On Geometry: On Fractals (1990-1999)

"The chaos theory will require scientists in all fields to, develop sophisticated mathematical skills, so that they will be able to better recognize the meanings of results. Mathematics has expanded the field of fractals to help describe and explain the shapeless, asymmetrical find randomness of the natural environment." (Theoni Pappas, "More Joy of Mathematics: Exploring mathematical insights & concepts", 1991)

"The term chaos is used in a specific sense where it is an inherently random pattern of behaviour generated by fixed inputs into deterministic (that is fixed) rules (relationships). The rules take the form of non-linear feedback loops. Although the specific path followed by the behaviour so generated is random and hence unpredictable in the long-term, it always has an underlying pattern to it, a 'hidden' pattern, a global pattern or rhythm. That pattern is self-similarity, that is a constant degree of variation, consistent variability, regular irregularity, or more precisely, a constant fractal dimension. Chaos is therefore order (a pattern) within disorder (random behaviour)." (Ralph D Stacey, "The Chaos Frontier: Creative Strategic Control for Business", 1991)

"Some fractals come close to qualifying as chaos by being produced by uncomplicated rules while appearing highly intricate and not just unfamiliar in structure. There is, however, one very close liaison between fractality and chaos; strange attractors are fractals." (Edward N Lorenz, "The Essence of Chaos", 1993)

"I believe that scientific knowledge has fractal properties; that no matter how much we learn, whatever is left, however small it may seem, is just as infinitely complex as the whole was to start with. That, I think, is the secret of the Universe." (Isaac Asimov, "A Way of Thinking", The Magazine of Fantasy and Science Fiction, 1994)

"One reason nature pleases us is its endless use of a few simple principles: the cube-square law; fractals; spirals; the way that waves, wheels, trig functions, and harmonic oscillators are alike; the importance of ratios between small primes; bilateral symmetry; Fibonacci series, golden sections, quantization, strange attractors, path-dependency, all the things that show up in places where you don’t expect them [...] these rules work with and against each other ceaselessly at all levels, so that out of their intrinsic simplicity comes the rich complexity of the world around us. That tension - between the simple rules that describe the world and the complex world we see - is itself both simple in execution and immensely complex in effect. Thus exactly the levels, mixtures, and relations of complexity that seem to be hardwired into the pleasure centers of the human brain - or are they, perhaps, intrinsic to intelligence and perception, pleasant to anything that can see, think, create? - are the ones found in the world around us." (John Barnes, "Mother of Storms", 1994)

"We are approaching a more fluid state. I have talked about cultural boiling. The idea of the phase-transition period which, in fractal mathematics, is the chaotic flux between one state and another. [...] Culturally, and as a species, we are approaching a phase-transition. I don’t know quite what that means, on a human level." (Alan Moore, [interview], 1998)

"It is time to employ fractal geometry and its associated subjects of chaos and nonlinear dynamics to study systems engineering methodology (SEM). [...] Fractal geometry and chaos theory can convey a new level of understanding to systems engineering and make it more effective." (Arthur D Hall, "The fractal architecture of the systems engineering method", "Systems, Man and Cybernetics", Vol. 28 (4), 1998)

"Fractals are patterns which occur on many levels. This concept can be applied to any musical parameter. I make melodic fractals, where the pitches of a theme I dream up are used to determine a melodic shape on several levels, in space and time. I make rhythmic fractals, where a set of durations associated with a motive get stretched and compressed and maybe layered on top of each other. I make loudness fractals, where the characteristic loudness of a sound, its envelope shape, is found on several time scales. I even make fractals with the form of a piece, its instrumentation, density, range, and so on. Here I’ve separated the parameters of music, but in a real piece, all of these things are combined, so you might call it a fractal of fractals." (Györgi Ligeti, [interview] 1999)

"The self-similarity of fractal structures implies that there is some redundancy because of the repetition of details at all scales. Even though some of these structures may appear to teeter on the edge of randomness, they actually represent complex systems at the interface of order and disorder." (Edward Beltrami, "What is Random?: Chaos and Order in Mathematics and Life", 1999)