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Category: stories

what have quivers done to students?

Published May 14, 2011 by lieven

A few years ago a student entered my office asking suggestions for his master thesis.

“I’m open to any topic as long as it has nothing to do with those silly quivers!”

At that time not the best of opening-lines to address me and, inevitably, the most disastrous teacher-student-conversation-ever followed (also on my part, i’m sorry to say).

This week, Markus Reineke had a similar, though less confrontational, experience. Markus gave a mini-course on ‘moduli spaces of representations’ in our advanced master class. Students loved the way he introduced representation varieties and constructed the space of irreducible representations as a GIT-quotient. In fact, his course was probably the first in that program having an increasing (rather than decreasing) number of students attending throughout the week…

In his third lecture he wanted to illustrate these general constructions and what better concrete example to take than representations of quivers? Result : students’ eyes staring blankly at infinity…

What is it that quivers do to have this effect on students?

Perhaps quiver-representations cause them an information-overload.

Perhaps we should take plenty of time to explain that in going from the quiver (the directed graph) to the path algebra, vertices become idempotents and arrows the remaining generators. These idempotents split a representation space into smaller vertex-spaces, the dimensions of which we collect in a dimension-vector, the big basechange group splits therefore into a product of small vertex-basechanges and the action of this product on an matrix corresponding to an arrow is merely usual conjugation by the big basechange-group, etc. etc. Blatant trivialities to someone breathing quivers, but probably we too had to take plenty of time once to disentangle this information-package…

But then, perhaps they consider quivers and their representations as too-concrete-old-math-stuff, when there’s so much high-profile-fancy-math still left to taste.

When given the option, students prefer you to tell them monstrous-moonshine stories even though they can barely prove simplicity of $A_5$, they want you to give them a short-cut to the Langlands programme but have never had the patience nor the interest to investigate the splitting of primes in quadratic number fields, they want to be taught schemes and their structure sheaves when they still struggle with the notion of a dominant map between varieties…

In short, students often like to run before they can crawl.

Working through the classification of some simple quiver-settings would force their agile feet firmly on the ground. They probably experience this as a waste of time.

Perhaps, it is time to promote slow math…

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Art and the absolute point (2)

Published May 13, 2011 by lieven

Last time we did recall Manin’s comparisons between some approaches to geometry over the absolute point $\pmb{spec}(\mathbb{F}_1)$ and trends in the history of art.

In the comments to that post, Javier Lopez-Pena wrote that he and Oliver Lorscheid briefly contemplated the idea of extending Manin’s artsy-dictionary to all approaches they did draw on their Map of $\mathbb{F}_1$-land.

So this time, we will include here Javier’s and Oliver’s insights on the colored pieces below in their map : CC=Connes-Consani, Generalized torified schemes=Lopez Pena-Lorscheid, Generalized schemes with 0=Durov and, this time, $\Lambda$=Manin-Marcolli.

Durov : romanticism

In his 568 page long Ph.D. thesis New Approach to Arakelov Geometry Nikolai Durov introduces a vast generalization of classical algebraic geometry in which both Arakelov geometry and a more exotic geometry over $\mathbb{F}_1$ fit naturally. Because there were great hopes and expectations it would lead to a big extension of algebraic geometry, Javier and Oliver associate this approach to romantism. From wikipedia : “The modern sense of a romantic character may be expressed in Byronic ideals of a gifted, perhaps misunderstood loner, creatively following the dictates of his inspiration rather than the standard ways of contemporary society.”

Manin and Marcolli : impressionism

Yuri I. Manin in Cyclotomy and analytic geometry over $\mathbb{F}_1$ and Matilde Marcolli in Cyclotomy and endomotives develop a theory of analytic geometry over $\mathbb{F}_1$ based on analytic functions ‘leaking out of roots of unity’. Javier and Oliver depict such functions as ‘thin, but visible brush strokes at roots of 1’ and therefore associate this approach to impressionism. Frow wikipedia : ‘Characteristics of Impressionist paintings include: relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles.’

Connes and Consani : cubism

In On the notion of geometry over $\mathbb{F}_1$ Alain Connes and Katia Consani develop their extension of Soule’s approach. A while ago I’ve done a couple of posts on this here, here and here. Javier and Oliver associate this approach to cubism (a.o. Pablo Picasso and Georges Braque) because of the weird juxtapositions of the simple monoidal pieces in this approach.

Lopez-Pena and Lorscheid : deconstructivism

Torified varieties and schemes were introduced by Javier Lopez-Pena and Oliver Lorscheid in Torified varieties and their geometries over $\mathbb{F}_1$ to get lots of examples of varieties over the absolute point in the sense of both Soule and Connes-Consani. Because they were fragmenting schemes into their “fundamental pieces” they associate their approach to deconstructivism.

Another time I’ll sketch my own arty-farty take on all this.

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Art and the absolute point

Published May 12, 2011 by lieven

In his paper Cyclotomy and analytic geometry over $\mathbb{F}_1$ Yuri I. Manin sketches and compares four approaches to the definition of a geometry over $\mathbb{F}_1$, the elusive field with one element.

He writes : “Preparing a colloquium talk in Paris, I have succumbed to the temptation to associate them with some dominant trends in the history of art.”

Remember that the search for the absolute point $\pmb{spec}(\mathbb{F}_1)$ originates from the observation that $\pmb{spec}(\mathbb{Z})$, the set of all prime numbers together with $0$, is too large to serve as the terminal object in Grothendieck’s theory of commutative schemes. The last couple of years have seen a booming industry of proposals, to the extent that Javier Lopez Pena and Oliver Lorscheid decided they had to draw a map of $\mathbb{F}_1$-land.

Manin only discusses the colored proposals (TV=Toen-Vaquie, M=Deitmar, S=Soule and $\Lambda$=Borger) and compares them to these art-history trends.

Toen and Vaquie : Abstract Expressionism

In Under $\pmb{spec}(\mathbb{Z})$ Bertrand Toen and Michel Vaquie argue that geometry over $\mathbb{F}_1$ is a special case of algebraic geometry over a symmetric monoidal category, taking the simplest example namely sets and direct products. Probably because of its richness and abstract nature, Manin associates this approach to Abstract Expressionism (a.o. Karel Appel, Jackson Pollock, Mark Rothko, Willem de Kooning).

Deitmar : Minimalism

Because monoids are the ‘commutative algebras’ in sets with direct products, an equivalent proposal is that of Anton Deitmar in Schemes over $\mathbb{F}_1$ in which the basic affine building blocks are spectra of monoids, topological spaces whose points are submonoids satisfying a primeness property. Because Deitmar himself calls this approach a ‘minimalistic’ one it is only natural to associate to it Minimalism where the work is stripped down to its most fundamental features. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella.

Soule : Critical Realism

in Les varietes sur le corps a un element Christophe Soule defines varieties over $\mathbb{F}_1$ to be specific schemes $X$ over $\mathbb{Z}$ together with a form of ‘descent data’ as well as an additional $\mathbb{C}$-algebra, morally the algebra of functions on the real place. Because of this Manin associates to it Critical Realism in philosophy. There are also ‘realism’ movements in art such as American Realism (o.a. Edward Hopper and John Sloan).

Borger : Futurism

James Borger’s paper Lambda-rings and the field with one element offers a totally new conception of the descent data from $\mathbb{Z}$ to $\mathbb{F}_1$, namely that of a $\lambda$-ring in the sense of Grothendieck. Because Manin expects this approach to lead to progress in the field, he connects it to Futurism, an artistic and social movement that originated in Italy in the early 20th century.

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