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cinemapremi · 9 months

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Salaar Movie Review and Release LIVE Updates: Box Office Collection Expected To Cross Rs 50 crore on 1st Day!

Salaar, directed by Prashanth Neel, is making waves in cinemas. Starring Prabhas and Prithviraj Sukumaran, this review breaks down what makes Salaar a must-watch. Dunki: Shah Rukh Khan’s New Movie Box Office Collection on Day 1 Exciting Reunion: Akshay Kumar Welcomes Sanjay Dutt in “Welcome 3” Neru Movie Review: Mohanlal’s Return to Form in a Riveting Courtroom Drama

The Movie Overview:

Salaar promises action, drama, and a gripping storyline. After a three-year wait, it's finally on the big screen, creating high expectations.

Who's in the Movie?:

Featuring Prabhas, Prithviraj, Shruthi Haasan, and more, Salaar boasts a stellar cast. Prashanth Neel directs the film, adding to the anticipation.

What's the Story?:

The plot revolves around Deva (Prabhas) and Varadharaja Mannar (Prithviraj). Once friends, now enemies, their conflict unfolds in the crime-ridden city of Khansaar.

What's Good about the Movie?:

Fans rejoice as Prabhas returns in a power-packed action role, seamlessly fitting into the character of Deva. Prithviraj's proficiency in Telugu and impactful scenes enhance the movie's appeal. https://twitter.com/cheppanubengey/status/1737985178633388155

What Could be Better?:

While the first half keeps a good pace, the second half's narration could be smoother. Some scenes might remind you of KGF, affecting the movie's originality.

Behind the Scenes:

Prashanth Neel's direction shines, especially in the first half. The music by Ravi Basrur, cinematography by Bhuwan Gowda, and stunts by Anbarivu contribute to the film's appeal.

Should You Watch It?:

Salaar: Part 1 – Ceasefire stands out as an intense action drama. Despite a dragging second half and some violence, it's a must-watch for Prabhas fans and action movie enthusiasts. https://twitter.com/goutham4098/status/1735547382488768903

Real-Time Updates:

Stay tuned for live updates on Salaar's release and reviews. Early indications suggest a blockbuster, with the first-day box office expected to surpass Rs 50 crore. https://twitter.com/ThisIsBhargavN/status/1738039732163297475

Public Reviews

Salaar's story is just right—not too complicated, not too simple. The movie's dark tone and impressive visuals capture the intense moments well. It's cool that they skipped random dance scenes; the story flows better. Prabhas did well, but it's not his best. The second half could be edited better, and Shruti Hasan's acting isn't great. The action scenes are the best part—very cool and memorable. Overall, Salaar is a solid 4-star film, especially if you like dark themes. One of the best action movies in 2023, directed by Prashanth Neel, is thrilling and full of energy with just a few flaws. The film beautifully portrays the strong friendship between Prabhas and Prithviraj. The action scenes are reminiscent of KGF, and the cinematography is excellent. Prashant Neel's unique style shines through, making it feel like a comeback for Prabhas. It's a powerful mix of action and emotions. Firstly, for those criticizing without watching, I've got one thing to say. Now, onto the story—it's gripping, with goosebumps every 10 minutes. The BGM is fantastic. Prabhas makes a strong comeback with his powerful presence. Prithvi Raj delivers his best. Shruti Hassan has a small role. Prashant Neel's direction defines violence. In conclusion, it's a masterclass deserving of 5/5!

Free Tickets Giveaway:

Nikhil Siddhartha is giving away 100 free tickets for the 1 am show at SriRamulu Theatre. A treat for die-hard fans of Prabhas.

Director's Insight:

Prashanth Neel shares his vision for Salaar, emphasizing its unique world, massive action, strong characters, and emotional storytelling. Get a glimpse into the director's creative journey. In a nutshell, Salaar is an action-packed treat with some drawbacks. If you love Prabhas or high-octane action, it's worth a watch this weekend. Is Salaar a sequel to KGF? No, Salaar is a standalone film, not a sequel to KGF. How is Prabhas's performance? Prabhas delivers a powerful performance, especially in action sequences. Is it suitable for family audiences? The abundance of violence might not be suitable for all family members. Why the A certificate? The film aimed for a U/A certificate, but rules changed, leading to an A certificate. How different is Salaar from other action films? Salaar offers a unique storyline and intense action, setting it apart from the usual action fare. Also checkout: Read the full article

#boxofficecollection #dunki #hindi #newmovies #news #prabhas #review #Salaar #southmovies

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newswisenow · 1 year

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Vijay Thalapathy's Period Drama 'Huli' Now Streaming on SunNXT: A Review

Fans of Vijay Thalapathy eagerly await the release of his movies, and when they finally hit the theaters, the crowd flocks in to give them a grand opening and achieve bumper box-office collections. For those who miss out on the theatrical experience, the wait is over as Vijay Thalapathy's period drama "Huli" is now available to watch from the comfort of your own home. The streaming platform SunNXT has announced that the movie can be streamed on their platform, bringing joy to the fans.

Unveiling Vijay Thalapathy's "Huli": A Period Drama Review

"Huli" marked the comeback of the late actress Sridevi in Southern cinema, and her appearance in the film became the talk of the town during its release. However, despite the anticipation, the movie received mixed reviews from both the public and critics. SunNXT, the largest streaming service in South India, is now offering Vijay Thalapathy's "Huli" (the Kannada version of "Puli") on their platform. So, if you're a fan, make sure to tune in and enjoy the movie from the comfort of your own home. https://twitter.com/sunnxt/status/1670650111582404608 The story of "Huli" unfolds in the fictional state of Bhetala Desam, which is under the rule of the villainous Yavvana Rani, portrayed by Sridevi. She holds sixty nearby villages captive, subjecting the inhabitants to torment and suffering. Manoharudu, portrayed by Vijay, is a brave warrior from one of the villages under Yavvana Rani's dominion. He gradually falls in love with Mandara Malli, played by Shruthi Haasan, his childhood friend. When Malli is kidnapped by goons from Bhetala Desam, the situation takes a turn for the worse. Dissatisfied and determined, Manoharudu decides to take matters into his own hands and ventures into the fantasy realm to rescue his beloved. Will he succeed? What challenges will he encounter along the way? These inquiries constitute the core of the storyline. Unfortunately, "Huli" did not fare well upon its release, as reflected by its IMDb rating of 4.3. Despite its grand production and the comeback of Sridevi, the movie failed to make a mark at the box office. Read the full article

#huli #vijay

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anantradingpvtltd · 2 years

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Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] SM Sai Musical, Shruthi Box, Large 16x12x3 Inches, Sur Peti Surpeti, With Bag, Natural Color, Musical Instrument Indian (PDI-EFE) ✔ 13 NOTES: C C# D D# E F F# G G# A A# B C ✔ HAND MADE CONCERT QUALITY BIG SIZE SHRUTI BOX ✔ HIGH QUALITY BRASS REEDS. LONG SUSTAIN, CHECKED FOR LEAKS ✔ HANDCRAFTED IN INDIA. PROFESSIONALLY TESTED [ad_2]

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youre-on-your-ownkid · 3 years

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when are you going to build us a statue I'm waiting

Wha-

Also hey to you too shruthi long time no see in my ask box hmm

#dont call me kid dont call me baby

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pakshajewelry · 2 years

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Shruthi Hassan’s Favorite Choker Necklaces From The House Of Paksha

Exquisite choker necklaces are making regular appearances at a lot of weddings and special occasions. The designs are elaborate, with intricate detailing, precious and semi-precious stones and sometimes with cascading layers. House of Paksha has an extensive collection of fine silver choker necklaces that are breathtakingly beautiful.

Fashion icon and movie star Shruti Hassan recently picked out a few pieces that resonated with her charisma. Have a look at the pieces that were her favourite.

1. Tushita Pearl Silver Choker

The fine jadau set stones on this choker design is made with premium quality 925 silver with a gold plating. The floral motif central to the piece speaks to its heritage and culture. Three rows of pearls strung together hold the central floral motif in place. The design also flaunts a lotus which is embedded with red semi-precious stones. This adds a vibrant colour to the piece. The design is simple and delicate and can be styled with sarees, lehengas, anarkalis and churidars.

2. Shriya Kempu Silver Sleek Choker

When contemporary aesthetics meets the epitome of traditional elegance we get this exquisite piece of silver jewelry. The stones are closely set and intricately designed to radiate grandeur and royalty. The precious kempu stones set the piece apart from its counterparts. The floral patterns, central piece and the combination of green and red Kempu stones are a perfect companion for each and every event at weddings or special occasions.

3. Padhma Classic Grandeur Silver Choker

This grand piece of jewelry is inspired by the rich cultural heritage of India. It explores intricate details, exquisite motifs and vibrant colours. The piece has everything, closely set semi-precious kempu stones, quartz hangings, elegant freshwater pearls and fine craftsmanship. This piece is designed for your big day, to make you feel special and loved. The piece sits beautifully on your collarbone, embellishing a large part of your neck with this fine creation.

4. Vihara Dreamy Jadau Silver Choker

This is another fine piece of jewelry that is designed for your special day, a bridal trousseau essential. The choker is encrusted with semi-precious stones in green, red and white colours. This piece is finished with green beads that hang from clusters of pearls making it an artistic brilliance.

5. Emerald Pearl Silver Choker

Nothing could possibly go wrong with pearls. This choker necklace sports rows of pearls with green stones and a large emerald stone at the centre of it in a vintage setting. The rows of pearls hold a singular emerald gemstone in this box chain design. This demure piece of jewelry was among the favourites because of its versatility, grace and fine craftsmanship. The piece can be styled effortlessly with indo-western outfits, lehengas, sarees, churidars and anarkalis.

The journey of chokers has been incredible. From being able to style them only with western wear to be able to style them with even bridal outfits we have come a long way. The evolution of chokers has led to the genesis of stunning designs for almost every casual and special occasion. The silver choker necklaces can be highly versatile and graceful. They can be styled with casuals, western wear, indo-western outfits, traditional sarees and lehengas and even bridal wear.

Source Url: https://paksha.com/blogs/news/shruthi-hassan-s-favorite-choker-necklaces-from-the-house-of-paksha

#Fashion silver jewelry #Fashion #jewellery #beauty #onlineshopping

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malapkv · 4 years

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Arangamonline with Yessel Narasimhan

A lot of us have been keeping ourselves busy in many ways during this pandemic. Art enthusiasts suddenly found a lot of online content- videos, replays, interviews, webinars...Suddenly in the midst of it all, during the month of May -quietly surfaced an online radio – much to the delight of Carnatic Music enthusiasts.

This radio is called arangamonline (https://arangamonline.com/ and is available 24/7 on any device.

We wanted to explore this radio and the story of the person behind it- Shri Yessel Narasimhan (Saranatha Lakshmi Narasimhan –became SL- which became Yessel)- for we are aware that he is already a Carnatic music archivist. What we were not aware of though, was that he has a repository of about 5000 concerts or about 15000 hours of Carnatic music !! :)

He dons many hats- he is a technical consultant for sounds and studios and equally a guide/consultant for students/performers of Carnatic Music. He consults for some big names in the country for their studios, is involved in some serious archiving and to fans of Carnatic vocalist Shri Sanjay Subrahmanyan, he is the go-to person for anything and everything, for he is present at all of his concerts ,recording the present day doyen of Carnatic classical music. Not to mention the corporate and non corporate roles he has taken up in the past.

Yessel describes himself as someone whose listening journey started in a reverse manner. Unlike most people who get drawn into classical music after a foray into fusion and light classical, he began by listening to “ heavy-duty” classical and with it, the knowledge of and taste for music evolved within him in an organic manner.

Yessel, for those who know him is never at a loss for words, so an “interview” with him is not very difficult, he willingly comes forward to provide the information any keen enthusiast would want from him. Also, as we speak to him we sense a sudden shift of focus lights from Mylapore ( which has traditionally been the Carnatic hub)to Triplicane....and we discover a lot of trivia about the place, about the technical aspects of recording/archiving and many more.

Here is how the conversation with him unfolded-On his background, his passion for Carnatic music, his role as an archivist, his association with Sangita Kalanidhi Shri Sanjay Subrahmanyan , his listening sessions and now arangamonline..

Read on for many interesting anecdotes...embedded in his responses.

Tell us about how you got interested in Carnatic Music in the first place?

I have been attending live concerts since I was 3 years old. Those days, it was only the very rich who could afford gramophones and cassettes, so for some of us, live concerts was the most accessible route to Carnatic Music.

Music was always in the air- That may sound a bit of a cliché ... but since I lived and still live opposite to the Triplicane Parthasarathy temple, I grew up on a staple of temple music, mainly Nadaswaram.

You are known for constantly excavating and reminding rasikas about past masters all the time, as is evident in arangamonline. Is there a background to it?

Maybe.. I had the opportunity be closely associated with the Carnatic music performers of the 60s and 70s- Thanks to my father Shri Saranatha Gopalan who was running a Sabha called Triplicane Arts Academy.The concerts used to take place at the Hindu High School on the third floor- in a hall which has a capacity of about 4000 people. Since there were no lifts, both artists and organisers had to climb stairs.

We used to hold concerts each weekend. Amongst the artists who performed, Shri Pinakapani, Smt MLV, Shri TMT, Shri Mali, Shri MDR, Shri S Balachandar, Shri S Ramanathan and Shri S Rajam were some of them-my dad was very fond of each of their music and was quite close to all of them.

Other than this, there used to be another organisation called the Triplicane Cultural Academy- Which had a library associated with it called the Kasthuri Srinivasan Library ( In memory of the founder of the Hindu)- My father used to be in the committee of this organisation as well. This Sabha organised more of lecture demonstrations- and we as young lads ,used to be involved in details right from laying the “Jamakkaalam” to cataloguing of books in the library.

That’s how my association with the “past masters” occurred.

Do you have any specific memories of these artists you were associated with?

I remember clearly that Flute Shri Mali was in Triplicane High Road for about 10 years.-He stayed in a place opposite the Star Theatre occupying the same room/flat that Shri TN Krishnan occupied and vacated.

Mali stayed there because his flute maker stayed just behind- on Chellapillayar Koil Street- And that street is also famous for two other people who stayed there- Shri UV Swaminatha Iyer and Shri Koteeswara Iyer.

My best memories are with the legend Dr.S Ramanathan. He stayed close by-When he saw that I was a regular concert attender and spotted me at the concerts which he presided over/attended ...after about 3 months he asked me to tag along with him.

I have had the fortune moments of traveling together with him in the bus from Triplicane to Mylapore, have had coffee at Sukha Nivas with him and attended concerts along with him. I learnt many aspects of kutcheri attendance/ kutcheri appreciation from him. I’ve never seen him once leave in the middle of a concert-He always stayed till the end.

Also even at a concert where the performer did not do a great job, when he was invited to provide feedback, he had the art and the good heart to be completely honest at the same time without hurting anyone.

He sometimes sang to me to demonstrate how a piece should be/have been sung. I consider myself a very blessed child of God when I recall such moments.

You had such a close association with so many stalwarts. Did it motivate you to learn music yourself?

No , I was very clear I did not want to learn Carnatic music formally . Because I did not want to be boxed into one school or Bani. I wanted to be able to listen and appreciate all the schools and types of music. This decision helps me now in my role as an archivist as well.

Also, back then, the acknowledgement for this came from none other than Lalgudi Shri G Jayaraman- I was the chairman of the workshops committee of the YACM ( Youth Association for Classical Music, Chennai)and we had organised a three day workshop. LGJ who presided over the programme, on the third day made a comment “These days everyone wants to learn/perform. We also need people to be able to simply appreciate without learning or performing” which is what I was, exactly and I went up and told him that- And he genuinely appreciated it.

How did your recording journey start?

I started recording with the available gadgets as early as the 80s/ early 90s. We used small recorders –that would be kept directly before the main performing artist.

I first started recording the concerts in which Shri Umayalpuram K Sivaraman played- thanks to his intervention, the main artist would allow us to record.

Around 95/96 I started to digitise the collection. That was the time the various breakthroughs in technology began to rapidly occur, so with the changing times and technology, my methods of recording and preserving also changed.

What exactly do you mean when you say you digitised the collection?

In technical terms, it means using the optical drive / sound card in the PC and the associated software to digitise.

In simpler terms,it meant connecting the walkman or the CD player of “those days” to the computer- converting it into a wave format and then into an audio-CD format.

Digitising from spools is of course another story altogether- Those were the days I would come home from work, and sit almost the whole evening through the night to complete this. This was during the early 90s.

Later, with the massive growth of technology, digitising became a simpler process and today it is the digital age so it is almost child’s play.

So today,how do you go about with your collection? Do you attend kucheris like before and record everything?

We closed the Triplicane Arts Academy sometime in the 80s –Since films were becoming very popular and Sabha attendance was dwindling. So obviously after that my associations were only in the form of kucheri attendance.

And with December 1999, after attending the “ millennium concert” I retired from “ live kucheri attendance” as well...

These days, I record for select artists only. I specialise in and would like to be identified with what is called as multi track- live recording. I am not into studio recording.

What is the difference between a recorder and an archivist?

In fact there are three categories- the listener, the collector and the archivist.

The listener is the simplest- Someone who listens a lot – to one or many artists

The collector is someone who would have exhaustive collections of a single artist or maybe a couple of them.

An archivist goes beyond these. Type A will collect anything and everything and stop there. Type B would want to develop and document what he/she has collected.

This starts with the ability to catalogue the recordings, give them names and tags- a long process by itself. It starts with a base in library science ( Recalls his early association with the Kasturi Srinivasan library..)

When you convert old recordings, say for instance from spools,then you will have to adjust speed differences, ensure that the timbre of the voice is maintained when you do so...Sometimes it involves validating the shruthi and speed of the final output with an artist- to ensure everything is just fine.

Even in today’s digital age, splitting a 2GB or 4 GB kutcheri recording into files and tagging those files requires a mimimum effort of 3- 4 hours.

If the recording is to be used for publication, then it has another 3- 4 hours of work involved.

So this job entails a lot of passion and is purely a labor of love. Not to mention a keen ear for detail in sounds.

One must understand that archiving music has to be done systematically and is indispensable to provide aural examples of Paadandharams to future students, musicians, scholars and researchers alike.

What did you do with all this music before Arangam online? We know you organised some listening sessions. Tell us about it?

Everyone must be aware of Sangeethapriya. I was associated with this online platform of music sharing in 2006 and I still continue to be associated with them. With the boom of internet and the advent of youtube and so many free online platforms, we see anything and everything uploaded and shared. Not every upload was based on quality-The internet started becoming a digital dumpyard if I may call it that way.

So, I wanted to organise guided listening sessions for rasikas so they understand and identify good quality music coming from good quality recordings of course.

We started with “ Mottamadi kucheris”- Guided listening sessions at people’shomes accompanied with sweet, karam coffee. Then because of the limitations of the number of invitees, we shifted it to larger halls. This became a monthly recurrence.

For instance we organised the Smt Suguna Purushotaman memorial day. And then for the MDR remembrance day, we had invited Shri TV Gopalakrishnan- who had been an accompanist for MDR. TVG became very emotional during the session . Sometimes the snippets we get from greats during moments like these are invaluable to say the least..

What would be the primary take away for anyone attending these listening sessions?

The primary goal of the guided listening sessions was to dissect and dismantle various components of music and make them easier to understand and appreciate.

At the same time we are very conscious that we conduct the dissection only AFTER the listening. While we want to debrief on the grammar of things, we do not want the audience to compromise on the aesthetics at any cost. So after the concert is over, we have a resource person or an expert explain the nuances in the music- Audience who are interested could take notes and revisit these after going home..

Ok, so now to the topic of the day....Tell us all about Arangamonline

I often have these thoughts of what exactly am I going to do with this large a collection and how could all this work be carried forward for the use of future generations? Also, during this COVID 19 situation, it looks like the guided listening sessions cannot happen in person for some time to come.

The thought of a radio was always in mind but now it has become economically feasible and technically it just involves a click of a button.Remember Worldspace that we all enjoyed at one point and grieved over its end? These were my points of inspiration towards arangamonline..

Oh yes...We all loved Worldspace.....But now, there are so many known and unknown Carnatic radios online. How is Arangamonline going to be different?

First of all as you are aware now, the collection comes from several years of passionate hardwork. Backed with some “sound” knowledge of sound imaging/stereo imaging- So I can assure you of the quality of what you hear ....It is not exactly some random playing of music.

Secondly all the tracks have been catalogued so details of each piece along with the composer, raagam etc is on display while the music is being played- it makes it a reference material as well- and those who do not know the raagams can equally identify and listen ..

Thirdly, in line with the concept of our listening sessions, there will be a resource person presenting on kucheris with some valuable take aways. The resource person could be a performing artist, an upcoming one or anyone else who is a true resource person in the field.

Fourth, this is an exclusive “ past masters”radio- The rule is that we will not play the music of any contemporary living artist- We make it unique by ensuring the past masters perform for you in crystal clear audio. ( Every rule has an exception so we may play a contemporary artist now and then)

So, you will get to hear people like Karaikudi Shri Sambasiva Iyer- (Some people/artists were surprised that such artists were feautured),Dwaram Shri Venkatasamy naidu,Dr S Pinakapani, Shri Srirangam Gopalaratnam, Shri TK Rangachari...and so on

When and how was Arangamonline launched?

This radio was under discussion...and within the next few days I lauched it just like that on MDR rememberance day- On may 20th 2020. I believe in not waiting for perfection to deliver- so launched it as it is.

The response has been great so far- This radio is completely community driven in terms of inputs- So I receive daily feedback on what to play and not...

I hope to scale the infrastructure up by August 2020

When youngsters these days do not have much of a taste for contemporary classical musicians itself, why and how would they listen to the past masters?

Youngsters today should understand that whatever they claim is new has already been attempted and tried many decades back. Innovation is nothing but re-inventing some aspect of the past.

For example- Shri TK Rangachari as early as 1963 sang a two raga pallavi- Anandhabhairavi and Amritavarshini..

Shri S Kalyanaraman created the dwi-madhyama ragas which is considered true innovation.

Our base in Carnatic music is very strong and is available in a state to be confidently explored. For fresh ideas,you need to listen as much as possible to the old- If you don’t, simple,it will only be your own loss.

I keep telling the youngsters to replenish the Carnatic stage with krithis that were popular 6o years back and then suddenly disappeared.

Innovation is simply restructuring of what has already been discovered and forgotten- So its imperative to listen to the past masters.

How exactly are you associated with the current day Sangita Kalanidhi Shri Sanjay Subrahmanyan?

For Triplicane – 3 Cs were non negotiable. Cricket, as everyone knows, Carnatic Music and Coffee.

So about 40 years ago I found someone who was a regular in both the cricket and carnatic circles. After a few instances of bumping into each other during concerts and during the Mylapore vs Triplicane cricket matches, we started getting acquainted. It then became friendship and we have been friends over these decades.

Obviously I am talking about Sanjay Subrahmanyan...

Those were 15 golden years of YACM and the camaraderie built over music was so memorable. As far as Sanjay and me are concerned, we have attended concerts, eaten together at Mylapore, were brave enough to explore IIT Madras which was a jungle at that time and where concerts just started....

Years passed and in 2005 I acquired a two track Tascam Porta Studio and did multi track recording for the first time.

In 2006, he happened to drop in when I was fiddling with the gadget and without much thought he asked me to record his concert at Bharat Kalachar the next day and thats how my mutli track live recording for concerts started.

After a break I then resumed recording for him in 2009 in his Shivaratri concert at Ratnagiriswarar temple and since then, except just one concert of another artist, I have been live recording with all my equipment only for Sanjay Subrahmanyan.

I am ever grateful to him for entrusting me with the recording of his concerts which are the products of decades of his dedication and hard work.

While I know and have interacted with almost all of his contemporaries, something exemplary about Sanjay- is his natural willingness to share his knowledge with others- A very very rare trait!!

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Just click on (https://arangamonline.com/ and listen 24/7 on any device- mobile, tablet, laptop

Yessel can be reached at [email protected] for any questions.

#carnatic archivist interview

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thousandmaths · 7 years

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Final REU Presentations Part II

These are my notes about the final presentations for the REU this year (see more details in the first post). I tried to write down my major takeaways from each of the talks, which was not always the actual main point of the talk.

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Ewin Tang, A Rule of Three for Schur Q-Functions

I’ve talked about Schur functions a lot on this blog, particularly around MCC time. I’m not going to go through as detailed a treatment of what a Schur $Q$-function is, but basically it’s what the Schur function “should be” if the variables $x_1,x_2,\dots$ don’t commute with each other; so $x_ix_j$ can be different from $x_jx_i$. The word “should” there stems from a whole theory of noncommutative symmetric functions, including the noncommutative elementary symmetric functions $\varepsilon_k$.

The rule of three is a quick way to determine when exactly two evaluations of $\varepsilon_k$ (each at a tuple of ring elements) commute with each other:

Theorem (Kirillov). $\varepsilon_k(u)$ commutes with $\varepsilon_\ell(v)$ for all $k$ and $\ell$, if and only if they commute with each other for $k$ and $\ell$ at most $3$.

Roughly speaking, as long as they commute for “enough” small $\epsilon$’s, they commute for any $\epsilon$’s.

In the end, Tang was doing similar work for the $Q$-Schur functions. The main theorem, analogous to the one above, is still unproved, but they expect that some of the theory by Blasiak and Fomin will go through in this context.

Marisa Gaetz, Will Hardt, Shruthi Sridhar, and Anh Tran, Equality of Schur Supports of Ribbons

With four people of this caliber working on a team together, you’d expect some good things, and you would be right. The sheer quantity of results put forth by this team makes it hard to write anything cohesive.

You’ll recall that the Schur functions form a basis for the algebra of symmetric functions, and so the Schur support of a symmetric function $f$ is simply the set of Schur functions $s_\lambda$ such that $a_\lambda\neq 0$ in the decomposition $f = \sum_\lambda a_\lambda s_\lambda$.

One can also define the Schur function for any diagram of boxes, in particular for “skew-shape tableaux”, in which the underlying diagram is a Young tableau with possibly a smaller Young tableau removed. A ribbon is a skew-shape tableau such that there are no two boxes in the same column. So the project consisted of classifying and working with with the ordinary Schur supports of these “ribbon Schur functions”.

Alex Mason and Shruthi Sridhar, Cyclic Sieving and Dual Hamming Codes

I talked a bit about cyclic sieving in the previous post, and this talk was about trying to exhibit the phenomenon where the combinatorial objects under consideration are the elements of a subspace of $\Bbb F_q^n$, stable under (cyclic) right-shifting $(w_1, w_2,\dots, w_n) \mapsto (w_n, w_1, \dots, w_{n-1})$.

James Propp has worked on this stuff, and in particular has a conjecture and a bunch of evidence which suggest the natural place to start looking is at “Mahonian polynomials”, a straightforward but somewhat fussy class of objects related to the distribution of elements in the symmetric group. They showed that these work correctly in cyclic sieving for small fields $\Bbb F_q$ (e.g. $q=2,3$), but they have reason to believe that these will not continue to work for larger $q$. (It was not clear to me if this reason was a counterexample or a heuristic.)

#math #maths #mathematics #mathema #combinatorics #REU #undergraduate research #algebraic combinatorics #symmetric functions #group theory #polynomials

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