DOCSLIB.ORG

Puzzling the 120–Cell Burr Puzzles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Puzzling the 120–Cell Burr Puzzles Saul Schleimer Henry Segerman University of Warwick Oklahoma State University Puzzling the 120–cell Burr puzzles Burr puzzles, notched sticks. Quintessence Platonic solids The Platonic solids Platonic solids Regular polytopes in dimension three. Regular polygons First infinite family of regular polytopes. Polygons. Regular polytopes The other three families: simplices, cubes, cross-polytopes. Tilings. Regular polytopes Odd-balls. Hypercube The 4–cube (or 8–cell, hypercube, tesseract, unit orthotope). F -vector. Hypercube Not a hypercube! Boundary... Hypercube ... missing a point. And projected. Hypercube Curvy, dimensionality. Radial projection Stereographic projection 3 2 2 2 R r f0g ! S S r fNg ! R (x; y; z) x y (x; y; z) 7! (x; y; z) 7! ; j(x; y; z)j 1 − z 1 − z Projecting a cube from R3 to S 2 to R2 Radial projection Stereographic projection 3 2 2 2 R r f0g ! S S r fNg ! R (x; y; z) x y (x; y; z) 7! (x; y; z) 7! ; j(x; y; z)j 1 − z 1 − z Projecting a cube from R3 to S 2 to R2 Stereographic projection 2 2 S r fNg ! R x y (x; y; z) 7! ; 1 − z 1 − z Projecting a cube from R3 to S 2 to R2 Radial projection 3 2 R r f0g ! S (x; y; z) (x; y; z) 7! j(x; y; z)j Stereographic projection 2 2 S r fNg ! R x y (x; y; z) 7! ; 1 − z 1 − z Projecting a cube from R3 to S 2 to R2 Radial projection 3 2 R r f0g ! S (x; y; z) (x; y; z) 7! j(x; y; z)j Projecting a cube from R3 to S 2 to R2 Radial projection Stereographic projection 3 2 2 2 R r f0g ! S S r fNg ! R (x; y; z) x y (x; y; z) 7! (x; y; z) 7! ; j(x; y; z)j 1 − z 1 − z N S 1 R1 1 1 x For n = 1, we define ρ: S r fNg ! R by ρ(x; y) = 1−y . This is also a cross-section of stereographic projection for n > 1. Stereographic projection n n In general, stereographic projection maps from S r fNg to R . N S 1 R1 This is also a cross-section of stereographic projection for n > 1. Stereographic projection n n In general, stereographic projection maps from S r fNg to R . 1 1 x For n = 1, we define ρ: S r fNg ! R by ρ(x; y) = 1−y . N S 1 R1 This is also a cross-section of stereographic projection for n > 1. Stereographic projection n n In general, stereographic projection maps from S r fNg to R . 1 1 x For n = 1, we define ρ: S r fNg ! R by ρ(x; y) = 1−y . This is also a cross-section of stereographic projection for n > 1. Stereographic projection n n In general, stereographic projection maps from S r fNg to R . 1 1 x For n = 1, we define ρ: S r fNg ! R by ρ(x; y) = 1−y . N S1 1 R x 1{y (x,y) Stereographic projection n n In general, stereographic projection maps from S r fNg to R . 1 1 x For n = 1, we define ρ: S r fNg ! R by ρ(x; y) = 1−y . N S1 1 R x 1{y (x,y) This is also a cross-section of stereographic projection for n > 1. Thickening the edges Thickening the edges Thickening the edges Thickening the edges Hypercube, redux 120–cell Cell-centered stereographic projection of the 120–cell. Dodecahedral 3 symmetry in R . Cut-away The one-half 120–cell. Dodecahedral 3 symmetry in R . I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 1 central dodecahedron I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Spherical layers in the 120–cell I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 Spherical layers in the 120–cell I 1 central dodecahedron I 12 dodecahedra at distance π=5 I 20 dodecahedra at distance π=3 I 12 dodecahedra at distance 2π=5 I 30 dodecahedra at distance π=2 The pattern is mirrored in the last four layers. 1+12+20+12+30+12+20+12+1 = 120 Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell). 1 + 5 + 5 + 1 = 12 = 120=10 Hopf fibers in the 120–cell A combinatorial version of the Hopf fibration. Each fiber is a “ring” of 10 dodecahedra. The rings wrap around each other. Each ring is surrounded by five others. Six rings tile a solid Clifford torus (half of the 120–cell).
Load more

Recommended publications
  • Uniform Polychora
    BRIDGES Mathematical Connections in Art, Music, and Science Uniform Polychora Jonathan Bowers 11448 Lori Ln Tyler, TX 75709 E-mail: [email protected] Abstract Like polyhedra, polychora are beautiful aesthetic structures - with one difference - polychora are four dimensional. Although they are beyond human comprehension to visualize, one can look at various projections or cross sections which are three dimensional and usually very intricate, these make outstanding pieces of art both in model form or in computer graphics. Polygons and polyhedra have been known since ancient times, but little study has gone into the next dimension - until recently. Definitions A polychoron is basically a four dimensional "polyhedron" in the same since that a polyhedron is a three dimensional "polygon". To be more precise - a polychoron is a 4-dimensional "solid" bounded by cells with the following criteria: 1) each cell is adjacent to only one other cell for each face, 2) no subset of cells fits criteria 1, 3) no two adjacent cells are corealmic. If criteria 1 fails, then the figure is degenerate. The word "polychoron" was invented by George Olshevsky with the following construction: poly = many and choron = rooms or cells. A polytope (polyhedron, polychoron, etc.) is uniform if it is vertex transitive and it's facets are uniform (a uniform polygon is a regular polygon). Degenerate figures can also be uniform under the same conditions. A vertex figure is the figure representing the shape and "solid" angle of the vertices, ex: the vertex figure of a cube is a triangle with edge length of the square root of 2.
    [Show full text]
  • Report on the Comparison of Tesseract and ABBYY Finereader OCR Engines
    IMPACT is supported by the European Community under the FP7 ICT Work Programme. The project is coordinated by the National Library of the Netherlands. Report on the comparison of Tesseract and ABBYY FineReader OCR engines Marcin Heliński, Miłosz Kmieciak, Tomasz Parkoła Poznań Supercomputing and Networking Center, Poland Table of contents 1. Introduction ............................................................................................................................ 2 2. Training process .................................................................................................................... 2 2.1 Tesseract training process ................................................................................................ 3 2.2 FineReader training process ............................................................................................. 8 3. Comparison of Tesseract and FineReader ............................................................................10 3.1 Evaluation scenario .........................................................................................................10 3.1.2 Evaluation criteria ......................................................................................................12 3.2. OCR recognition accuracy results ...................................................................................13 3.3 Comparison of Tesseract and FineReader recognition accuracy .....................................20 4 Conclusions ...........................................................................................................................23
    [Show full text]
  • 1 Critical Noncolorings of the 600-Cell Proving the Bell-Kochen-Specker
    Critical noncolorings of the 600-cell proving the Bell-Kochen-Specker theorem Mordecai Waegell* and P.K.Aravind** Physics Department Worcester Polytechnic Institute Worcester, MA 01609 *[email protected] ,** [email protected] ABSTRACT Aravind and Lee-Elkin (1998) gave a proof of the Bell-Kochen-Specker theorem by showing that it is impossible to color the 60 directions from the center of a 600-cell to its vertices in a certain way. This paper refines that result by showing that the 60 directions contain many subsets of 36 and 30 directions that cannot be similarly colored, and so provide more economical demonstrations of the theorem. Further, these subsets are shown to be critical in the sense that deleting even a single direction from any of them causes the proof to fail. The critical sets of size 36 and 30 are shown to belong to orbits of 200 and 240 members, respectively, under the symmetries of the polytope. A comparison is made between these critical sets and other such sets in four dimensions, and the significance of these results is discussed. 1. Introduction Some time back Lee-Elkin and one of us [1] gave a proof of the Bell-Kochen-Specker (BKS) theorem [2,3] by showing that it is impossible to color the 60 directions from the center of a 600- cell to its vertices in a certain way. This paper refines that result in two ways. Firstly, it shows that the 60 directions contain many subsets of 36 and 30 directions that cannot be similarly colored, and so provide more economical demonstrations of the theorem.
    [Show full text]
  • 3D Visualization Models of the Regular Polytopes in Four and Higher Dimensions
    BRIDGES Mathematical Connections in Art, Music, and Science 3D Visualization Models of the Regular Polytopes in Four and Higher Dimensions Carlo H. Sequin Computer Science Division, EECS Department University of California, Berkeley, CA 94720 E-maih [email protected] Abstract This paper presents a tutorial review of the construction of all regular polytopes in spaces of all possible dimensions . .It focusses on how to make instructive, 3-dimensional, physical visualization models for the polytopes of dimensions 4 through 6, using solid free-form fabrication technology. 1. Introduction Polytope is a generalization of the terms in the sequence: point, segment, polygon, polyhedron ... [1]. Such a polytope is called regular, if all its elements (vertices, edges, faces, cells ... ) are indistinguishable, i.e., if there exists a group of spatial transformations (rotations, mirroring) that will bring the polytope into coverage with itself. Through these symmetry operations, it must be possible to transform any particular element of the polytope into any other chosen element of the same kind. In two dimensions, there exist infinitely many regular polygons; the first five are shown in Figure 1. • • • Figure 1: The simplest regular 2D polygons. In three-dimensional space, there are just five regular polyhedra -- the Platonic solids, and they can readily be depicted by using shaded perspective renderings (Fig.2). As we contemplate higher dimensions and the regular polytopes that they may admit, it becomes progressively harder to understand the geometry of these objects. Projections down to two (printable) dimensions discard a fair amount of information, and people often have difficulties comprehending even 4D polytopes, when only shown pictures or 2D graphs.
    [Show full text]
  • From Two Dimensions to Four – and Back Again Susan Mcburney Western Springs, IL 60558, USA E-Mail: [email protected]
    Bridges 2012: Mathematics, Music, Art, Architecture, Culture From Two Dimensions to Four – and Back Again Susan McBurney Western Springs, IL 60558, USA E-mail: [email protected] Abstract Mathematical concepts of n-dimensional space can produce not only intriguing geometries, but also attractive ornamentation. This paper will trace the evolution of a 2-D figure to four dimensions and briefly illustrate two tools for going back again to 2D. When coupled with modern dynamic software packages, these concepts can lead to a whole new world of design possibilities. The Emergence of New Methodologies Many factors converged in the second half of the 19th century and the beginning of the 20th century that led to new ways of thinking, new ideas, and a search for untried methods of experimentation In architecture, technological advances such as the development of cast iron and glass production opened the way for designers to develop new techniques and even new concepts that expanded upon these possibilities. While some continued to rely on classic forms for inspiration, others such as Louis Sullivan, Frank Lloyd Wright, and lesser-known architect Claude Bragdon worked at developing their own styles, not only of architecture, but of integrated ornamentation as well. Geometric concepts played an increased role in style and methods and for Bragdon, became a prime source of inspiration. In his seminal book on ornamentation, “Projective Ornament” he stated, “Geometry and number are at the root of every kind of formal beauty.” At the same time parallel advances were taking place in many other disciplines. In mathematics concepts of dimensional spaces beyond three gained popularity.
    [Show full text]
  • Dimension Theory: Road to the Forth Dimension and Beyond
    Dimension Theory: Road to the Fourth Dimension and Beyond 0-dimension “Behold yon miserable creature. That Point is a Being like ourselves, but confined to the non-dimensional Gulf. He is himself his own World, his own Universe; of any other than himself he can form no conception; he knows not Length, nor Breadth, nor Height, for he has had no experience of them; he has no cognizance even of the number Two; nor has he a thought of Plurality, for he is himself his One and All, being really Nothing. Yet mark his perfect self-contentment, and hence learn this lesson, that to be self-contented is to be vile and ignorant, and that to aspire is better than to be blindly and impotently happy.” ― Edwin A. Abbott, Flatland: A Romance of Many Dimensions 0-dimension Space of zero dimensions: A space that has no length, breadth or thickness (no length, height or width). There are zero degrees of freedom. The only “thing” is a point. = ∅ 0-dimension 1-dimension Space of one dimension: A space that has length but no breadth or thickness A straight or curved line. Drag a multitude of zero dimensional points in new (perpendicular) direction Make a “line” of points 1-dimension One degree of freedom: Can only move right/left (forwards/backwards) { }, any point on the number line can be described by one number 1-dimension How to visualize living in 1-dimension Stuck on an endless one-lane one-way road Inhabitants: points and line segments (intervals) Live forever between your front and back neighbor.
    [Show full text]
  • Arxiv:1703.10702V3 [Math.CO] 15 Feb 2018 from D 2D Onwards
    THE EXCESS DEGREE OF A POLYTOPE GUILLERMO PINEDA-VILLAVICENCIO, JULIEN UGON, AND DAVID YOST Abstract. We define the excess degree ξ(P ) of a d-polytope P as 2f1 − df0, where f0 and f1 denote the number of vertices and edges, respectively. This parameter measures how much P deviates from being simple. It turns out that the excess degree of a d-polytope does not take every natural number: the smallest possible values are 0 and d − 2, and the value d − 1 only occurs when d = 3 or 5. On the other hand, for fixed d, the number of values not taken by the excess degree is finite if d is odd, and the number of even values not taken by the excess degree is finite if d is even. The excess degree is then applied in three different settings. It is used to show that polytopes with small excess (i.e. ξ(P ) < d) have a very particular structure: provided d 6= 5, either there is a unique nonsimple vertex, or every nonsimple vertex has degree d + 1. This implies that such polytopes behave in a similar manner to simple polytopes in terms of Minkowski decomposability: they are either decomposable or pyramidal, and their duals are always indecomposable. Secondly, we characterise completely the decomposable d-polytopes with 2d + 1 vertices (up to combinatorial equivalence). And thirdly all pairs (f0; f1), for which there exists a 5-polytope with f0 vertices and f1 edges, are determined. 1. Introduction This paper revolves around the excess degree of a d-dimensional polytope P , or simply d-polytope, and some of its applications.
    [Show full text]
  • Foundations of Space-Time Finite Element Methods: Polytopes, Interpolation, and Integration
    Foundations of Space-Time Finite Element Methods: Polytopes, Interpolation, and Integration Cory V. Frontin Department of Aeronautics and Astronautics, Massachusetts Institute of Technology, Cambridge, Massachusetts 02139 Gage S. Walters Department of Mechanical Engineering, The Pennsylvania State University, University Park, Pennsylvania 16802 Freddie D. Witherden Department of Ocean Engineering, Texas A&M University, College Station, Texas 77843 Carl W. Lee Department of Mathematics, University of Kentucky, Lexington, Kentucky 40506 David M. Williams∗ Department of Mechanical Engineering, The Pennsylvania State University, University Park, Pennsylvania 16802 David L. Darmofal Department of Aeronautics and Astronautics, Massachusetts Institute of Technology, Cambridge, Massachusetts 02139 Abstract The main purpose of this article is to facilitate the implementation of space-time finite element methods in four-dimensional space. In order to develop a finite element method in this setting, it is necessary to create a numerical foundation, or equivalently a numerical infrastructure. This foundation should include a arXiv:2012.08701v2 [math.NA] 5 Mar 2021 collection of suitable elements (usually hypercubes, simplices, or closely related polytopes), numerical interpolation procedures (usually orthonormal polyno- mial bases), and numerical integration procedures (usually quadrature rules). It is well known that each of these areas has yet to be fully explored, and in the present article, we attempt to directly address this issue. We begin by developing a concrete, sequential procedure for constructing generic four- ∗Corresponding author Email address: [email protected] (David M. Williams ) Preprint submitted to Applied Numerical Mathematics March 8, 2021 dimensional elements (4-polytopes). Thereafter, we review the key numerical properties of several canonical elements: the tesseract, tetrahedral prism, and pentatope.
    [Show full text]
  • Polytope 335 and the Qi Men Dun Jia Model
    Polytope 335 and the Qi Men Dun Jia Model By John Frederick Sweeney Abstract Polytope (3,3,5) plays an extremely crucial role in the transformation of visible matter, as well as in the structure of Time. Polytope (3,3,5) helps to determine whether matter follows the 8 x 8 Satva path or the 9 x 9 Raja path of development. Polytope (3,3,5) on a micro scale determines the development path of matter, while Polytope (3,3,5) on a macro scale determines the geography of Time, given its relationship to Base 60 math and to the icosahedron. Yet the Hopf Fibration is needed to form Poytope (3,3,5). This paper outlines the series of interchanges between root lattices and the three types of Hopf Fibrations in the formation of quasi – crystals. 1 Table of Contents Introduction 3 R.B. King on Root Lattices and Quasi – Crystals 4 John Baez on H3 and H4 Groups 23 Conclusion 32 Appendix 33 Bibliography 34 2 Introduction This paper introduces the formation of Polytope (3,3,5) and the role of the Real Hopf Fibration, the Complex and the Quarternion Hopf Fibration in the formation of visible matter. The author has found that even degrees or dimensions host root lattices and stable forms, while odd dimensions host Hopf Fibrations. The Hopf Fibration is a necessary structure in the formation of Polytope (3,3,5), and so it appears that the three types of Hopf Fibrations mentioned above form an intrinsic aspect of the formation of matter via root lattices.
    [Show full text]
  • A Construction of Magic 24-Cells Park, Donghwi Seoul National University
    A construction of magic 24-cells Park, Donghwi Seoul National University Abstract I found a novel class of magic square analogue, magic 24-cell. The problem is to assign the consecutive numbers 1 through 24 to the vertices in a graph, which is composed of 24 octahedra and 24 vertices, to make the sum of the numbers of each octahedron the same. It is known that there are facet-magic and face-magic labelings of tesseract. However, because of 24-cell contains triangle, face-magic labeling to assign different labels to each vertex is impossible. So I tried to make a cell-magic labeling of 24-cell. Linear combination of three binary labeling and one ternary labeling gives 64 different magic labelings of 24-cell. Due to similarity in the number of vertices between 5x5 magic square and magic 24-cell, It might be possible to calculate the number of magic 24-cell. Further analysis would be need to determine the number of magic 24-cell. 0. Introduction There are many magic square varieties which assign face-magic labeling to the vertices of planar graphs. Notable examples are Jisugwimundo[1], Yeonhwando[2] and etc. Therefore, it is of interest to construct face-magic labelling of regular polyhedra However, because of regular deltahedra are consist by triangles, face-magic labelings of regular deltahedra are impossible. Furthermore, magic normal labeling of regular dodecahedron is impossible due to parity. However, there are face-magic labelings of the cube.[Fig. 1] Fig 1. Face-magic cube. Fig 2. Tesseract-Cube-Square [3] By this way, we can generalize face-magic labelings of regular polyhedra to facet-magic or face-magic labelings of regular polychora.
    [Show full text]
  • PDF Download Regular Polytopes Ebook
    REGULAR POLYTOPES PDF, EPUB, EBOOK H. S. M. Coxeter | 321 pages | 15 Apr 1974 | Dover Publications Inc. | 9780486614809 | English | New York, United States Regular Polytopes PDF Book The measure and cross polytopes in any dimension are dual to each other. The notation is best explained by adding one dimension at a time. Sort order. Normally, for abstract regular polytopes, a mathematician considers that the object is "constructed" if the structure of its symmetry group is known. Grand stellated cell grand stellated polydodecahedron aspD. Another way to "draw" the higher-dimensional shapes in 3 dimensions is via some kind of projection, for example, the analogue of either orthographic or perspective projection. The new shape has only three faces, 6 edges and 4 corners. Mark point D in a third, orthogonal, dimension a distance r from all three, and join to form a regular tetrahedron. Refresh and try again. The Beauty of Geometry: Twelve Essays. Wireframe stereographic projections 3-sphere. In mathematics , a regular 4-polytope is a regular four-dimensional polytope. Wikimedia Commons. There are no discussion topics on this book yet. The final stellation, the great grand stellated polydodecahedron contains them all as gaspD. Regularity has a related, though different meaning for abstract polytopes , since angles and lengths of edges have no meaning. Steve rated it really liked it Feb 14, Great grand stellated cell great grand stellated polydodecahedron gaspD. They called them regular skew polyhedra, because they seemed to satisfy the definition of a regular polyhedron — all the vertices, edges and faces are alike, all the angles are the same, and the figure has no free edges.
    [Show full text]
  • A Journey of Discovery Through the Land of the Polychora Alexey Radul
    Computer Science and Artificial Intelligence Laboratory Technical Report MIT-CSAIL-TR-2006-024 April 14, 2006 The Symmetriad: A Journey of Discovery Through the Land of the Polychora Alexey Radul massachusetts institute of technology, cambridge, ma 02139 usa — www.csail.mit.edu The Symmetriad A Journey of Discovery Through the Land of the Polychora by Alexey Radul Submitted to the Department of Electrical Engineering and Computer Science in Partial Fulfillment of the Requirements for the Degree of Master of Engineering in Electrical Engineering and Computer Science at the Massachusetts Institute of Technology June 2005 Copyright 2005 Alexey Radul. All rights reserved. The author hereby grants to M.I.T. permission to reproduce and distribute publicly paper and electronic copies of this thesis and to grant others the right to do so. Author............................................. ................. Department of Electrical Engineering and Computer Science February 23, 2005 Certified by......................................... ................. Gerald Jay Sussman Matsushita Professor of Electrical Engineering Thesis Supervisor Accepted by......................................... ................ Arthur C. Smith Chairman, Department Committee on Graduate Students 2 The Symmetriad A Journey of Discovery Through the Land of the Polychora by Alexey Radul Submitted to the Department of Electrical Engineering and Computer Science February 23, 2005 In Partial Fulfillment of the Requirements for the Degree of Master of Engineering in Electrical Engineering and Computer Science ABSTRACT I devised and implemented a method for constructing regular and semiregular geo- metric objects in n-dimensional Euclidean space. Given a finite reflection group (a Coxeter group) G, there is a standard way to give G a group action on n-space. Reflecting a point through this group action yields an object that exhibits the sym- metries specified by G.
    [Show full text]