The eastern Arabs developed the character from a 6-look-alike into an uppercase V-look-alike. Both modern Arab forms influenced the European form, a two-stroke character consisting of a horizontal upper line joined at its right to a line going down to the bottom left corner, a line that is slightly curved in some font variants. While the shape of the character for the digit 7 has an ascender in most modern typefaces, in typefaces with text figures the character usually has a descender, as, for example, in . While the shape of the 7 character has an ascender in most modern typefaces, in typefaces with text figures the character usually has a descender, for example, in .
- While the shape of the 7 character has an ascender in most modern typefaces, in typefaces with text figures the character usually has a descender, for example, in .
- The main contribution of the western Ghubar Arabs was to make the longer line diagonal rather than straight, though they showed some tendencies to making the character more rectilinear.
- These only differ by their handedness, generating matter and antimatter particles on breaking of 0-spin symmetry.
- As an early prime number in the series of positive integers, the number seven has symbolic associations in religion, mythology, superstition and philosophy.
Evolution of the glyph
When rolling two standard six-sided dice, seven has a 1 in 6 probability of being rolled, the greatest of any number.37 The opposite sides of a standard six-sided die always add to 7.
- Some people, especially in Europe and Latin America, write 7 with a line in the middle and make the top line crooked.
- On seven-segment displays, 7 is the digit with the most common graphic variation (1, 6 and 9 also have variant glyphs).
- The eastern Arabs developed the character from a 6-look-alike into an uppercase V-look-alike.
- There seems to be only one generic unique geometry with a fixed functionality of a weak interacting superstring dark stem particle.(0. generation).
- For example, Schindler elevators in the United States and Canada installed or modernized from the late 1990s onwards usually use a sixteen segment display and show the digit 7 in a manner more similar to that of handwriting.
Evolution of the glyph
In generations one to three there are two sets of three physical particles with opposite charge according to the direction of angular spin. For all three generations only two geometrically and functionally identical dark stem particles exist. These only differ by their handedness, generating matter and antimatter particles on breaking of 0-spin symmetry. It is assumed here, that the size of charge is linearly dependent on the number of quanta of angular spin generating it. In the state of symmetry no magnetic component is generated because no angular spin exists.
A particle in such a supersymmetric state would be dark because it cannot electromagnetically interact. Breaking of supersymmetry of this topologically substructured superstring particle would be a change of its angular spin, generating corresponding particles of physics in dependence of the energy level. This angular spin not only generates charge but highly non-linearly also gravo-magnetic mass in dependence of string tension (energy). There seems to be only one generic unique geometry with a fixed functionality of a weak interacting superstring dark stem particle.(0. generation).
Evolution of the glyph
Both sets of three 7 step procurement process particles are arranged in a complementary way around the symmetry enabled by this global physical realization of the number seven. Thus the number seven only emerges as a complementary superposition of two sets of physical particles that are generated by breaking of a supersymmetric state. Seven seems to be more ‘constructed’ by arranging two sets of entities representing the number three around a state of symmetry. As was the case with the European glyph, the Cham and Khmer glyph for 7 also evolved to look like their glyph for 1, though in a different way, so they were also concerned about making their 7 more different. For the Khmer, this often involved adding a horizontal line above the glyph.4 This is analogous to the horizontal stroke through the middle that is sometimes used in handwriting in the Western world, but it is almost never used in computer fonts.
Evolution of the glyph
As an early prime number in the series of positive integers, the number seven has symbolic associations in religion, mythology, superstition and philosophy. The seven classical planets resulted in seven being the number of days in a week.1 7 is often considered lucky in Western culture and is often seen as highly symbolic. Some people, especially in Europe and Latin America, write 7 with a line in the middle and make the top line crooked. The line through the middle is useful to clearly differentiate the character from the number one, as these can appear similar when written in certain styles of handwriting. The number seven was considered to be particularly interesting because it consisted of the union of the physical (number 4) with the spiritual (number 3).46 In Pythagorean numerology the number 7 means spirituality.
is a prime number. Like all primes greater than two, it is odd and has no factors apart from itself and one.
This horizontal stroke is, however, important to distinguish the glyph for seven from the glyph for one in writings that use a long upstroke in the glyph for one. On the seven-segment displays of pocket calculators and digital watches, 7 is the number with the most common glyph variation (0, 6 and 9 also have variant glyphs). Most calculators use three line segments, but in some brands of calculators, 7 is written with four line segments. In the beginning, various Hindus wrote 7 more or less in one stroke as a curve that looks like an uppercase J upside down. The main contribution of the western Ghubar Arabs was to make the longer line diagonal rather than straight, though they showed some tendencies to making the character more rectilinear.
Evolution of the glyph
In some Greek dialects of the early 12th century the longer line diagonal was drawn in a rather semicircular transverse line. On seven-segment displays, 7 is the digit with the most common graphic variation (1, 6 and 9 also have variant glyphs). For example, Schindler elevators in the United States and Canada installed or modernized from the late 1990s onwards usually use a sixteen segment display and show the digit 7 in a manner more similar to that of handwriting. The occurrence of matter and antimatter particles is asymmetric with respect to this symmetry, +2 for matter and -2 +1 +3 for antimatter.
For early Brahmi numerals, 7 was written more or less in one stroke as a curve that looks like an uppercase ⟨J⟩ vertically inverted (ᒉ). The western Arab peoples’ main contribution was to make the longer line diagonal rather than straight, though they showed some tendencies to making the digit more rectilinear. As is the case with the European digit, the Cham and Khmer digit for 7 also evolved to look like their digit 1, though in a different way, so they were also concerned with making their 7 more different. For the Khmer this often involved adding a horizontal line to the top of the digit.2 This is analogous to the horizontal stroke through the middle that is sometimes used in handwriting in the Western world but which is almost never used in computer fonts. This horizontal stroke is, however, important to distinguish the glyph for seven from the glyph for one in writing that uses a long upstroke in the glyph for 1.