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Escher’s stairs

Published April 28, 2021 by lieven

Stairways feature prominently in several drawings by Maurits Cornelis (“Mauk”) Escher, for example in this lithograph print Relativity from 1953.



Relativity (M. C. Escher) – Photo Credit

From its Wikipedia page:

In the world of ‘Relativity’, there are three sources of gravity, each being orthogonal to the two others.
Each inhabitant lives in one of the gravity wells, where normal physical laws apply.
There are sixteen characters, spread between each gravity source, six in one and five each in the other two.
The apparent confusion of the lithograph print comes from the fact that the three gravity sources are depicted in the same space.
The structure has seven stairways, and each stairway can be used by people who belong to two different gravity sources.

Escher’s inspiration for “Relativity” (h/t Gerard Westendorp on Twitter) were his recollections of the staircases in his old secondary school in Arnhem, the Lorentz HBS.
The name comes from the Dutch physicist and Nobel prize winner Hendrik Antoon Lorentz who attended from 1866 to 1869, the “Hogere Burger School” in Arnhem, then at a different location (Willemsplein).



Stairways Lorentz HBS in Arnhem – Photo Credit

Between 1912 and 1918 Mauk Escher attended the Arnhem HBS, located in the Schoolstraat and build in 1904-05 by the architect Gerrit Versteeg. The school building is constructed around a monumental central stairway.



Arnhem HBS – G. Versteeg 1904-05 – Photo Credit



Plan HBS-Arnhem by G. Versteeg – Photo Credit

If you flip the picture below in the vertical direction, the two side-stairways become accessible to figures living in an opposite gravitation field.



Central staircase HBS Arnhem – Photo Credit

There’s an excellent post on the Arnhem-years of Mauk Escher by Pieter van der Kuil. Unfortunately (for most of you) in Dutch, but perhaps Google translate can do its magic here.

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Bourbaki and Grothendieck-Serre

Published April 16, 2021 by lieven

This time of year I’m usually in France, or at least I was before Covid. This might explain for my recent obsession with French math YouTube interviews.

Today’s first one is about Bourbaki’s golden years, the period between WW2 and 1975. Alain Connes is trying to get some anecdotes from Jean-Pierre Serre, Pierre Cartier, and Jacques Dixmier.

If you don’t have the time to sit through the whole thing, perhaps you might have a look at the discussion on whether or not to include categories in Bourbaki (starting at 51.40 into the clip).

Here are some other time-slots (typed on a qwerty keyboard, mes excuses) with some links.

  • 8.59 : Canular stupide (mort de Bourbaki)
  • 15.45 : recrutement de Koszul
  • 17.45 : recrutement de Grothendieck
  • 26.15 : influence de Serre
  • 28.05 : importance des ultra filtres
  • 35.35 : Meyer
  • 37.20 : faisceaux
  • 51.00 : Grothendieck
  • 51.40 : des categories, Gabriel-Demazure
  • 57.50 : lemme de Serre, theoreme de Weil
  • 1.03.20 : Chevalley vs. Godement
  • 1.05.26 : retraite Dieudonne
  • 1.07.05 : retraite
  • 1.10.00 : Weil vs. Serre-Borel
  • 1.13.50 : hierarchie Bourbaki
  • 1.20.22 : categories
  • 1.21.30 : Bourbaki, une secte?
  • 1.22.15 : Grothendieck C.N.R.S. 1984

The second one is an interview conducted by Alain Connes with Jean-Pierre Serre on the Grothendieck-Serre correspondence.

Again, if you don’t have the energy to sit through it all, perhaps I can tempt you with Serre’s reaction to Connes bringing up the subject of toposes (starting at 14.36 into the clip).

  • 2.10 : 2e these de Grothendieck: des faisceaux
  • 3.50 : Grothendieck -> Bourbaki
  • 6.46 : Tohoku
  • 8.00 : categorie des diagrammes
  • 9.10 : schemas et Krull
  • 10.50 : motifs
  • 11.50 : cohomologie etale
  • 14.05 : Weil
  • 14.36 : topos
  • 16.30 : Langlands
  • 19.40 : Grothendieck, cours d’ecologie
  • 24.20 : Dwork
  • 25.45 : Riemann-Roch
  • 29.30 : influence de Serre
  • 30.50 : fin de correspondence
  • 32.05 : pourquoi?
  • 33.10 : SGA 5
  • 34.50 : methode G. vs. theorie des nombres
  • 37.00 : paranoia
  • 37.15 : Grothendieck = centrale nucleaire
  • 38.30 : Clef des songes
  • 42.35 : 30.000 pages, probleme du mal
  • 44.25 : Ribenboim
  • 45.20 : Grothendieck a Paris, publication R et S
  • 48.00 : 50 ans IHES, lettre a Bourguignon
  • 50.46 : Laurant Lafforgue
  • 51.35 : Lasserre
  • 53.10 : l’humour
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Finnegans Wake’s geometry lesson

Published April 14, 2021 by lieven

The literary sensation that spring of 1939 no doubt was the publication of Finnegans Wake by James Joyce. On May 4th 1939 FW was published simultaneously by Faber and Faber in London and by Viking Press in New York, after seventeen years of composition.

In 1928-29, Joyce started publishing individual chapters from FW, then known as ‘Work in Progress’, including chapter II.2 ‘The Triangle’, of which a brief excerpt was already published in February 1928. The name comes from the only diagram in FW, the classical Euclidian construction of an equilateral triangle (FW, p. 293)



This Vesica piscis has multiple interpretations in FW, most of them sexual. The triangle $\Delta$ is the Sigla for Anna Livia Plurabelle throughout FW, but it also refers to the river Liffey through Dublin.

Here’s Anthony Burgess explaining some of the Sigla, the relevant part starts at 14.20 into the clip.

In fact, many of FW’s Sigla are derived from mathematical symbols, such as $\exists$ (Earwicker), $\perp$ and $\vdash$ (Issy). For more on this, please read The logic of the doodles in Finnegans Wake II.2.

Not only does the equilateral triangle $\Delta$ refer to the river Liffey, the entire Euclidian diagram can be seen as a map for Dublin and its surroundings, as emphasised by the words “Vieus Von DVbLIn” (views from Dublin) in FW right under the diagram.

Here’s Dublin with the Liffey running through it, and Phoenix Park, which also features prominently in FW, see for example Phoenix Park in Finnegans Wake.



Views of Dublin – Photo Credit

The similarity between the map and the diagram is even clearer in Joyce’s own drawing in the first draft of FW.



The Triangle – Photo Credit

There’s a lot more to say about Joyce’s uses of geometry and topography in Ulysses and Finnegans Wake, in fact Ciaran McMorran wrote an entire Glasgow Ph. D. about it, but perhaps I’ll save some of that for a future post.

But what does this have to to with the Bourbaki Code, the puzzles contained in the Bourbaki-Petard wedding announcement?



Well, I claim that Andre Weil hid the Vesica Piscis/Euclidian diagram into the ‘faire part’. The challenge is to view the wedding announcement as a partial city- map. Clearly this time, the city of Dublin should be replaced by the city of Paris. Se non e vero …

Probably, there are enough hints contained in the previous posts in this series for you to spot the triangle(s) on the map of Paris. If you do so, please leave a comment, or email me.

Meanwhile, we’ll unravel first the more obvious levels of interpretation of the wedding announcement.

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