Walsh transforms of trace forms with three or more terms and some maximal Artin-Schreier curves

Author(s):  
Sankhadip Roy
Keyword(s):  
1962 ◽  
Vol 14 ◽  
pp. 553-564 ◽  
Author(s):  
Richard Block

If L is a Lie algebra with a representation Δ a→aΔ (a in L) (of finite degree), then by the trace form f = fΔ of Δ is meant the symmetric bilinear form on L obtained by taking the trace of the matrix products:Then f is invariant, that is, f is symmetric and f(ab, c) — f(a, bc) for all a, b, c in L. By the Δ-radical L⊥ = L⊥ of L is meant the set of a in L such that f(a, b) = 0 for all b in L. Then L⊥ is an ideal and f induces a bilinear form , called a quotient trace form, on L/L⊥. Thus an algebra has a quotient trace form if and only if there exists a Lie algebra L with a representation Δ such that


2021 ◽  
Vol 27 (4) ◽  
Author(s):  
Jocelyn Ho

The music of Tōru Takemitsu’s Rain Tree Sketch II (1994) entails a procession of discrete gestures that are delineated by moments of repose. The performer’s grasp of the piece lies in its physicality of movement: each gesture and in-between stillness are both heard and felt as an aggregate of velocities, directions, and intentions of the body. Drawing upon Carrie Noland’s concept of “vitality affects,” I take the performative gesture, encompassing both visually accessible movement and inwardly felt kinesthesia, as a starting point for the analysis of Rain Tree Sketch II. Concepts of effort and shape taken from Rudolf Laban’s dance theory provide a framework for creating a new methodology of enhanced trace-forms to analyze gesture and kinesthesia. The analysis of gestures reveals the coexistence of opposite effort qualities and shapes in an expanded corporeal space, resonating with Takemitsu’s ideal of reconciling contradictory sounds, as noted in his collection of essays Confronting Silence (1995). Husserl’s notions of retention and protention, viewed through the lens of embodiment, and Laban’s concepts of effort states and effort recovery are brought to bear on the still moments, showing the piece to have a throbbing, embodied rhythmic structural arc. This new methodology centering on gestural-kinesthetic details provides the tools to articulate structural sensations that are often overlooked but lie at the center of musical experience.


2010 ◽  
Vol 175 (1) ◽  
pp. 113-124 ◽  
Author(s):  
Lior Bary-Soroker ◽  
Dubi Kelmer
Keyword(s):  

1983 ◽  
Vol 29 (3) ◽  
pp. 297-312 ◽  
Author(s):  
Gerald J. Janusz

1996 ◽  
Vol 246 ◽  
pp. 313-333 ◽  
Author(s):  
Manuel O'Ryan ◽  
Daniel B. Shapiro

2012 ◽  
Vol 08 (07) ◽  
pp. 1569-1580 ◽  
Author(s):  
GUILLERMO MANTILLA-SOLER

Let K be a number field. The integral trace form is the integral quadratic form given by tr k/ℚ(x2)|OK. In this article we study the existence of non-conjugated number fields with equivalent integral trace forms. As a corollary of one of the main results of this paper, we show that any two non-totally real number fields with the same signature and same prime discriminant have equivalent integral trace forms. Additionally, based on previous results obtained by the author and the evidence presented here, we conjecture that any two totally real quartic fields of fundamental discriminant have equivalent trace zero forms if and only if they are conjugated.


2001 ◽  
Vol 237 (3) ◽  
pp. 561-570 ◽  
Author(s):  
Grégory Berhuy
Keyword(s):  

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