Re: Fractal Foundations of mathematics: Axioms notions and the set FS as a model

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In Grassmanns toolkit everything it's together. Strecken as construction lines between points reveal a formal notational structure, that is a Begriffe. This literally means a way to grip things that are as slippery as distinctions and Ideas/ forms. The notation literally can have a one to one onto correspondence ith each idea , distinction or form.mthis means one can represent the essential process of experiencing, distinguishing, comparing, recognising, representing and manipulating the aspects of an actual or imagined interaction with space by a careful selection of symbols.

We do this all the time, so naturally and in several neural representation systems that we forget or ignore it as a fundamental process. We're hard it through the smokescreen of language , not realising that our languages are cultural constructions. Thus if we build a crystal clear language or jargon in which every symbol has a precise meaning, we cn actually use it to explore and model inner and outer experiences in relation to a form/ Idea. This is precisely and painstakingly what the Grassmanns have done in their Ausdehnungslehre series,

In the course of doing this Hermann revisited every fundamental notion in science, really deconstructing Euclid abd resynthesising his Stoikeioon. This was Justus stated goal. Hermann got interested in it at a stage when Justus had implemented school trials of many of his ideas and reformulations, picking out an inner structure that Justus could not apprehend because he was the pathfinder! Finally Robert extended the analysis to the foundation of philosophy itself! He called this approach Formenlehre, and really engaged with the Platonic philosophy or theory of forms nd Ideas.

That Euclid should serve to unite a constructive approach to geometry, and a empirical approach to philosophy says to me that the Stoikeioon is not a book about geometry or mathematics. It is a book about the philosophy of form/ ideas.

Hermann literally was between these 2 seminal path finding researchers. He did not live in the same household as his father and brother, but with his uncle. This was a child adoption rrangement, but not an abandonment by any means. Hermann seems to have always known who his biological father was. But he lived with and was brought up in his uncles family due to infertility it seems.

Hermanns absorption of Euclid was thus mostly unconscious nd lifelong. It was not as a classical training in Euclid, but as a result of an innovative programme of restructuring geometrical education that he imbibed Euclidean forms. Much the same happened in my education. When geometry was taught , it was not to understand Euclid it was as a subject called Geometry. It was not until much much later in life that I actually began to look at the Greek text!

What that does is dissociate the student from the originator. The student never actually knows hat the original thought was. This is why I read Grassmanns own words, in German or Prussian .

The second point is, by the time you do get to study the original the prejudice has already been imposed, so the original thought is almost indiscernible!

The advantage that those who have a classics education have is that through learning the actual language they can " rinse" their brains of prejudicial ideas. The more languages they learn to meditate in, the clearer their conceits become.. But then they face the problem of dissociation: they no longer think the same as those who are brain washed differently!

Any way. Newton read the original Grrek text or a Latin copy. Thus the quality of his thinking and insight was suffused and informed by Platonic ideals. Hamilton read Euclid in he Greek and was similarly motivated. The Grassmanns had access to the notions of geometry associated to Euclid. Justus clearly had experience of parts of the text, but I do not know yet which parts or books.

Hermann was a great linguist and that makes me think he had access to the texts either directly or through deconstructed copies in the form of lexicons. Someway, somehow, the ideas and forms of Euclid suffused all the bove mentioned individuals.

Thus when Newton established his " vector" algebra based on the parallelogram , it was not in isolation. Hooke, Huygens and all the geometers knew precisely what he meant. But when Grassmann similarly deconstructed nd resynthesized the geometry of the parallelogram, suddenly he is talking " obscurely"?

The only difference between Hermann and Newton is the subject boundary called algebra. In newtons day algebra was not a subject, it was included within general rhetoric and Reasoning. Reason is derive from ratio and proportion, logos and Kairos in Greek, and thus not considered part of the mathematical subject boundary. It was and still is within the Philosophy subject boundary.

Thus we have this academic compartmental approach blocking understnding for millennia! The shake up and mixing of the Humboldt reforms , creating the mix of primary and higher academic teachers , alongside the philosophical argument bout the structure and nature of mathematics and the sciences engendered a school of thought that knowledge is constructed, not discoursed! Discoursed means several things all at the same time: but the essential idea is that you have to run round all over the place discovering through enquiry, discussion and debate what may be called divine or spiritual Truths, which you intuitively know to be true!

The constructionists basically say, truth is not the criteria, fact is. It is true because it is fact, that is because it has been constructed!

Thus Justus enters the fray , utilising the growing conception of ring and group theory as exponded in crystallography. He actually makes a fundamental contribution to Verbindungslehre as it was called before it came to be dominated by others who renamed it Kôrper Lehrer!.

To get to the point , an analytical approach to geometry in order to reconstruct it on a systematic, logical Nd congruent basis revealed a repeated combinatorial structure in every geometry: the geometry of the line, the geometry of the plane, and in the geometry of the Raume , that is 3d geometry. This structure was deliberately based on Arithmetic, because it was believed arithmetic was logically pure and unsullied. Justus analysis howled however that this was not the case, and he made several suggestions at how to put it right. Some of which were conceptually confused. He could not resolve certain logical difficulties without bringing in the observer as a crucial part. This actually ment that general rules were subject to the individual assenting to a consensus. In those days they believed that the consensus could get it right , even though they were agitating against an old consensus which they felt was wrong!

So Grassmann J, H and R were looking at the ring or group structure of various geometries nd finding connections between them. When Hermmann looked at the triangle he clearly picked ot an additive Algebra! He was looking at geometry and he could see an Algebra. It was only manifest when the correct Notation was used.

Hmm interesting but not earth shattering until he noticed the same thing when he was looking at the Geometry of the Quadrilateral. Again, looking at geometry , with the appropriate Notation revealed an Algebra, but this time it was multiplicative! And in addition it connected with the triangular algebra of addition to produce a distributive rule of combination!

This was so intriguing that he began to explore it and found that the " Algrbra" held true. Testing it a bit harder he put in the metrics of length and it still held true. It was when he put in the notion of direction that his world turned upside down! The factors , if you could call them that in yhe analogy did not commute, but instead required the sign that denoted direction to change.

After waiting sometime to get over the shock and general unease at his conclusions he tested them over and over and found them to be logically consistent. He then decided to devote his life's work to exploring these geometric Algebras. There was much work to be done, many gaps in the algebras to explore, but his hard work and dedication to detail, following the strict guidelines of his father seemed to be being rewarded handsomely. He entered and won mathematical competitions to the astonishment of all around him! He found independent confirmation of his ideas in other researchers work. He read nd digested Lagrangian Celestial. Mechanics with astonishing ease because his insight into the geometrical algebra suddenly made it simpler clearer, more symmetrical and beautiful!

Intacling the problem of Ebb and Flow he discovered not only the nascent hyperbolic geometry, but his insight revealed its fundamental algebra. The algenpbra of Newtonian vectors, as understood by Lagrange was suddenly placed before him, and he could clearly see the parallelogram and in this case the rectangular parallelogram geometric algebra.

Newton and thus Lagrange had fully worked this algenpbra out. In fact most researchers like Huygens, Leibniz Hooke for example were fully conversant with it. But it was called " algebra" only loosely. It was to Newton his own private cogitation by which he mentally manipulated ideas and relationships to gain insights and find solutions. Although Newton was highly organised and structured in his thinking, he did not see that that was important enough to publish.

Bombelli is probably the first author in this period to write a book mostly about Algebra. Descartes is the next author,of renown, but he called it geometry. De Fermat popularised this geometric algebra, but it was Wallis that, drawing upon Euclid and Barrow wrote the first real modern book on Cartesian Geometric Algebra with his great insight. He pestered Newton for his algebraic notations, because he believed that through studying the algebraic reasonings of genius students could benefit and emulate and surpass. Thus Wallis's work was the standard for Algebra for a long time. And it was always a geometric algebra.

The Grassmanns were different. They studied the Algebras of the geometries, not the algebra of the geometers!

The algebra of the geometries as I explained above required appropriate notation or terminology to distinguish. Thus Hermann struggled to find for each geometry that appropriate notation hat made its appearance manifest, or clear, visible(Anschaung). This was like making ghosts or spirits visible. It was like making subjective notions, ideas and forms visible. It was giving form to an invisible structure of formal thinking , revealing how it followed similar and analogous patterns in all the geometries.

So when Hermann came upon the projective geometries, especially the Newtonian decomposition of " vectors" as forces or velocities, he recognised hat it was am algebra that applied like an algorithm to any description of physical situations.. He might have petered out at this stage, because essentially he was going to be repeating Newtons Classic Principia. He would have brought little that was new to the discussion. However, his strong notion of geometric algebra in a given geometry lead him to look for addition, multiplication analogues in the projective geometry. He was able to bypass the detail and see the product, and how the parallelogram formed the general product( product here means the constructed form, which Hermann long ago had convinced himself was an analogue of multiplication). But then he found the inner product and with it division!

In the parallelogram geometry Hermann had been able to see that addition and multiplication algebras existed. He therefore knew that if he could solve for the parallelogram he could solve any problem that could be reduced to its form. However, because there was no sense of division, the algebra of the parallelogram geometry was incomplete. In fact it was full of holes. Herrmann was already considerably blessed with simplifications due to his earlier discoveries. His reasoning and equation formulation was already considerably shorter and smoother than his contemporaries, simply by using this geometric algebra through appropriate notation as his page layout. What I mean by this is that mathematical notation is set out on the page. If you organise it carefully you can make beneficial use of that layout. To speed up and streamline calculation.

The organisation of the calculation on the page has always been a pedagogical concern. It was clear that " neatness" helped in solving problems and performing calculations accurately.mrows and columns have always been a significant part of the mathematical fidcipline since Babylonian script was invented abd tablets of information recorded. But the grucial geometric structure of a page layout is derived not from cuneiform, but from Mosaics or Arithmoi. An Arithmos is not just a mosaic it is the fundamental of geometry itself! As a fundament of geometry it is used to record Astrology( astro-merry,astronomy astro-logia). Thus these mosaics become fundamental and obscured organising principles. Onto such a mosaic a geometrical form may be drawn, the mosaic then representing an epipedos epiphaneia, a so calle flat surface, but in fact often a very colourful abstract art form we now call a mosaic.

"On such a platform geometry can be done !" mused Pythagoras. And of course he was right. Geometry is always done on an embedded mosaic. Because we have lost sight of this se do not understand Arithmos, Arithmoi, and how forms can be shown to be equal without some other notion like length or area or volume. For Greek mathematics these fundamental notions are embedded in the mosaic. They are the literal structure of space .


So the layout on the page was also in hermanns mind and when he discovered the Type he called the inner product he states" but this notation also places another product ( to the exterior product as he soon calls it) TO THE side! ( zur Seite), by this I think he means that alongside the exterior product one must also, on the page work out the interior product. The reason is that when both these are done they are a proportion or ratio( by dividing one into the other a fraction) that has a valid value. This value he realised uniquely replaces the angle in parallelogram geometry and provides proration and division into the algebraic tool box!

He knew this to be true because he had done the work in his Ebb and Flow paper In which he had used the hyperbolic sin and cosine to create a sinle multiple form involving a Strecken and an exponential function. At the time he had taken it as evidence of the parallelogram multiplicative distribution rule, what I called the law of 3 Strecken. But now his insight into the inner product made him realise it was based on the projected Strecken ( obviously!) and not just any Strecken and the angle between them. The angle was not the important ratio of magnitude . A more general ratio of magnitude was involved and that was that of the outer and inner product!

Angle has long been one of those unquestioned measuring algorithms. But it needed to be questioned, and Newton, Cotes and DeMoivre did question it, particularly as it did not concur with astronomical practice. Astronomers use areas and always have. Someone, ome teacher converted the arc into the angle notion and created a serious problem. Or rather later generations misread the ymbol for arc and mistakenly developed the notion of angle. Cotes apparently suggested the Arian as an arc n measure which could easily be used astronomically and geometrically for mundane land measure. The Greeks used Chords, not angles. Each chord has an associated arc, and the 2 together form the connecting link to orbital motions in the heavens. Thus the straight line measure of spread is precisely what the sine and cosine tables record in ratio form. We give a precise ratio of cord to diameter to measure a circular arc. We may never be able to measure the arc directly but we can construct it and through that solve for the triangle ANzd for the arc by approximation..

Grassmann had now got a complete ring in his parallelogram Algrbra. But more than that he could see how to generalise it to any form made up of facets like a crystal.. This is what he means by n dimensional Algrbra! Any complex form made up of parallelograms is n dimensional, depending on how many facets were distinguishable. Each of these facets he called a space, and worked out, purely using his algebraic toolbox for parallelograms how to construct a crystal, and how to distinguish crystal forms.

This is where he found and corrected a mistake made by his father. The fact that he could see it clearly was testament to the powerful tools he had created for describing the Algrbra of geometris!

There was yet more research to do, but he wanted to publish his irst volume and his results to create a stir and get others involved in the research which was now an extensive and rich field of study. That plan and hope backfired on him disastrously, and almost extinguished his belief in his system. That is why when his brother offered , demanded that he redact and republish his work, insisting that it was not to be left idle!, he was willing to give in to his brother's views of his work. Later, much encouraged by the response he reasserts his own view republishing his unredacted original with annotations.

This is the background to the Grassmanns contribution to a revolution in science.

In Grassmanns toolkit everything it's together. Strecken as construction lines between points reveal a formal notational structure, that is a Begriffe. This literally means a way to grip things that are as slippery as distinctions and Ideas/ forms. The notation literally can have a one to one onto correspondence ith each idea , distinction or form.mthis means one can represent the essential process of experiencing, distinguishing, comparing, recognising, representing and manipulating the aspects of an actual or imagined interaction with space by a careful selection of symbols.

We do this all the time, so naturally and in several neural representation systems that we forget or ignore it as a fundamental process. We're hard it through the smokescreen of language , not realising that our languages are cultural constructions. Thus if we build a crystal clear language or jargon in which every symbol has a precise meaning, we cn actually use it to explore and model inner and outer experiences in relation to a form/ Idea. This is precisely and painstakingly what the Grassmanns have done in their Ausdehnungslehre series,

In the course of doing this Hermann revisited every fundamental notion in science, really deconstructing Euclid abd resynthesising his Stoikeioon. This was Justus stated goal. Hermann got interested in it at a stage when Justus had implemented school trials of many of his ideas and reformulations, picking out an inner structure that Justus could not apprehend because he was the pathfinder! Finally Robert extended the analysis to the foundation of philosophy itself! He called this approach Formenlehre, and really engaged with the Platonic philosophy or theory of forms nd Ideas.

That Euclid should serve to unite a constructive approach to geometry, and a empirical approach to philosophy says to me that the Stoikeioon is not a book about geometry or mathematics. It is a book about the philosophy of form/ ideas.

Hermann literally was between these 2 seminal path finding researchers. He did not live in the same household as his father and brother, but with his uncle. This was a child adoption rrangement, but not an abandonment by any means. Hermann seems to have always known who his biological father was. But he lived with and was brought up in his uncles family due to infertility it seems.

Hermanns absorption of Euclid was thus mostly unconscious nd lifelong. It was not as a classical training in Euclid, but as a result of an innovative programme of restructuring geometrical education that he imbibed Euclidean forms. Much the same happened in my education. When geometry was taught , it was not to understand Euclid it was as a subject called Geometry. It was not until much much later in life that I actually began to look at the Greek text!

What that does is dissociate the student from the originator. The student never actually knows hat the original thought was. This is why I read Grassmanns own words, in German or Prussian .

The second point is, by the time you do get to study the original the prejudice has already been imposed, so the original thought is almost indiscernible!

The advantage that those who have a classics education have is that through learning the actual language they can " rinse" their brains of prejudicial ideas. The more languages they learn to meditate in, the clearer their conceits become.. But then they face the problem of dissociation: they no longer think the same as those who are brain washed differently!

Any way. Newton read the original Grrek text or a Latin copy. Thus the quality of his thinking and insight was suffused and informed by Platonic ideals. Hamilton read Euclid in he Greek and was similarly motivated. The Grassmanns had access to the notions of geometry associated to Euclid. Justus clearly had experience of parts of the text, but I do not know yet which parts or books.

Hermann was a great linguist and that makes me think he had access to the texts either directly or through deconstructed copies in the form of lexicons. Someway, somehow, the ideas and forms of Euclid suffused all the bove mentioned individuals.

Thus when Newton established his " vector" algebra based on the parallelogram , it was not in isolation. Hooke, Huygens and all the geometers knew precisely what he meant. But when Grassmann similarly deconstructed nd resynthesized the geometry of the parallelogram, suddenly he is talking " obscurely"?

The only difference between Hermann and Newton is the subject boundary called algebra. In newtons day algebra was not a subject, it was included within general rhetoric and Reasoning. Reason is derive from ratio and proportion, logos and Kairos in Greek, and thus not considered part of the mathematical subject boundary. It was and still is within the Philosophy subject boundary.

Thus we have this academic compartmental approach blocking understnding for millennia! The shake up and mixing of the Humboldt reforms , creating the mix of primary and higher academic teachers , alongside the philosophical argument bout the structure and nature of mathematics and the sciences engendered a school of thought that knowledge is constructed, not discoursed! Discoursed means several things all at the same time: but the essential idea is that you have to run round all over the place discovering through enquiry, discussion and debate what may be called divine or spiritual Truths, which you intuitively know to be true!

The constructionists basically say, truth is not the criteria, fact is. It is true because it is fact, that is because it has been constructed!

Thus Justus enters the fray , utilising the growing conception of ring and group theory as exponded in crystallography. He actually makes a fundamental contribution to Verbindungslehre as it was called before it came to be dominated by others who renamed it Kôrper Lehrer!.

To get to the point , an analytical approach to geometry in order to reconstruct it on a systematic, logical Nd congruent basis revealed a repeated combinatorial structure in every geometry: the geometry of the line, the geometry of the plane, and in the geometry of the Raume , that is 3d geometry. This structure was deliberately based on Arithmetic, because it was believed arithmetic was logically pure and unsullied. Justus analysis howled however that this was not the case, and he made several suggestions at how to put it right. Some of which were conceptually confused. He could not resolve certain logical difficulties without bringing in the observer as a crucial part. This actually ment that general rules were subject to the individual assenting to a consensus. In those days they believed that the consensus could get it right , even though they were agitating against an old consensus which they felt was wrong!

So Grassmann J, H and R were looking at the ring or group structure of various geometries nd finding connections between them. When Hermmann looked at the triangle he clearly picked ot an additive Algebra! He was looking at geometry and he could see an Algebra. It was only manifest when the correct Notation was used.

Hmm interesting but not earth shattering until he noticed the same thing when he was looking at the Geometry of the Quadrilateral. Again, looking at geometry , with the appropriate Notation revealed an Algebra, but this time it was multiplicative! And in addition it connected with the triangular algebra of addition to produce a distributive rule of combination!

This was so intriguing that he began to explore it and found that the " Algrbra" held true. Testing it a bit harder he put in the metrics of length and it still held true. It was when he put in the notion of direction that his world turned upside down! The factors , if you could call them that in yhe analogy did not commute, but instead required the sign that denoted direction to change.

After waiting sometime to get over the shock and general unease at his conclusions he tested them over and over and found them to be logically consistent. He then decided to devote his life's work to exploring these geometric Algebras. There was much work to be done, many gaps in the algebras to explore, but his hard work and dedication to detail, following the strict guidelines of his father seemed to be being rewarded handsomely. He entered and won mathematical competitions to the astonishment of all around him! He found independent confirmation of his ideas in other researchers work. He read nd digested Lagrangian Celestial. Mechanics with astonishing ease because his insight into the geometrical algebra suddenly made it simpler clearer, more symmetrical and beautiful!

Intacling the problem of Ebb and Flow he discovered not only the nascent hyperbolic geometry, but his insight revealed its fundamental algebra. The algenpbra of Newtonian vectors, as understood by Lagrange was suddenly placed before him, and he could clearly see the parallelogram and in this case the rectangular parallelogram geometric algebra.

Newton and thus Lagrange had fully worked this algenpbra out. In fact most researchers like Huygens, Leibniz Hooke for example were fully conversant with it. But it was called " algebra" only loosely. It was to Newton his own private cogitation by which he mentally manipulated ideas and relationships to gain insights and find solutions. Although Newton was highly organised and structured in his thinking, he did not see that that was important enough to publish.

Bombelli is probably the first author in this period to write a book mostly about Algebra. Descartes is the next author,of renown, but he called it geometry. De Fermat popularised this geometric algebra, but it was Wallis that, drawing upon Euclid and Barrow wrote the first real modern book on Cartesian Geometric Algebra with his great insight. He pestered Newton for his algebraic notations, because he believed that through studying the algebraic reasonings of genius students could benefit and emulate and surpass. Thus Wallis's work was the standard for Algebra for a long time. And it was always a geometric algebra.

The Grassmanns were different. They studied the Algebras of the geometries, not the algebra of the geometers!

The algebra of the geometries as I explained above required appropriate notation or terminology to distinguish. Thus Hermann struggled to find for each geometry that appropriate notation hat made its appearance manifest, or clear, visible(Anschaung). This was like making ghosts or spirits visible. It was like making subjective notions, ideas and forms visible. It was giving form to an invisible structure of formal thinking , revealing how it followed similar and analogous patterns in all the geometries.

So when Hermann came upon the projective geometries, especially the Newtonian decomposition of " vectors" as forces or velocities, he recognised hat it was am algebra that applied like an algorithm to any description of physical situations.. He might have petered out at this stage, because essentially he was going to be repeating Newtons Classic Principia. He would have brought little that was new to the discussion. However, his strong notion of geometric algebra in a given geometry lead him to look for addition, multiplication analogues in the projective geometry. He was able to bypass the detail and see the product, and how the parallelogram formed the general product( product here means the constructed form, which Hermann long ago had convinced himself was an analogue of multiplication). But then he found the inner product and with it division!

In the parallelogram geometry Hermann had been able to see that addition and multiplication algebras existed. He therefore knew that if he could solve for the parallelogram he could solve any problem that could be reduced to its form. However, because there was no sense of division, the algebra of the parallelogram geometry was incomplete. In fact it was full of holes. Herrmann was already considerably blessed with simplifications due to his earlier discoveries. His reasoning and equation formulation was already considerably shorter and smoother than his contemporaries, simply by using this geometric algebra through appropriate notation as his page layout. What I mean by this is that mathematical notation is set out on the page. If you organise it carefully you can make beneficial use of that layout. To speed up and streamline calculation.

The organisation of the calculation on the page has always been a pedagogical concern. It was clear that " neatness" helped in solving problems and performing calculations accurately.mrows and columns have always been a significant part of the mathematical fidcipline since Babylonian script was invented abd tablets of information recorded. But the grucial geometric structure of a page layout is derived not from cuneiform, but from Mosaics or Arithmoi. An Arithmos is not just a mosaic it is the fundamental of geometry itself! As a fundament of geometry it is used to record Astrology( astro-merry,astronomy astro-logia). Thus these mosaics become fundamental and obscured organising principles. Onto such a mosaic a geometrical form may be drawn, the mosaic then representing an epipedos epiphaneia, a so calle flat surface, but in fact often a very colourful abstract art form we now call a mosaic.

"On such a platform geometry can be done !" mused Pythagoras. And of course he was right. Geometry is always done on an embedded mosaic. Because we have lost sight of this se do not understand Arithmos, Arithmoi, and how forms can be shown to be equal without some other notion like length or area or volume. For Greek mathematics these fundamental notions are embedded in the mosaic. They are the literal structure of space .


So the layout on the page was also in hermanns mind and when he discovered the Type he called the inner product he states" but this notation also places another product ( to the exterior product as he soon calls it) TO THE side! ( zur Seite), by this I think he means that alongside the exterior product one must also, on the page work out the interior product. The reason is that when both these are done they are a proportion or ratio( by dividing one into the other a fraction) that has a valid value. This value he realised uniquely replaces the angle in parallelogram geometry and provides proration and division into the algebraic tool box!

He knew this to be true because he had done the work in his Ebb and Flow paper In which he had used the hyperbolic sin and cosine to create a sinle multiple form involving a Strecken and an exponential function. At the time he had taken it as evidence of the parallelogram multiplicative distribution rule, what I called the law of 3 Strecken. But now his insight into the inner product made him realise it was based on the projected Strecken ( obviously!) and not just any Strecken and the angle between them. The angle was not the important ratio of magnitude . A more general ratio of magnitude was involved and that was that of the outer and inner product!

Angle has long been one of those unquestioned measuring algorithms. But it needed to be questioned, and Newton, Cotes and DeMoivre did question it, particularly as it did not concur with astronomical practice. Astronomers use areas and always have. Someone, ome teacher converted the arc into the angle notion and created a serious problem. Or rather later generations misread the ymbol for arc and mistakenly developed the notion of angle. Cotes apparently suggested the Arian as an arc n measure which could easily be used astronomically and geometrically for mundane land measure. The Greeks used Chords, not angles. Each chord has an associated arc, and the 2 together form the connecting link to orbital motions in the heavens. Thus the straight line measure of spread is precisely what the sine and cosine tables record in ratio form. We give a precise ratio of cord to diameter to measure a circular arc. We may never be able to measure the arc directly but we can construct it and through that solve for the triangle ANzd for the arc by approximation..

Grassmann had now got a complete ring in his parallelogram Algrbra. But more than that he could see how to generalise it to any form made up of facets like a crystal.. This is what he means by n dimensional Algrbra! Any complex form made up of parallelograms is n dimensional, depending on how many facets were distinguishable. Each of these facets he called a space, and worked out, purely using his algebraic toolbox for parallelograms how to construct a crystal, and how to distinguish crystal forms.

This is where he found and corrected a mistake made by his father. The fact that he could see it clearly was testament to the powerful tools he had created for describing the Algrbra of geometris!

There was yet more research to do, but he wanted to publish his irst volume and his results to create a stir and get others involved in the research which was now an extensive and rich field of study. That plan and hope backfired on him disastrously, and almost extinguished his belief in his system. That is why when his brother offered , demanded that he redact and republish his work, insisting that it was not to be left idle!, he was willing to give in to his brother's views of his work. Later, much encouraged by the response he reasserts his own view republishing his unredacted original with annotations.

This is the background to the Grassmanns contribution to a revolution in science.

, , ,

Ratios and proportions as modelling clay.

I could kick myself!

I already wrote about this once. The formal world we live in mentally is made of some gold standards. The right triangle I the most famous, and the sphere the most mysterious. The Arithmoi are the most obscured

At one time, when I was young I believed in fairy tales. Now I am older, I create them . Well we believe our teachers don't we? The things around us when we are born and which we grow up with we just accept. It took me a long slog to realise the fundamental role of the trig ratios. When I I'd I lived them but for a moment and then went after other structures, sequences , series etc. but I can still remember looking down onto a swirling shimmering lake of proportion underneath the crusty notion of number.

Remember creating a new table of proportions for spirals called sint. That was for Theodorus spiral. And I wrote about using trig ratios to model any curve and setting up standard tables. Then I realised that essentially the idea was not new, but common practice. .

But it was not!

I remember meditating on the Hyprbolic plane within the spherical volume, the exponential logarithms and surfaces all linked by the unit sphere. Everybody was investigating these things so I thought they kne. I thought it was obvious.

But it is not. Reading Euclid and Grassmann has convinced me that most do not know the simplifying underlying harmony of the unit sphere and how the trig ratios enable us to make formal models of every curve or surface or form, by simply measuring and making the sequence measures into a table and then calling it a function!

Still I really cannot blame the mathematical tendency to obfuscate, it is more due to my present state of health and it's effect on memory. When I look at Grassmanns words I see what he is getting at before I translate accurately. If I relied on the accurate translation I would miss so so much! Using the ability to project Strecken he can, I can and we cn tabulate any curve. I frequently do, but this is what I mean, it is a tool that perhaps few others know. It constitutes a construction method and it is precisely what Grassmann is exploring: processes of synthesis and how to write them in mathematical terminology!


As a mathematician I understand the excitement in doing this. But I have come to realise that in constraining oneself to this form of term making that much of the applicability of what he was doing, I am doing is lost or obscured. Synthesis is not just a mathematical action! It is the activity of artisans, and Grassmann came to realise this the more he developed and researched. We only have this acute mathematical form because of Robert, his bother, der Mathematiker! The lineal algebra is Hermanns creation, but it's redaction is Roberts Handiwork.he needed to have hermanns work in a particular format to support his own theoretical revision of philosophy called Formenlehre..

In the end Keine Abweichung guided every aspect of their quest, that is " Invariance" laws of conservation ideal immutable forms and relationships. This was not their goal only, but the Platonic dream, the attempt to find those unchangeable forms that were believed to be the superstructure of the invisible spiritual reality, which nevertheless manifested itself in 3 d geometrical forms!


This Socratic platonic belief was lightly imposed by humour, questioning playfulness. But those to whom it became a real driving force it indicated the touch of the Muses . It also forced a choice: either the muses and their world was real or our senses and our world was the reality and the ontology of these forms arose from abstraction.

You could of course believe both! Nevertheless Plato's Theory or philosophy of Ideas / Forms drove the Grassmanns on. But this was not just their motive, the whole of Prussia was in turmoil and change. The Humboldt reform of the education system drove the clergy, those alone were licensed to teach, into extensive philosophical enquiry. Kant was perhaps the most celebrated figure, but the Prussian Renaissance effected every licensed cleric in Prussia. It was their mission to deliver a superior education system.

Justus Grassmann chose to sort out the difficulties in geometrical education as his contribution. Why? Because everyone knew that Euclid improved the thinking capabilities of students of him. What they did not know was that Euclid was a philosophical course in reasoning! They, like nearly everyone else it seems believed it was a text book in Geometry! Consequently they thought it needed straightening out!

Geometry has an interesting history. It derived from Astrology, and the numerology or calculus involved in that topic. This calculus was applied to the measuring of all distant things and to mapping. It was consequently called geometry by the Tekne who were responsible for these mundane calculations. It was even called Gematria by some.mthe technical use of this calculus was also passed on to other technicians: architects, engineers, artisans, military mechanics. It is this mechanical geometry that survived down into the academies of Europe and Greece.

Astrology has always been an elevated topic, the calculus involved refpgarded as divination, and the status of being a qualified astrologer hard to achieve. In the Pythagorean school in Italy that status was called Mathematikos! Thus we have this split in the social standing given to those who essentially applied the same calculus.

By the time of the renaissance the west had access only to the mechanical version of this calculus, and it was called geometry. It received scant academic recognition, because of class distinction. The lower and working class may need to know it, the upper educated class only needed to know of it. The classics and the philosophers were there remit.

This all changed in Europe and England about the time of Eallis and eventually Netom I Saab Barrow returned ith an extensive knowledge of manuscripts in the centres of learning and some copies, among them was Euclids Stoikeioon. Which Barrow translated into Latin!. Academic chairs for geometry were a new development, but academic chairs for Mathematics were non existent. So barrow was able to pass on his knowledge of Euclid as geometry, a minor classics course, but ebpventually he obtained a chair for mathematics a more reputable classics course. Of course he took his geometrical lectures across into that Chair and established a classical link between the Stoikeioon and Mathematics. He may have been the first, but certainly mathematics as an academic ubject was clamouring for an academic chair all across Europe. Geometry had gained a chair first in Europe, but it was a mechanical architectural technical chair in some of the larger art schools in Europe. No one had a Greek version of the Stoikeioon, all worked from Arabic translations of various ancient texts on mechanics.

The rise of Mathematics meant that the schools of geometry either moved into architecture or were subsumed by a mathematical chair. This poor relation status for mechanical geometry persists even today. The mathematical arts were briefly given great prominence by Newton's seminal works the Principia , in which the synthetic geometry reigns supreme. But gradually algebraic geometry and the Cartesian Coordinate system undermined synthetic geometry., and thus with it Euclid's Stoikeioon.

The impact of Newton on Prussian Philosophers was immense!. The realities were that the holy Roman empire had to buy in Genius!. This was unacceptable in the modern industrial world soon coming. Prussian intelligentsia therefore made it a matter of duty and survival to turn their entire education system round and to produce home grown, self actualising genius. The Humboldt educational reforms, lead by philosophers with a clear goal but no mandatory course of action initiated a revolution in discourse between institutes of higher learning and primary educators. Everybodtpy was tasked to deliver the reforms to the mperor!

Notably gauss kept out of this reform movement in mathematics, but he did try to keep abreast of developments in mathematics cross Euope. Such was his anxiety to not fall behind the rapid pace of change, he ignored the work of the Grassmanns as being of interest to primary education only. However Hermann had snt him his work on Ausdehnngs leather. His reply was his usual offhandedly comment, complaining about how busy he was, but he clearly had read it!

The events that transpire between him and Riemann and the Grassmanns I have written on before, suffice it to say, that no one ith any mathematical nous reading Hermanns 1844 work could fail to be astonished by it. Möbius felt it was so revolutionary that it was beyond him. Grassmann thought that it set the Benchmark. So gauss's response is suspicious to say the least!

In any case, nearer to home, Robert needed his brothers work to up port his own theory and together they redacted it and published it to some indigenous success. Hermanns 1844 publication had won him a small international audience, but no response at home! Roberts redaction and publishing skills seemed to make a difference.
Heartened by the uccess Hermann republished his own text with copious notations. This was because Robert had taken uch a controlling hand that Hermann could not recognise his own ideas!

Still the 2 publications in his name have gradually won him a worldwide udirnce. Robert published more on his version of the Ausdehnungslehre after his brothers death, but few have responded to his version as they have to Hermmann's.

This was a family effort, started by Justus, corrected innovatively by Hermmann and finished off by Robert. It has gone on o show that primary educators can rock the world of higher Academia!

Grassmann universalHyperbolic Geometry Wildberger Style

, , ,

The Senkrecht Strecken.

These are Strecken derived by projection.this means we are given a Strecken and then a target on which to project it. This is projection in the specific sense of shadow casting.(Schatte). By considering projection Grassmann could represent trigonometric relationships between Strecken. . The projection he chose was the Senkrecht or vertical one. In fact it is probably better to think of it as perpendicular.

Newton, in his vector algebra had introduced the resolution of vectors into two covectors Perpendicular to each other by precisely this projection.

Grassmann used this projection to define his inner product. The Senkrecht Strecken formed by mutual projection are used to form the inner parallelogram. However angle measurement direction has to be observed throughout the entire construction. Thus the mutual projection involves opposing angle measurement. Because this is ¢ and –¢ the cosine of these angle measures is identical so the inner product changes form but never changes sign due to the construction specifications.

The inner product is a crucial part of the Euclidean decomposition of the Parallelogram into a gnomon. The gnomon is the model I'd proportion in Euclidean Algebra and this derives from the curved gnomon or lune in the circle. The sector is only a part of the lune in this construction, but the same proportionality ratios can be utilised across all of these gnomic forms.

It is the gnomon that is used to establish the quadratic solution, and this in turn revealed the crucial role rotation played in making sense of so called imaginar " numbers". These are surd forms, dealt with bt Eudoxus in his treatise on proportionality. What is continually missed in Euclid's Stoikeioon is his dynamic structures, his motion of parts, and his rotation of forms.

Rotation is a fundamental action in space and for a long time the only rudimentary mark we developed for it was the – sign!. Grassmann and Hamilton and Rodrigues changed all that, but we still misinterpret the "– " sign pedagogically to our children!

The sign has other roles besides marking rotation. It marks interchange of order of factors.

As an example:

Supposes Hermann wrote the rules fo his product in computer syntax

Initialise orientation:
Draw line a:
Rotate anticlockwise to set new orientation:
Draw line b.
Return product ab as done.

Compare this with the modern vector treatment.

Initialise vectors a,b( set orientations and magnitudes)
Draw vector a
Move to end of vector a
Draw vector b
Return product ab as done
These constructive actions are not commutative and are ani symmetric about some axis.

So we can write AB = – BA to indicate this result from changing the elemental order in the product.

The Grassmann product and addition are combinatorial actions of construction/ synthesis. There has to be a combinatorial action for every situation. For example the above action might be called construct a parallelogram. The second tail end 2 vectors. Grassmanns ingenuity was to find an action that would scale. This means that the basic instruction remains the same but the input and products differ.. He found his answer in technical or mechanical drawing. The simple instruction construct allows all manner of inputs and outputs.provided the relationships were known for the construction.

Grassmann did not want lots of products, or actions so he streamlined them. The notation for the outer product could be used for the inner product if written side by side.mthe difference was that the sign changes were non existent in the inner product, those due to changing element designation. This is because the rotation is counteracted by the process..

Today we distinguish the products visually so we have several products where Grassmann signifies only one.. The reason is that the construction process is basically draw lines of points. When the construction is done certain simplifications are made that lead to the calculation stage., and then very quickly to the solution. But the user must be aware of what he / she is doing at each stage,

The fewer actions required to construct the description the faster a solution can be found.

Grassmann found that most solutions lay in the exterior or outer construction, but some involved the inner construction. Grassmanns method, therefore is to work to find a constructive action that makes everything easier, and then to codify this in easy relevant notation.. As he did this he found the same notation being applicable over and over again.

Grassmann constantly revised his notation to make it more flexible and useful, and to fill in the gaps to what it may be applied.

The work continues today, with few recognising Grassmanns vision of how it would all work out is beng fulfilled.

Now Grassmann, having defined the inner product realised it applied to the hyperbolic functions and began to define the hyperbolic functions in terms of the inner product

http://en.wikipedia.org/wiki/Generalized_trigonometry

https://tspace.library.utoronto.ca/bitstream/1807/26213/3/MorfinRamirez_Mario_L_201011_PhD_thesis.pdf
http://www.sosmath.com/trig/hyper/hyper01/hyper01.html

http://books.google.co.uk/books?id=wOGh7XPowAMC&pg=PA380&lpg=PA380&dq=grassmann+ebb+and+flow&source=bl&ots=GXVw5wDzYH&sig=_uIWZFeQx7iiI-oHSckkC3NMNuM&hl=en&sa=X&ei=1dqXUc7zCsrR0QXQqYDQCQ&sqi=2&ved=0CDQQ6AEwBA#v=onepage&q=grassmann%20ebb%20and%20flow&f=false

http://en.wikipedia.org/wiki/Geometric_algebra

The identification of the undulating Strecken with the Hyprbolic functions and the trig identity is not unique to Grassmann, but the the relation to the inner product is his. This reflects the insight his terminology gave him, the clarity of describing geometric set ups made such observations more accessible.

Grassmann then shows how the analogy leads to the complex form as Euler wrote it. This is before he got sight of Gauss notation for complex numbers.. It is clear, that in 1844 he had researched deeply into the mechanics of Lagrange and those of Lowe and Herbert. But his terminologically innovation made this work simpler and clearer. He was beginning to use his analysis and synthesis method as a subtext to his own thought processes. The results were astonishing.

Hermann I'd not invent the hyperbolic trig functions, however he did not follow those who had slavishly either. He clearly capitalise Cos and Sin in relation to the" Halbmessen Bogen". This is clearly a reference to established work in this field. But they actually used the angle of a right triangle. Hermann used the exponential half measure. This freed him from the angle of the right triangle, because he could use the exponent to reflect the oscillation of the required measure.

It was clear that a relationship between area and the hyperbolic curve had been hinted at. , and the relationship was oscillatory. For the actual half curve used to establish the hyperbolic relationship, the assymptotic curve never made the angle exceed a certain value which kept the relation applicable. Hermann understood that the inner product had this similar behaviour, the area would always be some proportion that did not exceed the applicable bounds. So he made the connection on a methodological basis. In other words the hyperbolic measures provided a method of describing the oscillatory action of construction lines based on their inner product.

The proportional relationship of the Gnomon is important for all proportions including the trigonometric, but this gnomic property actually derives from the circular gnomon( the lune) and is a forgotten proportional relationship that was well known in Thales time. Grassmanns inner product had historical provenance which he did not know.

The method of the Hyprbolic sin is as old as Theodorus. The right triangle or the gnomon was a principle tool of measurement. It is seen in the hand of Pharaoh on many wall paintings and symbolises hia authority to rule and to build.. The Cartesian system as it developed, especially after Wallis fixed the axes is in fact a gnomic system. The right triangle is a gnomic device underpinning all our measurements. Pythagoras Theorem is a theorem about the relationship between right triangles and hemi circles! Thales brought back this wisdom reputedly from Egypt! He showed that the right triangle can tabulate the circle. The hyperbolic method shows the right triangle can tabulate the hyperbola.

Theodorus showed that the right triangle can tabulate the spiral. Hermann Grassmann recognised the methodical pattern and used it in his toolkit as a synthesis method. Any curve can be tabulated by the right triangle, and it is the basis of function theory, thus insisting on the vertical or perpendicular projection was crucial to his development of his synthesis methods.

The use of Cos and Sin therefore is not really using Cosh and sinh, it is describing a method of using the right triangle to construct curvilinear forms using straight lines or Strecken!

I have to confess, the more I understand hermanns work, the more I see how he missed out a full consideration of alternatives.

I suspect that those who claim to be teachers of Grassmann method do not fully understand his labour, and why he needed help. The various developments of his analysis and synthesis method show creativity but not much simplicity. The construction of this language requires careful considerations and much trial and error correction. Herrmann spent years writing out his model lineal algebra, often rewriting and revising earlier conceptions as he grew in knowledge and confidence. Thus his work was always to be a work in progress.

Some difficulties he frankly skirted around or left alone, returning to fill in blanks as he could see how to do so. So his product terminology has developed over the course of his life. Today I find the term product in its mathematical sense a hindrance! It is clearly a manufacturing term! Thus to limit hermanns work to mathematics is to over complicate it! It is a process algebra, and it has benefitted from the study of process methods and sequences, particularly in the process oriented world of computer processors.

There are many problems with describing the wedge product as an operator or a single product, mathematically speaking. These difficulties disappear if the wedge is recognised as a process symbol. The wedge process has been honed down into a logically extensible process. In other words we can scale the process up. This means that we can use a common form to describe very different processes and procedures at very different scales.

This is only possible if you have computers that parse artistically and interpret artistically.. The single variation of a mark can direct a computer down a tree system to the correct applicable method. This means that as software programmers we can creatively standardise form, but use distinguishes to select the right method. This is very powerful and very satisfying, but also very sophisticated. It is a testament to Hermanns vision that he sensed this possibility and devoted his life to it. In contrast Hamilton was. Struck by the mathematical systemic logic of Algebra, he had no real vision of how it could revolutionise all computation until he read Hermann's Work!

Here is Norman's series on hyperbolic Grometry. It is very relevant to Grassmmann's approach. The fact that he went down the root of the hyperbolic functions, as I said, should not be misunderstood, his angle headrest is the inner product not a protractor!



i would encourage you to follow this delightful course, but draw your attention to the fact that the lines x=1 or y=1 or the planes z=1 y=1 x=1 are the trigonometric projection surfaces or subspaces for strecken from an origin to these lines or spaces. Thus the methods norman explains are at once representatives of Grassmanns method of projecting perpendicularly onto other strecken.

Few rememeber the Trig ratios and proportions at the higher level. The tables are used to define functions, and the infinite progressions are used to calculate the function values, all without remembering that we deal with proportions and ratios. The push to exactitude and to number concepts like the real line remove the understanding that all is ratio and proportion.

Having made this connection in the inner product, and in his work on the exponential product where he projected strecken onto the y-axis from the lines x=1 to give Sin ø for a strecken following a curve, and Cos ø from y=1 onto the x-axix ,that is the hyperbolic or curved surface trig projections, he was able to propose a general method that was coordinate free and simply required a look up of the ratios in the required table. The facility of this was that like logarithms much of the calculation was already done.

In terrms of the hyperbolic space few realise that this is a subset of the sine values. But when you do realise, you also realise that fundaamentally all our computation is within these tables. Tus all our description of the forms in multiple form is related by the trigonmetric ratios in the unit circle. Sir Roger Cotes happened upon this happy thought and named a paper "Harmonium mensurarum" on the basisi of it. He died before e could fully explain it to Newton, who lamented it much!

Subjective Groups Leading to the Origin of the Inner and Outer Grassmann Product

, , ,

A point is that which has no part

Seemeioon estin, ou meros outhen

The Grassmann concept of a Strecke is like an object oriented class definition. The class line has three properties: direction; length; points that fulfill some function. We might attribute some colour to these points to visually identify them.
However a point has no parts by Euclids definition.

We cannot write a list of observables for "meaurables" or orientations for a point. But we can and do write a list of subjective experiences and descriptions of a point. A point has these subjective parts ( properties): meaning; significance.

W hen we communicate about a particular point we communicate about its meaning and significance, that is we communicate wholly subjectively. Thus we give points a subjective reference frame using meaning and significance, which we carry about with us internally and use to subjectively identify experiences including experiences of topos or place.

Colouring a point is just that application of the reference frame tool, giving a distinguishing experience of a topos with its meaning and ignificance hooked onto that experience like a coat on a coat hanger.. These are subjective structures, internal models and maps of external experiences.

Even though a Metron is deemphasised in a Grassmann Algebra, it is still one of the properties of a line. To maintain that property Grassmann uses the "interior Algebra" of points to define a line as a product of points A,B. The usefulness of this is that these points A,B mark off a Metron in the extensive Algebra, by which coefficients are derived. Thus in this form of lineal algebra there is an implicit Metron, and this guides the use of any explicit Metron.

The notion of a vector has this metrical implication implicitly, and so is a good instance of a Strecke. Where a vector concept is sometimes confusing is where it is suggested to be somehow implicitly free of these relationships implicit in a Strecke.. The mixture of implicit and explicit use of properties is why the algebra is so subtle. . Very often, Grassmann draws on the intuitive implicit properties without explicitly stating the fact. This he inherited from his Fathers struggles with rigour.

Hermann corrected mistakes his father Justus had made without sacrificing too much of the elegance in this way of thinking. Later researchers, for rigours sake, attempted to split subtle points into 2 rigorous concepts only to find they lead to other ifficulties.

The blend of what you fudge and what you expose is demonstrable in any system, axiomatic or not. Axiomatic systems tend to set the fudges out at the beginning, but they still inhere in the system!

We have to live pragmatically, and that is why the pragmatic seemeioon is so important. It's a fudge, but it makes the whole system work usefully. We can hide all our fudges behind the seemeioon! That means subjectively we knowingly or unwittingly delude ourselves in order to get a pragmatic result.

The Schwerpunkt developed from the observation that a point exists in a topos, that is a place. This place is not explicitly referenced, it is subjectively referenced. However, the practice developed by Descartes, DeFermat et al and organised by Wallis, set up a reference frame called a fixed axial system. The Measuring line was used to model these axes which were set orthogonally to each other in a standardised format. What this meant was a point could be referenced by two " numbers".

This is a misconception of the reference frame, and it has persisted to its detriment.

Those who wanted to break free from Cartesian coordinates could not put their finger on the problem. Grassmann did. The point has 2 properties in a reference frame: position and magnitude. We generally ignore the position and focus on the magnitude. Grassmann realised tht this type of point was different to a Euclidean point which has no parts, except subjective ones. The point had a position and a magnitude on the axes. This is then used to project onto a third point in space by parallel lines to the axes. This point does not have a magnitude in the reference plane it has only a position specified by coordinates.

However it could be given a magnitude using Pythagoras theorem, and so a Schwerpunkt could describe a conic section point!

If I switch to a polar coordinate frame then every point in the plane has a position and a magnitude. The schwerpunkt deals with a major inconsistency in traditional reference frame theories.

Grassmann uses this understanding to define the inner and outer products of Strecken under "parallelogram multiplication".

What is a Strecke? The simplest and noblest notion is " a construction line". It is a subjective notion of our intention and application to construct. We conceive it before we even draw it, and its meaning grows as we construct. Once its job is done, it fades into the background



The angle between the Strecken becomes crucial. Up until this point it had not been considered, but his work on the ebb and flow of tides advanced his conception of the algebra. In the case of the lineal algebra the angle has to be included in the analysis, and that means the trig functions and surprisingly the exponential logarithmic functions.

His concept of parallelogram multiplication meant naturally that 2 Strecken in the same line and in the same direction would produce a zero parallelogram. Also two Strecken in the same line but directed contra would do the same( gleichgerichtet). He called this behaviour the "Aussere produkt". This seems to be because there is no projection line involved in this conception of the parallelogram. The Two Strecken form the outer perimeter of the parallelogram, and both flow out of and away from each other ( auseinander tretenden)

However there was another case when the Strecken produced a zero parallelogram: if one Strecke was projected onto the other Strecke this designated a shortened Strecke. If two "shortened Strecken" lie against each other then their product will be zero. This perpendicular projection involves the cosine function( arithmeticsche produkt but now called the dot product) and as these Strecken fall entirely within the given Strecken the parallelogram constructed by these Strecken is an inner product! But precisely when " shortened Strecken" lie against each other is when they are identical to the given Strecken. However when they are perpendicular to each other against each other, usually through a common point but not necessarily so, then they disappear, leaving only the given Strecken!

The Grassmann Outer product is about the strecken "directions" spreading out from one another as you step away the strecken like clock hands. The Inner Product is about the nearness( Annaherung) of the " shortened" Strecken in this same process and within these spreading directions. Thust for the Inner Product it was important that the projections of the strecken were perpendicular onto each other In this way the "shortened"strecken have a "reciprocal" value applicable .This actually makes the Grassmann inner product

AB* cos^2¢*sin¢ if ¢ is the angle between them.

The outer product therefore represented a construction based on parallel lines, while the inner product is based on perpendicular projections and then parallel line constructions. Although this is not the work up for covariant and contra variant vectors, it is the source of that technology. Grassmann specified a vertical projection( perpendicular ) for his inner product, but the Euclidean inner product works slightly differently in where it projects the Strecken to in the covariant technology.

Now Grassmann was keen to put his results and discoveries in a second " Volume". Especially as he believed he had found out how to represent undulatory motion and angle in his algebra. He was so excited that he wrote this in his first Vorrede as an overview of good things to come, in case pressure ( of circumstance) delayed the publication of the second volume. How true that fear turned out to be, and then some. The uptake of his first volume was minimal! Yet it alerted Peano and Hamilton to a great genius. I have written what I have written about Gauss and Riemann, with some corrections I might add, but the plot is the same.

The inner and outer product are crucial to representing angle and undulation. The use of the exponential is also novel, but well founded.

The inner product never exceeds the pi angle! This is due to the insistence on drawing perpendiculars onto the other Strecke. As the angle between the 2 Strecken alters the outer product goes from an acute to an obtuse parallelogram in its outer product. The two Strecken directions must step out from each other, that is emerge from a common join or point and rotate away. This product actually goes negative when the angle exceeds pi. However many ignore this formalism in geometrically constructing the product, something Grassmann warns against: we must observe all the conventions! Thus as Grassmann points out, you can represent every outer product by accounting for and interchanging the signed designation. To keep equality when designations for Strecken change you must change the sign of the whole system.

Grassmann has contrasted Strecken that were connected to each other by a join, whose directions or orientations were ticking apart like the hands of a clock with the vertically projected Strecken which got closer the more the projecting Strecken got further apart from each other , that is in a divisionwise sense ( teilweisem or teilweisem) they were reciprocal to one another. What he meant by that I think is that the Strecken rotated apart the shadows they cast vertically on each other drew closer to each other, not in orientation but in "nearness". For the inner product this gave "geltenden Werth", that is an applicable value by parting in a reciprocal manner to the angle spread. This must be a reference to a table of values namely the Sine table. The dot product makes use of the cosine tables, but the Grassmnn inner product is a more complex combination.

Spend some time just appreciating how the different internal angle changes the sign of the product! This is for the exterior product.

The interior product is a bit more involved. Drop vertical /perpendicular lines onto each Strecke from the other Strecke.. That means for points ABC and Strecken AB, BC drop vertically onto BC from A and vertically onto AB from C. The two Strecken from B to the perpendiculars are used to form the inner product.. It can only form in an acute or obtuse angle so it never becomes negative. The standard or Gibbs vector inner product ( dot product or Euclidean product) does go negative unless a restriction is set on the angles. It's position relative to the given Strecken is always vertically opposite from the angle between them.

Grassmann insist only on the construction. This means that as the Strecken pass the pi/2 boundaries they have to be prolonged backward to perform the construction.. The Strecken marked off are now in the contra directions of the outer product Strecken so produce a positive parallelogram product. Strictly speaking, these constructions produce strecken outside of the initial Strecken but in the same line with them ( gleichgerichtet ), so the inner product is distinct from the outer product.

The construction constrains us to use the angle between these projected Strecken to construct the parallelogram. This is not the same angle used by the outer product, so because Grassmanns construction of the parallelogram involves 2 same signed cosines( cos^2¢) and never uses the reflexive angles the result is always positive for the inner product. The construction of the outer product involves only the sine of the angle, so the resultant parallelogram switches sign when the angle becomes reflexive..

Grassmann noted that the inner product did not change sign when the Strecken designation was changed, so for the inner product he had commutativity
AB = BA

Grassmann utilised this fact in his Ebb and Flow of tides paper, to establish an identity between the angle , the trig and the exponential functions of the angle, he appears to have expressed it in degrees, but the point is it is an IDENTITY. This means that we do not evaluate the numbers we switch between the two to get a facility for visualising what is being modelled. We could say that it is a map onto the Grassmann product planes if that helps!

Grassmann then goes on to formally deduce the Eulerian form from his algebraic representation in inner and outer product form.

His point, briefly highlighted in this Vorrede was that his analytical method was as general if not more so than Eulers!

How come it produces an analogous identity? This is simply a consequence of Grassmann writing a linear combination of the outer and inner products and applying the combinatorial rules, it is to be observed that the outer and inner products coincide in the same manner as the i and the numeral products, but in zero rather than in 1. Using this as the angle measure and the exponential function he models a sine and cosine identity. Clearly an evaluation of the inner product is required akin to but not at all the same as radians, because they are an arc diameter ratio, the inner product is to all intents and purposes an area of a variable parallelogram. Thus he uses a parallelogram area ratio.

https://en.wikipedia.org/wiki/Bivector

http://www.amazon.com/wiki/Exterior_algebra

http://brickisland.net/cs177/?cat=5
http://ia700209.us.archive.org/7/items/collmathpapers11caylrich/collmathpapers11caylrich.pdf

I have given ths section a lot of meditation, and think I am about right in understanding it. The punch line is the terminology " bei teilweisem". This means "by division wisdom". Technically it is a passive verb form written adverbially!. Anyway it means by applying the rules of division!

Here Grassmann announces that without calculation, just by looking at these 2 kinds of parallelograms he knows that applying the rules of division will give a valid result!

All well and good, but he has now introduced division into his combinatorial toolbox, along with multiplication and addition! None of these terms are to be taken in their arithmetic sense.mthey are terminology for methods or algorithms or processes of combination or distinction. But a valid result is a tabulated or commonly recognised result that is consistent with some principle. The principles of division include reciprocal evaluations. However before you run through the way you were taught division I want to catch you and irect you to Euclids algorithm. This is the foundation of all arithmetical principles and the motivation of Book 7 in the Stoikeioon.

While Grassmann is unaware of this link at this stage in his exposition, the nature of his thinking means he is travelling along this route. Thus the valid value is not some " number" but a ratio or a proportion of the objects. The inner product can be used to measure the outer product( kata meetresei ), and it contrariwise can be described as a part of the exterior product. Also. Given Grassmann felt the need to include sign to istinguish rotation, it helps to preserve sign in this comparison or measuring process.

I had thought Grassmann had stumbled onto a trigonometric relationship with the exponential, but he had and he hadn't. He had not discovered the hyperbolic Sin or Cos, but he had invested it with pregnant meaning. The tendency was to distinguish the sinh and the cosh, but Grassmann wanted notation that highlighted their similarity. So he capitalised the first letter. His work with ebb and flow prepared him to make the connection with the inner product exterior product ratio.

The emerging treatment in his time was to use tables of values to define the functions. In this regard it was noted that for the half hyperbolic branch , the right tiangle could be used as a measuring tool. This meant that angles and sine and cosine tables coul be used. But measuring a hyperbolic branch in this way clearly means that the tabulated values would need to be interpolated. When this was done it was noted that the values were close or similar to the exponential tables values in a given exponent region. Thus these new tables calle sinh and cosh were given equivalent exponential forms.

Grassmann realised that this was not just a table of values but a general method for producing such tables for any type of curve or form. It involved the vertical projection of a Strecken onto another Strecken. This is called decomposition of vectors in Newtonian physics, or resolving the vector. It is fundamental to physics and mechanics. What it lacked was a general approach to angle. Angles could not always be conveniently measured. The proportion of the inner product to the outer product can always be calculated and it was an analogy to angle measure.

Thus now he could rewrite the Cosh and Sinh in this light, replacing an Nile by a proportion. This proportion had a direct parallelogram meaning and construction, thereby encoding a specific spatial relationship. This gave you the angle and the vectors or Strecken at any scale.

However, specially the sum of the two hyperbolics were equivalent to an exponential function. The trigonometric cosine and sine had been added many times before, but never related to another function. This suggested that our ordinary cos and sines actually are in combination an exponential function, and moreover the cotes Euler formula would be the correct one. With a bit of jiggers pokey Grassmann demonstrated that that indeed was the case! He recovered the _/-1 factor to make it all happen by a simple algebraic condition.

This is of course astonishing! But what it means is that these functions and formulae are part of a bigger system, the system of processing and structuring synthetic forms. The combinatorial rules for doing this were the same whatever form you looked at.

Grassmann took that to mean there is a spiritual structure embedded in space, but I take it to mean that we have used the same measurement tools to dissect our forms, thus we use the same tools to construct them or solutions to creative problems involving them.

When I create a mosaic using square bits, the only way I can build the mosaic is by repeatedly using suare hits. Similarly when I analyse a problem using a right triangl, the only way I can build the solution is by using a right triangle. Thus every method of solution can be written down by writing down the general solution for a right triangle.

in essence Grassmann's method of analysis and synthesis is finding the general solution to all general solutions!

Associativity, Anticommutativity and Antisymmetry in Grassmann Algebras

http://www.stebla.pwp.blueyonder.co.uk/papers/Euclid.pdf
Normans Wildlinear Algebra series is a great introduction to Grassmann algebras. But his projective geometry is also a Grassmann algebra, something Robert Grassmann particularly emphasised to Hermann in his 1862 revision of Ausdehnungslehre.
Finally the hyperbolic geometries are also Grassmann algebras.

There is an expression revealing Grassmann claimed to have realised this in 1844, and it is clear in 1862 that he had hoped for collaborative researchers to have advanced his ideas into a new root and branch formulation of the house or tree of Mathematics and the sciences. By and large. Peano and Whitehead, Gibbs and Clifford have managed to do this, with Dirac being the jewel in the crown.

I have struggled to appreciate what he was thinking, much of which is inspirational and subtle in his German originals. The notions he struggled with are well put and far reaching, as expressed in his Vorreden. One of the notions is the notion of "contra".

Hamilton uses this notion to build his model of conjugate functions, otherwise called a science of pure time. He struggled also to break free from Cartesian coordinate thinking, and created much of the vector terminology. He acknowledged that Hermann was ahead of him in this game and redoubled his efforts to catch up.

The notion of contra underpins the sign conventions. We can start with Brahmagupta who introduced his fortunate and misfortunate numerical and algebraic and also aphoristic designations.
I can go next to Bombelli, and. Napier and Stevins for bringing it into European thought, against opposition by Hellenistic protagonists.
Then to Descartes Newton and Leibniz for making it de rigour against considerable antipathy , and then I think to the Grassmann's and Hamilton for developing the ring and group theoretical superstructure to apprehend it.

Contra, as a notion applies not to the elements of objects things, etc, but to the subjective processing of the observer/actioner. It is that individuals point of view or perspective or even apprehension that is being modelled by contra..

Often I read some researcher stating that there is no negative numbers in our experience of reality, or space. While that seems prima facia to be a truism, in fact it is a misapprehension of such thorough obscurity that one cannot explain it to one who is of that opinion. One simply has to learn that our models are only a small eclectic choice of all possible and impossible models! And then one has to apprehend the group or ring structures of all these different possible approaches and models, and how that affects ones appreciation of any supposed difficulties.

Eventually one may learn that our models programme our abilities, behaviours and reactions and viewpoints.

On a purely utilitarian criterion, some models are more useful than others. Adding the contra notion has proved to be extremely useful in all sorts of comparisons and judgements.

Sometimes we get stuck in one way of thinking, so contra means only one thing. But usually, by analogical thinking we recognise contra in many descriptive experiences. In this blog I am looking at contra in terms of spatial orientation and spatial symmetry. Because it is a spatial comparison I need the notions of associativity and within associative relations the notion of commutativity of the elements of the relations.. It is this commutativity which invokes the analogy of symmetry, but not just as a metaphor: it is a cognitive apprehension of the spatial relationship of the elements! In other word we have to quit being objective and examine our subjective processing of the actions, notions and relations , the ennoia going on with our mental engagement at the very least.

Symmetry derives from summetria, a fundamental Greek notion of group structure! The term seems to have its origin and weight in architectural concerns, where it's principal notion means a " common" or" gathering" measuring scheme. Thus a Metron , a single measure is only part of a summetria. A gathering of Metrons/ Metria.

The underpinning concept of a summetria is a beautiful or harmonious form. The standard example is the human form. This is not a conceit, but an important design principle. Humans feel more comfortable if their surroundings do not jar with their familiar Metrons. Put another way, architecture has to have human dimensions!( Metria).

The analysis of what is judged aesthetically pleasing reveals a " collection" of Metria, different scales for different regions of a form.nfor the human we have phalange size, gfnger size, hand size arm size, abdominal size head size etc. these sizes or Metria are tabulated for the aesthetic ideal. You will note Da Vincis man in a circle and square as a geometrical exemplar of this.

During the renaissance, artisans studied these summetria, that is collections of measurements to learn how to compose the aesthetically ideal forms. Such forms therefore were designated as being " of summetria", that is derived from symmetrical considerations and meditations.

Much, much more can be said about the proportions derived from the summetria, not the least being the golden ratio, but the thing I want to note is the fundamental model a summetria presents of a group structure.

The elements , the closure, the combinatorial actions are all exemplified in this concept. For example, any building designed by these principles will scale, so the ratios and proportions are fundamental distinguishes of the Metria within the group, and to what the combinatorial resultants must conform! This means that the group has a quadratic action on its members when deigns are considered and elements combined. The golden ratio forms give a simplified superstructure to get designs " right".

I use this derived notion of a group distinction process: a common bond, or binding or boundary defines the elements of a group. It also defines the essential meaning of a summetria.

So how can a group be anti symmetric? It can't! What is anti symmetric is the action required to keep resultants within a group.

A symmetric action always produces resultants within the group. All closed groups are therefore potentially symmetric. An anti symmetric action produces resultants that require a contra element in the group. Thus a group has an extension which is contra to the group and these are combined to form a new group which now is symmetric, but only through including anti symmetric resultants. The group can be partitioned with no overlap!
The action that produces an anti symmetric result is often referred to as symmetry breaking. What this means is that sometimes our models are forced by us to be symmetrical, when the reality we live in is antithetical to that constraint. We have therefore to submit to empirical data and modify our model, no matter how beautifully aesthetic it is!

The fundamental action behind Grassmanns analysis is synthesis or construction.mthus Strecken are construction lines, points are construction points, and the combinatorial actions of synthesis simply mean draw and construct using these TYPES of element.... The construction of a line read draw a straight line using points A,B. a computer would ask for specifics, a smart computer would access the types and use the default instances. An even smarter computer would ask for specific properties to be input to alter the default. This is how Grassmann synthesis works, but we must know the default construction to use it!



Before we can start to synthesise we must have analysed the "finished" or goal form. When we have that basic knowledge as default information we can use Grassman's synthesis algebras. His algebras only have to specify the elements and how they combine. The first aspect of combination is " pros" that is placing in a relationship or association by putting an element relatively befor another element.

In space no one can hear you scream: "what is 'before' something else!" the answer is not spatial but sequential, and it is sequential in process. So when I describe a as bing before b I can interpret that spatially only if I establish a sequence of processing. The spatial notion of "before" or " pros" derives from this sequential action. This sequencing is totally subjective.

From this notion we also derive the temporal notion of before in time. In fact Hamilton's synthesis of algebraic arithmetic is based purely on this notion of " progressive" sequences, which he identifies with pure time .

So associativity is about sequencing the elements. Because we start with 2 elements we mistake this point. The 2 elements are associated in a sequence. Because of this we can actually have as many elements as we want in an associative sequence.

Commutativity comes when we commute or change two elements in the sequence. In fact it is any two elements in an associative sequence whether adjacent or at different places in the sequence. Most Group structures follow Euclid and deal only with the two sequence and the three sequence. When we look at commutativity in the three sequence we introduce brackets to emphasise what are commuting. The bracket creates a new object, it is not an element it is a synthetic structure made up of several elements in associative sequence. Beyond that the bracket is left unspecified.

However we can now isolate which elements we want to direct our focus onto. These elements cn then be synthesised indecently, and then the resultants combined in a synthesis. This creates a problem. Because if my combinatorial action is specified on points say and produces lines, can my action apply to lines?

The answer is no if you take an anal approach and yes if you take a goal oriented approach. If the goal is to construct a parallelogram, then we must use the points and the synthetic products of points to do just that!
Anally this is horrible, because as a computer we have not given it enough information! It takes a demonstration of what to do, what to vary etc to specify the construction! However for a trained monkey this is quite doable. The difference is that the monkey has analysis or analytical skills to help it learn nd try heuristic ally to reach the goal for a banana!

The use of these additional subjective processes in this way are what mathematics and science had ignored until the Grassmanns. They did not exclude the observer from their prt in the construction process.

Effectively the notation takes on the role of human software, or a set of construction instructions like those found in an IKEA flat pack!

Now, we can make sense of Antisymmetry and anticommutativity. They represent the very real differences that occur when you attempt to construct something in the real world. If A and B are processes then sequencing the processes AB does not give the same result as sequencing them BA in general . It gets worse! If a,b are elements in process A then regardless of elements in process B changing the sequence of elements in process A will change the resultant of AB in general.

Thus we se that the commutation of associative sequences is fundamentally anticommutative .

This is not true of representatives however. Representatives can always be commuted. This gives us a general distinction between representative terminologies and fundamental constructive element terminologies.

In general associativity as defined is not going to necessarily give the same resultants, because the bracketing actually implies a different process order within an unchanged sequence order. The reverse polish notation highlights this very effectively, because it shows how the brackets actually change the process sequence in a computation. The BODMAS rules are an attempt to "code" between the two, so as to retain some aesthetically pleasing notation. This is why Grassmann analysis was so fundamental. Educated people were putting aesthetic form before constructive function and getting everyone in a constructional muddle.

It was not easy for the Grassmanns to see through this aesthetic fog, and Justus made some fundamental mistakes because he could not see where he needed to go! But by continued diligent effort and the rise of computer coding we have made the breakthrough, and the Aesthetes have even started to pretty it all up again!

Grassmann defined AB = –BA because he found that the sign portrayed this difference in orientation symmetry.. The difference in orientation is subtle . It is not as simple as negative or opposite. It involves not only orientation, but also rotation of the observers point of view! It is non intuitive therefore, and took a while to apprehend.

Hamilton had given the sign more thought than Grassmann and came up with he word contra to deal with its subtleties. However, by the same token Hermann explicitly laid out its subtle effects but used the same word Zeichenwechsel to convey its subtleties. So the notion was lost between the two. Lost in translation. Both Hamilton and Grassmann are not referring to the rules of sign, they are referring to behaviour from which we derive the rule of sign. Thi behaviour is that of the trigonometric ratios of the radius of a circle as it is projected onto the diameter of the circle.

But contra also refers to reversal of process as well as reversal of orientation, so the changing of "sign " is not just about flipping from one sign to another, it is more complex than that! The reversal of sign is about the orientation of a form in 3d space relative to an observer.. While there are no negative measurements in space, there are oriented measurements. Sign is the rudimentary mark we use to alert us to orientation in space, both ours and the objects relative to each other.

The anti commutativity and anti symmetry in Grassmanns algebra relies on one fundamental process. Designation.
Designation is the same as distinguishing, so if you have two points you can designate the first one A or B, which determines the second one .mthis automatically means that A,B is not not distinguished as a pair!. However, the relationship between the 2 designations is that Streke AB = –{BA} Streke.

Most of us miss this distinction, because we are waffled around it by our teachers. The sequence position is sacrosanct so if I associate 2 points in the sequence 1,2, then designating them A,B is different to designating them B,A. Thus when Grassmann writes in the vorrede to 1844 that he had been meditating on the negative and noted that the Streke AB is the negative of The Streke BA, he does not mean that we are looking at a fixed Streke in space. The Streke AB becomes the Streke BA very simply. We redesignate the points. But this simple redesignation has a profound spatial effect; it reorients the observer! Alternatively it flips the line round ! It does this either in the plane or out of the plane, around a centre of symmetry placed anywhere in space. In fact the flip can be specified, but it is usually left unspecified?

This is obscured by the modern vector treatment of Grassmann. A point is designated by the observer. Justus set some ground rules. Points should be designated in alphabetical sequence so 1st 2nd 3rd maps onto A, B, C, and direction follows alphabetical order, and construction is done in the same order, and crucially angle measure is done in the same order!

Changing one of these rules changed the resultant construction. Everything was specified, the only free thing was the placing of the first 2 points and the drawing of the lines. Points therefore had no specific position on the page and a line had no specific orientation or direction or length until it was designated. This by cycling the designations different constructions could.be done.

Suppose for points A,B,C two lines are produced . Designate AB as a and BC as b then producing a parallelogram from a and from b is the same as producing it from b and a. However AB means more than that. It specifies the sequence of construction , the position of the elements relative to each other, the orientation between them, the direction the line is drawn, the direction the angle is measure in construction . BA therefore contains a specific instruction to put b in the first position. That first position has an orientation relative to the observer. Thus b has to be put in this orrentation, and thus flips the construction, because the angle construction has to be performed in a certain direction, that is clockwise or counterclockwise. Justus specified all angle measure construction to. E done counterclockwise. We still have that tradition, but it is the missed out elementary factor in the explanation of anti commutativity and antisymmetry.

So the notation AB means construct a parallelogram using a,b with b rotated counterclockwise from a. Thus ba dictates that a is rotated counterclockwise from b. most vector treatments ignore this fundamental instruction. Instead they place before the student the bald axiom AB = –BA and do a bit of sophisticated algebraic manipulation to produce the result.

Grassmann was actually stunned for a long time when he arrived at this result. He was stunned because the notation was telling him that he was missing something in his understanding about space. It was simply that synthesis or construction has a sequence and a specification. To achieve a consistent resultant everything must be specified. When this is done as Justus had insisted throughout the primary schools in Sczeczin(Stetin) you reveal a fundamental process superstructure which Grassmann felt was embedded in 3d space. It shows itself over and over, because in constructing the parallelogram the same anti commutativity stands out! It stands out because of the precise, rigorous, anal., autistic specification of everything! Thus I think it is a consequence of our subjective processing rather than space. Grassmann's " Lebe und " Seele" metaphor is in my opinion the actual foundation of this curious antisymmetry and anticommutativity.
.
Without this superstructure most of the anti commutativity notion collapses, and with it antisymmetry.

Grassmann's Point Algebra and Potential/Scalar Fields

,

Grasmmann point algebra
http://jmanton.wordpress.com/2012/09/03/introduction-to-the-grassmann-algebra-and-exterior-products/

Abstract

The dissemination of Grassmann’s ideas to the larger mathematical public in Germany intensified with the interest in this scholar’s achievements shown by Alfred Clebsch (1833–1872) in the early 1870s. The premature death of Clebsch prevented him from deepening his adaptation, but the friends and disciples in the Clebsch school continued the reception of Grassmann’s work. I intend to show the important role of Clebsch’s school, and in particular that of Felix Klein (1849–1925) in making Grassmann’s work ac



basis

Abstract

Basis and dimension are two elementary notions in the theory of vector spaces. The origin of the term ‘basis’ comes from the possibility of expressing any element of a given set as a linear combination of the basis elements. Therefore, the origin lies in a question of generation; on the other hand the condition of unicity brings out the question of independence. The connection between generation and dependence is certainly one of the most interesting characteristics of the concept of basis: any maximal set of independent vectors or any minimal set of generators, is a set of independent generators and vice versa and such a set is a basis. Moreover, the dimension, beyond its “natural meaning”, is the merging point from which the question of invariance is to be drawn out. Indeed, the fact that all bases have the same number of elements entails two results: there cannot be more than a certain number of independent vectors, and fewer than the same number of generators. With a suitable starting point in the presentation of definitions and first properties on dependence and generation, these different aspects seem quite logically connected and easily explainable, but historically, the development of these two concepts was less straight-forward. For various reasons, in the approach to the concept of basis, the connections between dependence and generation were not always exhibited. Therefore the concept of dimension could only partially be drawn out, and some of its aspects were smothered, or even considered as obvious and assumed to be true without proof. On the other hand, the relation between the dimension of a subspace and the rank of any system of linear equations by which it can be represented, played a role in the history of the concepts of basis and dimension.


http://adsabs.harvard.edu/cgi-bin/nph-abs_connect?bibcode=1891Natur..44..105T&return_req=no_params&selfeedback=1&use_title=YES&use_kwds=YES&return_req=feedback

Abstract

Michael Crowe has shown in his History of Vector Analysis (Crowe 1985) that Grassmann’s earliest mathematical work, the Theory of Tides, contains almost all of the key vectorial notions that appeared four years later in the Ausdehnungslehre. On the other hand, Grassmann never published the Theory of Tides—it first appeared in 1911 in Grassmann’s collected works (Grassmann 1840). Many of the physical applications, however, did appear in 1877, the last year of Grassmann’s life, as “Die Mechanik nach den Prinzipien der Ausdehnungslehre” in the Mathematische Annalen. The only essential difference between this later version and the 1840 appearance appears to me to be ostensibly minor changes of notation. I believe, however, that it is just this difference that points to the contribution that the Theory of Tides can make to our understanding of how the Ausdehnungslehre came to be.


http://mathoverflow.net/questions/22247/geometrical-meaning-of-grassmann-algebra
http://www.stebla.pwp.blueyonder.co.uk/Whitehead.html
http://books.google.co.uk/books?id=bUEcbyfW55YC&pg=PA4&lpg=PA4&dq=Grassmann+point+algebra&source=bl&ots=Sp6kEc8vDw&sig=103dFwhOCuFoWLXJ-EkW3U2KXYE&hl=en&sa=X&ei=ysOMUd-UHcjFObT2gKgL&ved=0CDUQ6AEwATgK#v=onepage&q=Grassmann%20point%20algebra&f=false
http://mathoverflow.net/questions/102917/urge-reason-for-inventing-interior-product-grassmann-algebra
https://sites.google.com/site/grassmannalgebra/bookandpackageversions


So I start wit an undefined scatter of points. I distinguish two points A,B. they are completely arbitrary, except the tool I use for a synthesis process imposes some limitations.
The first construction action I define is to use a pair of dividers and fix them on A and B. this gives me an instrumental copy of something I will call displacement §
§AB is an algorithm or method. It does not affect the points per se, it affects the observer and the tool used.
Now does it make sense to use a divider? Only in the plane or in contact with an in elastic surface, which nevertheless is markable. Already you can see how this method of analysis/ synthesis sets certain constraints to be achievable or pragmatic.

§AB makes sense only in a certain set of circumstances.

Confining the observer and actioner to those circumstances enables me to write
§AB = §BA.

But in fact this says nothing about points. It says that the measuring instrument ends up in the same fixed configuration. Thus we immediately fall upon the notion of an exterior algebra!

Leaving the points to one side, and concentrating on the dividers I can compare gape and set up an additive Alebra of gape. This is an exterior age ra, a prior one necessary before I can develop a concept of displacement as gape, and the practice of measuring using gape.

So dosplacent is an exterior algebra associated to the scatter points. It does not synthesise anything from points entirely of points. This observation is at the heart of the notion of an interior algebra and it is the notion of closure. This idea is that if we are talking points then everything should be about points? Later we will see that the reatriction is even stricter.

So a second synthesis I could do is construct aset of points from the scatter set which are centred around A with the same displacement §AB. This forms a spherical surface of points. However,nab spherical surface is not a point, so now I have constructed a new object that is not a point. It is an exterior topology even though it is embedded in the scatter points.

There is an algebra constructive on this surface, but we tend to call it a hyper geometry. I just call it a Spaciometry. However it cannot be constructed without some prior Spaciometry of these spherical shells,
¢AB is not the same as ¢BA.

However the two do intersect and form a new collection of points called a circle which is the identical form for both
So €AB = €BA.
We can construct an exterior algebra on this circle between the points, which is again embedded within the scatter points but does not include A and/or B .

The first interior algebra, one which is closed for all it's elements, which is set talk for it includes A and B is the set of points on any curve that goes through both A and B.

However, since we call this a curve or a line it is not a point, and so it is called an exterior construction, even though it is really interior!
So what is an interior construction for A and B ? Currently it is defined as the midpoint , a single point on the exterior product straight line between A and B.

This confusion is not uncommon in a developing subject. At the level of a point algebra it seems a moot point about which construction is exterior and which is interior, but the notion of multiple and extensive use of a Metron underpins it. A line is clearly this kind of extensive multiple form made of points..

To distinguish the two the + sign is used
So p(A+B)=(A+B)/2 = p(B+A)

This construction in the plane is the standard line bisection, but in 3d space it is a lot more complex, but still true..

The upshot is that most construction actions in Grassmann analysis produce or invoke exterior algebras. A few with stringent conditions create interior algebras.
Now I have to discuss the use of the contra notion and the – signal.

,

I have two lines of enquiry buzzing in my head: Grassman point algebra as a group structure for a potential field, the so called conservative fields or scalar fields; The twistorque description of the piston.

The twistorque description of the piston relies on a steam piston driving a wheel but their are 2 pistons mounted contra to each other and attached by rotary bearing to the rims on either side of the wheel, or a steam turbine that impels blades in a torus chamber imparting circular drive. The Waenkel piston drive and the kugel engine will also be examined, along with several other pressure transformation systems..
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http://en.wikipedia.org/wiki/Wankel_engine
http://en.wikipedia.org/wiki/Pistonless_rotary_engine
http://en.wikipedia.org/wiki/Rotary_engine
http://en.wikipedia.org/wiki/Inline_engine_(aviation)

http://en.wikipedia.org/wiki/Reciprocating_engine
http://en.wikipedia.org/wiki/Stirling_engine

http://auto.howstuffworks.com/huttlin-spherical-engine2.htm


http://www.gizmag.com/huttlin-kugelmotor/19923/

The Spheroidal ellipsoids as models of regional pressure.

The strain ellipse allows one to model strain deformation in a laminar flow. The idea is to use some useful properties of an ellipse to model both rotation and strain in a circular fluid element. The assumptions are that the circle is sheared in 2 directions by a linear velocity profile which is anti symmetric . This velocity profile is a property of fluids sheared between 2 rigid boundaries, but observed in certain viscous fluids.
In fluids with such a shearing " force" the velocity profile is visualised by small bubbles flowing in and along with the fluid. The shear " profile" is seen only in a region near the boundaries and is dependent on the viscosity. Of the liquid. The greater the viscosity the larger the region in which this flow is seen.

The profile was first discussed by Newton in terms of lubricity. It seems likely that he noticed it in spinning buckets containing water. What he noticed was the slow progression of rotational motion toward the centre of the fluid mass and the rising of the mass up the side of the rotating bucket.. His comment that the velocity of the streams of water appeared to depend on the lubricity of the fluid was taken to justify that the shear " force" was equatable to some constant times the velocity gradient.

https://en.wikisource.org/wiki/The_Mathematical_Principles_of_Natural_Philosophy_(1846)/BookII-IX

Having now found access to Newtons book 2 I can make a correction in some statements about his opinion. His opinion was that his theory in book 1 gave a better description than his theory in Book 2. By this he does not conclude that vortices are not tenable as descriptions of planetary motions, but rather they perplex the explanation, and by his premises contradict the empirical data.

It is fair to say that he gave a reasonable stab at a vorticular explanation, but several important bits of empirical data are missing from his assumptions, not the least the correct relation and propagation of pressure through resisting media.

It is also good to see that Newton proposed this standard of fluid dynamics as a hypothesis! Later he remarks that it is unquestionably a wrong hypothesis, but the best he could obtain!

Again, Newton and laminar flow are not synonymous. He expects viscosity because he uses the phrase " the want of lubricity!". Thus I feel I can now define viscosity as the want of lubricity.

This is not an inverse description, but rather a negated description: viscosity is "not lubricity", or contra lubricity. Thus Newton anticipates a fluid in which a body experiences no resistance as being perfectly lubricious. Thus no viscosity is not viscosity which is not ( not lubricity) , and not not cancels leaving lubricity.

Any proportionality is therefore entirely within the chosen descriptor. Today we use viscosity, and we may expect it to be proportional to the transfer of motion through a fluid.. The use of a velocity gradient, even in a steady flow system is therefore entirely misleading!

The analytical and observed system is a dynamic transfer of velocity through the fluid medium. Thus the medium is accelerated relative to the driving force and this is communicated to the body being moved. The velocity gradient is a visible experience of that acceleration or deceleration.

The velocity gradient therefore is not a slope in space, but a slope in sequential time. The slope in space is a kind of Hookes law of the shear force, whereas we ought to expect, and certainly of Newton, a law bases on the second derivative with respect to time!

In a steady flow, and in Eulerian reference frames we should expect to see a dynamically stable equilibrium deceleration! Or acceleration, in other words a constant acceleration. The second derivative would be a constant, which is what we see a constant change in velocity.

The fact that this change in velocity is spread throughout the medium . Instead of in a line, gives us additional information about force. The best explanation is in fact that force should be replaced by a volumetric pressure. The velocity gradient is then a consequence not of the "shear force" but rather the shearing pressure in the flow which acts multidirectionally.

Using a radiating pressure and resolving it through a surface into normal and tangential forces helps to explain fluid behaviour more empirically.

Vortex Based Mathematics

, , , ...

The V9 group.

There are 2 video playlists that describe this group. I will only post the initial video here, but both playlists should be studied compared and contrasted.



And Norman's more general "mathematical" or consensus treatment:



Now when the idea of a group structure on a topological form is mentioned it is a form of rhetoric. A topological space is usually a Form on which a metric is imposed. This literally means the observer decides to apply some form as a Metron to fractalise that space/ form. So the form is fractured, turned into a fractal, made into a multiple form based on the Metron, factorised, conjugated by the Metron within the space . All these rhetorics underlying ultimately what is meant by measuring a space.

Because of the fashionable rhetoric of referring to a set , it becomes necessary to specify what kind of set, and a topological space is a general specification that a set has a metric and a group or ring algebra associated ith that metric.

I particularly like this presentation because it ties in nicely with Grassmanns generalised notion of a combinatorial process for synthesis of a resultant. In this case a point on the circle. Grassmann gave a simple product rule for 2 points, that was the straight line that joined them. This is in fact not a closed rule, strictly speaking because it flips out of a set of points to a line, that is it goes from a point algebra to a lineal one. However, this is why Grassmanns analytical and synthetically method is so powerful. Without his structural inconsistency we would never be able to construct a model of "reality" consisting of collections of distinguished points. These non closed definitions of combinatorial processes allow us to define and study the combinatorial structure of sets which include other sets at a different level of "interpretation".

These levels of interpretation are surprising because they exhibit the same formal structure whatever level is chosen! This means that analogous thinking has this formal basis to which it can be compared. It also means that a solution at one level may provide a solution at another level, and contrariwise a question at one level may be a valid question at another level.

Hermann apprehended this analogous superstructure, and I recognise it as a characteristic of a fractally generated structure. Thus Grassmanns analytical and synthetically method is highly fractal : recursive and iterative.

It is also nice to see a direct and cross application of the parallel line being the bais of a combinatorial process of synthesis on a circular decomposition of the plane!

It is extremely important to realise that when Norman says this applies to all comics, this means our formal models of gravity and electromagnetism, strong and weak nuclear pressures can be decomposed into all these analogous forms.

The V9 group is therefore only one of many decompositions of the circle that can describe our formal mathematical structures. Norman gives 3 examples and the V9 group is a fourth, but there are many others. 9 has a special numerical place in Bahai philosophy and metaphysics. The 8 has a special place in Vedic philoshical and metaphysical wisdom. But as you can see, these are really anchor points in a more general spaciometric description of our formal models of " reality".

It is important to note, that this means reality is more complex than our formal models!
http://vortexspace.org/gettingstarted.action
http://en.wikipedia.org/wiki/Manifold