J. Cameron's web journal. Following the link, we find…
For n=4, there is only one factorisation, which we can write concisely as 1234, 1324, 1423. Its automorphism group is the symmetric group S_{4}, and acts as S_{3} on the set of three partitions, as we saw last time; the group of strong automorphisms is the Klein group.
This example generalises, by taking the factorisation to consist of the parallel classes of lines in an affine space over GF(2). The automorphism group is the affine group, and the group of strong automorphisms is its translation subgroup.
See also, in this journal, Window and Window, continued (July 5 and 6, 2010).
Gardner scoffs at the importance of Galois's last letter —
"Galois had written several articles on group theory, and was
merely annotating and correcting those earlier published papers."
— Last Recreations, page 156
For refutations, see the Bulletin of the American Mathematical Society in March 1899 and February 1909.
"The role of Desargues's theorem was not understood until
the Desargues configuration was discovered. For example,
the fundamental role of Desargues's theorem in the coordinatization
of synthetic projective geometry can only be understood in the light
of the Desargues configuration.
Thus, even as simple a formal statement as Desargues's theorem
is not quite what it purports to be. The statement of Desargues's theorem
pretends to be definitive, but in reality it is only the tip of an iceberg
of connections with other facts of mathematics."
— From p. 192 of "The Phenomenology of Mathematical Proof,"
by GianCarlo Rota, in Synthese , Vol. 111, No. 2, Proof and Progress
in Mathematics (May, 1997), pp. 183196. Published by: Springer.
Stable URL: https://www.jstor.org/stable/20117627.
Related figures —
Note the 3×3 subsquare containing the triangles ABC, etc.
"That in which space itself is contained" — Wallace Stevens
From the online New York Times this afternoon:
Disney now holds nine of the top 10
domestic openings of all time —
six of which are part of the Marvel
Cinematic Universe. “The result is
a reflection of 10 years of work:
of developing this universe, creating
stakes as big as they were, characters
that matter and stories and worlds that
people have come to love,” Dave Hollis,
Disney’s president of distribution, said
in a phone interview.
From this journal this morning:
"But she felt there must be more to this
than just the sensation of folding space
over on itself. Surely the Centaurs hadn't
spent ten years telling humanity how to
make a fancy amusementpark ride.
There had to be more—"
— Factoring Humanity , by Robert J. Sawyer,
Tom Doherty Associates, 2004 Orb edition,
page 168
"The sensation of folding space . . . ."
Or unfolding:
Click the above unfolded space for some background.
Remarks related to a recent film and a notsorecent film.
For some historical background, see Dirac and Geometry in this journal.
Also (as Thas mentions) after Saniga and Planat —
The SanigaPlanat paper was submitted on December 21, 2006.
Excerpts from this journal on that date —
"Open the pod bay doors, HAL."
"By an archetype I mean a systematic repertoire
of ideas by means of which a given thinker describes,
by analogical extension , some domain to which
those ideas do not immediately and literally apply."
— Max Black in Models and Metaphors
(Cornell, 1962, p. 241)
"Others … spoke of 'ultimate frames of reference' …."
— Ibid.
A "frame of reference" for the concept four quartets —
A less reputable analogical extension of the same
frame of reference —
Madeleine L'Engle in A Swiftly Tilting Planet :
"… deep in concentration, bent over the model
they were building of a tesseract:
the square squared, and squared again…."
See also the phrase Galois tesseract .
"With respect to the story's content, the frame thus acts
both as an inclusion of the exterior and as an exclusion
of the interior: it is a perturbation of the outside at the
very core of the story's inside, and as such, it is a blurring
of the very difference between inside and outside."
— Shoshana Felman on a Henry James story, p. 123 in
"Turning the Screw of Interpretation,"
Yale French Studies No. 55/56 (1977), pp. 94207.
Published by Yale University Press.
See also the previous post and The Galois Tesseract.
Silas in "Equals" (2015) —
Ever since we were kids it's been drilled into us that …
Our purpose is to explore the universe, you know.
Outer space is where we'll find …
… the answers to why we're here and …
… and where we come from.
Related material —
See also Galois Space in this journal.
The "Black" of the title refers to the previous post.
For the "Well," see Hexagram 48.
Related material —
The Galois Tesseract and, more generally, Binary Coordinate Systems.
Or: The Square
"What we do may be small, but it has
a certain character of permanence."
— G. H. Hardy
* See Expanding the Spielraum in this journal.
From a review of the 2016 film "Arrival" —
"A seemingly offhand reference to Abbott and Costello
is our gateway. In a movie as generally humorless as Arrival,
the jokes mean something. Ironically, it is Donnelly, not Banks,
who initiates the joke, naming the verbally inexpressive
Heptapod aliens after the loquacious Classical Hollywood
comedians. The squidlike aliens communicate via those beautiful,
cryptic images. Those signs, when thoroughly comprehended,
open the perceiver to a nonlinear conception of time; this is
SapirWhorf taken to the ludicrous extreme."
— Jordan Brower in the Los Angeles Review of Books
Further on in the review —
"Banks doesn’t fully understand the alien language, but she
knows it well enough to get by. This realization emerges
most evidently when Banks enters the alien ship and, floating
alongside Costello, converses with it in their picturelanguage.
She asks where Abbott is, and it responds — as presented
in subtitling — that Abbott 'is death process.'
'Death process' — dying — is not idiomatic English, and what
we see, written for us, is not a perfect translation but a
rendering of Banks’s understanding. This, it seems to me, is a
crucial moment marking the hard limit of a human mind,
working within the confines of human language to understand
an ultimately intractable xenolinguistic system."
For what may seem like an intractable xenolinguistic system to
those whose experience of mathematics is limited to portrayals
by Hollywood, see the previous post —
van Lint and Wilson Meet the Galois Tesseract.
The death process of van Lint occurred on Sept. 28, 2004.
Pinterest boards uploaded to the new m759.net/piwigo —
Update of May 2 —
Update of May 3 —
Update of May 8 —
Art Space board created at Pinterest
From a Google image search yesterday —
Sources (left to right, top to bottom) —
Math Guy (July 16, 2014)
The Galois Tesseract (Sept. 1, 2011)
The Full Force of Roman Law (April 21, 2014)
A Great Moonshine (Sept. 25, 2015)
A Point of Identity (August 8, 2016)
Pascal via Curtis (April 6, 2013)
Correspondences (August 6, 2011)
Symmetric Generation (Sept. 21, 2011)
In memory of New Yorker artist Anatol Kovarsky,
who reportedly died at 97 on June 1.
Note the Santa, a figure associated with Macy's at Herald Square.
See also posts tagged Herald Square, as well as the following
figure from this journal on the day preceding Kovarsky's death.
A note related both to Galois space and to
the "Herald Square"tagged posts —
"There is such a thing as a length16 sequence."
— Saying adapted from a youngadult novel.
Earlier posts have dealt with Solomon Marcus and Solomon Golomb,
both of whom died this year — Marcus on Saint Patrick's Day, and
Golomb on Orthodox Easter Sunday. This suggests a review of
Solomon LeWitt, who died on Catholic Easter Sunday, 2007.
A quote from LeWitt indicates the depth of the word "conceptual"
in his approach to "conceptual art."
From Sol LeWitt: A Retrospective , edited by Gary Garrels, Yale University Press, 2000, p. 376:
THE SQUARE AND THE CUBE "The best that can be said for either the square or the cube is that they are relatively uninteresting in themselves. Being basic representations of two and threedimensional form, they lack the expressive force of other more interesting forms and shapes. They are standard and universally recognized, no initiation being required of the viewer; it is immediately evident that a square is a square and a cube a cube. Released from the necessity of being significant in themselves, they can be better used as grammatical devices from which the work may proceed." "Reprinted from Lucy R. Lippard et al ., “Homage to the Square,” Art in America 55, No. 4 (JulyAugust 1967): 54. (LeWitt’s contribution was originally untitled.)" 
See also the Cullinane models of some small Galois spaces —
From Sunday evening's In Memoriam post —
The "from Princeton" remark in the previous post came from
Princeton, but originated with a retired professor in Rochester,
NY, one Joseph Neisendorfer.
Another remark by Neisendorfer, from his weblog —
Those familiar with the chapter on Galois in the
Eric Temple Bell classic Men of Mathematics
will know that the words quoted above by
Neisendorfer are definitely not those of Albert Einstein.
“Chaos is order yet undeciphered.”
— The novel The Double , by José Saramago,
on which the film "Enemy" was based
Some background for the 2012 Douglas Glover
"Attack of the Copula Spiders" book
mentioned in Sunday's Synchronicity Check —
It is an odd fact that the close relationship between some
small Galois spaces and small Boolean spaces has gone
unremarked by mathematicians.
A Google search today for "Galois spaces" + "Boolean spaces"
yielded, apart from merely terminological sources, only some
introductory material I have put on the Web myself.
Some more sophisticated searches, however led to a few
documents from the years 1971 – 1981 …
"Harmonic Analysis of Switching Functions" ,
by Robert J. Lechner, Ch. 5 in A. Mukhopadhyay, editor,
Recent Developments in Switching Theory , Academic Press, 1971.
"Galois Switching Functions and Their Applications,"
by B. Benjauthrit and I. S. Reed,
JPL Deep Space Network Progress Report 4227 , 1975
D.K. Pradhan, “A Theory of Galois Switching Functions,”
IEEE Trans. Computers , vol. 27, no. 3, pp. 239249, Mar. 1978
"Switching functions constructed by Galois extension fields,"
by Iwaro Takahashi, Information and Control ,
Volume 48, Issue 2, pp. 95–108, February 1981
An illustration from the Lechner paper above —
"There is such a thing as harmonic analysis of switching functions."
— Saying adapted from a youngadult novel
"The colorful story of this undertaking begins with a bang."
— Martin Gardner on the death of Évariste Galois
"The office of color in the color line
is a very plain and subordinate one.
It simply advertises the objects of
oppression, insult, and persecution.
It is not the maddening liquor, but
the black letters on the sign
telling the world where it may be had."
— Frederick Douglass, "The Color Line,"
The North American Review , Vol. 132,
No. 295, June 1881, page 575
Or gold letters.
From a search for Seagram in this journal —
"The colorful story of this undertaking begins with a bang."
— Martin Gardner on the death of Évariste Galois
"Perhaps an insane conceit …." Perhaps.
Related remarks on algebra and space —
"The Quality Without a Name" (Log24, August 26, 2015).
The title phrase, paraphrased without quotes in
the previous post, is from Christopher Alexander's book
The Timeless Way of Building (Oxford University Press, 1979).
A quote from the publisher:
"Now, at last, there is a coherent theory
which describes in modern terms
an architecture as ancient as
human society itself."
Three paragraphs from the book (pp. xiiixiv):
19. Within this process, every individual act
of building is a process in which space gets
differentiated. It is not a process of addition,
in which preformed parts are combined to
create a whole, but a process of unfolding,
like the evolution of an embryo, in which
the whole precedes the parts, and actualy
gives birth to then, by splitting.
20. The process of unfolding goes step by step,
one pattern at a time. Each step brings just one
pattern to life; and the intensity of the result
depends on the intensity of each one of these
individual steps.
21. From a sequence of these individual patterns,
whole buildings with the character of nature
will form themselves within your thoughts,
as easily as sentences.
Compare to, and contrast with, these illustrations of "Boolean space":
(See also similar illustrations from Berkeley and Purdue.)
Detail of the above image —
Note the "unfolding," as Christopher Alexander would have it.
These "Boolean" spaces of 1, 2, 4, 8, and 16 points
are also Galois spaces. See the diamond theorem —
(A review)
For geeks* —
" Domain, Domain on the Range , "
where Domain = the Galois tesseract and
Range = the fourelement Galois field.
This post was suggested by the previous post,
by a Log24 search for Knight + Move, and by
the phrase "discouraging words" found in that search.
* A term from the 1947 film "Nightmare Alley."
The incidences of points and planes in the
Möbius 8_{4 } configuration (8 points and 8 planes,
with 4 points on each plane and 4 planes on each point),
were described by Coxeter in a 1950 paper.*
A table from Monday's post summarizes Coxeter's
remarks, which described the incidences in
spatial terms, with the points and planes as the vertices
and faceplanes of two mutually inscribed tetrahedra —
Monday's post, "Gallucci's Möbius Configuration,"
may not be completely intelligible unless one notices
that Coxeter has drawn some of the intersections in his
Fig. 24, a schematic representation of the pointplane
incidences, as dotless, and some as hollow dots. The figure,
"Gallucci's version of Möbius's 8_{4}," is shown below.
The hollow dots, representing the 8 points (as opposed
to the 8 planes ) of the configuration, are highlighted in blue.
Here a plane (represented by a dotless intersection) contains
the four points that are represented in the square array as lying
in the same row or same column as the plane.
The above Möbius incidences appear also much earlier in
Coxeter's paper, in figures 6 and 5, where they are shown
as describing the structure of a hypercube.
In figures 6 and 5, the dotless intersections representing
planes have been replaced by solid dots. The hollow dots
have again been highlighted in blue.
Figures 6 and 5 demonstrate the fact that adjacency in the set of
16 vertices of a hypercube is isomorphic to adjacency in the set
of 16 subsquares of a square 4×4 array, provided that opposite
sides of the array are identified, as in Fig. 6. The digits in
Coxeter's labels above may be viewed as naming the positions
of the 1's in (0,1) vectors (x_{4}, x_{3}, x_{2}, x_{1}) over the twoelement
Galois field.^{†} In that context, the 4×4 array may be called, instead
of a Möbius hypercube , a Galois tesseract .
* "SelfDual Configurations and Regular Graphs,"
Bulletin of the American Mathematical Society,
Vol. 56 (1950), pp. 413455
^{†} The subscripts' usual 1234 order is reversed as a reminder
that such a vector may be viewed as labeling a binary number
from 0 through 15, or alternately as labeling a polynomial in
the 16element Galois field GF(2^{4}). See the Log24 post
Vector Addition in a Finite Field (Jan. 5, 2013).
Wednesday, March 13, 2013

"I pondered deeply, then, over the
adventures of the jungle. And after
some work with a colored pencil
I succeeded in making my first drawing.
My Drawing Number One.
It looked something like this:
I showed my masterpiece to the
grownups, and asked them whether
the drawing frightened them.
But they answered: 'Why should
anyone be frightened by a hat?'"
* For the title, see Plato Thanks the Academy (Jan. 3).
Recent posts tagged Sagan Dodecahedron
mention an association between that Platonic
solid and the 5×5 grid. That grid, when extended
by the six points on a "line at infinity," yields
the 31 points of the finite projective plane of
order five.
For details of how the dodecahedron serves as
a model of this projective plane (PG(2,5)), see
Polster's A Geometrical Picture Book , p. 120:
For associations of the grid with magic rather than
with Plato, see a search for 5×5 in this journal.
(Five by Five continued)
As the 3×3 grid underlies the order3 finite projective plane,
whose 13 points may be modeled by
the 13 symmetry axes of the cube,
so the 5×5 grid underlies the order5 finite projective plane,
whose 31 points may be modeled by
the 31 symmetry axes of the dodecahedron.
See posts tagged GaloisPlane Models.
Oslo artist Josefine Lyche has a new Instagram post,
this time on pyramids (the monumental kind).
My response —
Wikipedia's definition of a tetrahedron as a
"trianglebased pyramid" …
… and remarks from a Log24 post of August 14, 2013 :
Norway dance (as interpreted by an American)
I prefer a different, Norwegian, interpretation of "the dance of four."
Related material: 
See also some of Burkard Polster's trianglebased pyramids
and a 1983 trianglebased pyramid in a paper that Polster cites —
(Click image below to enlarge.)
Some other illustrations that are particularly relevant
for Lyche, an enthusiast of magic :
From On Art and Magic (May 5, 2011) —

(Updated at about 7 PM ET on Dec. 3.)
The seven symmetry axes of the regular tetrahedron
are of two types: vertextoface and edgetoedge.
Take these axes as the "points" of a Fano plane.
Each of the tetrahedron's six reflection planes contains
two vertextoface axes and one edgetoedge axis.
Take these six planes as six of the "lines" of a Fano
plane. Then the seventh line is the set of three
edgetoedge axes.
(The Fano tetrahedron is not original with me.
See Polster's 1998 A Geometrical Picture Book , pp. 1617.)
There are three reflection planes parallel to faces
of the cube. Take the seven nonempty subsets of
the set of these three planes as the "points" of a
Fano plane. Define the Fano "lines" as those triples
of these seven subsets in which each member of
the triple is the symmetricdifference sum of the
other two members.
(This is the eightfold cube discussed at finitegeometry.org.)
Update of Nov. 30, 2014 —
It turns out that the following construction appears on
pages 1617 of A Geometrical Picture Book , by
Burkard Polster (Springer, 1998).
"Experienced mathematicians know that often the hardest
part of researching a problem is understanding precisely
what that problem says. They often follow Polya's wise
advice: 'If you can't solve a problem, then there is an
easier problem you can't solve: find it.'"
—John H. Conway, foreword to the 2004 Princeton
Science Library edition of How to Solve It , by G. Polya
For a similar but more difficult problem involving the
31point projective plane, see yesterday's post
"EuclideanGalois Interplay."
The above new [see update above] Fanoplane model was
suggested by some 1998 remarks of the late Stephen Eberhart.
See this morning's followup to "EuclideanGalois Interplay"
quoting Eberhart on the topic of how some of the smallest finite
projective planes relate to the symmetries of the five Platonic solids.
Update of Nov. 27, 2014: The seventh "line" of the tetrahedral
Fano model was redefined for greater symmetry.
Update of Nov. 30, 2014 —
For further information on the geometry in
the remarks by Eberhart below, see
pp. 1617 of A Geometrical Picture Book ,
by Burkard Polster (Springer, 1998). Polster
cites a different article by Lemay.
A search for background to the exercise in the previous post
yields a passage from the late Stephen Eberhart:
The first three primes p = 2, 3, and 5 therefore yield finite projective planes with 7, 13, and 31 points and lines, respectively. But these are just the numbers of symmetry axes of the five regular solids, as described in Plato's Timaeus : The tetrahedron has 4 pairs of face planes and comer points + 3 pairs of opposite edges, totalling 7 axes; the cube has 3 pairs of faces + 6 pairs of edges + 4 pairs of comers, totalling 13 axes (the octahedron simply interchanges the roles of faces and comers); and the pentagon dodecahedron has 6 pairs of faces + 15 pairs of edges + 10 pairs of comers, totalling 31 axes (the icosahedron again interchanging roles of faces and comers). This is such a suggestive result, one would expect to find it dealt with in most texts on related subjects; instead, while "well known to those who well know such things" (as Richard Guy likes to quip), it is scarcely to be found in the formal literature [9]. The reason for the common numbers, it turns out, is that the groups of symmetry motions of the regular solids are subgroups of the groups of collineations of the respective finite planes, a face axis being different from an edge axis of a regular solid but all points of a projective plane being alike, so the latter has more symmetries than the former. [9] I am aware only of a series of inhouse publications by Fernand Lemay of the Laboratoire de Didactique, Faculté des Sciences de I 'Éducation, Univ. Laval, Québec, in particular those collectively titled Genèse de la géométrie IX.
— Stephen Eberhart, Dept. of Mathematics, 
Eberhart died of bone cancer in 2003. A memorial by his
high school class includes an Aug. 7, 2003, transcribed
letter from Eberhart to a classmate that ends…
… I earned MA’s in math (UW, Seattle) and history (UM, Missoula) where a math/history PhD program had been announced but canceled. So 1984 to 2002 I taught math (esp. nonEuclidean geometry) at C.S.U. Northridge. It’s been a rich life. I’m grateful. Steve 
See also another informative BRIDGES paper by Eberhart
on mathematics and the seven traditional liberal arts.
The following post suggests the Spiders and Snakes of Fritz Leiber’s
Changewar , a mythology inspired by the hallucinations of delirium tremens .
Structured gray matter:
Graphic symmetries of Galois space:
The reason for these graphic symmetries in affine Galois space —
symmetries of the underlying projective Galois space:
The Folding
Cynthia Zarin in The New Yorker , issue dated April 12, 2004—
“Time, for L’Engle, is accordionpleated. She elaborated,
‘When you bring a sheet off the line, you can’t handle it
until it’s folded, and in a sense, I think, the universe can’t
exist until it’s folded — or it’s a story without a book.’”
The geometry of the 4×4 square array is that of the
3dimensional projective Galois space PG(3,2).
This space occurs, notably, in the Miracle Octad Generator (MOG)
of R. T. Curtis (submitted to Math. Proc. Camb. Phil. Soc. on
15 June 1974). Curtis did not, however, describe its geometric
properties. For these, see the Cullinane diamond theorem.
Some history:
Curtis seems to have obtained the 4×4 space by permuting,
then “folding” 1×8 binary sequences into 4×2 binary arrays.
The original 1×8 sequences came from the method of Turyn
(1967) described by van Lint in his book Coding Theory
(Springer Lecture Notes in Mathematics, No. 201 , first edition
published in 1971). Two 4×2 arrays form each 4×4 square array
within the MOG. This construction did not suggest any discussion
of the geometric properties of the square arrays.
[Rewritten for clarity on Sept. 3, 2014.]
“Chaos is order yet undeciphered.”
— The novel The Double , by José Saramago,
on which the recent film "Enemy" was based
For Louise Bourgeois — a post from the date of Galois's death—
For Toronto — Scene from a film that premiered there on Sept. 8, 2013:
Related material: This journal on that date, Sept. 8, 2013:
"I still haven't found what I'm looking for." — Bono
"In fact Surrealism found what it had been looking for
from the first in the 1920 collages [by Max Ernst],
which introduced an entirely original scheme of
visual structure…."
— Rosalind Krauss quoting André Breton*
in "The Master's Bedroom"
* "Artistic Genesis and Perspective of Surrealism"
(1941), in Surrealism and Painting (New York,
Harper & Row, 1972, p. 64).
See also Damnation Morning in this journal.
"I’ve had the privilege recently of being a Harvard University
professor, and there I learned one of the greatest of Harvard
jokes. A group of rabbis are on the road to Golgotha and
Jesus is coming by under the cross. The young rabbi bursts
into tears and says, 'Oh, God, the pity of it!' The old rabbi says,
'What is the pity of it?' The young rabbi says, 'Master, Master,
what a teacher he was.'
'Didn’t publish!'
That cold tenure joke at Harvard contains a deep truth.
Indeed, Jesus and Socrates did not publish."
— George Steiner, 2002 talk at York University
See also Steiner on Galois.
Les Miserables at the Academy Awards
(An episode of Mathematics and Narrative )
A report on the August 9th opening of Sondheim's Into the Woods—
Amy Adams… explained why she decided to take on the role of the Baker’s Wife.
“It’s the ‘Be careful what you wish’ part,” she said. “Since having a child, I’m really aware that we’re all under a social responsibility to understand the consequences of our actions.” —Amanda Gordon at businessweek.com
Related material—
Amy Adams in Sunshine Cleaning "quickly learns the rules and ropes of her unlikely new market. (For instance, there are products out there specially formulated for cleaning up a 'decomp.')" —David Savage at Cinema Retro
Compare and contrast…
1. The following item from Walpurgisnacht 2012—
2. The six partitions of a tesseract's 16 vertices
into four parallel faces in Diamond Theory in 1937—
(Continued from May 29, 2002)
May 29, 1832—
Évariste Galois, Lettre de Galois à M. Auguste Chevalier—
Après cela, il se trouvera, j'espère, des gens qui trouveront leur profit à déchiffrer tout ce gâchis.
(Later there will be, I hope, some people who will find it to their advantage to decipher all this mess.)
Martin Gardner on the above letter—
"Galois had written several articles on group theory, and was merely annotating and correcting those earlier published papers."
– The Last Recreations , by Martin Gardner, published by Springer in 2007, page 156.
Commentary from Dec. 2011 on Gardner's word "published" —
Part I: Timothy Gowers on equivalence relations
Part II: Martin Gardner on normal subgroups
Part III: Evariste Galois on normal subgroups
"In all the history of science there is no completer example
of the triumph of crass stupidity over untamable genius…."
— Eric Temple Bell, Men of Mathematics
See also an interesting definition and Weyl on Galois.
Update of 6:29 PM EDT Oct. 30, 2011—
For further details, see Herstein's phrase
"a tribute to the genius of Galois."
"Of course, the aesthetic program
of cultural modernism
has long been summed up
by the maxim épater la bourgeoisie."
— The New York Times
Sunday Book Review, July 17
Examples:
"This Extreme and Difficult Sense of Spectacular Representation:
Antonin Artaud's Ontology of 'Live'," by Deborah Levitt
of the New School (See the noon post of July 13), as well as…
and, from mathematician Ellen Gethner's home page—
See also Sunday Dinner, A Link for Sunrise, and Inside CBS News.
"Martin Gardner passed away on May 22, 2010."
Imaginary movie poster from stoneship.org
Context— The Gardner Tribute.
… In the Age of Citation
1. INTRODUCTION TO THE PROBLEM
Social network analysis is focused on the patterning of the social
relationships that link social actors. Typically, network data take the
form of a squareactor by actorbinary adjacency matrix, where
each row and each column in the matrix represents a social actor. A
cell entry is 1 if and only if a pair of actors is linked by some social
relationship of interest (Freeman 1989).
— "Using Galois Lattices to Represent Network Data,"
by Linton C. Freeman and Douglas R. White,
Sociological Methodology, Vol. 23, pp. 127–146 (1993)
From this paper's CiteSeer page—
Citations
766  Social Network Analysis: Methods and Applications – WASSERMAN, FAUST – 1994 
100  The act of creation – Koestler – 1964 
75  Visual Thinking – Arnheim – 1969 
Visual Image of the Problem—
From a Google search today:
Related material—
"It is better to light one candle…"
"… the early favorite for best picture at the Oscars" — Roger Moore
From Telegraph.co.uk (published: 5:56 PM BST 10 Aug 2010), a note on Britishborn Canadian journalist Bruce Garvey, who died at 70 on August 1—
In 1970, while reporting on the Apollo 13 mission at Nasa Mission Control for the Toronto Star, he was one of only two journalists— alongside Richard Killian of the Daily Express— to hear the famous message: "Houston we've had a problem."
See also Log24 posts of 10 AM and noon today.
The latter post poses the problem "You're dead. Now what?"
Again, as in this morning's post, applying Jungian synchronicity—
A check of this journal on the date of Garvey's death yields a link to 4/28's "Eightfold Geometry."
That post deals with a piece of rather esoteric mathematical folklore. Those who prefer easier problems may follow the ongoing struggles of Julie Taymor with "SpiderMan: Turn Off the Dark."
The problems of death, geometry, and Taymor meet in "Spider Woman" (April 29) and "Memorial for Galois" (May 31).
"By groping toward the light we are made to realize
how deep the darkness is around us."
— Arthur Koestler, The Call Girls: A TragiComedy,
Random House, 1973, page 118
A 1973 review of Koestler's book—
"Koestler's 'call girls,' summoned here and there
by this university and that foundation
to perform their expert tricks, are the butts
of some chilling satire."
Examples of Light—
Felix Christian Klein (1849 June 22, 1925) and Évariste Galois (18111832)
Klein on Galois—
"… in France just about 1830 a new star of undreamtof brilliance— or rather a meteor, soon to be extinguished— lighted the sky of pure mathematics: Évariste Galois."
— Felix Klein, Development of Mathematics in the 19th Century, translated by Michael Ackerman. Brookline, Mass., Math Sci Press, 1979. Page 80.
"… um 1830 herum in Frankreich als ein neuer Stern von ungeahntem Glanze am Himmel der reinen Mathematik aufleuchtet, um freilich, einem Meteor gleich, sehr bald zu verlöschen: Évariste Galois."
— Felix Klein, Vorlesungen Über Die Entwicklung Der Mathematick Im 19. Jahrhundert. New York, Chelsea Publishing Co., 1967. (Vol. I, originally published in Berlin in 1926.) Page 88.
Examples of Darkness—
Martin Gardner on Galois—
"Galois was a thoroughly obnoxious nerd,
suffering from what today would be called
a 'personality disorder.' His anger was
paranoid and unremitting."
Gardner was reviewing a recent book about Galois by one Amir Alexander.
Alexander himself has written some reviews relevant to the Koestler book above.
See Alexander on—
The 2005 Mykonos conference on Mathematics and Narrative
A series of workshops at Banff International Research Station for Mathematical Innovation between 2003 and 2006. "The meetings brought together professional mathematicians (and other mathematical scientists) with authors, poets, artists, playwrights, and filmmakers to work together on mathematicallyinspired literary works."
In the above view, four of the tesseract's 16
vertices are overlaid by other vertices.
For views that are more complete and
moveable, see Smith's tesseract page.
FourPart Tesseract Divisions—
The above figure shows how fourpart partitions
of the 16 vertices of a tesseract in an infinite
Euclidean space are related to fourpart partitions
of the 16 points in a finite Galois space
Euclidean spaces versus Galois spaces in a larger context—
Infinite versus Finite The central aim of Western religion — "Each of us has something to offer the Creator...
the bridging of
masculine and feminine,
life and death.
It's redemption.... nothing else matters."
 Martha Cooley in The Archivist (1998)
The central aim of Western philosophy — Dualities of Pythagoras
as reconstructed by Aristotle:
Limited Unlimited
Odd Even
Male Female
Light Dark
Straight Curved
... and so on ....
"Of these dualities, the first is the most important; all the others may be seen as different aspects of this fundamental dichotomy. To establish a rational and consistent relationship between the limited [man, etc.] and the unlimited [the cosmos, etc.] is… the central aim of all Western philosophy." 
Another picture related to philosophy and religion—
Jung's FourDiamond Figure from Aion—
This figure was devised by Jung
to represent the Self. Compare the
remarks of Paul Valéry on the Self—
Flight from Eden: The Origins of Modern Literary Criticism and Theory, by Steven Cassedy, U. of California Press, 1990, pages 156157—
Valéry saw the mind as essentially a relational system whose operation he attempted to describe in the language of group mathematics. "Every act of understanding is based on a group," he says (C, 1:331). "My specialty— reducing everything to the study of a system closed on itself and finite" (C, 19: 645). The transformation model came into play, too. At each moment of mental life the mind is like a group, or relational system, but since mental life is continuous over time, one "group" undergoes a "transformation" and becomes a different group in the next moment. If the mind is constantly being transformed, how do we account for the continuity of the self? Simple; by invoking the notion of the invariant. And so we find passages like this one: "The S[elf] is invariant, origin, locus or field, it's a functional property of consciousness" (C, 15:170 [2:315]). Just as in transformational geometry, something remains fixed in all the projective transformations of the mind's momentary systems, and that something is the Self (le Moi, or just M, as Valéry notates it so that it will look like an algebraic variable). Transformation theory is all over the place. "Mathematical science… reduced to algebra, that is, to the analysis of the transformations of a purely differential being made up of homogeneous elements, is the most faithful document of the properties of grouping, disjunction, and variation in the mind" (O, 1:36). "Psychology is a theory of transformations, we just need to isolate the invariants and the groups" (C, 1:915). "Man is a system that transforms itself" (C, 2:896). O Paul Valéry, Oeuvres (Paris: Pléiade, 195760) C Valéry, Cahiers, 29 vols. (Paris: Centre National de le Recherche Scientifique, 195761) 
Note also the remarks of George David Birkhoff at Rice University
in 1940 (pdf) on Galois's theory of groups and the related
"theory of ambiguity" in Galois's testamentary letter—
… metaphysical reasoning always relies on the Principle of Sufficient Reason, and… the true meaning of this Principle is to be found in the “Theory of Ambiguity” and in the associated mathematical “Theory of Groups.” If I were a Leibnizian mystic, believing in his “preestablished harmony,” and the “best possible world” so satirized by Voltaire in “Candide,” I would say that the metaphysical importance of the Principle of Sufficient Reason and the cognate Theory of Groups arises from the fact that God thinks multidimensionally^{*} whereas men can only think in linear syllogistic series, and the Theory of Groups is the appropriate instrument of thought to remedy our deficiency in this respect. * That is, uses multidimensional symbols beyond our grasp. 
Related material:
A medal designed by Leibniz to show how
binary arithmetic mirrors the creation by God
of something (1) from nothing (0).
Another array of 16 strings of 0's and 1's, this time
regarded as coordinates rather than binary numbers—
Some context by a British mathematician —
Imago by Wallace Stevens Who can pick up the weight of Britain, Who can move the German load Or say to the French here is France again? Imago. Imago. Imago. It is nothing, no great thing, nor man Of ten brilliancies of battered gold And fortunate stone. It moves its parade Of motions in the mind and heart, A gorgeous fortitude. Medium man In February hears the imagination's hymns And sees its images, its motions And multitudes of motions And feels the imagination's mercies, In a season more than sun and south wind, Something returning from a deeper quarter, A glacier running through delirium, Making this heavy rock a place, Which is not of our lives composed . . . Lightly and lightly, O my land, Move lightly through the air again. 
Continued from May 8
(Feast of Saint Robert Heinlein)
“Wells and trees were dedicated to saints. But the offerings at many wells and trees were to something other than the saint; had it not been so they would not have been, as we find they often were, forbidden. Within this double and intertwined life existed those other capacities, of which we know more now, but of which we still know little– clairvoyance, clairaudience, foresight, telepathy.”
— Charles Williams, Witchcraft, Faber and Faber, London, 1941
Why "Saint" Robert? See his accurate depiction of evil– the Eater of Souls in Glory Road.
For more on Williams's "other capacities," see Heinlein's story "Lost Legacy."
A related story– Fritz Leiber's "The Mind Spider." An excerpt:
The conference—it was much more a hyperintimate
gabfest—proceeded.
"My static box bugged out for a few ticks this morning,"
Evelyn remarked in the course of talking over the
trivia of the past twentyfour hours.
The static boxes were an invention of Grandfather
Horn. They generated a tiny cloud of meaningless brain
waves. Without such individual thoughtscreens, there was
too much danger of complete loss of individual personality
—once Grandfather Horn had "become" his infant daughter
as well as himself for several hours and the unfledged
mind had come close to being permanently lost in its own
subconscious. The static boxes provided a mental wall be
– hind which a mind could safely grow and function, similar
to the wall by which ordinary minds are apparently
always enclosed.
In spite of the boxes, the Horns shared thoughts and
emotions to an amazing degree. Their mental togetherness
was as real and as mysterious—and as incredible—as
thought itself . . . and thought is the original angelcloud
dancing on the head of a pin. Their present conference
was as warm and intimate and tart as any actual family
gathering in one actual room around one actual table.
Five minds, joined together in the vast mental darkness
that shrouds all minds. Five minds hugged together for
comfort and safety in the infinite mental loneliness that
pervades the cosmos.
Evelyn continued, "Your boxes were all working, of
course, so I couldn't get your thoughts—just the blurs of
your boxes like little old dark grey stars. But this time
if gave me a funny uncomfortable feeling, like a spider
Crawling down my—Grayl! Don't feel so wildly! What
Is it?”
Then… just as Grayl started to think her answer…
something crept from the vast mental darkness and infinite
cosmic loneliness surrounding the five minds of the
Horns.
Grayl was the first to notice. Her panicky thought had
ttie curling tookeen edge of hysteria. "There are six of
us now! There should only be five, but there are six.
Count! Count, I tell you! Six!"
To Mort it seemed that a gigantic spider was racing
across the web of their thoughts….
See also this journal on May 30– "720 in the Book"– and on May 31– "Memorial for Galois."
("Obnoxious nerds"— a phrase Martin Gardner recently applied to Galois— will note that 720
"I wonder if there's just been a critical mass
of creepy stories about Harvard
in the last couple of years…
A kind of piling on of
nastiness and creepiness…"
— Margaret Soltan, October 23, 2006
Harvard University Press
on Facebook—
http://ping.fm/YrgOh  
May 26 at 6:28 pm via Ping.f 
The book that the late Gardner was reviewing
was published in April by Harvard University Press.
If Gardner's remark were true,
Galois would fit right in at Harvard. Example—
The Harvard math department's pieeating contest—
Wikipedia—
"On June 2, Évariste Galois was buried in a common grave of the Montparnasse cemetery whose exact location is unknown."
Évariste Galois, Lettre de Galois à M. Auguste Chevalier—
Après cela, il y aura, j'espère, des gens qui trouveront leur profit à déchiffrer tout ce gâchis.
(Later there will be, I hope, some people who will find it to their advantage to decipher all this mess.)
Martin Gardner on the above letter—
"Galois had written several articles on group theory, and was merely annotating and correcting those earlier published papers."
— The Last Recreations, by Martin Gardner, published by Springer in 2007, page 156.
"It is a melancholy pleasure that what may be [Martin] Gardner’s last published piece, a review of Amir Alexander’s Duel at Dawn: Heroes, Martyrs & the Rise of Modern Mathematics, will appear next week in our June issue."
– Roger Kimball of The New Criterion, May 23, 2010.
The Gardner piece is now online. It contains…
Gardner's tribute to Galois—
"Galois was a thoroughly obnoxious nerd,
suffering from what today would be called a 'personality disorder.' His anger was paranoid and unremitting." 
From 7/07, an art review from The New York Times:
Endgame Art?
It's Borrow, Sample and Multiply
in an Exhibition at Bard College
"The show has an endgame, endtime mood….
I would call all these strategies fear of form…. the dismissal of originality is perhaps the oldest ploy in the postmodern playbook. To call yourself an artist at all is by definition to announce a faith, however unacknowledged, in some form of originality, first for yourself, second, perhaps, for the rest of us.
Fear of form above all means fear of compression– of an artistic focus that condenses experiences, ideas and feelings into something whole, committed and visually comprehensible."
— Roberta Smith
It nevertheless does
"announce a faith."
"First for yourself"
Today's midday
Pennsylvania number:
707
See Log24 on 7/07
and the above review.
"Second, perhaps,
for the rest of us"
Today's evening
Pennsylvania number:
384
This number is an
example of what the
reviewer calls "compression"–
"an artistic focus that condenses
experiences, ideas and feelings
into something
whole, committed
and visually comprehensible."
"Experiences"
See (for instance)
Joan Didion's writings
(1160 pages, 2.35 pounds)
on "the shifting phantasmagoria
which is our actual experience."
"Ideas"
"Feelings"
See A Wrinkle in Time.
"Whole"
The automorphisms
of the tesseract
form a group
of order 384.
"Committed"
See the discussions of
groups of degree 16 in
R. D. Carmichael's classic
Introduction to the Theory
of Groups of Finite Order.
"Visually comprehensible"
See "Diamond Theory in 1937,"
an excerpt from which
is shown below.
The "faith" announced by
the above lottery numbers
on All Hallows' Eve is
perhaps that of the artist
Madeleine L'Engle:
Note: Carmichael's reference is to
A. Emch, "Triple and multiple systems, their geometric configurations and groups," Trans. Amer. Math. Soc. 31 (1929), 25–42.
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