Relation With Regular Polygons
Gauss made early inroads in the theory of cyclotomic fields, in connection with the geometrical problem of constructing a regular n-gon with a compass and straightedge. His surprising result that had escaped his predecessors was that a regular heptadecagon (with 17 sides) could be so constructed. More generally, if p is a prime number, then a regular p-gon can be constructed if and only if p is a Fermat prime; in other words if is a power of 2.
For n = 3 and n = 6 primitive roots of unity admit a simple expression via square root of three, namely:
- ζ3 = √3 i − 1/2, ζ6 = √3 i + 1/2
Hence, both corresponding cyclotomic fields are identical to the quadratic field Q(√−3). In the case of ζ4 = i = √−1 the identity of Q(ζ4) to a quadratic field is even more obvious. This is not the case for n = 5 though, because expressing roots of unity requires square roots of quadratic integers, that means that roots belong to a second iteration of quadratic extension. The geometric problem for a general n can be reduced to the following question in Galois theory: can the nth cyclotomic field be built as a sequence of quadratic extensions?
Read more about this topic: Cyclotomic Field
Famous quotes containing the words relation with, relation and/or regular:
“There is undoubtedly something religious about it: everyone believes that they are special, that they are chosen, that they have a special relation with fate. Here is the test: you turn over card after card to see in which way that is true. If you can defy the odds, you may be saved. And when you are cleaned out, the last penny gone, you are enlightened at last, free perhaps, exhilarated like an ascetic by the falling away of the material world.”
—Andrei Codrescu (b. 1947)
“There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist’s relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist’s concern with merely temporary and local disturbances. The song is higher than the struggle.”
—Adrienne Rich (b. 1929)
“It was inspiriting to hear the regular dip of the paddles, as if they were our fins or flippers, and to realize that we were at length fairly embarked. We who had felt strangely as stage-passengers and tavern-lodgers were suddenly naturalized there and presented with the freedom of the lakes and woods.”
—Henry David Thoreau (1817–1862)