Designer. Editor. Writer. Artist.
 

<GARDEN>

Digital Art, Image editing

<Garden> is a collection of fractals inspired by organic and floral patterns. To human viewers, fractals are captivating abstract images; to computers, they’re complex mathematical calculations. Fractal art is a genre of digital image production that relies on the collaboration between a creative artist and a computational machine. The result is neither drawing nor photograph. It is math translated into an expressive visual language.

Software: Apophysis 7x, Adobe Photoshop

 
 



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ataraxia

 
Ataraxia.png
 

In 1975, Benoit Mandelbrot proposed the term fractal to describe an iterative curve or geometric shape in the fractional dimension. Taking its etymology from the Latin fractus, meaning broken, his research sought to concretize a theory of roughness and fragmentation. Fractals’ recursive properties, often referred to as self-similarity, mean that their patterns repeat with near equal detail at infinitely and arbitrarily small scales. Because fractals scale by a power that is not necessarily an integer—compared to objects in the second and third dimensions, which scale at the second and third power, respectively—traditional Euclidean geometric language fails to offer an adequate description of these objects.

Fractals abound in nature. The rough edges of coastlines, the shapes of rivers and tributaries, the distribution of galaxies, and even the patterns of blood vessels in the human body are examples of naturally occurring fractals. The curled leaves of a fern or the spiral of a nautilus shell demonstrate fractals’ recursive properties. Both the tiny leaves and the crescent shape repeat endlessly, even when you zoom in closer and closer to the centre.

 
 



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helianthus

 
Helianthus.png
 

Mandelbrot was not alone in his interests in fractals: Gottfried Leibniz contemplated the phenomenon of self-similar recursion in the seventeenth century; Georg Cantor proposed the Sets Cantor fractal in 1883; and Wacław Sierpiński proposed the Sierpinski triangle in 1915. These are but a fraction of the proposed sets and definitions that led up to the nascence of the term and theory of fractals.

Today, fractal research is typically undertaken by various computer programs that process mathematical language, often transforming complex iterative equations into strikingly expressive visual art. Their uses are manifold, from lossy image compression methods to predicting the growth patterns of bacteria, to generating digital landscapes for films and video games. Brown, Witschey, and Liebovitch posit that many archaeological patterns are fractal in nature; consequently, often-disregarded fractal analysis is indispensable to our understanding of non-linearity in cultural dynamics.1

 
 



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Thicket

 
Thicket.png
 

In the second chapter of Digital Memory and the Archive, Wolfgang Ernst proposes “an epistemologically alternative approach to the supremacy of media-historical narratives,” a nonnarrative method of media criticism whereby “media themselves, not exclusively humans anymore, become active ‘archaeologists’ of knowledge.”2 For Ernst, media archaeology allows us to study elements of media that elude cultural history precisely because they are non-cultural. He provides the example of Athanasius Kircher’s water-powered machine for automatic music composition, positioning it in relation to software that composes audio algorithmically. Both are nonarrative, much like the algorithmic fractal generation process I undertake here. Ernst encourages an analysis that looks beyond the human-machine interface of technology. In essence, he encourages us to interrogate what is happening behind the screen and behind the speakers. Who or what creates the sounds and images we hear?

 
 



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rainfall

 
Rainfall.png
 

My computer and I follow a three-step process to create each fractal. The first step is to input numerical parameters into the fractal-generating software. These parameters dictate shape, color, and camera angle, among other properties. Then comes a lengthy rendering process. During this stage, the machine is the artist as it applies iterative techniques to solve non-linear equations, exporting the results as a .png file. I then post-process the file using image-editing software to add a solid background color beneath the transparent render.

The elegance of a fractal exists at the intersection of human and machine. These images require the mutual input of two artists: myself and the software that transmutes my formulas into oneiric visual images. I find fractal art compelling for the way it challenges any claim of sole authorship over artistic production, exposing the myth of the artist.

 
 



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pearl

 
Pearl2.png
 

In many ways, all art is collaborative. But my inability to perform the complex mathematical processes required of fractal generation makes my reliance on a co-creator all the more evident. In Apophysis, I can input variables, adjust coloring, alter parameters, and introduce plugins to transform the lines of light that make up the fractal image. Despite this illusion of my own artistic agency, the software does all the heavy lifting of rendering the files as viewable, printable, and editable images. If, as Ernst argues, “media archeology discovers a kind of stratum […] in cultural sedimentation that is neither purely human nor purely technological, but literally in between,” it is in this liminal space that we locate fractal art.3 While we might momentarily mistake a fractal flower for a photograph or a digital painting, we must always come back to understanding that it is, in fact, mathematically produced.

 
 



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windshield

 
Frost.png
 
Windshield2.png

Above is the Apophysis interface or what I see as I create the fractals. Below are the parameters for “Windshield” or what the computer sees. To the computer, the discrepancy between code and image is negligible, merely a difference of data formats. But, to the viewer, the text on the right is gibberish. We cannot look at the string of letters and numbers that make up the palette and immediately envision the cool blues and greens of the fractal snowflake. A media archaeological approach to fractal art accounts for the way the machine translates the data into an image-based interface the human user can engage with. Although my fractals have evident organic inspirations—floral patterns, snowflake structures, underwater scenes—the images themselves are as inorganic as they come.

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Over each fractal, I have overlaid their mathematical parameters. To the computer, the difference between these strings of numbers and letters is negligible, merely a difference in data formats. But, to the viewer, the text is nearly indecipherable. We cannot look at the string of letters and numbers that make up the palette and immediately envision the cool blues and greens of the fractal snowflake. A media archaeological approach to fractal art accounts for the way the machine translates the data into an image-based interface that the human user can engage with. Although my fractals have evident organic inspirations—floral patterns, snowflake structures, underwater scenes—the images themselves come out of copper and silicon.

 
 



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april bloom

 
April-Bloom.png
 

I think a lot about the agency of the fractal-generating software and its preservation of an archive through render log files. How can I preserve not only the visual output of a fractal but also the process leading up to its creation? While we can take screen captures of the software's interface, the actual process of writing the file is invisible to the viewer, represented by a progress percentage scroll bar. The act of rendering creates a different type of file entirely by translating the malleable .flame file in which I work to a static .png. And, for each rendered image I produce, there are infinite possibilities I discard. Perhaps, then, it is choice that sets the human artist apart from their computational collaborator.

 
 

My research on fractal art and media archaeology has previously been published as working notes on the Residual Media Depot’s website as part of the Media Archaeology course at Concordia University’s International Graduate Summer School.

Notes

1 Brown, Clifford T., Walter R. T. Witschey, and Larry S. Liebovitch. “The Broken Past: Fractals in Archaeology.” Journal of Archaeological Method and Theory, 12, no. 1 (2005): 37-42.

2 Ernst, Wolfgang. Digital Memory and the Archive, edited by Jussi Parikka. Minneapolis: University of Minnesota Press, 2013. 55.

3 Ibid., 70.