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Every motion in play here has the form
z ↦ akζj·z: a composite of k spiral
jumps z ↦ a·z (the gold generator a, which you may drag) and
j rotations z ↦ ζ·z through 1/n of a revolution.
Switching on “the group itself” marks the orbit of the point 1 — one dot
akζj per motion — a bona fide picture of the
group, drawn inside the very plane it acts on.
Closure, inverses, identity. Composing the jump to a with the jump
to ζ lands exactly on a third marked point, aζ; composites
never leave the collection (closure). Each jump can be undone, and the undoing is
again one of the marked jumps — note the dot a⁻¹ (inverses). Doing
nothing at all also counts as a jump: the dot at 1 (identity). These three
observations are what make the collection a group; associativity costs nothing,
since composition of transformations is automatically associative.
One point per orbit. Each curved tile of the colored tessellation contains exactly one point of every orbit, and each pixel is colored by that representative; the pattern therefore repeats exactly, tile by tile, with no copying involved. A single tile is thus a faithful portrait of the quotient: the plane, viewed up to the motions of the group.
Gliding versus hopping. The slider drives the continuous family
z ↦ etα·z, where α = log a; its ghost figure
glides along a spiral and, at integer values of t, lands on the discrete
copies. The discrete group hops, leaving gaps — the tiles make those gaps visible —
while the one-parameter group moves through them without interruption.
The forbidden circle. If |a| = 1, the jumps would neither grow nor
shrink anything: orbits would crowd onto circles and no tile of the present kind could
exist. We therefore keep a off the unit circle (drawn dashed) and away
from 0. Try a real, say a = 2 with n = 1
(concentric annuli); then nudge a off the real axis and watch the tiles
shear into spirals.