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big Witt vectors for everyone (1/2)

Next time you visit your math-library, please have a look whether these books are still on the shelves : Michiel Hazewinkel‘s Formal groups and applications, William Fulton’s and Serge Lange’s Riemann-Roch algebra and Donald Knutson’s lambda-rings and the representation theory of the symmetric group.

I wouldn’t be surprised if one or more of these books are borrowed out, probably all of them to the same person. I’m afraid I’m that person in Antwerp…

Lately, there’s been a renewed interest in $\lambda $-rings and the endo-functor W assigning to a commutative algebra its ring of big Witt vectors, following Borger’s new proposal for a geometry over the absolute point.

However, as Hendrik Lenstra writes in his 2002 course-notes on the subject Construction of the ring of Witt vectors : “The literature on the functor W is in a somewhat unsatisfactory state: nobody seems to have any interest in Witt vectors beyond applying them for a purpose, and they are often treated in appendices to papers devoting to something else; also, the construction usually depends on a set of implicit or unintelligible formulae. Apparently, anybody who wishes to understand Witt vectors needs to construct them personally. That is what is now happening to myself.”

Before doing a series on Borger’s paper, we’d better run through Lenstra’s elegant construction in a couple of posts. Let A be a commutative ring and consider the multiplicative group of all ‘one-power series’ over it $\Lambda(A)=1+t A[[t]] $. Our aim is to define a commutative ring structure on $\Lambda(A) $ taking as its ADDITION the MULTIPLICATION of power series.

That is, if $u(t),v(t) \in \Lambda(A) $, then we define our addition $u(t) \oplus v(t) = u(t) \times v(t) $. This may be slightly confusing as the ZERO-element in $\Lambda(A),\oplus $ will then turn be the constant power series 1…

We are now going to define a multiplication $\otimes $ on $\Lambda(A) $ which is distributively with respect to $\oplus $ and turns $\Lambda(A) $ into a commutative ring with ONE-element the series $~(1-t)^{-1}=1+t+t^2+t^3+\ldots $.

We will do this inductively, so consider $\Lambda_n(A) $ the (classes of) one-power series truncated at term n, that is, the kernel of the natural augmentation map between the multiplicative group-units $~A[t]/(t^{n+1})^* \rightarrow A^* $.
Again, taking multiplication in $A[t]/(t^{n+1}) $ as a new addition rule $\oplus $, we see that $~(\Lambda_n(A),\oplus) $ is an Abelian group, whence a $\mathbb{Z} $-module.

For all elements $a \in A $ we have a scaling operator $\phi_a $ (sending $t \rightarrow at $) which is an A-ring endomorphism of $A[t]/(t^{n+1}) $, in particular multiplicative wrt. $\times $. But then, $\phi_a $ is an additive endomorphism of $~(\Lambda_n(A),\oplus) $, so is an element of the endomorphism-RING $End_{\mathbb{Z}}(\Lambda_n(A)) $. Because composition (being the multiplication in this endomorphism ring) of scaling operators is clearly commutative ($\phi_a \circ \phi_b = \phi_{ab} $) we can define a commutative RING $E $ being the subring of $End_{\mathbb{Z}}(\Lambda_n(A)) $ generated by the operators $\phi_a $.

The action turns $~(\Lambda_n(A),\oplus) $ into an E-module and we define an E-module morphism $E \rightarrow \Lambda_n(A) $ by $\phi_a \mapsto \phi_a((1-t)^{-1}) = (1-at)^{-a} $.

All of this looks pretty harmless, but the upshot is that we have now equipped the image of this E-module morphism, say $L_n(A) $ (which is the additive subgroup of $~(\Lambda_n(A),\oplus) $ generated by the elements $~(1-at)^{-1} $) with a commutative multiplication $\otimes $ induced by the rule $~(1-at)^{-1} \otimes (1-bt)^{-1} = (1-abt)^{-1} $.

Explicitly, $L_n(A) $ is the set of one-truncated polynomials $u(t) $ with coefficients in $A $ such that one can find elements $a_1,\ldots,a_k \in A $ such that $u(t) \equiv (1-a_1t)^{-1} \times \ldots \times (1-a_k)^{-1}~mod~t^{n+1} $. We multiply $u(t) $ with another such truncated one-polynomial $v(t) $ (taking elements $b_1,b_2,\ldots,b_l \in A $) via

$u(t) \otimes v(t) = ((1-a_1t)^{-1} \oplus \ldots \oplus (1-a_k)^{-1}) \otimes ((1-b_1t)^{-1} \oplus \ldots \oplus (1-b_l)^{-1}) $

and using distributivity and the multiplication rule this gives the element $\prod_{i,j} (1-a_ib_jt)^{-1}~mod~t^{n+1} \in L_n(A) $.
Being a ring-qutient of $E $ we have that $~(L_n(A),\oplus,\otimes) $ is a commutative ring, and, from the construction it is clear that $L_n $ behaves functorially.

For rings $A $ such that $L_n(A)=\Lambda_n(A) $ we are done, but in general $L_n(A) $ may be strictly smaller. The idea is to use functoriality and do the relevant calculations in a larger ring $A \subset B $ where we can multiply the two truncated one-polynomials and observe that the resulting truncated polynomial still has all its coefficients in $A $.

Here’s how we would do this over $\mathbb{Z} $ : take two irreducible one-polynomials u(t) and v(t) of degrees r resp. s smaller or equal to n. Then over the complex numbers we have
$u(t)=(1-\alpha_1t) \ldots (1-\alpha_rt) $ and $v(t)=(1-\beta_1) \ldots (1-\beta_st) $. Then, over the field $K=\mathbb{Q}(\alpha_1,\ldots,\alpha_r,\beta_1,\ldots,\beta_s) $ we have that $u(t),v(t) \in L_n(K) $ and hence we can compute their product $u(t) \otimes v(t) $ as before to be $\prod_{i,j}(1-\alpha_i\beta_jt)^{-1}~mod~t^{n+1} $. But then, all coefficients of this truncated K-polynomial are invariant under all permutations of the roots $\alpha_i $ and the roots $\beta_j $ and so is invariant under all elements of the Galois group. But then, these coefficients are algebraic numbers in $\mathbb{Q} $ whence integers. That is, $u(t) \otimes v(t) \in \Lambda_n(\mathbb{Z}) $. It should already be clear from this that the rings $\Lambda_n(\mathbb{Z}) $ contain a lot of arithmetic information!

For a general commutative ring $A $ we will copy this argument by considering a free overring $A^{(\infty)} $ (with 1 as one of the base elements) by formally adjoining roots. At level 1, consider $M_0 $ to be the set of all non-constant one-polynomials over $A $ and consider the ring

$A^{(1)} = \bigotimes_{f \in M_0} A[X]/(f) = A[X_f, f \in M_0]/(f(X_f) , f \in M_0) $

The idea being that every one-polynomial $f \in M_0 $ now has one root, namely $\alpha_f = \overline{X_f} $ in $A^{(1)} $. Further, $A^{(1)} $ is a free A-module with basis elements all $\alpha_f^i $ with $0 \leq i < deg(f) $.

Good! We now have at least one root, but we can continue this process. At level 2, $M_1 $ will be the set of all non-constant one-polynomials over $A^{(1)} $ and we use them to construct the free overring $A^{(2)} $ (which now has the property that every $f \in M_0 $ has at least two roots in $A^{(2)} $). And, again, we repeat this process and obtain in succession the rings $A^{(3)},A^{(4)},\ldots $. Finally, we define $A^{(\infty)} = \underset{\rightarrow}{lim}~A^{(i)} $ having the property that every one-polynomial over A splits entirely in linear factors over $A^{(\infty)} $.

But then, for all $u(t),v(t) \in \Lambda_n(A) $ we can compute $u(t) \otimes v(t) \in \Lambda_n(A^{(\infty)}) $. Remains to show that the resulting truncated one-polynomial has all its entries in A. The ring $A^{(\infty)} \otimes_A A^{(\infty)} $ contains two copies of $A^{(\infty)} $ namely $A^{(\infty)} \otimes 1 $ and $1 \otimes A^{(\infty)} $ and the intersection of these two rings in exactly $A $ (here we use the freeness property and the additional fact that 1 is one of the base elements). But then, by functoriality of $L_n $, the element
$u(t) \otimes v(t) \in L_n(A^{(\infty)} \otimes_A A^{(\infty)}) $ lies in the intersection $\Lambda_n(A^{(\infty)} \otimes 1) \cap \Lambda_n(1 \otimes A^{(\infty)})=\Lambda_n(A) $. Done!

Hence, we have endo-functors $\Lambda_n $ in the category of all commutative rings, for every number n. Reviewing the construction of $L_n $ one observes that there are natural transformations $L_{n+1} \rightarrow L_n $ and therefore also natural transformations $\Lambda_{n+1} \rightarrow \Lambda_n $. Taking the inverse limits $\Lambda(A) = \underset{\leftarrow}{lim} \Lambda_n(A) $ we therefore have the ‘one-power series’ endo-functor
$\Lambda~:~\mathbf{comm} \rightarrow \mathbf{comm} $
which is ‘almost’ the functor W of big Witt vectors. Next time we’ll take you through the identification using ‘ghost variables’ and how the functor $\Lambda $ can be used to define the category of $\lambda $-rings.

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Seriously now, where was the Bourbaki wedding?

A few days before Halloween, Norbert Dufourcq (who died december 17th 1990…), sent me a comment, containing lots of useful information, hinting I did get it wrong about the church of the Bourbali wedding in the previous post.

Norbert Dufourcq, an organist and student of Andre Machall, the organist-in-charge at the Saint-Germain-des-Prés church in 1939, the place where I speculated the Bourbaki wedding took place, concluded his comment with :

“P.S. Lieven, you _do_ know about the Schola Cantorum, now, don’t you?!?”.

Euh… actually … no, I did not …

La Schola Cantorum is a private music school in Paris. It was founded in 1894 by Charles Bordes, Alexandre Guilmant and Vincent d’Indy as a counterbalance to the Paris Conservatoire’s emphasis on opera. Its alumni include many significant figures in 20th century music, such as Erik Satie and Cole Porter.

Schola Cantorum is situated 69, rue Saint Jacques, Paris, just around the corner of the Ecole Normal Superieure, home base to the Bourbakis. In fact, closer investigation reveals striking similarities and very close connections between the circle of artists at la Schola and the Bourbaki group.

In december 1934, the exact month the Bourbaki group was formed, a radical reorganisation took place at the Schola, when Nestor Lejeune became the new director. He invited several young musicians, many from the famous Dukas-class, to take up teaching positions at the Schola.

Here’s a picture of part of the Dukas class of 1929, several of its members will play a role in the upcoming events :
from left to right next to the piano : Pierre Maillard-Verger, Elsa Barraine, Yvonne Desportes, Tony Aubin, Pierre Revel, Georges Favre, Paul Dukas, René Duclos, Georges Hugon, Maurice Duruflé. Seated on the right : Claude Arrieu, Olivier Messiaen.



The mid-1930s in Paris saw the emergence of two closely-related groups with a membership which overlapped : La Spirale and La Jeune France. La Spirale was founded in 1935 under the leadership of Georges Migot; its other committee members were Paul Le Flem, his pupil André Jolivet, Edouard Sciortino, Claire Delbos, her husband Olivier Messiaen, Daniel-Lesur and Jules Le Febvre. The common link between almost all of these musicians was their connection with the Schola Cantorum.

On the left : Les Jeunes Musiciens Français : André Jolivet on the Piano. Standing from left to right :
Olivier Messiaen, Yves Baudrier, Daniel-Lesur.

Nigel Simeone wrote this about Messiaen and La Jeune France :
“The extremely original and independent-minded Messiaen had already shown himself to be a rather unexpected enthusiast for joining groups: in December 1932 he wrote to his friend Claude Arrieu about a letter from another musician, Jacques Porte, outlining plans for a new society to be called Les Jeunes Musiciens Français.
Messiaen agreed to become its vice-president, but nothing seems to have come of the project. Six months later, in June 1933, he had a frustrating meeting with Roger Désormière on behalf of the composers he described to Arrieu as ‘les quatre’, all of them Dukas pupils: Elsa Barraine, the recently-deceased Jean Cartan, Arrieu and Messiaen himself; during the early 1930s Messiaen and Arrieu organised concerts featuring all four composers.”

Finally, we’re getting a connection with the Bourbaki group! Norbert Dufourcq mentioned it already in his comment “Messiaen was also a good friend of Jean Cartan (himself a composer, and Henri’s brother)”. Henri Cartan was one of the first Bourbakis and an excellent piano player himself.

The Cartan family picture on the right : standing from left to right, father Elie Cartan (one of the few older French mathematicians respected by the Bourbakis), Henri and his mother Marie-Louise. Seated, the younger children, from left to right : Louis, Helene (who later became a mathematician, herself) and the composer Jean Cartan, who sadly died very young from tuberculoses in 1932…

The december 1934 revolution in French music at the Schola Cantorum, instigated by Messiaen and followers, was the culmination of a process that started a few years before when Jean Cartan was among the circle of revolutionados. Because Messiaen was a fiend of the Cartan family, they surely must have been aware of the events at the Schola (or because it was merely a block away from the ENS), and, the musicians’ revolt may very well have been an example to follow for the first Bourbakis…(?!)

Anyway, we now know the intended meaning of the line “with lemmas sung by the Scholia Cartanorum” on the wedding-invitation. Cartanorum is NOT (as I claimed last time) bad Latin for ‘Cartesiorum’, leading to Descartes and the Saint-Germain-des-Pres church, but is in fact passable Latin (plur. gen.) of CARTAN(us), whence the translation “with lemmas sung by the school of the Cartans”. There’s possibly a double pun intended here : first, a reference to (father) Cartan’s lemma and, of course, to La Schola where the musical Cartan-family felt at home.

Fine, but does this brings us any closer to the intended place of the Bourbaki-Petard wedding? Well, let’s reconsider the hidden ‘clues’ we discovered last time : the phrase “They will receive the trivial isomorphism from P. Adic, of the Order of the Diophantines” might suggest that the church belongs to a a religious order and is perhaps an abbey- or convent-church and the phrase “the organ will be played by Monsieur Modulo” requires us to identify this mysterious Mister Modulo, because Norbert Dufourcq rightfully observed :

“note however that in 1939, it wasn’t as common to have a friend-organist perform at a wedding as it is today: the appointed organists, especially at prestigious Paris positions, were much less likely to accept someone play in their stead.”

The history of La Schola Cantorum reveals something that might have amused Frank Smithies (remember he was one of the wedding-invitation-composers) : the Schola is located in the Convent(!) of the Brittish Benedictines…

In 1640 some Benedictine monks, on the run after the religious schism in Britain, found safety in Paris under the protection of Cardinal Richelieu and Anne of Austria at Val-de-Grace, where the Schola is now housed.

As is the case with most convents, the convent of the Brittish Benedictines did have its own convent church, now called l’église royale Notre-Dame du Val-de-Grâce (remember that one of the possible interpretations for “of the universal variety” was that the name of the church would be “Notre-Dame”…).

This church is presently used as the concert hall of La Schola and is famous for its … musical organ : “In 1853, Aristide Cavaillé-Coll installed a new organ in the Church of Sainte-geneviève which had been restored in its rôle as a place of worship by Prince President Louis-Napoléon. In 1885, upon the decision of President Jules Grévy, this church once again became the Pantheon and, six years later, according to an understanding between the War and Public Works Departments, the organ was transferred to the Val-de-Grâce, under the supervision of the organ builder Merklin. Beforehand, the last time it was heard in the Pantheon must have been for the funeral service of Victor Hugo.
In 1927, a raising was carried out by the builder Paul-Marie Koenig, and the inaugural concert was given by André Marchal and Achille Philippe, the church’s organist. Added to the register of historic monument in 1979, Val-de-Grâce’s “ little great organ ”, as Cavaillé-Coll called it, was restored in 1993 by the organ builders François Delangue and Bernard Hurvy.
The organ of Val-de-Grâce is one the rare parisian surviving witnesses of the art of Aristide Cavaillé-Coll, an instrument that escaped abusive and definitive transformations or modernizations. This explain why, in spite of its relatively modest scale, this organ enjoys quite a reputation, and this, as far as the United States.”

By why would the Val-de-Grace organiste at the time Achille Philip, “organiste titulaire du Val-de-Grâce de 1903 à 1950 et professeur d’orgue et d’harmonie à la Schola Cantorum de 1904 à 1950”, be called ‘Mister Modulo’ in the wedding-invitations line “L’orgue sera tenu par Monsieur Modulo”???

Again, the late Norbert Dufourcq comes to our rescue, proposing a good candidate for ‘Monsieur Modulo’ : “As for “modulo”, note that the organist at Notre-Dame at that time, Léonce de Saint-Martin, was also the composer of a “Suite Cyclique”, though I admit that this is just wordplay: there is nothing “modular” about this work. Maybe a more serious candidate would be Olivier Messiaen (who was organist at the Église de la Trinité): his “modes à transposition limitée” are really about Z/12Z→Z/3Z and Z/12Z→Z/4Z. “

Messiaen’s ‘Modes of limited transposition’ were compiled in his book ‘Technique de mon langage musical’. This book was published in Paris by Leduc, as late as 1944, 5 years after the wedding-invitation.

Still, several earlier works of Messiaen used these schemes, most notably La Nativité du Seigneur, composed in 1935 : “The work is one of the earliest to feature elements that were to become key to Messiaen’s later compositions, such as the extensive use of the composer’s own modes of limited transposition, as well as influence from birdsong, and the meters and rhythms of Ancient Greek and traditional Indian music.”

More details on Messiaen’s modes and their connection to modular arithmetic can be found in the study Implementing Modality in Algorithmic Composition by Vincent Joseph Manzo.

Hence, Messiaen is a suitable candidate for the title ‘Monsieur Modulo’, but would he be able to play the Val-de-Grace organ while not being the resident organist?

Remember, the Val-de-Grace church was the concert hall of La Schola, and its musical organ the instrument of choice for the relevant courses. Now … Olivier Messiaen taught at the Schola Cantorum and the École Normale de Musique from 1936 till 1939. So, at the time of the Bourbaki-Petard wedding he would certainly be allowed to play the Cavaillé-Coll organ.

Perhaps we got it right, the second time around : the Bourbaki-Pétard wedding was held on June 3rd 1939 in the church ‘l’église royale Notre-Dame du Val-de-Grâce’ at 12h?

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Where was the Bourbaki wedding?

I’m pretty certain I got the intended date & time of the Bourbaki-Pétard wedding right : June 3rd 1939 at 12h.
Finding the exact location of the wedding-ceremony is an entirely different matter. And, quite probably, we are reading way too much in these pranks of the Weil-clan.

Still, it’s fun trying to find an elegant answer, based on the (intended or imagined) clues in the text and the little we know about the early Bourbaki-days. Here, the translation of the relevant part of the wedding announcement :


“They will receive the trivial isomorphism from P. Adic, of the Order of the Diophantines, in the Principal Cohomology of the Universal Variety, on the third of Cartember, year VI, at the usual hour.
The organ will be played by Monsieur Modulo, Assintant Simplex of the Grassmannian (with lemmas sung by the Scholia Cartanorum). The collection will be donated in full to the retirement home for Poor Abstracts. Convergence will be guaranteed.”

First solution : Perhaps one might read “in the Principal Cohomology of the Universal Variety” as : “in the Principal Church of the generic type/name”. In many French cities the main church is the Cathedral and an awful lot of them are called Notre Dame, so it might mean : in the Notre Dame Cathedral. But even then, we have to choose between these two




On the left, the Notre Dame Cathedral in Paris. On the right the Cathédrale Notre-Dame-de-l’Annonciation in Nancy. As the invitation promises guests to be entertained after the ceremony by Monsieur et Madame Bourbaki at their ‘Fundamental Domains’, the choice depends on the location of the Bourbaki-household in June 1939.

‘Bourbaki’ made two applications to become an AMS-member. The first, in 1948, tells us that Bourbaki is a scientific advisor to the Hermann Publishing Co. in Paris since 1934, and, the second in 1950, that he is ‘Directeur Libre de Recherches a l’Université de Nancy’.
I couldn’t find out when exactly Nicolas did change cities, and even Liliane Beaulieu’s talk Bourbaki a Nancy does not provide an answer.

Second solution : Or, one can read that sentence as a mathematical, perhaps proto-motivic, statement, and, hunt for clues elsewhere in the text. But then, what are these clues?

  • Mass is celebrated by “P. Adic, of the Order of the Diophantines”. This suggests that the church itself belongs to a monastic order, and is perhaps a convent-church.
  • Hymns are “sung by the Scholia Cartanorum”. Scholia Cartanorum is Latin of sorts and refers perhaps to the Paris’ Latin Quarter, le Quartier Latin.
  • The collection is donated to the “retirement home for Poor Abstracts”. Perhaps the church is connected to a saint for the poor.

Let’s consider “Scholia Cartanorum” more closely. It may be Latin, admittedly very bad Latin, for ‘the Scholiums of Cartesius’, that is, ‘of Descartes‘.

One of the more famous ‘Scholia’ in scientific history is Newton’s general scholium to the Principia, which is a prime example of Descartes-bashing. Newton attacks Descartes on his vortical theory of planetary motion, his aeter to explain gravity, his God-axiom (unlike Descartes, Newton induced God from nature, rather than starting with God as an axiom) and his hypothetico-deductive method. So, there is a link between Descartes and ‘Scholium’, although the genitive form ‘Cartesiorum’ might be fairly inappropriate…

But then, Descartes died on 11 February 1650 in Stockholm (Sweden) where he was buried, so there won’t be a connection to a French or Parisian church, right? Well, not quite. The fate of Descartes’ remains is a rather strange story : “In 1666, sixteen years after his death, the bones of René Descartes
were dug up in the middle of the night and transported from Sweden to
France under the watchful eye of the French Ambassador. This was only
the beginning of the journey for Descartes’ bones, which, over the
next 350 years, were fought over, stolen, sold, revered as relics,
studied by scientists, used in séances, and passed surreptitiously
from hand to hand. ” For example, during the French Revolution, his remains were disinterred for burial
in the Pantheon in Paris among the great French thinkers. But today, his ashes are burried in…

the abbay church of Saint-Germain-des-Prés, located in the Quartier Latin, within walking distance of the Bourbaki-café Capoulade and the Ecole Normal Superieure.

Now all the hints fall handsomely in place. St-Germain-des-Prés is the oldest church in Paris. Parts of it date to the 6th century, when a Benedictine abbey was founded on the site by Childebert, son of Clovis. Hence the sentence ‘in the Principal Cohomology of the Universal Variety’ might simply mean ‘in the first church, ever’. In medieval times, the Left Bank of Paris was prone to flooding from the Seine, so much of the land could not be built upon and the Abbey stood in the middle of fields, or prés in French, thereby explaining its appellation.

The other part of its name, Saint Germain, comes from Saint Germanus of Paris, also known as the ‘father of the poor’ (!). His remains were interred in St. Symphorien’s chapel in the vestibule of St. Vincent’s church, but in 754, when he was canonized, his relics were solemnly removed into the body of the church, in the presence of Pepin and his son, Charlemagne, then a child of seven, and the church was reconsecrated as Saint-Germain-des-Prés. That is, also the remains of the ‘father of the poor’ are buried in this church.

Here’s my best guess : the Bourbaki-Pétard wedding was held on June 3rd 1939 in the church Saint-Germain-des-Prés at 12h. Genuine aficionados of the Da Vinci code may regret it wasn’t held in the neighboring Saint-Sulpice church, but then, perhaps someone can bend the clues accordingly…

Remains this problem : who was the organist, Monsieur Modulo? Suggestions anyone?

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