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The strange logic of subways

“A subway is just a hole in the ground, and that hole is a maze.”

“The map is the last vestige of the old system. If you can’t read the map, you can’t use the subway.”

Eddie Jabbour in Can he get there from here? (NYT)

Sometimes, lines between adjacent stations can be uni-directional (as in the Paris Metro map below in the right upper corner, 7bis). So, it is best to view a subway map as a directed graph, with vertices the different stations, and directed arrows when there’s a service connecting two adjacent stations.



Aha! But, directed graphs form a presheaf topos. So, each and every every subway in the world comes with its own logic, its own bi-Heyting algebra!

Come again…?

Let’s say Wally (or Waldo, or Charlie) is somewhere in the Paris metro, and we want to find him. One can make statements like:

$P$ = “Wally is on line 3bis from Gambetta to Porte des Lilas.”, or

$Q$ = “Wally is traveling along line 11.”

Each sentence pinpoints Wally’s location to some directed subgraph of the full Paris metro digraph, let’s call this subgraph the ‘scope’ of the sentence.

We can connect such sentences with logical connectives $\vee$ or $\wedge$ and the scope will then be the union or intersection of the respective scopes.

The scope of $P \vee Q$ is the directed subgraph of line 11 (in both directions) together with the directed subgraph of line 3bis from Gambetta to Porte des Lilas.

The scope of $P \wedge Q$ is just the vertex corresponding to Porte des Lilas.

The scope of the negation $\neg R$ of a sentence $R$ is the subgraph complement of the scope of $R$, so it is the full metro graph minus all vertices and directed edges in $R$-scope, together with all directed edges starting or ending in one of the deleted vertices.

For example, the scope of $\neg P$ does not contain directed edges along 3bis in the reverse direction, nor the edges connecting Gambetta to Pere Lachaise, and so on.

In the Paris metro logic the law of double negation does not hold.



$\neg \neg P \not= P$ as both statements have different scopes. For example, the reverse direction of line 3bis is part of the scope of $\neg \neg P$, but not of $P$.

So, although the scope of $P \wedge \neg P$ is empty, that of $P \vee \neg P$ is not the full digraph.

The logical operations $\vee$, $\wedge$ and $\neg$ do not turn the partially ordered set of all directed subgraphs of the Paris metro into a Boolean algebra structure, but rather a Heyting algebra.

Perhaps we were too drastic in removing all “problematic edges” from the scope of $\neg R$ (those with a source or target station belonging to the scope of $R$)?

We might have kept all problematic edges, and added the missing source and/or target stations to get the scope of another negation of $R$: $\sim R$.

Whereas the scope of $\neg \neg R$ always contains that of $R$, the scope of $\sim \sim R$ is contained in $R$’s scope.

The scope of $R \vee \sim R$ will indeed be the whole graph, but now $R \wedge \sim R$ does no longer have to be empty. For example, $P \wedge \sim P$ has as its scope all stations on line 3bis.

In general $R \wedge \sim R$ will be called the ‘boundary’ $\partial(R)$ of $R$. It consists of all stations within $R$’s scope that are connected to the outside of $R$’s scope.

The logical operations $\vee$, $\wedge$, $\neg$ and $\sim$ make the partially ordered set of all directed subgraphs of the Paris metro into a bi-Heyting algebra.

There’s plenty more to say about all of this (and I may come back to it later). For the impatient, there’s the paper by Reyes and Zolfaghari: Bi-Heyting Algebras, Toposes and Modalities.

Right now, I’m more into exploring whether this setting can be used to revive an old project of mine: Heyting Smullyanesque problems (btw. the algebra in that post is not Heyting, oops!).

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Conway’s musical sequences (2)

A Conway musical sequence is an infinite word in $L$ and $S$, containing no two consecutive $S$’s nor three consecutive $L$’s, such that all its inflations remain musical sequences.

We’ve seen that such musical sequences encode an aperiodic tiling of the line in short ($S$) and long ($L$) intervals, and that such tilings are all finite locally isomorphic.

But, apart from the middle $C$-sequences (the one-dimensional cartwheel tilings) we gave no examples of such tilings (or musical sequences). Let’s remedy this!

Take any real number $c$ as long as it is not an integral combination of $1$ and $\tfrac{1}{\tau}$ (with $\tau$ the golden ratio) and assign to any integer $a \in \mathbb{Z}$ a tile
\[
P_c(a) = \begin{cases} S \\ L \end{cases} ~\text{iff}~\lceil c+(a+1)\frac{1}{\tau} \rceil – \lceil c+a \frac{1}{\tau} \rceil = \begin{cases} 0 \\ 1 \end{cases} \]
(instead of ceilings we might have taken floors, because of the restriction on $c$).

With a little bit of work we see that the deflated word determined by $P_c$ is again of this type, more precisely $def(P_c) = P_{-(c-\lfloor c \rfloor)\frac{1}{\tau}}$. But then it also follows that inflated words are of this type, meaning that all $P_c$ define a musical sequence.

Let’s just check that these sequences satisfy the gluing restrictions. If there is no integer between $c+a\tfrac{1}{\tau}$ and $c+(a+1)\tfrac{1}{\tau}$, because $2 \tfrac{1}{\tau} \approx 1.236$ there must be an interval in the preceding and the following $\tfrac{1}{\tau}$-interval, showing that an $S$ in the sequence has an $L$ on its left and right, so there are no two consecutive $S$’s in the sequences.



Similarly, if two consecutive $\tfrac{1}{\tau}$-intervals have an integer in them, the next interval cannot contain an integer as $3 \tfrac{1}{\tau} \approx 1.854 < 2$.



Now we come to the essential point: these sequences can be obtained by the cut-and-project method.

Take the line $L$ through the origin with slope $\tfrac{1}{\tau}$ and $L^{\perp}$ the line perpendicular it.

Consider the unit square $H$ and $H_{\vec{\gamma}}=H + \vec{\gamma}$ its translation under a shift vector $\vec{\gamma}=(\gamma_x,\gamma_y)$ and let $\pi$ (or $\pi^{\perp}$) be the orthogonal projection of the plane onto $L$ (or onto $L^{\perp}$). One quickly computes that
\[
\pi(a,b) = (\frac{\tau^2 a + \tau b}{1+\tau^2},\frac{\tau a + b}{1+\tau^2}) \quad \text{and} \quad
\pi^{\perp}(a,b) = (\frac{a-\tau b}{1+\tau^2},\frac{\tau^2b-\tau a}{1+\tau^2}) \]
In the picture, we take $\vec{\gamma}=(c,-\tau c)$.



The window $W$ will be the strip, parallel with $L$ with basis $\pi^{\perp}(H_{\vec{\gamma}})$.

We cut the standard lattice $\mathbb{Z}^2$, of all points with integer coordinates in the plane, by retricting to the window $\mathcal{P}=\mathbb{Z}^2 \cap W$.

Next, we project $\mathcal{P}$ onto the line $L$, and we get a set of endpoints of intervals which divide the line $L$ into short intervals of length $\tfrac{1}{\sqrt{1+\tau^2}}$ and long intervals of length $\tfrac{\tau}{\sqrt{1+\tau^2}}$.

For $(a,b) \in W$, the interval will be short if $(a,b+1) \in W$ and long if $(a+1,b) \in W$.



Because these intervals differ by a factor $\tau$ in length, we get a tiling of the line by short intervals $S$ and long intervals $L$. It is easy to see that they satisfy the gluing restrictions (remember, no two consecutive short intervals and no three consecutive long intervals): the horizontal width of the window $W$ is $1+\tau \approx 2.618$ (so there cannot be three consecutive long intervals in the projection) and the vertical width of the window $W$ is $1+\tfrac{1}{\tau} = \tau \approx 1.618$ so there cannot be two consecutive short intervals in the projection.

Ready for the punchline?

The sequence obtained from projecting $\mathcal{P}$ is equal to the sequence $P_{(1+\tau^2)c}$. So, we get all musical sequences of this form from the cut-and-project method!

On $L^{\perp}$ the two end-points of the window are
\[
\begin{cases}
\pi^{\perp}(c+1,-\tau c) = (\frac{(1+\tau^2)c+1}{1+\tau^2},- \tau \frac{(1+\tau^2)c+1}{1+\tau^2}) \\
\pi^{\perp}(c,-\tau c+1) = (\frac{(1+\tau^2)c-\tau}{1+\tau^2},-\tau \frac{(1+\tau^2)c-\tau}{1+\tau^2})
\end{cases} \]
Therefore, a point $(a,b) \in \mathbb{Z}^2$ lies in the window $W$ if and only if
\[
(1+\tau^2)c-\tau < a-\tau b < (1+\tau^2)c+1 \] or equivalently, if \[ (1+\tau^2)c+(b-1)\tau < a < (1+\tau^2)c+b \tau + 1 \] Observe that \[ \lceil (1+\tau^2)c + b\tau \rceil - \lceil (1+\tau^2)c+(b-1)\tau \rceil = P_{(1+\tau^2)c}(b-1) + 1 \in \{ 1,2 \} \] We separate the two cases: (1) : If $\lceil (1+\tau^2)c + (b+1)\tau \rceil - \lceil (1+\tau^2)c+b \tau \rceil =1$, then there must be an integer $a$ such that $(1+\tau^2)c +(b+1) \tau -1 < a < (1+\tau^2) b+1$, and this forces $\lceil (1+\tau^2)c + (b+2)\tau \rceil - \lceil (1+\tau^2)c+(b+1)\tau \rceil =2$. With $b_i = (1+\tau^2)c+(b+i)\tau$ and $d_i = b_i+1$ we have the situation



and from the inequalities above this implies that both $(a+1,b+1)$ and $(a+1,b+2)$ are in $W$, giving a short interval $S$ in the projection.

(2) : If $\lceil (1+\tau^2)c + (b+1)\tau \rceil – \lceil (1+\tau^2)c+b \tau \rceil =1$, then there must be an integer $a$ such that $(1+\tau^2)c+b \tau < a < (1+\tau^2)cv + (b+1)\tau -1$, giving the situation



giving from the inequalities that both $(a+1,b+1)$ and $(a+2,b+1)$ are in $W$, giving a long interval $L$ in the projection, finishing the proof.

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Borcherds’ favourite numbers

Whenever I visit someone’s YouTube or Twitter profile page, I hope to see an interesting banner image. Here’s the one from Richard Borcherds’ YouTube Channel.

Not too surprisingly for Borcherds, almost all of these numbers are related to the monster group or its moonshine.

Let’s try to decode them, in no particular order.

196884

John McKay’s observation $196884 = 1 + 196883$ was the start of the whole ‘monstrous moonshine’ industry. Here, $1$ and $196883$ are the dimensions of the two smallest irreducible representations of the monster simple group, and $196884$ is the first non-trivial coefficient in Klein’s j-function in number theory.

$196884$ is also the dimension of the space in which Robert Griess constructed the Monster, following Simon Norton’s lead that there should be an algebra structure on the monster-representation of that dimension. This algebra is now known as the Griess algebra.

Here’s a recent talk by Griess “My life and times with the sporadic simple groups” in which he tells about his construction of the monster (relevant part starting at 1:15:53 into the movie).

1729

1729 is the second (and most famous) taxicab number. A long time ago I did write a post about the classic Ramanujan-Hardy story the taxicab curve (note to self: try to tidy up the layout of some old posts!).

Recently, connections between Ramanujan’s observation and K3-surfaces were discovered. Emory University has an enticing press release about this: Mathematicians find ‘magic key’ to drive Ramanujan’s taxi-cab number. The paper itself is here.

“We’ve found that Ramanujan actually discovered a K3 surface more than 30 years before others started studying K3 surfaces and they were even named. It turns out that Ramanujan’s work anticipated deep structures that have become fundamental objects in arithmetic geometry, number theory and physics.”

Ken Ono

24

There’s no other number like $24$ responsible for the existence of sporadic simple groups.

24 is the length of the binary Golay code, with isomorphism group the sporadic Mathieu group $M_24$ and hence all of the other Mathieu-groups as subgroups.

24 is the dimension of the Leech lattice, with isomorphism group the Conway group $Co_0 = .0$ (dotto), giving us modulo its center the sporadic group $Co_1=.1$ and the other Conway groups $Co_2=.2, Co_3=.3$, and all other sporadics of the second generation in the happy family as subquotients (McL,HS,Suz and $HJ=J_2$)



24 is the central charge of the Monster vertex algebra constructed by Frenkel, Lepowski and Meurman. Most experts believe that the Monster’s reason of existence is that it is the symmetry group of this vertex algebra. John Conway was one among few others hoping for a nicer explanation, as he said in this interview with Alex Ryba.

24 is also an important number in monstrous moonshine, see for example the post the defining property of 24. There’s a lot more to say on this, but I’ll save it for another day.

60

60 is, of course, the order of the smallest non-Abelian simple group, $A_5$, the rotation symmetry group of the icosahedron. $A_5$ is the symmetry group of choice for most viruses but not the Corona-virus.

3264

3264 is the correct solution to Steiner’s conic problem asking for the number of conics in $\mathbb{P}^2_{\mathbb{C}}$ tangent to five given conics in general position.



Steiner himself claimed that there were $7776=6^5$ such conics, but realised later that he was wrong. The correct number was first given by Ernest de Jonquières in 1859, but a rigorous proof had to await the advent of modern intersection theory.

Eisenbud and Harris wrote a book on intersection theory in algebraic geometry, freely available online: 3264 and all that.

248

248 is the dimension of the exceptional simple Lie group $E_8$. $E_8$ is also connected to the monster group.

If you take two Fischer involutions in the monster (elements of conjugacy class 2A) and multiply them, the resulting element surprisingly belongs to one of just 9 conjugacy classes:

1A,2A,2B,3A,3C,4A,4B,5A or 6A

The orders of these elements are exactly the dimensions of the fundamental root for the extended $E_8$ Dynkin diagram.

This is yet another moonshine observation by John McKay and I wrote a couple of posts about it and about Duncan’s solution: the monster graph and McKay’s observation, and $E_8$ from moonshine groups.

163

163 is a remarkable number because of the ‘modular miracle’
\[
e^{\pi \sqrt{163}} = 262537412640768743.99999999999925… \]
This is somewhat related to moonshine, or at least to Klein’s j-function, which by a result of Kronecker’s detects the classnumber of imaginary quadratic fields $\mathbb{Q}(\sqrt{-D})$ and produces integers if the classnumber is one (as is the case for $\mathbb{Q}(\sqrt{-163})$).

The details are in the post the miracle of 163, or in the paper by John Stillwell, Modular Miracles, The American Mathematical Monthly, 108 (2001) 70-76.

Richard Borcherds, the math-vlogger, has an entertaining video about this story: MegaFavNumbers 262537412680768000

His description of the $j$-function (at 4:13 in the movie) is simply hilarious!

Borcherds connects $163$ to the monster moonshine via the $j$-function, but there’s another one.

The monster group has $194$ conjugacy classes and monstrous moonshine assigns a ‘moonshine function’ to each conjugacy class (the $j$-function is assigned to the identity element). However, these $194$ functions are not linearly independent and the space spanned by them has dimension exactly $163$.

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