On the universal TRO of a JC*-triple, ideals and tensor products

In a development from material introduced in recent work, we discuss the interconnections between ternary rings of operators (TROs) and right C*-algebras generated by JC*-triples, deducing that every JC*-triple possesses a largest universally reversible ideal, that the universal TRO commutes with appropriate tensor products and establishing a reversibility criterion for type I JW*-triples.

Parchment codices in a new text of Galen

An article proposing that the recently discovered Peri Alupias of Galen contains important evidence about the adoption and use of the codex book form.

On the operator space structure of Hilbert spaces

Operator spaces of Hilbertian JC∗ -triples E are considered in the light of the universal ternary ring of operators (TRO) introduced in recent work. For these operator spaces, it is shown that their triple envelope (in the sense of Hamana) is the TRO they generate, that a complete isometry between any two of them is always the restriction of a TRO isomorphism and that distinct operator space structures on a fixed E are never completely isometric. In the infinite-dimensional cases, operator space structure is shown to be characterized by severe and definite restrictions upon finite-dimensional subspaces. Injective envelopes are explicitly computed.

Universally reversible JC*-triples and operator spaces

Abstract. We prove that the vast majority of JC∗-triples satisfy the condition of universal reversibility. Our characterisation is that a JC∗-triple is universally reversible if and only if it has no triple homomorphisms onto Hilbert spaces of dimension greater than two nor onto spin factors of dimension greater than four. We establish corresponding characterisations in the cases of JW∗-triples and of TROs (regarded as JC∗-triples). We show that the distinct natural operator space structures on a universally reversible JC∗-triple E are in bijective correspondence with a distinguished class of ideals in its universal TRO, identify the Shilov boundaries of these operator spaces and prove that E has a unique natural operator space structure precisely when E contains no ideal isometric to a nonabelian TRO. We deduce some decomposition and completely contractive properties of triple homomorphisms on TROs.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.