1,721,000 research outputs found
The Spectral Measure of Certain Elements of the Complex Group Ring of a Wreath Product
We use elementary methods to compute the L2-dimension of the eigenspaces of the Markov operator on the lamplighter group and of generalizations of this operator on other groups. In particular, we give a transparent explanation of the spectral measure of the Markov operator on the lamplighter group found by Grigorchuk and Zuk, and later used by them, together with Linnell and Schick, to produce a counterexample to a strong version of the Atiyah conjecture about the range of L2-Betti numbers. We use our results to construct manifolds with certain L2-Betti numbers (given as convergent infinite sums of rational numbers) which are not obviously rational, but we have been unable to determine whether any of them are irrational
Presentations for subgroups of Artin groups
Recently, M. Bestvina and N. Brady have exhibited groups that are of type FP but not finitely presented. We give explicit presentations for groups of the type considered by Bestvina-Brady. This leads to algebraic proofs of some of their results
Equalisers of sections
Let G and M be groups, and a, b: G → G * M group-theoretic sections of the natural projection G * M → G. We use the Almost Stability Theorem, pro-trees, and new folding sequence techniques to show that if G is finitely generated, then the equalizer of a and b is a free factor of G, which answers a question of G. M. Bergman
Non-orientable surface-plus-one-relation groups
Recently Dicks–Linnell determined the L2-Betti numbers of the orientable surface-plus-one-relation groups, and their arguments involved some results that were obtained topologically by Hempel and Howie. Using algebraic arguments, we now extend all these results of Hempel and Howie to a larger class of two-relator groups, and we then apply the extended results to determine the L2-Betti numbers of the non-orientable surface-plus-one-relation group
On the local-indicability cohen–lyndon theorem
For a group H and a subset X of H, we let HX denote the set {hxh?1 | h ? H, x ? X}, and when X is a free-generating set of H, we say that the set HX is a Whitehead subset of H. For a group F and an element r of F, we say that r is Cohen–Lyndon aspherical in F if F{r} is a Whitehead subset of the subgroup of F that is generated by F{r}. In 1963, Cohen and Lyndon (D. E. Cohen and R. C. Lyndon, Free bases for normal subgroups of free groups, Trans. Amer. Math. Soc. 108 (1963), 526–537) independently showed that in each free group each non-trivial element is Cohen–Lyndon aspherical. Their proof used the celebrated induction method devised by Magnus in 1930 to study one-relator groups. In 1987, Edjvet and Howie (M. Edjvet and J. Howie, A Cohen–Lyndon theorem for free products of locally indicable groups, J. Pure Appl. Algebra 45 (1987), 41–44) showed that if A and B are locally indicable groups, then each cyclically reduced element of A*B that does not lie in A ? B is Cohen–Lyndon aspherical in A*B. Their proof used the original Cohen–Lyndon theorem. Using Bass–Serre theory, the original Cohen–Lyndon theorem and the Edjvet–Howie theorem, one can deduce the local-indicability Cohen–Lyndon theorem: if F is a locally indicable group and T is an F-tree with trivial edge stabilisers, then each element of F that fixes no vertex of T is Cohen–Lyndon aspherical in F. Conversely, by Bass–Serre theory, the original Cohen–Lyndon theorem and the Edjvet–Howie theorem are immediate consequences of the local-indicability Cohen–Lyndon theorem. In this paper we give a detailed review of a Bass–Serre theoretical form of Howie induction and arrange the arguments of Edjvet and Howie into a Howie-inductive proof of the local-indicability Cohen–Lyndon theorem that uses neither Magnus induction nor the original Cohen–Lyndon theorem. We conclude with a review of some standard applications of Cohen–Lyndon asphericit
Classifying spaces for proper actions of locally finite groups
For each finite ordinal n and each locally-finite group G of cardinality aleph n, we construct an (n+1)-dimensional model for the classifying space for proper G-actions. We use this complex to obtain information about the cohomology of G with free coefficients. Our techniques also give information about the location of large free abelian groups within Kropholler's hierarchy
Going Beyond Counting First Authors in Author Co-citation Analysis
The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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