In mathematics, a **super vector space** is another name for a **Z**_{2}-graded vector space, that is, a vector space over a field *K* with a given decomposition

The study of super vector spaces and their generalizations is sometimes called super linear algebra. These objects find their principal application in theoretical physics where they are used to describe the various algebraic aspects of supersymmetry.

Read more about Super Vector Space: Definitions, Linear Transformations, Operations On Super Vector Spaces, Supermodules, The Category of Super Vector Spaces

### Other articles related to "vector, super vector space, super vector spaces, super, vectors":

... Aerodyne Systems

**Vector**, ultralight aircraft Lift

**vector**, an upwards force acting on aircraft Thrust vectoring, the ability of an aircraft or other ...

... The

**Vector**W2 is a concept car created by

**Vector**Motors in 1980 ... The name supposedly comes from the "W" for Jerry Wiegert (designer and founder of

**Vector**) and "2" for the number of turbos ... In 1989, a modified version of the W2 went in production as the

**Vector**W8 ...

**Super Vector Space**s

... The category of

**super vector spaces**, denoted by K-SVect, is the category whose objects are

**super vector spaces**(over a fixed field K) and whose ... The categorical approach to

**super**linear algebra is to first formulate definitions and theorems regarding ordinary (ungraded) algebraic objects in the ... The category K-SVect is a monoidal category with the

**super**tensor product as the monoidal product and the purely even

**super vector space**K1

... give it a distinctive name from traditional

**vector**graphics ... Seth didn't approve of calling the raster images that looked like

**vectors**the name of "

**vector**" ... of what they would be called, he coined the term "vexel" as a combination of

**vector**and pixel since they were not simply rasters, and those asking needed a name for a new style ...

### Famous quotes containing the word space:

“To play is nothing but the imitative substitution of a pleasurable, superfluous and voluntary action for a serious, necessary, imperative and difficult one. At the cradle of play as well as of artistic activity there stood leisure, tedium entailed by increased spiritual mobility, a horror vacui, the need of letting forms no longer imprisoned move freely, of filling empty time with sequences of notes, empty *space* with sequences of form.”

—Max J. Friedländer (1867–1958)