Вы находитесь на странице: 1из 117

�V�P�Ҧ��o�{�@�‫ط‬s����N�B��ǩM���2012 �~���p���ɮ��]�Ʀr�ƪ� NATURE JOHN

BRIGGShttp://www.archive.org/details/fractalspatternsOObrig ?- ��P�����洵 � � 7IK


��L���y���l������K �гy�ʤѤ~���Ҫ�N�A�@� ̡G �� P ����� 洵 � �y��V�P�z�‫ש‬M�����ǹϸѫ�n�A�@� ̡GJohn
Briggs ond F David Peat�s��t�z �s���������ǡA�@� ̡GJohn Briggs �M F David Peat�� �ֺq���
޿�A�����洵 �M�z�d�w���ǭ���N��ǡASCIENCE, NATURE G �� SIMON & SCHUSTER EWYORK LONDON
�X���h�‫ۦ‬h �x�� �F�� NGAPORE s 7irc TOUCHSTONE Simon & Schuster Building���J��Ǥ���
1230 ��w�j�D�ì�A�ì� 10020 ���v�Ҧ� c 1992 byJohn Briggs ���b�a�έp���W�Ы‫�ؤ‬Ρ� c 1992
Doug Smith ���v�Ҧ��]�A�H���Φ������γ���ƨ�v�Q�C�ժ�۩M���v���O Simon & Schuster Inc.
����U�ӼСC�� Bonni Leon �]�p��Q��X���� 10 9 8 7 6 5 4 3 2 ��|�Ϯ��]�X���s�‫ؼ‬ƾ‫��ڨ‬洵
�A��C��ΡG�V�P�Ҧ�/�����洵 �Cp. ��̡C�]�A�ѦҮѥ‫ة‬M��‫ޡ‬C1. ��ΡC�@�B���D�CQA614.86B75 1992
514'.74�Xdc20 �I671 74217 5 �P���S���T�{�H�U���e�A�H��㭫
�L��e�X������ơG��p�w�P�h���C�����ᡨ�A�p�‫�ۿﶰ‬C�s�A��{���V��GAS Barnes and
Company�����ֺq��|�A1971 �~�CEdward Berko�C����Ϊ�����C���vc 1991 �R�w�
‫ء‬P�B��C�X���ӡGLigeia Art Journal�AFractalisms issue 1991�CEd�C��˥��P�Q����‫��ھ‬CCIP
���ǤҡCRicki �M Devin�]�@�L�ּ �ּ֦ a�~�ӳo�Ӥ��WORLD�^�‫ڹ‬糧�Ѫ���U�̤��� j P�¥����k�\��C�X���\
�h���ϵe�a�b� ᭱��C�L�̤������
@ l�O�a���‫��ڴ‬ѫH���B���Ϥ�M�@�ߡC�b�w������N�a�ɡA���X�ӤH��U
�F�‫ڡ‬G��J�� IBM �� Denis Arvay���a�A�ì�FCliff Pickover �]�O��J�� IBM
���@�W�X�⪺��u�@�̡A�]�O�@��X�⪺��ΡF���Z� � ֤ j�Ǿ��u�{�t Milton Van Dyke �б¡F��εe�a
Carlos Ginzburg�A�t�@�찶�j����H�C�‫ڭ‬n������N��‫׮‬a�J�Ҵ��P��S�� (Klaus Ottmann)
����U�F�a�y�[��ìP���q�� Mark
Eustis������{��i�F�M�i�h�y��dzժ��]�]��D��Դ��P�v�K���]Douglas
Smith�^�C������L��ij�A�Ч‫ ̦ڭ‬p�����V�ê����W�C�‫ڷ‬P�§‫ڦ‬b��誺 �P�Ʊd�I�f��{�ߤj�ǡAHugh McCarney
�б¡]��‫ڤ‬W����F�V�ê����W�^�AMargaret Grimes�BBill Quinell�BKalpataru Kanungo �M
Susan Maskel�A�P�¥L�̪ �����M��U�Ӷ��‫ء‬C�‫ڷ‬P�� Simon & Schuster �� Karen Holden
���X�F�@������Ϊ��Ѫ��Q�k�A�M Touchstone �� Heidi von Schreiner ����óq�L�o�˪��覡 � � � �
�F���M�~�B�u���M�e�e�]�P�®�^�C�����‫( �ܩ‬Bonni Leon) ���X��]�p�o���ѡA�Ҽ{��
‫�ڹ‬o�I�[���Ҧ��_�Ǫ�����A�ña�ӤF���M�o���s��l�P�ɥ��C�‫گ‬S�O�P�§‫��ڪ‬U�z Kristina
Masten�A�S���o���u�@�ɶ��‫����ڥ‬i���s�o���ѡACarol Zahn�A�L�������s��U���F�‫\��ڪ‬
�h��Ψӷ��C�‫ڷ‬P�¤j�áP� � ֯ S (David Peat) �����N�\Ū��Z�A�ç����K���L��䤤� �~�����d��C�‫ڷ‬P�§
‫��ڪ‬d�l�A��w�R�@�p�J���a�Ԩ�‫�����ڪ‬M��ɶ��g�@�C�̫ ��ëD�̤����n���O�A�‫ڷ‬P�§‫��ڪ‬g��H���
L���P�‫( �ܩ‬Adele Leone) �������Ӷ��‫ة‬ҥI�X���x�j���M�ߩM��i�C�H�� Benoit Mandelbrot
���Ϊ������ij�M�o��C�ި�� ͩ13 Aͩ R�άP �y 35 �d�m�B�_�M � 43 �~�h�Ŷ�ΩM �V�P 49 ����������
‫�� ̤ڭ‬Ѫ��Ѯ�O�V�P 55�ƪ������G��κ�� 61 �O�H��Ѫ��Ҽw����ù�S�� 73��μƾǼҥ�A�J�۷ Q�S�u�� 83
�V�P�P���HYBRIDS 93 CHAOS SCULPTS ���[ 99 SPIRALS�BSOLITONS �M SELF -ORG AN IZI
NG CHAOS 107 ���X�M���N�G�V�P 115 �H��O�@�Ӥ��W�h���гy 123��y 131 �N�V�P��@�ө_�Ǫ��l�
137 �޾ ��N��μƾ� 147 ����� ⹳ Ϲ�
��2��
ͬ���W�h�� 157 ���j��N����ί��K 165 �Pͬ �b �@�_�n �i �w�ʪ �Ϊ � 179 �b�a�έp�W �������������
Ы
182 ��‫�^�ؤ‬m�̪ ��ǰO 184 ��ij�\Ū 187 �Ϥ�ӷ� 188INDEX 190 �̥‫��ڭ‬B��@��j���R���}�l�X�X�‫ڭ̬ݫݦ‬
۵M����Ӥ 覡� N�O���‫ܤ‬F�C�XJoseph Foh>�A���z�Ǯa�A��v�Ȳz�u�j�ǡC���w��A����Q����ͻ��A½�
‫ۮ‬ѭ�����L���A�����G�h�‫����ܪ‬F�����ū‫׾‬A���F���ɤU�B�C�� . . .�������@�‫|ؾ‬
��A�ʥF��٩ʩM���ǡA�]����������F�[�p�C�O�L�̦ۤv���k�ߡA�٬O�S���k�ߡA�L�̿�u�F�H�X�X���N���ȡP
��ҡA�m��n�CQtiaos �M��άO�D�u�ʲ{�H�A�ҥH�ЧA U) � ‫ק‬K�\Ū�o���ѽu�ʦa�C��զb�奻� � � s
´�z�ۤv����θ�|�C�]�\�A�}�l�o�˰����ɭԧA��_�ѡC��Ӹ�h�i��
‫�_ݰ‬Ӧ��I�áA��o�N�O�U�����Ҧ��b�o�̰�‫ס‬C Q �z�N�b�C�������쪺 � � s�ϼЬO����m����ij�z�i��|
���U�@�B�A�H�F�ѧ�h�P���/�V�P�D�D�K�����A��Ū�L����ơC�Ҧp�A�o�O Mandelbrot
ͪ�Ҷ��s�C��L��s�U���C�X�C�E �E ͪ � �E �D�u�ʪŶ� �E �Ѯ� �E ������
Τ ‫ؤ‬o �E MANDELBROT �� �E
��s�~ �E �V�X�� �E ��δ��[�E �۲�´ �E ���X �E ����� �E ��y �E �i��ƲV�� �E �ƾ���N �E
�s�X����N���K �̶‫ڭ‬ɦV��{����Ǩ 㦳 � � � � �
� F��y�p��¶�a�y�B��ɡA���N����F�@��C��O�o�ӷQ�k����몺
� t�z�P�{��@�ɵL��C�X�X�N�i��J�A������j�dzгy�F���V�P���@��z�Ǯa�C����M���ê����ǡG�V�P�B
ͤ��ΩM�@�ӷs���f��Qverybodjͤ Ѯ�F��� o O�̪‫�@��ڭ‬P�I�C�b���w���U�ȡA����i��|���b�̪‫���ڭ‬Y�W�A�ӧ
‫��~ک‬b�t�@�ӫ���B�C��Ѯ�O�̦‫�{�����@ڭ‬H�C���Ǩ�i�‫ܩ‬ʡB�@��̿�ʩM�ʺA�Ҽ{��ɨ 誺� � � i�w��ʡA�Ѯ𺯤J�
‫�{��� ̪ڭ‬w�ơA�]�w�ί}�a�̪‫��ڭ‬p���A�v�T�̪‫�����ڭ‬A�N�̻‫ڭ‬P��ҩM�����pô�b�@�_�C�Ѯ�]�O�@�ӲV�ä�
�������Ǫ��Ҥl�C��L�@�ǥ ‫ܨ‬ҡG�ѥ��۳ Ы‫��ت‬Ҧ��b�B�t���[��½�u�A�q�g�[�����X�A�o�{�a��M�a��C�
��q�L���Ŧa�H���ު޳o�ǥO�H��H���h��� �۬‫�ۦ‬Φ����b�F��v�v Joseph hranf'hcs �M twi2S
�o ͪͩ ͪ �Ʊ �ǻP �V�ä�a �a�C�o�H �l �ͩ R�M�` �C�S �p�Y �b�õL ��������������������
�ܼf��ǡA�N�[���p�X�_�ӥγo�Ǥ�Ϊ���C9�G^^ -'V _ 5 #v�C^r , vTBt > �E �D**ir �E %?t - i
�E> r#fc^^^�Ӧ ۱ ͪY��Ħ��ӭM�����l���Qͪ �Ǯa �o �P����� 襱 ���� C���
‫̨��ޥ‬S���X�{�o�̬� O b�z��A�o�ǶW�{��D�q���O���‫ڤ‬W�O������A�L�[�H��Ħ��ѨF�l�s���A�åH��۪���
�c�ê��‫ۦ‬b���̪ ������H�O�@�������z�L���̪ ������C����Ħ���A�襱�⥦��
�ΰ��F��ȡC�o��Ħ����V���H�H��Ҧ��~��C�w�ơA�Y�J���O�‫ڴ‬X���o���A�]���O��
٪��A�O���W�h���M��Ϊ��CSiver �‫ٳ‬o�‫د‬S���զX���\
�ܿ��Y�N���ñN�L��������hĦ��٬�����ͳ��ᡨ�C�ƹ��ҩ�A�u��������A�]�O��Ϊ��CĦ����L�p�O��
]����F����Y��S�ʦ ۵ M�C�b�@�Ӥp����A��w�b�̪‫�@��ڭ‬ɤ���ʡC�b���ӥ@�ɪ��Ӹ`���٨S����L�C�̦ۤ‫ڭ‬v����
��O�@�ɤ��V�ӶV��Ӥ‫�@��ثת‬ɪ����X�C�o�O�@�����䪺�
�Ϋ�Q�C����b�@�_�C�]�U������г������@���Фg�A�b�‫پ‬x���T�T��夤�_�
ߡA�M��E���_�ӡA���s�����a����C�@�D�{�q����ѪšC�j�h�ƤH�o�{�j�۵ M���H�N�‫״‬I�O�p���O�H�r�
��A�Y�Ϻ 믫�W�`��A�����@�‫إ‬O�H���Ī��A�Ʀ‫������ܯ‬A�b�L�Ѫ��ı
ߡA�H�۪i��}�H�A�]�`�A�i��Ϊ����‫ܤ‬ƦӦ��ǡA�H�ΤѮ�C�M�ӡA�X�ӥ@��H�ӡA��Ǯa�̤���� @ o�‫�`ر‬ѩʯ��Ǹm���
��z�C�‫�@�ܪ‬q�ɶ��L�̺� A ‫��׫ܦ‬D�z�C��Ǫ��DzΥ�ȬO²�Ʀ ۵ M�A���‫ܨ‬䩳�h�޿�A�M��ϥθ��
޿�@�����s��q�C�����۵ M�{�H�p�Ѯ�L�k����A�M�z�A�æb����Ǫ�����U��s�C�@��
�� 3 ��
��Ӿ�O�j�q�‫ܤ‬ƪ��W�S��Ҫ����G�A�U�ᵩ���O�B�ϳ�B�g�[����B���B�Ӷ����‫ס‬B���θs���v�T�A�H��ĥ�M
��L���C��Ӫi��V���� �߰ʮɳQ�X�ʨåѡ��ʺA���Ϋ����D�O�q����_���A�ƶq�h�o�L�k�T�w�ԲӡC�i��M��O�ʺ
A�t�ΡA�䳯���H�ɶ����‫ܤ‬ƪ��t�ΡC�Ѧp������t�άO�h�譱��
�B����M�ۤ�઺ ��̿� C�L�̤��_��Ԧۤv�гy�P�ʪ����W�h�ʩM���i�w��ʡA�o�O�̪‫��ڭ‬лx���z��ҡC�q��Ǫ����
‫ר‬Ӭ‫ݡ‬A�o�‫ع‬H�W�欰���N�Q�{���O�u�O�@�ζó¡A���\�F�b��U�B�@����񪺡B����몺��ǩw�ߡC�z�
‫פ‬W�A��Ǯa�̬۫H�A�o�Ǩt�Ϊ��V�ñN�o���M�M�ǽT���w��p�G�̥‫ڭ‬u�ব������H���Ӭd��L�̪ ��欰�\
�h�ۤ�����p����]�M���G�C��M�j�h�ƤH�����D�A��‫ܦ‬h�H�۵�̹̹‫ڭ‬M�����n���]�O�ѳo�@��ǫ�Q��y���
C�b�̭ ��G�Q�@��A�̳‫ڭ‬Q��Ǫ�G���_����O�Ҿ_�٤F�Ѩñ���̪‫����ڭ‬z��ҡC���@��O�H����·�ê��޳N�i�B�Ϥj�
h�ƤH�۫H�A��Dz{�b���F�Ѧ ۵ M�A�`���@�ѷ|���D�����D�åB�o�‫��ت‬Ѥ��i�‫ק‬K�a�|
�ɭP�V�ӶV�h������C�‫ھڳ‬o�Ӱ��]�A�Y�ϰ��‫���׽‬ʤO�t�Ϊ��欰�̲‫|�]פ‬
�}�A���Ǯa�������M�p���C�Ҧp�A�X�Q�~�Ӭ�Ǯa�̧ �J�F���j���V�O�A�οW�ЩʩM�޳N��s�a�y�W�٬��Ѯ 𪺥
��j�ʤO�t�ΰ��]�X�X�̤‫ڭ‬j�h�ƤH���P�N�X�X�q�L������q���ƶq�M��q��X�Ҽ{�v�T�Ѯ 𪺦U�
‫��]ئ‬A�w��Ní�B�����C�o�O�b�Ѯ�w��A�o�‫�`ز‬誺���]�Q��@�ʦa��½�F�C���q�A�l���ͻH 1961
�~�A�¬‫ٲ‬z�u�ǰ|����H�Ǯa Edward���
‫�ۯ‬o�{�F�@�ӥO�H���w���ƹ�C�L�F�Ѩ��������ܶq����h�H���]�����t�B����B��‫ס‬B�ū‫ש‬M�Ӷ��¤l�L�U�
󴣰��ǽT�ʪ����Ѯ�w��C���‫�ۯ‬T�w�A�L�‫��צ‬h� � ֫ H����H�Ǯa��n�p�s�A�L���Ѯ�w��ִ‫ܧ‬N�|
�X��C�L���_����]�O���� ���Ѯ�o�˪��ʤO�t�άO�ѳ\
�h�ۤ���@�Ϊ��Y�ϬO�̷L�p���]��A���̤� ] D�`�ӷP�C���q�T������\
�A���F�[���[�A�l�ͻH�����A�X�G�Ҧ����]�A�b����H�Ǯa����q���G���H���‫ܤ‬Ѯ�t�Ϊ��欰�C���
‫��}�ۯ‬O�N�� �ۡA�b�Y�‫ط‬N�q�W�A�°��]���M���T�G����ʤO�t�νT��O�ѥ��̪ ���]�M�w���C�p�G�̯‫ڭ‬ા� D�L
�̩�����
Ҧ ]�A�̥‫ڭ‬i�H�w��L�̷|������C��O���‫�ۯ‬o�{��o�ˤ@�Өt�Ϊ��v�T�O���Ī��L�a�C���p�@�쪫
�z�Ǯa��X�����ˡA�o�˪��t�ΫD�`�ӷP�A���̥�� i |���H�U�]����v�T�N���t�z�t�@�‫ݹ‬q�l���
‫ޤ‬O�@�ˤp�C�ҥH�۵ M�O�ѲV�P��t�A��O���W���V�P�A�z�‫פ‬W�i�H�k�����@���‫���ڭ‬o�F����H���C�ۤϡ
A�j�۵ M���V�ìO�`�誺�X�X�]���u���o�˧̤‫����~ڭ‬o����H���Ӳz�ѥ��Ʀ ‫�]ܥ‬A�
‫� ̹ڭ‬ժ��v�T�����H�������C�H�۬���‫�ۯ‬o�{�A��s�H����a��J���ˬd�U�‫ذ‬ʤO�t�ΡA�q�q���H���A�L�̵o
�{�s�k�ߡC�o�@�V�O�P�ϥL�̧ ��‫ܤ‬F��{�ꪺ� ‫ݪ‬k�C�H��H���t�‫ס‬A��Ǯa�̱�q L�̬
�s�۵ M���DzΨƷ~��V��s�۵ M�@
���V�áA���޹��p��w�q���V�á��@��t�q�èS���ߧY�F���@�ѡC�b���‫ܩ‬M�ǻ����A�j�h�Ƥ�Ƴ��P���ǩM�V
�ìO�@�‫�ح‬l�G���ʡC�b���жDzΤ��A�W�ҳQ�y�z���b�H���y�W���ʲ`�]�V�á^�a�ӥ��]���ǡ^�C�j�N�‫�ڤ‬ ۤ�
H��z�F�@�ӯ��‫��������^ܭ‬J�A�L�����F���۪���U��������Ȱ��S�A�ñN�o�‫��ܦ‬F�Ѱ󪺯��Ǧa�y�C�b�L�
‫ס‬A�‫��ڻ‬ѤW���Ǥ����˦٬ަ۬ ‫ۥ‬a���b�i�Ȫ��V�ä������Գ�M���̪ ��I�N������a��C�b����j�Ѫ��DzΤ��A�C�Ѳ{��
O�q�L��a�Ӫ��B���Ǫ�
�� 4 ��
��h�A���A�M�·t�A�]�e�@�����A���C�j��þ�H�N�z�ʪ���iù�P�ʼ��M�V�ê��f��‫�_߰� ���״‬ӡC�_�誺
���H����i�F�\�h���f��‫����״‬믫�Agagonsa �ΰ����աX�X�ᦱ����� ΨӥN��]�M�M���^�믫
�M�����ê�����߭� ���C�\
�h�����@�ɦU�a���H�̦� b L�̪
��U�����������@���F�l����A�o�ӤH���q�L�N��{�ꪺ� ë�‫�ب‬M���F�ӫd�z
���ǡCŲ���l�D�N�۵ M²�Ƭ����i�q�ƪ����W�ߡ��A�{�N��Ǧb�‫ܤ‬j�{�‫פ‬W����o�‫��س‬J�V�P��Q���ҽk���
�M�ӡA�b 19 �@��A�u�{�v�T��o�{ - �O�L�̾ Ҵo���O - �@�
޳‫ا‬N�V�áC�L�̷N�Ѩ��q�μ�q�A�`�O�Q�L�̪ ���˥�F�A�o�ɭP���z�Ǯa���X�F��O�DzV�P������A���B����
ͪ´���w�V���l�N�o�B�w�C�ɲ���� ͪ @�‫ص‬L����U�ӡA�ö}�l�H��d��i�J�����C�o�‫ا‬Φ����V�P�٬����i��
�C19 �@���Dzz�‫׮‬a�w��A�t�z�������@�ѷ|�g��@��[��`�åH�i����|
����A�N�P�t�B��P�B�k�P�X�X�@��X�X���Ѧ��@�Ӧt�z�ŲM��C�t�z�b�z���M���Ȯɯd�U�F��ΦL�O���
઺��y����B�P��M���ƪ��Φ��C�L� ̾‫���קڭ‬ӪŪ��`�‫��צ‬h�`�A��h���Ӹ`�`�|
����C�o�̪ ��Ӥ�O�j��� �۬P���A�@�Ӥp���B���W�h���q�L�[���y��y�P�����ϰ�o�{�F�̦ۤ‫ڭ‬v����P�t�C²��
SENSITIVE CHAOS Lorenz �M��L��Ǯa�o�{���V�P�Φ��b 1960 �~�N�M 1970
�~�N�o�{���i���� 󱵪 j�ѯ� �ܶǻ����V�áC�V�áA�}�l�b�P�򪺹q���̹ �W�X�{����H���B�h�m���F��C�@�ɡA�
e�{�X�@�‫ب‬g���B�O�H��H���h�����ǡC�o�O�V�áA�n�a�G����W�O���i�w��C��@����Ǯa�̦�̹ b �W��?
���Ǹ��D���F��A�L�̶}�l�o�{�V�ä����‫״‬I�H�e�q���Q�L�C���F�y�L�yø�@�U�o���‫״‬I�ʡA�зQ���@�
U�[�‫�ݨ‬Ӭ�Ѫ��𸭨ñƸ��J�p�ˡC�ˬy�A�s�P�����𸭡
B��� �ۡB��K�B�s�D�M����A�O�@�ӽ���ʤO�t�ΡA�b��L��L�������|
�����ʡG�����B���ƪ�����Q�ᦱ�������x�y�A�b�g�c�����q��� �ۡA�M��C�C�i�J�Q�ˤU����K����w
�R�����C��M�L�᪺� ��� @��𸭸
��U�A���̳Q��y�l�ި��@�Ӥ��̡A��¶�ۤ@���i�k�����p��y�C�M�ӡA�o���|����‫�ܪ‬ɶ��C�
֡‫ܧ‬A�C�Ӹ��l��m���ӷL�t�O�Q��B�ʩ�j�A���l�}�l����C�S�O�@�}�ۭ������A�@���j�n�j�\
�a���L��K����t�A�R�V�U��F�t�@�ӺC�C�a���ন�j�򪺤@�‫�ھ‬K�óQ�x�b���̡A��f�y�ӤJ��Ӷª����a�A�o
�˸��l�����{�b�}�l�H�L�p���覡���‫ܧ‬Ϊ��M�B�ʪ��U��q�y�C�V�P�Ǯa�|
���A�o�ӰʤO�t�Τ������l��L�̪ ���l����{�X���‫��ݪ‬ӷP ͤ �ʡC�L�̶}�l���ӷL�t�O�I��L�̪ ��R�B���F
ͤ �‫ܤ‬j
���v�T�C�p�����‫��ݪ‬ӷP�ʬO�V�P�ʤO�t�ΡC�o�Ǩt�ΰ��‫ױ‬ӷP�A�]�������`�O�b���ʡA�`�O�b�‫ܤ‬ơA�û�
���|��T�a�^���쥦 �̪ � � � l���A�C�L�̴N�����_�
‫ܤ‬ƪ��e�y��þ��Ǯa���ԧJ�Q�S��ɶ�����ҡG�A�û��L�k��J�ɶ����e���A ⦸�� ԧJ�Q�S���A��� ‫�`��ޥ‬O�P�@�
�e�C���ԧJ�Q�S�����‫�]פ‬A�Ω�@�ӯu�ꪺ� ͩX�Xͩ R�e �A�O�V�ê������� ߡC��M�A�Y�Ϥ@�ӽ���ʤO�t�Φb�@�ӳW
�h���Ǫ��覡�A�b�Y�
‫ص{�פ‬W�A�V�P����b���ӷP�ʡ���h�i��B��� 󥩧�a ��� ƪ��A�N���̤ �ѡC�o�ä��`�O�@���a�ơC�T��A���O�
ͩ@����ͩR���‫״‬I�ʡC�Ҧp�A�b�㦳�‫ۦ‬P DNA ����M�L���L��o�|
���A�ӭM�E�����H�Φ���M�L���j���Ĩ�P����u�óгy���P������o(�s���C�F�L���o�|
�O�@�ӰʤO�t�ΡA�����l���гy�F�@�өT�����I���V�áA�T�O���P�Z����M�L�N�û����|�����
‫ۦ‬P�C�V�áG�q�V��ӥ@�ɪ��@�ӭ�]�V�P�ʤO�t�Τ����������l���D�`�ӷP�A�H�‫�ܩ‬o�ǽ���t�λ‫ݭ‬n���X�C�
Ҧp�A�q�L������y�M��y�A��b�@�Ӭy���q�L�`�q 1\ �ۨ�����|�ӳЫ‫��ؤ‬X�C�t�ΥR���U��
�� 5 ��
�Q�٬��������X ͭ �������X�����|�oͭ �R �ʪ���� 欰�
‫ܤ‬ơA ͪ �Ҧp���J����b���n������åB����� ͪ L�[�R�q�z�����_�ձ�Ť���y�s�n�A�Ϊ̷��^�l�W���@�ɤp�B���
z������y�ɨ��H�ɭP����Y���C�q�L���X����‫��ܪ‬t�γQ��Ǯa���O�D�u�ʪ��C�U�W��q�A���̻� P u�ʨt�άۤ
ϡA���̬�
O X�G�޿誺
�B�W�q���M�i�w��C�Y��ӻ��A�u�ʨt�άO�i�H�νu�ʼƾǤ�{�Ӵy�z�X�X��p�u�D�ɼu�M��y�A�b�������Ǫ
��y�D�W¶�a�y�B��C�@����Ѿ��Q���i����b��J��y������T�۳��O�@�ӽu�ʨt�ΡC�N����i�����z�o�A
�p�u�ʨt�Ϊ��‫ܤ‬Ʒ|ͤ ���ͤp���i�w��v�T�C�b�D�u�ʨt�Τ��A�t�@� 譱��A���X�����|�M���s���|�|
���t��j�L�p���‫ܤ‬ơA�]���ĪG�N�����̬̬‫�ܪ‬M���z�s�n�κu�����p�ۤl�޵o���Y�X�X��G�������X�ɩy���
�Ҫ���]�C�D�u�ʨt�Ϊ��欰�O�D�u�ʪ��A�]�����̻��� P a��̻
��L�����z���i��Q��j���N�Q���쪺
�n�����X���z�����‫ܡ‬C�V�P�Ǯa�w�g�F�Ѩ�A�b�Y�DZ��p�U�A�D�u�ʨt�ΥH���W�ߪ��B���Ǫ��B�`��覡
�B��A����Y�ƨϥ��̱ ҰʡX�X²�� �E 1 9 �{���I�L�h�F�A��M�L���ܱo�V�áC���ӥt�@�Ӱ�ǥi��|
�q�L�A�L�̱�
N A����_���ǡC�Q���@�U�A�Ҧp�A�@����Y��b�p�˪��e�ɡA�b��H�U�@�^�‫��إ‬k�C���`�y�
ʮɡA�q�y��í�a�y�L��� �ۤW�誺�ϰ�A�S���i���C��@��j�B�L� � ᩥ�ۤW����y�t�
‫�׬‬M�b��W�Φ���y�ϰ�C�M����y��_���`�ɡA�a���A������� �ۤ@�ˬy�ʤ��b�C�V�÷|���|
�X�{�A�n��p�өw�C�‫ݨ‬ӡA�b�ʤO�t�βV�éM���ǬO�t��������P����G�b�Y�DZ��p�U�t����‫�@ܤ‬i�y�F�b�
��P�����p�U�A����‫ܥ‬t�@�ӡC�o�Ǩt�Υi��²��_‫��ݰ‬ά‫�_ݰ‬ӫܽ���F���̪ �²��ʩM�_��ʬۤ���
´�C�ƹ�W�A�V�P�Ǯa�ܰ����a�o�{�A�b�ʺA�t�Ϋ‫ؼ‬Ҥ ͪ ��A�D�`²���{�������ͪ G�ҥ�F�V�ê�����R�C�]��
�A��s����ʨèS�������A�o���Ϭ�Ǯa�̩ ��F��۵ M²��ʪ��H��X�X���‫ޥ‬i�H� �֩ w���O�A���w�g�ҩ�F�@�۷‫�_�ج‬
ǩM���T�w��²��ʡC�H�۲ V�P�Ǯa���u�@�A�L�̫ ֤‫ܧ‬F�Ѩ�ʺA�t�Ϊ�����]���ꪺ� ʺA�@�Φӯ}��ɡA�ᦱ����O�A�
L�̸g�`�V�æa�o�˰��A�b�\�h�a��гy�X���p��� �۬‫�ۦ‬Φ���Ϊ��‫ثׯ‬S�x�C�o�i�
‫�_ݰ‬ӹ��h��F�d�Ϊo�����Ϲ��O��‫ڤ‬W�@�h�u���@�Ӥ�l�p���E�f�A�m�Q��Y�b���Ȥ�������C�L��ϡX�X�
t�αq²���_���I�A�q��G�Bí�w�����Ǩ�¦�B��H��z���V�ñ���X�X�O�̦ ��쪺�a��C�b�o�ǹL��a�M��ɰϰ
줺�A�t�ΰh�� ami
�X�{�b�Ҧ��C��M�b�Ӹ`�W�L�k�w��A��i�H�w��t�Ϊ��Ҧ��M�d�򲾰ʡC�ƹ�W�A��Ǯa�̤� F Ѩ즳
�Y�ǥi���ƪ��B���W���Ҧ��t�Φ�G��L�̳��J�V�é��\��V�îɳQ�l�‫ޡ‬C�o�@�o�{���Ǯa�̷P�찪��
�]���o�N��‫ۥ‬L�̤ ��M�i�H�O���i�w��ʪ���DZR�q�X�X���޲{�b�o�O�@�‫�_ة‬ǦӤ��T�w���i�w��ʡC��O�̦‫ڭ‬p�
����o�ǩ_�Ǫ��V�P��ǡH�@�Ӭ ۷�X�G�N�ƪ����‫׬‬O������‫��ס‬C�ʤO�t�άO�ӷP���åB�b�Ӹ`�W�O�D�u�ʩM�
��i�w��A�]�����̹�  ~�����v�T�Φۤv���ߪ��L���i�ʡC�H�۲ V�P�z�‫��ת‬X�{�A�����@��²�檺
�ƹ�A�Y�ʤO�t�ΡX�X�����A���]�A�̭ ��n���̥‫�@ڭ‬ɤ����y�{�X�X���n�t�߹B�@�C���U���𡧥~�����i�J�
‫�� ̪ڭ‬y�]�i�H�Q�{���O�ʺA�t�Ϊ��@�Ӳզ�����A�٬��ˬy�C���~�A�b�e�y�������A�Ҧ�����X�X�q�̫ ���
�s��̤� p 𸭩M�Z�Z�ۡX�X���_�a�ۤ���v�T�C���y�ܻ��A�ʤO�t�ηN��‫���۾‬D�q�A�䤤
�@����v�T�μ�b�a�v�T��L�@��X�X�]���q�Y�‫ط‬N�q�W���A�@����b���_�a�P��L�@��ۤ���@�ΡC�b
���ɭԡA
�� 6 ��
�ʺA�t�Τ������X�i��|��j�@�ǷN�Q���쪺���~�����Ρ��������v�T�A�i�‫ܤ‬F�o�‫��ؾ‬骺�ۤ��
�pô�C�]���٬ު��O�A��V�P����s�]�O��V�P����s�C����ʡC�M�ӡA�\�h�V�P�Ǯa���|�o�򻡡C�@�L�ð
‫ݡ‬A�o�ܾA�X�D�D�A���p���T�w�q�V�P�����‫��פ‬b�~��C�@�Ǭ�Ǯa����F�L�̪ ��Q�k�V�P�{����í�w�欰
�M���H��欰��������ɰϰ�C��L����w�q�V�õ{�‫�@�]ס‬ӷ��‫��ݪ‬H��ʡ^�����
‫ר‬ӫ�ҡA�{���b�Ҧ��{�‫��ת‬V�íI��O�@�Ӱ򥻪�����‫ס‬C��Y�ϬO����̤‫|�]ת‬
�P�N�V�P��s���̪ ΨU�������w�o�{�s�b����r���D���e�u�bí�w�M��H�z�Ѫ��V�ä����C�ި��� E 21
�X��ϧβ��W �b 1960 �~�N�M 1970 �~�N�AIBM ��s�� Benoit Mandelbrot �o��F�@�
‫ط‬s�X��ǡA�L�٤�������Ρ��X��A�`�J��i�F�o�@�e�u���C�Ҽw��ù�o��F�N�y����Ρ���‫��_��ܡ‬M�
���ơ��X�X�@�‫ر‬M�`���_��X��ǡA�K�‫��ڤڪ‬A�Ϊ������áC�V�P���ɷ|�_�ʰʤO�t�ΡA���ɷ|
�u�O�n�d�b��x�C��δX��y�z�F�ѰʺA���ʪ��q�L�C�̨‫ڭ‬C�ѳ��|�‫��ݨ‬ΡC��A�s�A���  |��� |���𸭡
G�Ҧ��o�dz��O��ιϮ‫ס‬A�O�u�@���ʺA���ʪ���H�C�V�òz����z�F�H�‫ۮ‬ɶ ͪ �������ʺA�t�εoͪ �ƨg �ƥ�F�δX ����
�O��F���̦� b Ŷ����B�ʪ��Ϲ��C�ҥH��άO�Ѧa�_���_�ʩΦL����v��y���d���u�I�k;
����Ӫ�����K���c�l?
ͪ�F������ ͪ L�{�F�����B���B�ɪ���t�F�]�Ť��P�P�����Z�F�ìV�����m�M�Ьy�q�o�q�t�V�~�X���C��
V�ê��p�ɦۧ‫���´�ڲ‬s�����ɡA���d�U���������ΧΪ��C�Y�ϬO��e�x������������V�P�L�{�P���骺��
����٩ʬ ۵��X����ε��G�C11 �E���� ��‫�۾‬Ԫ��ý��л\�����ɡA�C����j���|
��ܷs���Ӹ`���ƤF�b��j�‫ثפ‬W�o�{���‫ۦ‬P�Ҧ��C�‫�ھڤ‬δX��ǡA�o���ý��O�@�Ӧs�b���‫���������פ‬C�
�δy�z���W�‫�@ץ‬ɡA������q�A�����ʺA�‫ܤ‬ƩM���‫ܡ‬C��άO�D��Ϲ��ƪ����|
�M�i�}�A���X�������M���̦ۤv�C��Ϊ���s���ҹ�F�\�h�V�P�Ǯa��V�P�����ѡA�õo�{�F�@�ǷN�Q���쪺�
��K�۵ M���ʤO�B�ʤ]�O�p���C�o�ǯ��K���@�O����Y��C�����ܳ\�h���P�‫ثפ‬W���
‫�ۦ‬Ӹ`�C�Q���@�U�A�Ҧp�A�‫�@�ݨ‬ʾ 𪺲�� W��ֳq�L�s���j�j����j���ơC�C�@����j���ദ�
‫�ܧ‬h�Ӹ`��֪ ����� W�C���~�A�b�\�h��Ρ]�p�� ֡ ^���A�Y����H�۵‫ۦ‬M�ʤO�Ǫ��t�@�‫���ج‬Ҧ��G�۬
‫�}�ۦ‬G�o�N�� �ۧ@���[����`�J�a�[���ιϹ��A�L�̪� ` N��b�@�Ӥ ‫ثפ‬W�‫ݨ‬쪺�Ϊ��P�b�t�@�Ӥ‫ثפ‬W�‫ݨ‬쪺
�Ӹ`�����Ϊ��C�]�\�o�‫�_ݰ‬ӫ‫�_ܩ‬ǡC���Ǩt�Ϋ��i�ॻ��W�V�P�b�U�‫ؤثפ‬W�O�_�㦳� �۬
‫�ۦ‬ʡH�n�z�ѡA�ЦҼ{�Ѯ�A���C�q�ӪŬ‫ݡ‬A�a�y���Ѯ�X�{�b�s�諸
�d�򤺡G���઺����V��۰ Ѯt����M���ϰ�A�o���M���̦ ���h�����C�ַӦb�o�Ӧ�P�‫ثפ‬W���ū�Ū�ƱN �ި��� E
23 ��‫ܤ‬F���j�����I�A�p�H�βD�n���a�ϡC���]�A��̰‫�]��ڭ‬b���y�d�򤺡A�
‫�ڭ̬ݨ‬Q���K���_��M�j�����ɪ��ū ‫���`񥿱פ‬p�C�C���]�‫��ڭ‬Y�p��j���‫ثס‬C�ƹ��ҩ�A�q�o�Ӥ�ҨӬ ‫ݡ‬A�Ϥ�‫_ݰ‬
�ӨèS�����򤣦P�̹‫��ڭ‬Ӧa�y���‫ݪ‬k�C���ʾW���I�ᦳ�۷�h���M���ϰ 춳�A�b�o�̡A�q�L�ū�Ū�ƪ���h�Ӹ`�A�
‫ ̤ڭ‬F�Ѩ�Y�ǰϰ�ƹ�W�A��겧�`�ŷx�C�b�o�‫س‬W�ҤW�A��ù�Ԧh�{��G�O�ŷx���a�Ϥ��@�a��A�ҥH�
‫ ̱ڭ‬N���C�t�@���ɦ��쪬�A�j�p����ҨӬ ‫ݬݡ‬C��̽‫ڭ‬ը�@�Ӥ���q��x���w���A�{�Ѯ�϶񺡤F�̹ �C�̦‫ڭ‬A���̦‫ݨ�ڭ‬b��j���
‫ثפ‬W�‫ݨ‬쪺
�P�˪����C��ù�Ԧh�����L���W�ůQ���K���w���A��ŴH�N�A���^�a�Ϫ��ѪŴ��ԥB�ŷx�C���w��i��|
��@�Ǫu�۪��^����P�W�ߤs�f���[���s�᪺�{��B�Ȧ�̷P��}� ߡC���F
�� 7 ��
�{�b�A�b���̬ ۹��p���d�򤺡A���̥ ��b�U�B�C���B���O�A�q�L�̪ ����‫ר‬Ӭ‫ݥ‬L�̥� i H�‫�ݨ‬L�̪ ��Ѯ�O��a���C��V
�賡�s���A�L�̬ ‫�ݨ‬W�����ѪūܲM���A��L�̪�
u�ۤs��q���b���ʨ 차�b�ɡA�L�������@�
‫ط‬L�Ѯ�A��L�D�n�M�ŷx���Ů��A�j�P�δ�z���}�B�A�H�ΧY�ϬO�@���\����C��M�A���P�‫��ثת‬Ѯ���
‫ܥ‬X� �۬‫�ۦ‬ʡA��ε��c�C����o�@�I���@�‫�ؤ‬k�O���Ѯ�O���骺�A�Y�N��
‫ۦ‬b������������]�����W���B�B������B����M�C��ϰ�^�O��L���s�󪺹s�󡨩M���s�󪺹s�󪺹s�󡨡]�@�����L�
�^�q�䤤�@�W�{�B�Ȧ�̦ ��y�H�I�����餤�ɰ_�A�Φb�o�餺�����
ͪ ͪ ƾǼ�q�Զ˦‫ײ‬٦�
´�^�C���G�O��Ҧ��o�ǡ��s�󡨩M���s�󪺹s�󡨶}�l�i�Ʈɬۤ������A ͦ ���̥�
i Hͦ ���
Ϯ ‫ר‬㦳
�Y ͪ ���Ҫ��Ϲ��]�Ҧp�Ѯ�ϡ^�Ӹ`�C�o�ǼҦ�����F�t�Ϊ���ӹB�ʬO�s��oͪ �b �C��� Ӥ ‫ثפ‬W�C�b��H���‫ڴ‬X���o�
@�ɤ��A�‫ثר‬ä����n�A��j�y��A�T���ΡB����Ωνu��|
���������Y��H���Ӧh�s�H���C�b��Υ@�ɡA���K���M�K���A���ɬO�L�����Ӹ`�A�٦��V�ӶV�h���H���
‫�� ̨ڭ‬o�V�`�C�b�‫ڴ‬X���o�@�ɤ� 24 �E �ި��� [��̶i�J�q�@��u��G���ΦA��T���s����D��
ߤ‫���ץ‬C�b��Υ@�ɤ��A��‫½��׹‬u�y�@�˪���b�@�_�A����J���O�G��]���O�T��A�ӬO�����̤ ����C����
δX��ӤF�Q�‫���פ‬٬������X��C�‫�_�ھڨ‬K�θH��A��ι�H�i��O�L�ƥi�઺��ƺ�Ƥ������@�ӡC��ιϹ��ɭP�
H�̶V�ӶV�h�a��ҧ‫��{�� ̪ڭ‬O�@�ӥѧ��|�@�ɲզ����a��b�۬‫�@�ۦ‬ɤ��X�X�]�N�O���A�b��‫|������פ‬
���@�ɡC�s�y�‫�@ݤ‬ӭa���л\����� �ۡA�A�|�‫�@�ݨ‬ӳQ����л\���L���s�ߡA�o�O�
‫�� ̪ڭ‬Y�v��j�����[�C��p�G�a�y�W���@����O�q�L�E�P�����ʶi�ƦӨӪ��Y�K�p���A����̦‫ڭ‬b�̩‫ڭ‬P��‫ݨ‬쪺
�o�Ǧ۬‫ۦ����׹‬Ϲ��]�\����ӥO�H��Y�C�̤‫�ڭ‬W�����N��������ͻH�M�_�H�����C�����A�
‫�� ̳ڭ‬O�b�P�@�Ӻ٬��ͩR������ʤO�t�Τ��i�ƪ��C�p���@����L��
���Ǯa�M�ƾǮa�}�l��s��ήɥL����_�a�Ƿ|�F�X��ǡA�L�̥� i H�b�L�̪
����W���ʹ_���ΧΦ��㦳�۷�²�檺
�D�u�ʤ������p���̹ �C�o�Ǥ��������X���G�p��� ⵲ G�Q�J �^��{�A�æA���B���{�C���_�a���s�B���J
�^�ۨ������{�O��Ǯa�̺ ٤������N��{���L�{�C�o�ɭP�������A���ɬƦ ‫ܬ‬O�޲����R�����c�A�o�
ǵ��c��‫ܥ‬X��Φۧ‫�ڬ ۦ‬C�o�ǵ��c���̵‫ۦ‬W���@�‫إ‬i�H�q�L�ϥέp���ӳЫ‫��ح‬N�@�Ӥ�{�A�䤤�]�t�@�եH Benoit
Mandelbrot �R�W���S�w�Ʀr�A�L�O�Ĥ@�ӵo�{�ۤv�����R�C�u�����۪��� �۬ ‫�ۦ‬ʥX�{�bMandelbrot
������ɡA�ϳo�ӯº 骺�ƾǵ��c�����u�ꪺ� H�x�@�ɲV�P�L�{�A�䤤��Φ۬
‫�ۦ‬s�b��i����t�B�_��a���A�êu�ۤѮ�e�u�C��Ǯa�{�b�w�� �ި��� E 25 ��Ϊ��z�����P�
‫�ثת��۬ۦ‬ʥX�{�b Mandelbrot ������ɰϰ�C�Ӷ��O��
‫ڤ‬W ͦ �O�Ƽƥ����W�L�������L�c���F�Q�y�z�����@�ɤW>t ����ƾǹ�H���Cͦ �o ��� ‫د‬S���j�窱
�үA���X��ɰϰ 쪺
�Ϲ��O��a�έp�����ƾǭp���ů�ѧ����j�W�Ҩæ�B�z���C�ϥέ��N��Τ�������u��ʺA�t�Ϊ��i�}�M����A�Ҧ
p��y����y�ή���C�����p���b��έ��R�����@�ΩM�V�áC�S�����N��{�ƦʸU���һ‫��ݪ‬p���O�A�‫���ڥ‬
�i ͭͪ ��oͭ �R �C�t �Ʀr �B�p �s �ʤO �t�δN�L �O �s �ʤO �t�Τ@�˷Lͪ �A �Ω�s �ȭ�l�����������
��c���ɤl�[�t���A�H�ΥΩ��s���滷�誺�`�šC�p���Ϭ�Ǯa�̱����� q L���{�H�����J�I�C
�� 8 ��

ͦ�p���q�ƾǼҫ���� �� � �Ͱ
ʹϹ�����O�ɭP�F�V�ӶV�h���H�Y��V�P�������C�@�ӥO�H��Y�����G�Oø�s�F�� ‫�ؤ‬
Ʀb�@�_�w�g�۹ j�Ʀʦ~�A�p�G���O�Ƥd�~�C�o�{�@�ӷs���]�M�¡^��DzV�P�z�‫ש‬M��δX���X�i�F��Ǫ���O
�@���b���G�b�V�ä��U��쯴 � ǡC�M�ӡA�V�P�����ǬI�[�F�@�ө�T������a�
‫��� ̪ڭ‬O�C�H�ۭp���ϥΡA��Ǯa�̥� i H�‫�ݨ‬V�áA�i�H�z�ѥ����W�ߡA��O�̲‫׵‬L�k�w��α���C�V�P�z� ‫ש‬M��Τ�
�����T�w�ʴX��ǩI��F���@�����ⶵ��ǵo�{�G����� 򥻪�T �w�ʭ�w�� w�z���æb�ƾǩM�@�t�C����
򥻪�l �� T�
w�ʤ��H�ζq�l�O�ǵo�{�����‫ס‬C��ǡA�b���@��A��G�`�w�n�Dz����j�۵ M���æb����� ᭱����N�ϡA�`�O
�W�X�̪‫��ڭ‬z�ѡA�j�[�@�ӷL�������ǡC��N�a�̤��� @ b�Q�ΩM����ҿ‫������ת‬ǡ����b�󤣽T�w�ʡC���^���
D�q� ֤ H���‫ٷ‬O�‫ܨإ‬L�ҿ‫�������ת‬O���A���B�󤣽T�w�B�����B�h�ä�����O�C���L�n�‫ٳ‬o�‫�د‬O�O��N�a�г
y�O������C�C��Ǧh�P�F�P��_ (Leonardo da Vinci) ���{��������@�L�ð
‫��ݪ‬e�a�N�L�٩�ơA���L��ij��L��N�a���L�̪ �ø�e�M���F�P���� �E 27
ͬ�b��W���ú{���C��N�a�̱� ` ~�b�ôb���o�{�A���T�w�ʩMͬ �M � �@��������
‫����ت‬i�J�s�b���誺
�M�ӡC���‫��ޥ‬O�e�a�B� ֤ H�έ��
� ֮ a�yø���X�X�L�‫׬‬O��H���٬O�g�ꪺ� X�X��N�a���̲‫�~��ײ‬t�‫�@ܥ‬ɤ����
@�ɡC�b��N���A�`������ 񲴷���‫״‬I���F��A�Y���A�Φզ��C�ѩ�o�‫ئ‬b�@�ɤ��߿‫˱إ‬K�@�ɪ���O�A��N�@���O��ΡC
�V�P��ǥ��b��U���s�w�q�@�‫�����@ؤ‬æb�V�ä��U����ǡC���P�ɴ�B���P��ơB���P�y������N�[����_�
‫ܤ‬ơC�\�h��N��N�a�A�p�d�I�f��{�����e�a�����R�S�P��‫ܩ‬i�� (Margaret Grimes) �b�V�P�z�
ߧ��‫פ‬Y�{�Ѩ�P�L�̹ �@�ɪ��ӤH��N��V���۲`�誺�pô�C��‫ܩ‬i�����G���o�ǷQ�k�Ϧb�ƾǤW�d�T�F�
‫ڤ‬w�g�q�L�[��g��P���쪺�F��۵ M�C�]���A�o�Dzz�ް‫�_פ‬F���j���@��A�]�����@�ӤH�̤����� @ D��|
���F�Ѫ��u�z���D�p���F�C���ì�e�a Nachume Miller �ѥ[�F 1989 �~����N�i�b�L�N�Ѩ�V�P�z�
‫��פ‬ȾA�Ω�L�ҵe���D�D�ӥB�A�Ω�@�T�e�Φ�����N�L�{�G���‫ڶ‬i�J�Y�ǹL�{���覡�O�������V�áA�
‫��ڤ‬O�ܲͪM���C�z��u�@�ɵo�ͪ�@ �t�C�ƥ󰵥X�C �A�b �e�W �гy�@�ӫD�`�O�H�w �@ �C�A��������������
‫ڤ‬W�����D���O����C�A�Ʀ‫����ܤ‬w ͪ ���A�M��q�L��h�a�[��A�V�ӶV��x���b�oͪ ����� Ʊ ~��A�A�|�
‫ݱ‬o��M���C���X�ǩ��{��v�v���ҡP���S�p�� (Joseph Cantrell)
�y�z�F�@�����L�{�L�ۤv���@�~�G�����Ǧs�b��p���h���h���W�A�̭‫ڭ‬n�\�S���P���A�n�\
�w�g�Q�V�m�‫��ݤ‬쥦 � C�ߦ���‫ڬ‬ө���C�‫ڸ‬g�`�b�@�dz̥��H���D�D�C����v�i�i���Q�ɡA�z�|�i�J�@�
‫��ت‬A�A�ӱz�o�|���ѧA�ۤv�C�̫ �A�A�h�L�@�ӫD�`��a��A��A���O�o����A�
‫��ݨ�׵‬G̲ �C�����G�O�L�P�L�����ʪ���ΰO��D��A���̥ ����q�`�O��Ϊ���A�Ҧp����Ӫ��B��s�M��y��C2
8 �E �ި�������� ͪɳQ��ɵoͪ �O �I �...... �o�Ƕ·t�M�ʿ�ø �e[�] �O �_ ����������� \
�h���P�����A���‫�ؿ‬g�DNachume Miller 1988 �~�b�{�N��N�ժ��]���i��C�̰�� ǥ H���A���
‫��ݵۧڪ‬u�@�A�A�i�H�‫��ݨ‬A�@�ӷL�[�t�z......���i��O�Ȫe�t�C���o�{���A����Q���Ʊ��C���b��x
�V�P�z�‫���ת‬ǫ�Q��A�̰ Dz{�b�]�N�L���@�~�� �۬‫�ۦ‬Φ����x�s�w�C�L�‫ٳ‬o�T�S�O���o�e�æ]�ҽk���Ѧa�P�
M��u�_��覡��������������q�L��y�C���� �E 29 �o�
‫ط‬s���]�D�`�j�Ѫ��^��ǥѲV�åi�H�y�z�p�U�G ���O���骺�G�@�‫ة‬M�ӡA�䤤
�@����Q�z�Ѭ��v�T��L�@��C�b�ƾǤ�ΩM�۵ M��Τ��A���� ‫�ת�{���ۧڬ ۦ‬ʡA������X�L�{���Ҿ ‫ڡ‬C�b��N�
��A�۬‫�ۦ‬ʡX�X�i�H�i�ӵL�����h�˩ʡX�X���O�Ѥ��P�‫��ثת‬Y�‫ا‬Φ�������ƦC�ҳгy���C�ӬO��
�� 9 ��
��� 󱵪��‫ ̱ڭ‬N�H���@������ͻH�ɩҬ‫ݨ‬쪺� �۬‫�ۦ‬ʳ��͡A�M��K�C��N�a����ȬO���ê�F�o�‫��ح‬n����Y�b�P�ɦ۬
‫�ۦ‬M�ۤ���P���Φ��M�ʽ 褧���A�H�гy�@����N�@�~��̯‫��ڭ‬h���̦‫ڭ‬t�z�����饻��H�Χ‫ ̦ڭ‬b�䤤��
�s�b�C�̰�� ǻ L�ۤv���@�~�A���p�G�A��ѧ ‫��ڪ‬F��A�‫ڨ‬ϥΪ��嫬
�Ҧ��A��h�W���O�D�`���w�Ϥ����C���N�㦳�P����‫ۦ‬P���
޿�C���̰�� ǰ {����N�a�èS���չϡ��N���۵ M�C���Ӥ��O�ιϤ�ӻ���۵ M�Q�n���۵ M�@�ˤu�@�C�����y�ܻ��A
ͩ������ӡ������ͩR�Φ��X�X�åB�O�����i�֪���ͩR�Φ����S�I�O�C�@�‫��س‬H� �ۤv����Τ 覡
�ϬM�۵ M���ʤO�t�ΩҦ����C���餸��O�o�‫ط‬s�]�¡^�f��򥻯S�x�C�o�N�O�������A�b�F�y�W�
‫��@�ݨ‬m�⪺�Z�Z�‫ۦ‬b�@����ê��Z�Z�ۤ���{�{�o��ñN��a�^�a�ɡA���b�[�l�W�‫�_ݰ‬ӥi�ण���b�A�o�
{�����۵ M�V�ä����˥i�R�C��θ�|��L��L�ά�L�O�L�����t����O�q�L�A����ջ{�Ѩ��Ӵ��[���
‫ܤ‬F�CChaos � �֩ w�ӤH�Ӹ`�
‫��ܭ‬n�C��N�a�̳����D�N���@�ӲV�P�ʤO�t�Ϊ��ӷP�ʡA�@�T�e�Τ@�T�e���@�p������‫ܤ‬Ƹ֥i��|�}�a�Χ��
‫�~�@ܧ‬C�s��Ǫ�����D�q�]�a�ӤF�s���[��̩� M Q�[���H�������]�ӥB�D�`�j�ѡ^��Y�C����þ�‫��ڷ‬f��@
����f������A�εo�b�H �M�[
ͦ� �C �DzΤW�A�ǰ �] �[�i �H̡ù �L�[ �O �[ �C �M�ӡA�V�̥ ����������
P�z�‫��ת‬A�[��̬� O K���i�� 30 �E ���� �j�������_�Ǫ���������X�{�b�o��ӹϤ��q�@�W�����𮧪�
�k�ʨ��W���������q�ϼƾ ‫ڡ‬A�����M���@�ӤC�B��N���D�A��C�V�P�z�‫��ת‬o�{���@�O�j����‫ڤ‬W�O�Ѳ
V�ò�´�_�Ӫ��C�b�o�ӹ��礤�A���g��Ǯa Paul Rapp
�o�{�j�����V�ì��ʳQ�l�ި����ø�ϪŶ����S�w�ϰ 쪬�A�C�]���A��ߦb�𮧮ɡA�����@�ө_�Ǫ��l�
‫ޤ‬l�A�Ӧb���ߪ��ɭԡA�t�@�ӧl�‫ޤ‬l�@�D�ƾ��D�C�ʤO�t�Ϊ��@����A��N�a�̤������ժ�� @ F��C�H�۲ V�ò
z�‫פ‬W�A���A�i�ల�]�[��̥� i H���P�a��R�‫�ﹳ‬ιL�{��Ѧ������զ�����]�b��Ǥ��Q�‫����٭�ס‬٬�����
�]�^�A�]����������O�ʺA���A�]���㦳���i�w��v�T�CGrimes
�`���s��Ƿ�o�������@���O�����c/�i�ơBí�w��/�۵ ͦo�ʡX�X�L����� ͦ G�‫ ̷ڭ‬P�����Ϯ‫׬‬O�ѵL�a�L�ɪ���
´�Ϯ‫ײ‬զ����C��������ǻP�V�äϬM�F���骺������Y�A��S��{�F�L�����N�q�C�C�ӳ���L�
‫׬‬O�����٬O�ʧ@�ιL�{�C���V�P����s�w�g��T�Ϭ�Ǯa����N���f������ӷP�C�Où�P�Դ��A��dz����g��Ǯa
���i�k���Ȥj�ǩӻ{�A�L�b�q���Wø�s�����P�����V�|����`�C��
��L�H��N�a����y�z�F�L��o�Ǥ�ιϪ�����X�X�H�����ƾǪ�‫ܡ‬C�L�� \ideo �Ϥ�q�� (EEG) �ƾ���
‫ܡ‬A��M�̤‫ڭ‬j�����q���ʬO�V�ê��A���i�w��A�����@�����ê����ǡA�]�����Q�l �ި챡
�` ͨ �Ŷ����Y�Ӱϰ�C�Lͨ �b�������
j o�{�o�ǩ_�Ǫ���Χl� ‫ޤ‬l�ɻ��G���q�l�����P�v�TINTRODUCTION 3 1
troencephalographic �Ϲ��A��‫ڨ‬ӻ��A�۷�i�[�C�����‫�ڭ̯��ݨ‬ѩ ͪ �H����ʦӵoͪ � EEG ���� ʴX��Ϊ����
‫ܤ‬ƻ{�����ʡC�b�c�‫س‬o�ǧl�‫ޤ‬l���e�A�‫����ڤ‬D ͤ �|�oͤ �C �@�@�w�p�|���� ‫�@�ݨ‬ǫD�`�L�᪺�F���A�H�
‫ۥ‬D�D���}�l�èS������‫ܤ‬ƫ�ҡC�o�ǵ��c��J�̹ �ö}�l���઺���@��A�‫��ڪ‬D�‫ڬ‬O�‫�ݨ‬F�D�`���M�`���F��C�
�����S�B�����A�q�Τu�{�Ʊб¥�Q�ե�j�Ǥ̤ ‫�|�خ‬-�‫���گ‬ժ�‫ܡ‬A�L�
‫ݹ‬L��ۤvͦ ͦ �Ϲ �ƾDzV �[ �q �ȡC��������������
‫�@��ڦ‬ӦP�ƻ��A����p�A�o� �֩ w�O�@�Ӱ�¦�]����W�Ҫ��H��C�‫ڤ‬
��|�����򻷡A��‫���|ڷ‬o� �֩ w�O�q�Ȫ���¦�۵ M�C���P��V�P��Ǧp��a�Ӭ�ǩM��N��‫�ؤ‬Ƥ@�_���
‫ۦ‬W�����J�����ԧJ��s�Ҫ����z�Ǯa������P���w�� (Mario Markus) �����z
�� 10 ��
ͦ�b�w��h�S�X�w�M�ì��J��a Eve Laramee�C�b�L������Ǥ��A���w����� ͦ Ω�
‫ؼ‬Ҫ��@�խ��n��{���I��B���`�u���ιϹ���y�CMarkus
�����ܶq�A�Ҧp�n�yø���Ǥ�{�A���DZq�ƾǭȶ}�l�A���Ȥ�t�����C��A�����ҩM�j�‫ץ‬L���A�n�ϥΪ���N����
v�v��L���D�D�i�檺����@�ˡA�åB���ȶȬO����U�p���W����s�C�L�{���A���S�w����
‫�@ܤ‬ӤH�s�y���A�P��L�H�s�y���ۤ��A��̥‫ڭ‬i�H�ͽ‫׭‬ӤH���A�i�ѧO�������桨
�C�T��i�H���A��{�b�o�̥� i H�Q�{���O�@�‫ط‬s�����e���C�� Laramee �λɡB�Q�M��гy�X�‫�_ݰ‬ӫ
‫ܥ‬j�Ѫ��‫ؿ‬v�C�@���o�b�e�Y���w�ˤF�o���@����N�~�A�Q�N�|
���Ѩö}�l�Y����B�ë���ζ�y���ɡA�ϳo��@�~�H�‫ۮ‬ɶ�������Ӻt�‫ܡ‬C�Ӱ��w���V�O�N�ۤv���J�L����{���
��A�ù�۰ ͪʲ���� ͪ V�ìI�[�@�DZ���i�}�ALaramee �V�O��ۤv�\
��o�ӹL�{�A��T�����V�úu�u�ӨӡC�o���A�����@�I�O�‫����}����ڡ‬N�a����A��۵ M��� �ިç����u�@�
C���]���A�s����dzгy�F bj Chaos ����N�a�M��Ǯa�����J�F�x�ҡA�[��̩� M Q�[��̡C�X�ӥ@��H�өҿ
‫[����ת‬/�D�[���Ǯa�M��N�a��۵ M���A�‫�{ײ‬b���Q��襴�}�C�q�Ӫŧ ߧ̥‫ڭ‬Y�
̪‫��ݨ�ڭ‬P�y�O��Ϊ��C�o�i�ìP�Ӥ����ϰ��X��‫ܫ‬D�w����Q��-�
‫����س‬ɪ�Ԫ e�P���_��ϰ���s�Y�W���ӳQ�C�s���M����Q�q���V���F�ź��A���ѩM�g�a�Q�ΡC�Ӧa�ϰ��
��_��a����ܾ����h�]�\�h���P�j�p�����Φ��A�Ϩ�
‫�_ݰ‬ӹ��@�Ӧ�G���^�C�o�O��Ϊ��S�x�C�Ӧa�Ͽ������γ]�p�O��F�a��O���ʤO�@�ΡC��Ԫe�d� 骺
�½u�����_�h�u�A�n���n�j�դ�ιϮ‫ס‬C�ި��� E 33 �@�ӥR���V�P���t�z�M���
�H����N�M��ǽլd�H��‫�ﵥ‬A�[��X�G�C�p�ɳ��b�‫ܤ‬Ƴq�L��ΩM�V�P�����f�ӵo�{���N�q�����T�w�ʼҦ��
L�B���b�G�{�b�w���Y�ǯf�r�����O��Ϊ��C��θ`���M�W�S���b�j�������h���i�M��M����餤
�o�{�F��ίS�x?
�C��δX��Q�ΨӴy�z�۪o�q�L���h�����z�C�@���a���b�Ч@��έ�� ֡ F�{�ǭ�b��s�V�P��p���v�T��F�ƾǮa
���b�N�����Ω�E�X���M������ƪ��гy�F�g�‫پ‬Ǯa�b�зǴ�����ƪ��i�ʤ��U�M��@�ө_�Ǫ��l�‫ޤ‬l���;
�ͺA�Ǯa���b�ϥΦ ۲�´�V�ê���h�ӭ��‫��إ‬h���Ϯ��a�F�w�g�ߤ‫إ‬F��‫ڭ‬x���v�ɪ��D�u�ʼҫ��C�@�즳�i��
ߪ��p���a����_�ǧl�‫ޤ‬l���Q�k�‫��ܦ‬F�@�Ӭ�۬G�ơA�N�V�õ��P��� 󤣦�C �b�� U�Ӫ����`���i�H�‫\�ݨ‬
�h��L����ΩM�V�P���[�I�C�‫� ����ͬ��ڴ‬p�G����չϸ��H�@���A�R������������A���|
�Q�@�ǩ_�Ǫ���ΪG��F�p�G�[��@�����ΡA�H�̷|�b�����L���_�Ǫ ᦷ��� ѰO���A-
�p�G�ਭ�Y�୷�������R�A�e�����өʩT�w�F�`�N�O�C�ߤ��@���w�ߡC. .
�X�X�d�����P�F����A�q�L���p�y��^�a�b�L��‫��ڦ‬a�B�L���L�������C�‫ڶ‬i�˪L�A�A�O�Q��Υ]��C
ͪͥ����� ͪͥ @�ɨ��ɪ��Ӹ`�]�Ψ�@�ɤ����@�ɡ^����v�v�B�e�a�M�M�D�믫��
�Ǫ��H�����F�P�G�T������� ֡ A�𪺤ϽƤ�K�A�ߤl�q�}�U�Ķi�e���A�H�άK�]�s��̨ �ժ��s�n������ιϮ
‫ס‬C
ͩͪ �����Oͩ R�Φ����i ƪ����l���̥ ��|���Φ��]����ΡCͪ ����A q������ΦA���H���A�����Ϊ��M� 欰��
�ѰʺA�O�]�L����� �X �^��� ΰO��b�L�̨ ��W�M�L�̤
����A���_�ɭP�L�̦���b ӡC�b�L���i�h�y��y��M�椤
�A���z�Ǯa�M��ǧ@�a Chet Raymo�‫��ݧ‬ժ��]��ť� �o�i�Ӥ�ѫX�ǩ��{��ۤ��Ȫ��ҭ ۴��P���w��
(Lawrence Hudetz) ����
�� 11 ��
�l���R���F��ΧΪ��A�o�ǧΪ��O�ѧΦ����_�@�_�t�‫ܦ‬Ӧ ͪ ����C36 �Eͪ � �p�G�����
̩‫�ڭ‬j�A�|̷‫ڭ‬
‫��ۤ���ݨ‬Ȯl������ΧΪ��Y�p��o�i���߷Ӥ�ҥ‫��ܪ‬L�[�‫ثס‬C�o�i�Ϥ�O�s�@���w�G���B��P�U���B��
(Lewis Wolberg) �O�@����ǡB�۵ M�M��N����ǵ ۰ g���믫
�f�Ǯa�C�U���B��b�L���m�L��N�A���å@�ɤ�����N�Ϲ��n�@�Ѥ����G��������@����N�a���@�~�g�`
���L�[���c�H���L����a�^�����A��N�a���i��O�T��b�Ҧ��гy���B�@���‫ۦ‬P�椬
�L ͩ �{�C���p�R�qͩ һ�b �L����� ‫�פ‬m�۵ M�n�����G���p��N���զX�_�ӡA�P�P�B�F�l�B��B��B��B�H�A�
����M�O�@�ӪF��A�íI�q�F�‫ۦ‬P���‫ݩ‬ʡC�����Ϊ����A���F���媺����O�X�z����F�A��O�C. .
������H���ܲ��ʪ��j�۵ M�Q�K�K�@�‫د‬º 骺��h�˩ʪ��ƨg�c�a�A�@�‫�ع‬ե��‫�_ݰ‬Ӥ���θӦ����F�誺
�gļ�ɦV�@�~�C���j�۵ M���g��� 񤧬 M� ‫ڤۯ‬몺�_�����d�����P�F���� (Charles Darwin)
�V�O�o�i�s�e���i�ƽ‫ס‬C� �߲z�Ǯa�N�‫ؼ‬w��|�B��F����p��o�X�L���z�
‫׶‬i��F��ɶ�����s�A�L���G���L����ӳЧ@�ͲP���R���ۡC. .
ͪ�G���ʡX�X������l�Ϊ��Oͪ �i �ƪ�y �ʤO �d �O �CBIOFRACTALS �n�p�o �Ӵ����������� 骺�B�Ъ���-��a��
쪺�Ϊ��~��C�쳽 � i�H�����C��H�A��P����ҴX�G�L�k�PĦ��л\
�����۰ Ϥ�}�ӡC�j�۵ M�����a�Q�ι�٩ʩM��Τ��W�h�ʨӳгy�������� �@�譱�A�L�Q����h������‫ܪ‬
۵M����ӥ����H����H���h�˩ʡA�L�ƦӬ��R�]�p�A�Ψ�O�H���w�����W�h�M�ʳ��C�t�@�譱�A�L�Q��饻� �ۤ
�y��Ǫ��믫�A�Ʊ�b�o�Ӱ{�{�o�������@��²�檺�i������Ӧ ۵ M�B�ʪ��w�ߡC���F�����`���F�L�㦳��
�{�O�N�q���_���H��H���۵ M��묰���ȵ����Ȧ 桨�����‫ء‬A���K���|
�B�һ���������ʥ������_�[�C�����T�A���O�o�‫ؼ‬Ҧ��X�X�ζH�X�Xᤩ �� F�F����L������X�X�‫�ݨ‬i�Ʀp
��B�@�O�@�Ӹg�媺��ΡG�L�c��F�۵ M���i�ƧΦ��@���@�ʤ��W�h��K����C�ˬd�F���媺���O���A��|
�B�J�Ӧa�l?�F���媺����o�ӧι��b�L����Q���X�{�����@�誺�Ч@�L�{�C��|
�B�̪ �w�p�F�������i�ƪ�� �߲z�L�{�N�O����ӡB���b�B���������A��ֵ‫ܧ‬o�{���̬�����骺
O
�B�ձ��ʪ��B��������C��|�B�N�Ѩ 졧�F����N�۵ M�y�z���@�ʤ��W�h��K����N�‫ڦ‬b�L����Q���‫ݨ‬쪺�@
�ǯS�x�k�]��۵ M�C���‫�|�ھڮ‬B�����k�A�b�g��F�۷�j���믫���
�A ͪ �F����F��F�L�e�e���a�B�b�L�����O�����A�T�ʾ�Ϯ�����F�L���}��O�A�Y�Ҧ������ ͪ P�@�Ӧ���t
�@�‫ج‬O�q�L�۵ M��ܱ�ͩʪ����L�{�C�F����o�{�F�@�ӥi�H����R ͩ ��H������ʪ�²��w� ߡC�j�����ӡA��N�a�
̴ͬ��b��@�Ϲ���������������
ͬ ʩM²��ʡA�Τu�@�C�@����N�a�Ч@�F�a����������m��²��Ϲ��F��L�H�w�g
���F�X����Ϲ��A�b�U���t�²��@‫�ܤ‬檺��
�ǡC��N���u�ۡ����G�A�Χe�{�o��ӹ�߭� ��������ʺA���šC�F��������ʪ��‫ܨإ‬L���y²��۵ M�k�h
�ҫ����H��ϥL�µ���N�a���f��]�M�ӷP�M���M�ӷP�^�A��̲‫ױ‬j�նi�Ʋz�‫��׸‬b�F������²��譱
�X�X��ǩw�ߡC�\�h�V�P��Ǯa�]��M� �֩ w���O�����^�{�b��G�@� �߭n���s�վ 㥭�šC����a�A���̬� O ť��@�
‫ط‬s���ʺA�A�j�զp��q²�檺�W�h�����ʹ_��ʦP�ɴ��‫ܤ‬F�@�‫ب‬㦳
�D�ԩʪ��s�[��A�Y�_��ʪk�h�N�û����o��ҷt� ²�����‫�ܪ‬檺�i�w��ʩM��۵ M������F����
‫���ܨت‬y�@�ɼҫ��C�ϥ�²�檺
�ƾdzW�h�A�V�P�Ǯa�{�b�i�H�������ʺA�t�ΡA��w�W�h�Ӽҥ�p��Ѧp����Ϯ��a��������s���Ҧ��M�S�w�
�쪺�K���κA�C�V�P�z�‫ש‬M��γo�ө��㪺�o��{�N�J���‫ڤ‬W�O���‫���ڪ‬ΧΪ��A���‫ڬ‬O�۵ ͪM�ɲ��hͪ ����� @
�� 12 ��
�H�W�欰�C��ʤ��o�‫ج‬V ͦ �⪺�
�ӭM��I���P�b�p���Wͦ � ���� ¼ƾǤ�ιϮ ‫ס‬C�‫ڧ‬J���P�‫����ڮ‬Q (Michael
Barnsley) �p��æ��B�H�ϧΤ 覡��� Mandelbrot ����ɪ��@��������ȡA�b�_�ƥ����W��쪺
�L�����X�C�`�N�W����ιϮ ‫�׹‬٪���P�M���̪ ����鲣
ͪ ͪ ���
�βզ��Q�R��b��� �ۤW�C�L�̬�۵
O M�ʤO�@�Ϊ���q�̩�� M `�̡C�X��w�g���}���‫�]ڤ‬Q����ƾǪ���H�믫��
�P�ƾǤ����������Y�̬‫ڭ‬P�y�W�L�ƥͪ����B�ʩM�Ϊ��C�۵ M�ɬ‫�ݦ‬L�a�L�ɪ����ΡA�Ҧp�A�{�b�i�H�N�������
��ʪ����A��δX��Ǯa�b Mandelbrot ���������M�_�
‫����ؤ‬F�C�T��A�p�����Q�k�����{�b�i�H�z�Ѭ��@�Ӥ�Ϊ��Q�k�CNiche
ͪ���N��O�����ΪŶ��Cͪ �Ǯa �DzΤW �γo�ӵ�Ӫ����� ‫�@ܤ‬ӥͺA�t�Ϊ��p�Ũ��A�@�Ӧ�����i�ƨ��R�F�Q�򴣨ѤF�i�ƪ��
�|�C11' �@����v�_�������a�V�A�e�諸��[�A�Y�Y�‫����ض‬A�t�@�‫�|ت��ط‬i�ƥX�S�����\
���b�U������[�W�v�_�æY�y�L���P���������S�x - �ҥH�o��Ӫ��‫��ئ�ڤ‬P���ͺA��C�b�o�
‫ض‬Dz��[�I���A�j�۵ M���c�u�šA�ñN�i�ƥX�s�����Ӷ�ɥ��C��ƹ�W�A���p�n�L���o�h�C�@�Ӧ�����гy�F
���Ҧ�‫��ڪ‬ͺA��A�]�����O�ѥ��}�o���ϰ 쪺
�s ͪ �b�ҳгy���ͺA�t�ΡC�s���Ŷ��ξ��Τ��_�a�X�{�A���`�����ʮi�}ͪ �C �@ �Ӫ������ ‫���ط‬ɡA��K�]�ΥͺA�
ͪ�^�|���Ʃζi�@�B�K�Y����L��K�C�a�y�W���j����� ͪ h�˩ʬO�j�۵ M���_�������лx�㦳
�s���M����Q��� 򥫳 C�� N����b�����_�K�C�`���H�۪���‫��ت‬X�{�M��u�A�̦‫ڭ‬b�i�Ƥ��‫ݨ‬쪺�{�
�ᦱ�o ͤ ͤ F�Ƥd�����
~ A���s��� ‫س‬гy�s�����[�B�s����ҩM�s����|
�C�ѤH���۵ M���š�����Ƿ�����b�����Q�s�����۵ M���š�����Ҩ�N�R�����O�B�гy�ʩM�_���h�ˤƪ����
۵ M�V�á��C�Q�K�@��^��‫�@�ب‬a��ǴˡP���¤үS (Jonathan Swift) �H���q���覡�‫ݫݦ‬
۵M���Y��G�]���A�۵ M�D�q���[���A��D�p��D�A�b�L���W��ë�A �ӳo�Ǥp��D�٨S���r�‫ڡ‬A
�ҥH�~��U�h�A�L�a�L�ɡC�γ\���¤үS�|�Q�o�i���?�Ϊ��Ӥ�r� ֤ F�e�����‫ޡ‬C
ͩ ���¤үS�O���T���Aͩ R�O��
ߦ‫إ‬b�i�Ƭ��ʳгy����h���W���@�ɤ����@�ɡA�q�p��j���b���ʡB�‫ܤ‬ơB�ۤ�����X�W�ҡA�^��p�W�ҡCBIO
FRACTALS �E 41 OP �d�m�B�_��M�L���{���D�u�ʡ��󹳬O�N�ʪ��Ǻ٬����D�p�ְʪ��ǡ��C��O�A�‫ݡ‬A�
‫�� ̥ͬڭ‬b�@�ӴX�ӥ@��H�Ӥ@����{�o�n���ߤ@�s�b���ʪ��O�j�H���@�ɡC�X�쮦
�P���Ϻ��S�A�ƾǮa�A�b�m�W�ҬO�_�Y��l�G�V�P�ƾǡn���CIT 1 ost
�F��j�۵ M�N���d�m�A�I�W�h�F�@�‫ڧ‬l��^^^J�C�j���O���X�ӥ@��H�Ӭۤ���‫ܡ‬A����]�S�o�͡X�X�M��
ͤ�M�oͤ F�a��� _ C����A�ֵL���a�X�ϵۤ‫ۦ‬v�M��L�H�A��G�֦ ��� L�a����q�A��ż�f�o�@�C�@�‫ط‬s�����γQ�N�
~�‫ޤ‬J��ҡA�_�쥦 � H�f�z���A�X�~��Y��A�M��í�w�@�q�ɶ��A�M��A���z���C�W�ߩʡB���
‫ܩ‬ʩM ͩ ���s��ʬOͩ R�D �n�S�x�C�Ǯa ����� ‫ٳ‬o�˪��Ѯt����欰���D�u�ʡ��A�o�ӦW�r�O���L�̹ 復��
�P��X�X�ι 復���P��u�����̪ �C�D�u�ʷN��ۤ���O
�o�ӫD�u�ʤ�{���e���O�Ѥ@�Ӥ��M�`���H�гy����N�a�M��Ǯa�������X�@�CSante Fe ��s�Ҫ�
Gottfried Mayer-Kress �O�@�ɤW�D�u�ʨt�Ϊ��M�a���@�C�b 1980 �~�N���A�L�
‫�ݨ‬F��N�a����O�L���b�������ʺA�A����‫���]ڤ‬D�‫ڡ‬X�X�@���@�ӨS����N�ѽ᪺��Ǯa�ΰ�V�X�X���O���}
�o�DzV�ê���L�D��Ǽh�����H���c�C���L�̲‫׻‬P�����]�p�v Jenifer Bacon �X�@�A��̹ �Mayer-Kress
�V�o�i�‫��ܪ‬Ϲ��G���p���W���V�ùϹ��N���a�y�W���g�a�M�Ѫŧ ‫ڥ‬i�Hø�e�M����‫ڷ‬Q�n���F��A���o��
�C�����@�Ǧ��쪺�F��Ϲ������c�C���̦ �G���G��Τj��@�ˬy�ʩM���ʡC�����ɰ�
‫����ڲ‬ǡA�N�Ϲ���Ƭ��o�ۤv�������C��L�ɭԡA
�� 13 ��
�o�Φo���f��ӷP�ʨӴ�����ǫH������ı����O���ѡC�o�̪ ��Ϲ��O�D�u�ʤ�{���������N���v���A��‫ܦ‬b�ϧΧ
Φ� �i�઺�欰�d��ܼs�A�o��M����Ω��{�C�Ҧp�A���U�������q����ܵ�����‫��ܪ‬ȶg��ʦ 欰
�C�Ӥ�{�w�Q�Ω����ȭ�l�ɤl���欰�C�u�ʡA�o�N��‫۽‬u�ʬO���窱
�A�C�o�@����P��{����C��{�i�H�Q�{���O��Ǫ����M���C���z�Ǯa�B�ƾǮa�Υͪ��Ǯa�ϥΤ�{�Ӽ���۵ M�ɤ�
���u��L�{�A�L�̰ ��]��{�i�}���覡�N����{�‫ؼ‬Ҫ��u��L�{���i�}�C�u�ʤ�{�����Ȧb�������覡
�C��B�J�M��ҡA�ҥH�u�ʥ@�ɤ��۵ M���]�G�L�{�O�����Ǫ��A���p���ħJ��y�b�L������O�ǵۧ@����??
�y�z�����ˡC�@�ӫD�u�ʤ�{�O�I�M���P���A�����ѤF�@�T�I�M���P���۵ M�ϴ��C��� �ިD�ѽu�ʤ�{�O�@��
²�檺���D�A�Y����ƶq� �֭ p���{�����A�D�u�ʤ�{�����q�L���N�Φ^���̲‫��׵‬G�ӨD�ѵ����H�d�
‫ݳ‬B�z�ӵ����O�_�N�̲‫׭‬ȱ�V�@��í�w���Ʀr�A�@�өw���^�Ʀr�A���H��i�ʪ��Ʀr�C�o����]�D�u�ʤ�{�Ҵy�
z���۵ M�L�{�M�@�ιL�{�����A�άY�‫ؾ‬ɭPí�w�ʡB�g��ʩβV�ê��ʺA�`��C�p�G�ƾǮa�ѨM�@�ӽu�ʤ�{���@�Ӱ
_�l�ȡA�M��Τ@�ӱK�����_�l�ȦA���D�ѡA�����ӭp�⪺���G�N�O������C�p�G�o�Ǭ‫ۦ‬P���ƾǮa��ձN��Ӭ ‫�ۦ‬
_�l�ȥN�J�@�ӫD�u�ʤ�{�A�⦸�p���� �G ⪺�i�‫�ܪ‬A�]�i��۶ Z�ƻ��C��M�u�ʤ�{���欰�‫ۦ‬P�X�G�L�‫צ‬b�䤤��
�J����ȡA�D�u�ʤ�{�����_�l���C���u�ʤ�{�A��A�D�Ѥ@�ӭȮɡA�A�N���F�@�ӫ ‫ܦ‬n����z�D�ѥ��ȮɡA��{
�N�p���{���Q�k�C�ΫD�u�ʤ�{�A�A�S���o�˪��O�ҡC�ҥH�A��M�u�ʤ�{�M�D�u�ʤ�{���y�z�F�]�G��Y
�A���a���A���̦ �G�y�z�F�۵ M���]�G�欰������
�P����P�C���H�ӡA��Ǯa�̥� i H�s�w�D�u�ʤ�{����F�@�Ǧ ۵ M�ɪ�����L�{�A��L�k�ѨM���̡C�L�k�ѨM�A
��Ǯa�̰ ��F�۵ M���H��Ʊ��ñN�Ҧ��D�u�ʽu�ʤơA�D�u�� �E 45�ì�|
�J����a����Ǫ���Ǯa�̤��� @ b��s�D�u�ʨF�諸�ʤO�ǡC�N���d�m�b�@�
‫��_ڽ‬U�˶�F�Ӧh�A�F��[�F�@���@�ɽ\���|�F���{�ɽ�q�A�M���M�Y��CPer Bak, Kan Chen,Michael
Creutz �M���|�J��媺�@�ӹζ��c�‫ؤ‬F�@��ø�s�F�諸�p���ҫ����Y�C�Ĥ@�Vø�s�F�@�ӨF��A���
‫�_ݰ‬ӫ�í�w�A�S�����F��b�ưʡC���B�Ŧ�M����ܳ�ӽ\�������Pí�w�ʤ�C�¦⪺��ܶ}��Ŷ��C�ĤG�B�T�B�|
�V��������B�ϰ���‫ܥ‬X ͦ �X�����Y�oͦ b�h��� @ ɽ\�����A�޵o���M�‫ܤ‬ƫD�u�ʨt�Ϊ��嫬�欰
�C�`�N���Y�i�����O��Ϊ��C�o��ⴳ�I��ܽ\�����b�u�ʡC�b IBM ��Ǯa��s���u��F�襤
�ì�{��J���a�A�F�l���Y�q�Ϊ������e��βӫB���m�ӤU�Ҧ��C�u�ꪺ� M�p�����糣���F��û��N�ۤv��
´��@���{�ɪ��A�A�b�o�‫��ت‬A�U�A�@�Ӥp�ƥ�|�޵o�s�����A�q�ӾɭP�@��a��A��Bak �M Chen
��i�C���Y�ɦV��N�ΫO��b�{�ɪ��A�A�ҥH�Y���H�‫\۽‬
�����K�[�M���Y���o�͡A��_�_�����A�@���@�Ӿ���A��O�`�O�µ ۳̤�í�w�����A�o�i�A�o�ӹL�{ Bak
�M�L���P�ƭ̺٤��������ۧ- � ����´���{�ɩʡC���
‫ڧ‬J���A��[���]���X��y�z�ä��������Ʊ��b�ۨ���C�H�̥ ����F�Ѥ�ε��c���ʤO�ǰ_���C�̪‫ۧ�����ڬ ݨ�ڭ‬ ��
[�����´����P�ʧ@���³o�Ӥ�V���^�m�C. . . �۲�´��P���ʤO�Ǩt��[�O]���B��V�ê���t���C. . .
�۫‫ ̬ڭ‬H�۵ M�ɪ���ε��c���۵ M�Q��V�F�V�ê���t�C���L�̥��i |
�X�{�ʿ����{�H�A�Ҧp��y�X�X�H�εM�ᥩ���a�����F�L�̵L�k�u�ʤƪ���󡧲V�á��۵ M�{�H���欰�C
�� 14 ��
�u�ʤƯA�Υ��D�u�ʤ�{����������]�A�Τ��X�^�A�ӬO�ϥΤ@�t�C���Ӽ�����Y���L�{�C���b�G�Q�@��##
@ �@��A���z�Ǯa�ϥνu�ʪ��ӭp��M�w���P�M�ìP�b��y�D�W���B�ʡC�o�O�@�ӫD�`���\
���L�{�C���򰶤j���k���Ǯa��Q�e�[�ܱ���F�D�ѫD�u�ʤ�{���D� ԯA � Ψ � ӥH�W����ɲ���� �� �‫ ͪޤ‬O��������X
���̦���b ʮɬۤ��椬�C�p��D�`����A���e�[�
ִ‫ܫܧ‬N�o�{�b�u�ʬ�Ǫ��H�Ӫ�����O�Ǥ��s�b�V�P�Q�j�����۵ M²��k�h����d�C�M�ӡA�e�[�ܳQ�o�‫�_ة‬ǵ��G
�M�p�⪺���j�ʡF�ҥH�L���F�D�u�ʤ�k�C�M��p���X�{�F�A���i�H�i��ƦʸU�����N�ӸѨM�@�Ӱ��D�D�u�
ʤ�{�C�X�G�b�@�]�����A��Ǯa�̶}�l����D�u�ʤ�{�@���@�‫��ئ‬Ī��M��۵ M�����R�ʼƾ����C�q���W�X
�{���Ϊ��M�ϧά�Ǯa���N�D�u�ʤ����ɪ��̹ �O��ΧΪ��X�X���h���蹳
�@ ͥ �P���ʺA�C�b�D�u�ʥ@�ɤ��A�L�p���v�T�i��|����� ͥ j�ӷN�Q��� 쪺
�v�T���G�C�@�ӰʤO�t�Φb��F�{���I���e�i��‫�_ݰ‬ӫ�í�w�A�M��@�Ǭ‫�ݦ‬L�����D���ƥ�N�����F�@�ӷs
�����A�C�b�k�����‫���[ج‬B�s��M�_��A���p��q�B�t���渨�C���a�B��
‫���ܤ‬Y��G�B�H��O�������P�‫���ثת‬l�C�b���䪺�e�����A�@��Y�A��
‫�����ܨ‬t�A�u�U���C�A��ۤ��Ȭ٪��s�y�C���Y�i�঳�Q�j�n�ηū��
‫ܤ‬Ƥ�����p�F�� �ް_���C�D�u�ʤ����‫ݭ‬n�y�z�o����‫���ܪ‬M�‫ܤ‬ơCiT^ �w�g����F��Q��~�����C�p�G�
‫��ڤ‬o������A�‫�|�������{�|ڷ‬X�X��̤‫���ڭ‬ư����C-�ǧJ���z�A�¬‫ٲ‬z ͨ �u�ǰ|�����z�Ǯa�Aͨ ��
ߤ�P�C�Ŷ�����M���V�B�Ӭ‫�۾‬M�t�ƺ�K X
�g�u�M���~�u�ǷP���B�L�H�۳��M��H��y���I�X�X�Ҧ��o�ǵ��X�b�@�_�A���̱‫ڭ‬a�ӤF�Ӷ��t�����[���
�@�ӥR����w�B�B��B���G�B�}�H���ʪ��a��C��� ઺����ۭ���c����P���j������u�O�b���̤ ����B�@�
��ʺA�V�P�O���@�ӨҤl��P�M���B���`�šC�b�o�̧� ~ Y�����l�P�H�ƨg���t�‫���ױ‬A�W�s�P�b�E�i���w
�C�z���A�޵o�s��P�B�Ӷ��X�X����y���ϥʹ�y�X�X�b�ƥH�ʸU�p���d�򤺼Q�X�ϼ�
�@�f�V�ê��j��A�y��y�P���O��P�ϥͪ��X��ιЮJ�M���骺
�l�c�C�ƭ^���A�¬}�]���ǻ���q�C����Q�����[�e�̪‫��ڭ‬Ӷ��Y�Q�{���O�۵ M���Ǫ���d�C�� 17
�@����H�ӡA���ħJ��y�����j�z�‫�����ס‬O�ǡ��Ϭ�Ǯa���H��H����‫׹‬w��o�˪��Ѥ��P�P��B�魹
�M�k�P�^�k���ƥ�C��y�U���‫ޤ‬O�w�ߧl�‫ޤ‬O���j�a�W�[�F��Ǯa���z�ѡA�ƦܾɭP�o�{�s����P�C�� 18
�@��A�‫��־‬s�y�Ӷ}�l�ϥξ���M���\�ӻs�@�ɩ|
��orreries���A��K�����������A�i�H�N��P�����ƭy�D�ɶ��O��L�̦� b Ӷ��t���L�ۡC�M��b�@���A���
j���k�ꪫ�z�Ǯa�X�X�ƾǮa��Q�P�e�[�‫ܦ‬b��y������O�Ǥ��J��F�@�ӥO�H���w���p�G�١C�o�DzΤW�Ω�p���
��‫ޤ‬O����{�_�����O���P�@���Q�Ĩ��ӡC��O��[�J�ĤT�Ӫ��骺
�ĪG�ɡA��{�ܱo�L�ѡC�DzΤW�A���z�Ǯa¶�L�F�o�өҿ‫��ת‬T�q�L�ϥΩҿ‫����ת‬u�ʪ��ӸѨM������D�X�X���
j�h�ƹ�‫��ڥت‬ӻ��‫ܦ‬n���ѨM��‫ס‬C�M�ӡA�e�[�‫ܨ‬M�w�q�L�b��‫ܥ‬ѲĤT�Ӫ��骺
�s�b�ް_�����X����{�C����Ϥ�{�ܱo���D�u�ʡ��õ��e�[�ܱa�ӤF�۷�j���x�Z�C�D�u�ʤ�{�N���@���G�
��嵷������@�ˡA��P����G�‫ڬ‬w��‫ܥ‬X�@�Ӥ�ιϮ‫ס‬A �
ͦ �ҩ�_��ʺA�o�b�C ��⪺�V�P� |ines �Xan(j椺�������
���� �X �O�л\�a�y�� 100 �����p���B� �߯}��C���_���b�Q��ɨϥΨӦ ‫�ۦ‬P��������ơC1767
�~������ǰ|�s�@�����o�˪��Ӷ���A
�� 15 ��
�ѭ ۴������ǩ�P���B (Benjamin Martin) ���X�A�N��F�Y���ɤU����ǹ�t�z���
‫ݪ‬k������O�ǡ��C�o���[�I���F�̪ �
񪺬�ǻ{�Ѫ�D �ԡA�Y�o��t�Υ]�t�V�ê�����C�P�B (1:1)
���ण�W�h�A�]����‫ڬ‬O���t���H��{���ʤO�ǡC�e�[�‫��ܪ‬ѨM��‫��ת‬A�b�Y�ǭy�D�W�A�ĤT�Ӥ��骺
�s�b�i��|�ɭP��P����B�s´�Ʀ ‫���ܭ‬C�_�Ǫ���{���欰�N��‫۽‬ո`��P�y�D���ë�o��i��|
�X�{�X�G�N�Ʀa�u�U�C�e�[�‫ܫܧ‬ ֩ ��F�p��A�s�ĥL�����G�O���ө_�ǤF�A�‫��ڤ‬ԤߦҼ{���̡C��
�b�L����A��Ǯa���~��L�̪ ���s�u�ʪ��A�����e�[�‫��ܪ‬D�u�ʤ��X�@�����硧��
�n���C��O�A���@�Ӭ�ǮɥN�ӻ��A�����i��b�H�᪺�ɥN � �����s�{� ꪺ� � � n�C�b�b�L�h���G�Q�~�̡A���
V�P�Ǯa�����s�}�l����e�[�ܿ�󪺵o�{�X�X�åB�V�ӶV�h�a�o�{�������s�b�V�P���Ҿ ‫ڡ‬C�V�P�Ǯa���A�
��Ҧp�A�T�w��P�M��P�����p��P�a�����‫ج‬O�Ѥ�P���U���‫ޤ‬O�A��M�P��P���l�‫ޤ‬O�ۤ��‫ܤ‬p�A��‫ܤ‬j���H
�гy�X�p���V�ê��ϰ�A�H�‫�ܩ‬S���p��P�i�H�n�d�b�䤤�C�¬‫ٲ‬z�u�ǰ|�� Jack
Wisdom�M���s����O�Ǫ����z�Ǯa���A�@�ǹC���쪺�p��P�o���_�
‫إ‬i��Q���V�a�y�A�b���̥ ��̹��k�ۤ@�˼Y���C��Ǯa���٦b�g�Pç�F�����V�y���ìP��i�s��½�u���o�{�F�
V�áC�@�ӱ��`Hyperion ���y�D������F�o�� 120 �^����ìP�b����ɩ_�Ǫ��\�ʦ 欰�
�¶�������P�C��i������欰�W�
ߥB�i�w��A�u���b�Q�g�ɡA���̦���
b `����{���Ŧ�V�î�v�������� ⯴ Ǯq�C �b�䤤
�@�Ǯ�i�s�q�C��¶�g�P����ɳ��|����⦸�F�b��L���p�U������E���C�|�ӭy�D�F�]���W�
ߪ��Ρ��g��ʪ��B�ʡ��a�C��i��½�u�欰�w�q�L�[��o���ҹ�A�ӥB�p�����i�w��A�H�‫�ܩ‬V�P�Ǯa
Wisdom ���A���Y�Ϧ��i��N 52 �E SPACE �T�w Hyperion ����V�M�۱۬� 10�b�‫ڹ‬J�쪺��
�̮ɥN�����n�H���A�O�L�k�w�����~��A����� 2 ����F�ɡA�����w��C���N��� �۬
‫ʹ�ۦ‬Ϥ������Ǯq�O��Ϊ��G����ܲV�P�ʤO�t�γB��u�@�C�V�P�Ǯa�{�b�{���ߤ�P���y�D�]���O����^�]�
i�ೡ��� ‫�@ڤ‬ӲV�ðϰ�C�L�̻���ߤ�P
{ ���i�঳�@�Ѭ�M�i�J�@�ӷs�y�D�C�q��P�����T�w�ʹϨ���骺
�Ϊ��M�S�x�A��ιϮ‫צ‬s�b���Ӧt�z���C��y���k�ۧ|����G�Ҧ��O��Ϊ��t�z���P�t������Ҧ��C�b��@�
‫��ر‬p�U�A�P�Υ]�t���‫ء‬A�åB�b���‫ج‬O ͬ ��P���j������A�ͬ �b �ǻP �V�ä�ɤW �C�o�i�Ӥ�O�ѯ�@ �����������̤

�����C�]�t���‫��ت‬Ŷ��P�ΡX�X�u�O�����H���‫�_ܩ‬Ǫ����Ǥ�լO��Ϊ��лx�C��P���W�����H������]�O
��Ϊ��A�զ��x����x��A�@�ӥѲV�ýs´�Ӧ�������´���ʤO�t�ΡC�b�j�Ѫ���Ǭ�ǡA�~�ӪŪ���b��
‫�� ̹ڭ‬b��񯴧Ǫ��P���C�b�̭ ��s��ǡA��Ǯa�̱�N t�z���٩M�V�áC��Ǯa�h�äg�P������‫إ‬i��P�V�P����C�o�Ǯt�
Z��G�O�Ѥg�P�Ψ�ìP�I�[�����O���X����y�����A�X�Ѩϳo�Ǧa���ܱo�p����í�w�A�H�‫�ܩ‬b���‫�@�ܪ‬q�ɶ
������L�H�~��C�b��P�M��P�������p��P�a���X�ӭy�D���‫ة‬Ϊťհϰ�A���̦ ��X�G�i�H��֩ w�O�V�óy�����
C�Ѯ�ܲV�å��i��|�o�ͻ��L����l��󪺮t���ɭP�̲‫�{ײ‬H�����j�t���C. . .�b���ɭԩΦh�Τ֪��Q����@�
‫ס‬A�ۭ���b�o���Ӥ��O�����z�o�A�åB�N����n�����쥦 � � � i�H�ƧK����a�C�o�O�
‫ ̥ڭ‬i�H�w�����A�p�G�‫��ڭ̧ڪ‬D�Q����@�‫ס‬A���[��G�J�����]������T�A�]���o�@���G���k�\
�󰸵M�ʡC�X�X��Q�P�e�[�‫ܡ‬A���j�� 19 �@��z�Ǯa�A�]�\�O�Ĥ@�ӭ���x�b����Ǯa�ʺA�V�P�CITI
��H�Ǯa�R�w�‫ء‬P���‫( �ۯ‬Edward Lorenz) ���@���|�@�D�W�C�� ^^^^J �L��q���d�b�¬‫ٲ‬z�u�ǰ|
�� 16 ��
�L�‫�ݨ‬q�M�l��t�ɰ_����y�]�T�x��H�x�‫ۥ‬L���p���b�p�⪺���R�ʲV�ëH���C�b�L�h��X�Q�~�ӡA���@�
ɪ���x�M���y����ɤF���‫�ۯ‬h���ɭԵo�{���F��^��L���q���e�‫ݤ‬F�‫ݡ‬C���‫���@�ۯ‬b��s�@��²�檺
�T�ܶq�ҫ��w��Ѯ�A�L���p���w�g�N�Ʀr��J�ҫ����D�u�ʶi��w���{�C�L�M�w�n�N�w��A����X�ѡA�ҥH
�L�‫ݭ‬n��t�@�x�p���B��C�ѩ�p���b 1960 �~�N�۹��C�A���‫�ۯ‬L�����|�A�|
�ˤ��J�L���J�ҫ���{���@�ǼƦr�C�L�w�p�L���w��⦸�p���� �| ⤧���� t���A��L�T�H�o�|
�����H�v�T�L���b�M�䪺�F��C�L�N�q���]�m���b�ֱ��覡�W�u�@�L���w���A�M��X�h�
‫ܩ@�ء‬C��M�C�ӳ��Ӧۤ��P���@�ծ�H���B��M�s�����O�ѩ��h������ͪ �� ۲�
´�Φ��Ѯ�V�áC���̴N���Ϯ��b��ɤW�����઺�B�_�Ǫ����ǧΪ�Mandelbrot �����ϰ�C�{�q���M��e���覡
�Ы‫�ؤ‬ιϮ‫ס‬C��δX��p�⤣�W�h�Ϊ����u��]�p�{�q�^������ί}�H� ‫�ר‬F�u������κ�ơ��C�‫��ڻ‬b�\�h�
‫ثפ‬W�����Ӹ`���u��@�Ӧ��@��‫ڴ‬X���o�u�M�G��‫ڴ‬X���o�u��������κ�Ƽ ‫ڴ‬X���o�����C�\
�h�p�����νu�� 1 .3�A��δX��Ǯa�p��C���‫�^�ۯ‬ӮɡA�L�o�{�F�V�áC���
‫�ۯ‬q���i�D�L�A�p���p�V�P�Ǯa�һ��A�⦸�w��_�I�t���w�g���X�j���{�b�� �C ⥦�� L�d�U�F��ӺI�M��
�P�����w��C�̥‫ڭ‬i�H�‫�ݨ‬L�P�˪��ĪG�b�o�i���護���
�Ӫ��w��Ϥ���N��F�C�C�Ӫ��_�l�H�����t����Ӫ��w��D�`����C�Ŧⱡ�`�q���}�l�C�� 12.00
�̡A���t���C�� 11.98 �̪ ����C���e�Q���X�ѥ��k���L�p�t���ɭP�D�`�‫�ۦ‬w��C���H��w��X�{��[�
‫��ڥ‬C���‫�ۯ‬N�Ѩ�o�‫خ‬t���N�� �ۨC�ӹw����H�Ǯa��J�䤤����l�H���C�ӫH�������p��~�N�
֮‫�ܧ‬y�����w���j��~�C��H�Ǯa�ᥢ�����H���H�ΨS�����J�L���ҫ��]�Ҧp�A��Ʀr���X�ӮɡA�H���Q��
|�F�p�Ʀ�ѭp���|�ˤ��J�^�N�̲���˹w��C���٦���h�C���‫�ۯ‬N�Ѩ���D���Ȧb��w��ҫ��`�O��
‫ܦ�������ס‬C���D�O�S�����ҫ��A�L�‫צ‬h�����A��o����ǽT���H�� WEATHER �E 57 i&J v
-;-...1991 �~ 5 �� 28 �骺�_���C�o�O 5 �� 30 ��]��ѡ^���Ѯ�w��C����^���a�� A
������l���C 6 �� 12 ��]�q�Ĥ@�Ѻ�_ 15 �ѡ^���w��i���‫�ڴ‬q�ɡ^��� A ����l���C 6
�p�ɫ�5��28��A�Ѯ��‫ܤ‬Ƥ��j�C��̪ �l����
󪺤�P �Ѯ�ϬO�� n���C�M�ӡA��o�Dz������P����l�����Ӫ��w��Ѯ
𪬪p���i����w��үA�Ϊ��x��C�o�O�w��5 �� 30 �骺�Ѯ���a�� B ������l���C�`�N A �M
B�b�o�@�I�W�A�w��}�l�X�{��[�C6 �� 1 �� 2 �骺�w�����lB �����p�C A �M B �� 1 5
�Ѷ}�l�᪺�Ѯ𱡪p� ���w��o�ӹL�{�{�b�w�g�o�ͤF� � ‫ܤ‬j���‫ܤ‬ơA�H�‫�ܩ‬L�̹�� w Ѯ�j���‫ۦ‬P�C�o�O����Ѯ��‫ڤ‬W�
‫�_ݰ‬ӹ� 6 �� 12 ��C�]���Ѯ��‫ܤ‬ƵL�`�åB���ӷP�̤������
p A���w��ǽT�ʱN�l�
‫���ר‬Y������A�V�P�Ǯa���C����O�]���Ѯ 𥻨�
�O�p���ʺA�A����_���p���ӷP��t���b�̭ ����_�L �ۡA�Ʀܽ������ͻH�b�˪L���E���Ҽ{�‫�ڦ‬C�ǽT����
�Ѯ�w��A���‫ۯ�ס‬A�]�����Ȧb���W�A�ӥB�b�z�‫פ‬W�]�O���i�઺�C��J�뺸 � P��-�Ǻ����A�‫ڬ‬w�����Ѯ 𤤤
ߥD��o�˻��G���̻‫���{ڭ‬p�G�A�u�O�R��F�Ѥj�𪺪��A�A�p�G�A�
ߤ‫إ‬F���T���ҫ�����j�j���p���A�w��Ѯ���ӨS������C���‫�~�@�ۯ‬ӤF
�� 17 ��
�u�O�Ӿ_��F�C�� �q�Y�‫ط‬N�q�W���A���‫�ۯ‬o�{���‫ܤ‬F��ө���ƹ�C�E�v���@��٤̺‫����ڭ‬Ѯ 𪺰
ʤO�t�γq�L���X�P��L�@���pô�_�ӡC���G�A�衧�o�ˤ@�Өt�Ϊ������ 󳡤�} �l�� a�賣�|��䵲��a�貣 ͥ ͥ ��
�j���v�T�C�G�}�B�b���h�j�𤤪�� B�ɥi��q�X�G�����
‫ۦ‬P���a��}�l�A��O�C�Ӵ��I��l��󪺷L�[�t���N�ɭP�C�Ӵ��I���R�B�I�M���P�C�H�۴��骺 ͪ ͪ

�A�@�Φb�C���W������ӷL�����ʤO�N�ɭP�D�`���P���̲‫ק‬Φ��C�ҥ~�ҩ�F�W�h�C�‫ݳ‬o�����t�觽��
‫ڽ‬ìP����Զ��‫��ت‬n�Ʃ`�S�o�{������C���p�`�S�һ��A���̡��Y�Ϥ��‫ۦ‬P�A�]� �֩ w�D�`�‫�ۦ‬C��
�o���L�̶^�ˤF�@���s����M�L�s���b�@�_�A�]���@�Φb���̤��� W ʤO�X�G�‫ۦ‬P�C����ަp���A�̤‫��ڭ‬M�i�H
�‫�ݨ‬s�b�t���C�]���Ѯ 𪺩Ҧ�����]�ū‫ס‬B�Ů���O�B��‫���^��׵‬l��󪺱ӷP�̿�ʪ��v�T�X�X����j�𤤳
�Ӥ�l����m�M���p�X�X���w��N�L�‫׹‬w���w��h�����A�X�Ѥ��`�O�|�����‫ڤ‬Ѯ�H���C���‫�ۯ‬Q�X�F�@�
‫�ؤ‬kͦ ��ø�s�oͦ b�L����ϤW���Ѯ�ҫ���{�C���G�O�@�٬‫�_��غ‬ǧl�‫ޤ‬l�����㪬�Ϊ��C�H���
‫�ۯ‬R�W���S�O�_�Ǫ��l�‫ޤ‬l�O�Ѯ�@���@�ӰʤO�t�Ϊ��L����ѩM��ѡC�۬‫�ۦ‬ʩM���‫�ۯ‬l�‫ޤ‬l����‫��ܪ‬Ҧ����ʤ
‫ثת����_�ܤ‬ƷN��۸ ӹϬO�@�Ӥ�ΡC�Ѯ� 59 #�E�E �Ѯ�O�@�Ө 嫬���V�èt�ΡC�ѩ�䤣�_���|�^��ۨ��
�X�X���������N���X�X���b�\�h�‫ثפ‬W��{�X�s�x���欰�A��M�O��b�s�x���欰�d�򤺡A�̺‫ڭ‬
٤�����ԡC��ԬO�Ѯ 𪺥t�@�ӦW�٩_�Ǫ��l�‫ޤ‬l�C��M�L�̵L�k���X����w��A���H�Ǯa�{�b�ϥβV�P�z�
‫ר‬ӵ���ҫ����i�a�ʨõ��Y�Ǫ�l�����L����í�w�C�̥‫ڭ‬i��ִ‫ܧ‬N�|�‫��ݨ‬t���̪‫����ڭ‬H�
ߦ]�����H���ѹw��C�ƪ������IDIMENSIONS / �гy����ΩԤB�ήe�� fractus�C������ԤB�y�ʵ�
frangere ���N��O�����}���G�гy���W�h�H��C�]���A�����k�O�X�X�ӥB�D�`�A�X�
‫ڭ̪��ݨ‬D�I�X�X���F���H��ơ��]�p��ƩΧ�g�^�Afractus �]���‫����ܡ‬W�h���A��
‫ا‬t�q�Q�O�s�b��q���C - Benoit Mandelbrot�CQolish �X�͡A�k��Ш|�A���ƾǮa Benoit
Mandelbrot �b 1967 �~�ҩ�F�^����O�L����C�o�O�s�X��o�X���X�ө_�Ǫ����
‫�@��פ‬Ҽw�kù�o��C�X��o�ӵ�N��O����q�g�a���C�‫ڴ‬X���o�X���Z���q���a�A�Y��‫ש‬M��‫ס‬C���N�g�a
��� ⹳ a�yø�� ťաA���I�B���u�B��B�x�ΡB�T���ΡB�ߤ���M�y��զ�����Ʀa��CMandelbrot
�����R�O�n���‫ܨ‬C�ӤH�����D���Ʊ��X�X�u�ꪺ� � � � � ä��O�������ƩΪťաA�åB�ӶZ��O�۹ 諸
�C�b�u�ꪺ� g�a�W�A�Ŷ��Q�񺡡A�ᦱ�A�ᵲ�A�M���I�C�ϥΦa�ϩ��������{�W�h�p��@�ӫ����������{�t�@
�ӡA�A�i��|�Q�M�ˡC�@��m���p��b�a�ϤW�
‫�_ݰ‬ӬO�������A��u�����D��u�M����L�s�C�C�Q���^�����Q�~�����]��� �ޯQ�~�O�@���ս‫�^����ת‬
b�A�}���ɷ|�ҩ��h�CMandelbrot ��
‫ܤ‬F���a�W���Z��P�W�ҩM�Ӹ`����C�b�a�϶��a�ϤW¶�^���u�s���@��u�î‫ھڦ‬a�ϽT�w��� �J���
‫ک‬Ԫ���o���[���G����A�ì�A��Φa�V�T��Ŷ����Y�C�㺸�‫ک‬ԫ��O���⪺�X�X�Q�x�b Chemung
���C�‫ڥ‬ն�������M�賡���m��ϰ�e���C�a�y�[��ìP���q�� Mark Eustis
����A�Ӥ��q�s�@�F�o�Ϥ�G�����i�k���Ȧ{�����s�ߪ��˪L�e�����C���̬� O Q�H��ƦC���г��Ϯ‫��]ץ‬A�o�
ǥг���G�b�s�C�M�s�����H�@�‫�ئ‬G�����F�|�y�M�a�z��ɡC�o�Ӱϰ�O��K���Ƥ�g����ҡC��
��δX��y�z�F�s�b��̪‫��ڭ‬DzΤ����L�ƾ��Τ�����H�M�L�{�‫ڴ‬X���o��‫ס‬C�o�Ӵ��[����ιϮ‫׬‬O�ѲV�ê��‫צ‬X��
ͪ ��
�� 18 ��
�դO�C�‫ؤ‬o��ҡC�{�b�Χ�ԲӪ��^�����ϰ��P�˪��Ʊ��C�_�Ǫ��O�A�b�ĤG�i�a�ϤW�A��u���C�p�G�A�a�@��
ꪺ� u�l�A�@�̪ ��A�X�Ӥ 몺����A�b�a���W��‫�ڴ‬q�^�ꪺ� � u�A�A�|���S��X�ӤF�C�ϥΤ
‫ؤ‬l��j��u���@�p����A�‫�_ݰ‬ӫ‫���ܬۦ‬j�W�Ҫ������C�u�‫�ۮ‬d�骺��t�e�@��u�A�o��u������ʱN��ɺ�
‫������פ‬Ŷ��C��u�O��v�d�U����ιϮ‫ʺװ‬A�V�P���O�q�C�@��̪ �A�ӥB�‫|ٷ‬
��o�h�C�o�˰�����]�^���u�d�ܸU�ƪ��X�i�O�A�ϥΪ��‫ؤ‬l�V�p�A�z�i�H��q�����M�`�`�C�Q���@�U�A
�p�G�i�H���‫ܡ‬A�A�����G�|�O�h�[�Τ‫ؤ‬l��q�u�ۤ���䪺��l�A��l����
֡‫׫ܤ‬
‫ ܤ‬C�Ҽw��ù�{�����F�z�Ѳ{��@�ɪ��I�B�u�B�����M����O�p���R���Ŷ��A�������‫ڴ‬X���o���Z��]�M
�‫׶‬q�^��Q�CMandelbrot ���X�F�o�ӷQ�k�A�[�W�L�q�X��ƾǮa���̦ ����쪺�@�Ǩ��ѡA�L�̦ b19
�@��D�ԤF�‫ڴ‬X���o����‫���׷‬C�o�ǼƾǮa�A�䤤�]�A�w��H�d���P�Q�����S�Դ��B�N�j�Q�H����
‫ء‬P��֨ ȿթM�w��H������P���컮 � гy�����u�_��F�L�̪ ��P�ơA�ҿ‫��ת‬Ǫ����u�A�H�p���_��覡�����
�A���̥� i H�����л\������C���G�O�@�����Ǫ����u�O�@��u�٬O�������O�H���w���[�q��Ӻ�‫ס‬C�����
‫ٳ‬Ы‫ؤ‬F�\
�h��L�Ǫ����u�C�o�O�@�ӥs�����ƺ��B�S���u���]��M�G�ƾǮa�N����s�����u�٬������u���C�ƺ�
�B�S���u�O�q�@��²�檺�ϧζ} ͦ �lͦ �G �U �ӡA�����
‫ۦ‬P���ϧ���Ω��ۤv���C�ӹϧΤT�ӭ��A�öi��F�@������C���G�p�U�ҥ‫ܡ‬G
�{�b���N�]���ơ^�ӹϦA�h���A�H�P�W�z�‫ۦ‬P���覡�N����Ω�ۨ���A���[��Ŷ��}�l�񺡡Cn 64 �E
FRACTAL DIMENSIONS ^�G^ �z�
‫פ‬W�A�i�H�i��ƺ��B�S���u�����N�L����a�X�h�A�H�K���u�P�����W�������I�‫�ۥ‬Ӥ�� �۬‫�ۥ‬X�X�]���[
�q�C���G�ϧΤ��M�O�@���@���@��u�A�٬O�‫��ܦ‬F�G��u�H���������H�Q�йL�p��e Kolam ���L�
‫פ‬g��ۡA�]���o�‫ع‬Ϯ‫׬‬O�ͪ‫��ھڥ‬ƾǮa Przemyslaw Prusinkiewicz
�����k�A�Q�٬��A�i�H�D�`� � ֦ a�e�@�ӡCPrusinkiewicz
ͦ�ϥ����N��k�b�p���Wͦ �F �o�ӡ�Soissors� Kolam ���� 첣
ͪ Ŷ���R�ƺ��B�S���u����k�C�L���L�o�{���O�H��Y���O�X�ӥ@��H�ӡA�L�‫פ‬H�@���b�ϥΤ�Χ@���@���

�N�Φ��C����Φ��‫ܦ‬h�‫ؤ‬覡����N�‫��ܭ‬n�C�Ҧp�A�‫ؿ‬v�v�̪ �N�Ѩ 쭵�ַ|�����W�h���j�U�N�ީ���‫־‬
������ƥ����i��Ψ��‫״‬I���̪ ��n���C��κ�� 19
�@��ƾǻP���j���Ŷ���R�@�������o�˪����u�H�ι����d�������o�˪��Q�Y�����u��A�èM�w�̦�����̪ n `
�J�z�‫פ‬W�����ǡA���ʦa�N���̸˦b��l�̡A�M��N���̦�� s b��[�l�W�Ц����n�_�ߡ��X�X�P�z�ʶi�B�L��
_�Dz��`�X���ѡC�M��b 1960 �~�N�AMandelbrot �N���̨ �X�A 帱��ǹСA�M��b�O��U�ˬd���̡C�L�b��
‫�פ����ݨ‬F�o�ǯf�A���Ϊ��X�X�L������Ρ��٬����̡X�X�@����۵ M�κA�]�p���B��M�s�ߡC�g���ΡX�
X���� 19 �@����l�X�X�O�q�L�K�[�Φb���k�έ��N�L�{���R������C�
‫�ڭ̬ݨ‬o�ӹL�{�b�_�@�Χƺ��B�S���u�����͡C�o�O�t�@�Ӻ٬� ͦa ���g���Ϊ���� ͦ ǦC�컮
�q�X�X�q�L�b�C��u���������ƲK�[�@�ӤT���λs�����N�C�Ĥ@�N�O�̩ ��h���CCTAL DIMENSIONS
��M���ƪ��T���ΧΪ��ϳo�Ӥ�Χ����١AMandelbrot �N�Ѩ�컮�q���ɷt�‫ܦ‬s�b��u���u�W�����
‫ظ‬ԲӪ��B���k������C�L�o�{�F�g�媺�
�Τ]�O�q�L���`�]���`�a�^�����Y�ǪF��ӻs�����C�o������N����²��‫ܨ‬ҥ]�A��h�@��u�������T���
�@�A�M��L����a���ƸӾާ@�H�Ы��I�����ЮJ���A�b�䤧��٬�
�d���ЮJ�o�{�̡A�Xù���X�͡C�w��ƾǮa��v�P�d�����C�o�ǥj�Ѫ���w�Q�x��F�b�⩥���� ‫ܥ‬X�۵ M������
Y��A��H�Q�_�d�����ЮJ�C�ʺA�V�P
�� 19 ��
�_�w�d�U�F�o�‫�ؤ‬ιϮ‫ס‬CA ���컮�q�@��??�A�o�‫ئ‬ǹзt�ܵ‫ۦ‬
۵M�ɤ������c�X�X���L�A�P�ˡA���ӹ�٤F�X�X�Ҧp�A��P���覡��
�G�b�]�Ť����P�ΩM�ЮJ���C�Ĩ�Y�ǪF�誺�����Φ��h�Ы‫�ؤ‬άO�@�ӭ��N�A�䤤
�T���αq�������ƴ�h�T���ΡA�Ы‫�@ؤ‬Ӻ٬��º�������԰骺�ϧΡC�o�Ǵ�k���̲
‫׮‬ĪG���N�O�N�G��T�����Y�p���@�ӹϧΡA��R�@�ӹϧΤ������Ŷ���M�G�C�º������򭡥N�i�H�b�@�ӤT��‫�ﹳ‬
W�i��A�q�L�q��r�𤺳��
�h��r��C���G�٬��º�������b�Y�C�o�o�̪ ��Ҥl�O�Ѭ�Ǯa�b�p���W�۷ ͦQͦ ������� ୱ�|���顨
�[���j����Ǥj�ǡC�b�Y�����h���Ŷ��åB���� 󤶩 G��� M�T���r�𤧶��C�g����Mandelbrot
�̪ �]�Q���{�b�Q�٬����u�ʤ�Ρ��A�o�ӦW�r���@�����N�~��i��A�Ϥ����u��O���C���y �ܻ��A�o�N��
ͦ‫��ۥ‬ϧΪ����N���X�`���{�}�n�B�g�L�ո`�A�]���ϧΥͲ������~�b�\�h� ‫ثפ‬W����� �۬
‫�ۦ‬C��j�º������򪺤@�p����b�Y�A�M���j�Ĥ@����j���@�p����C��ө�j���ƱN�‫�_ݰ‬ӧ����@�ˡC�N�o�P�
�j�g�媺�@ ͪ ����ɵoͪ �p �i��������
‫ڴ‬X���o�ϧΡA�Ҧp�@�Ӿ����W����C�H�۱ z���ˬd���Y�ܱo���T�A�z�N�
‫��ݨ‬Φ��u���@�p�q�A���u�‫�_ݰ‬ӶV�ӶV���@��u�u�C�H�۩�j���ƪ��W�[�A�S����ܷs���Ӹ`�C�M�ӡA��j
��Ϊ��@����A�åB���̴��‫ܤ‬F�s���� �۬‫�ۦ‬Ӹ`�C�۬‫�ۦ‬ʩM�Ы‫׬‬O��Ϊ��S�x�`���ӻ��AMandelbrot
�N�Ѩ�A�ä��O�Ҧ�����Φb�Y��Ӹ`�W�����O�u�ʪ����g�塨��ΡA�p�º�������Ԥ�M�컮
�q�C�Ҽw��ù�o�{�q�L�ϥΩҿ‫����ת‬D ͤ �u�ʡ���{�A���N�����X���� ͤ Υi�H�N���u�s�������u�M�x��èϦ۬
‫�ۦ‬b���P���‫��ثפ‬P�{�‫צ‬a�‫ܧ‬ΩM���i�w��X�X�@�‫��ء‬έp� �۬‫�ۦ‬ʡ��C�oMandelbrot ���i��O�D�u�ʤ�γ̵
‫ۦ‬W���Ҥl�A���‫��ޥ‬s�b��@�ӯº 骺 68 DIMENSIONS
�ƾǻ��C�X�{���x��Mù�������z���o�Ӽƾǹ�H����t�гy�F�L������ �ۧ‫��ڬ ۦ‬u�C�]��Mandelbrot
���C�^�̲‫׵‬o�{�F�ĤT���������ΡA���‫ޤ‬J�F�@���H���쭡�N�C�Ҧp�A�q�L�H����
‫ܤ‬T���Ϊ��j�p�M�Ϊ��b�T���Τ������N�A�i�H����s�ߪ����W�h�ʡC�H���Τ��\
�����N�a��������۵ M���W�‫ש‬M���W�h�ʡA�Ҧp�i��A���A�˪L��a���Ѯt����B���_�X�j����ɴN����u�
@�ˤ�ΡC�b�G��̡A�e�f�]�|����@�˽����A��Ǯa�̧� Q ΥL�̹
��Ϊ����Ѩӧ�X��ӱq�G�骺�椤
�H��ư��h�ִʾ�H����e�f�Ǽ��C��κ�� �E 69 �y�s�ߡA�H�ξ�쪺���Ҧ��C�]�‫ݼ‬ҥ�C�^��O�L�‫�פ‬άO�g�
媺�]�u�ʪ��^�B�D�u�ʪ��٬O�H��A��������覡��R�Ŷ��N��T�߬� ���‫�������פ‬H�C�ѩ�
Mandelbrot ���X��o���A�ƾǮa�M��Ǯa�{�b�i�H�p��X�G����骺��κ�ƽK�
‫��ڤڪ‬B�_�K���ξ�K��������A�b�\�h�‫ثפ‬W�����Ӹ`�X�X�Ӧ ‫ۼ‬ƾǪ���N�� Mandelbrot �]�m����쵥
�۵ M����A�H�η�h���T���H�y����C²��a���A��κ�ƪ�‫��ܪ‬骺�Ӹ`�νK���{�‫ס‬A�p�� 󥦦�‫ڤ‬F�‫ڴ‬X���o��
‫������פ‬Ŷ��C�^��T��� 򪺮 u�O�u�|�K�o�� H����񺡤@�ӥ����C�ϥ� Mandelbrot �}�o���
޳N�A��Ǯa�{�b�N�o���u�y�z����Ƭ� 1.25 ����ΡA����컮�q���u�A���1.2618 �‫� ׬‬C. .
�X�X�������A�j��|����@����{���u�M���������C�º��������� ԰ O�@�Ӻ�Ƭ� 1.584 ��� ΡC. . ;
�J�ս���b�P�� 򪺺�‫��פ‬V�T��Ŷ����_�ð_�K2.4. �b��Υ@�ɤ��A�@�Ǫ���Q�o�{�b���̪ ��覡
�W�D�`�����R�Ŷ��C�ƾǮa�̪ ��ҩ�F Mandelbrot ������t�O�p���_��O�@��@��u�A�㦳�ᷦ��� 檺
�κ�ơX�X�A���s�w�q�����
�� 20 ��
�B�c�X�X�H�۬‫ۦ�ثױ‬ƦC�����p��C�b�o�‫��ر‬p�U�A�۬‫�ۦ‬ʬO�@�‫ؼ‬Ҧ�����R��‫������פ‬Ŷ��ɡA�Q�ʺA���
W��L�{�ߦb� ᭱��C7���
ͦ�N�@�i�ȷQ�����@�ӤG���C�{�b� ⥦
� �
ͦ ˰_ � ӡC �o ͦ � J �O �] �O �y�A �ӬO�������������������
|
�b�ĤG�өM�ĤT��‫ס‬C�‫�ھڤ‬δX��p��A�o�αm��Ȧ��@�Ӥ�Τ ‫ؤ‬o�� 2.5�C2.�H��� �ިt�Ϊ��G����n�����|
�B�s���M��n�o�p���s�x�A�H�‫����󥦪ܩ‬Ĥ�κ�Ƭ� 3�F���t�ζȰʯ‫ߪ��ؤ‬o�� 2.7�C�j�h�Ʀ ۵ M����A�]�A�
̦ۤ‫ڭ‬v�A���O�ѳ\�h���P�������άۤ���´�A�C�@�ӡ�������������P����Τ 譱
�C ͤ �Ҧp�A�Hͤ �������ަ���@�Ӥ�κ�ƫe�C�N���A�����䪺��‫��פ‬P�C�b�̭ �����۵ M��ҡA����
�۬
‫�ۦ‬Ҧ ͪ ��A�����Y�Ӹ`
ͪ �O�Ѽv�T�i�ơB�ͪ�M���
\ ઺�ʤO�C��L�Ĥ@���o��L���z�ѮɡX�XMandelbrot �b 1977
�~���}�ѡm�۵ M����δX��n���w�q�F��Φb�Ω�p�����κ�ƪ��ƾǤ�k�譱�‫�ﹳ‬ιL�{�C�b��Ӫ��������A�L�
‫�ﴣ‬X�F��Ϊ��Y��w�q�P���ѡC�L�g�D�G����‫ڨ‬ӻ��A�̭ ��n�����u��O����C���‫�ݨ�ۦ‬B�b�Ы‫������ؤ‬ѧ
O���̤ ��e�C���̱‫ڭ‬N���[�a�ѧO��μҦ����b�̱‫ڭ‬q�޿�M�ƾǤW��w���̤ ��e�C��w�q�O��}��ä��O�ƾǩM��Ǥ����M
�`���{�ǡA��G�S�O�A�X��Ϊ��Q�k�C���O�u���o�˪��}��ʡA�~����̦‫ڭ‬b���H�N�����p�U���������‫״‬I�
ʭ���A���j�դF��δX��� 󪺥�j �� ‫ܡ‬A����F�Y�檺�۵ M���q�ơX�X�‫ھګ ׼‬ơB��
‫ש‬M��q��H�M�L�{�շǪ�����ɶ��X�X�H�ι�۵ M�~�誺�Y��A�Ҧp���W�
‫ס‬A�}��ʡA���C�M����ήɶ������L�s���C��̬‫ڭ‬O FRACTAL ��DIMENSIONS 71 �������δX���Y��w�q�A�
‫ ̥ڭ‬i�H�z�ѳo�X�󤣶ȶȬO��۵ M���Ŷq�F�o�O�N�̪‫�`��ڭ‬N�O�����b�I�H���W���@�‫ؤ‬覡���b�
‫ ̦ڭ‬ѤH�̩ ���s��B�c�����Ŷ��M���_���i�檺���ʩw�q�‫ڴ‬X���o�P���C7�H�i�Ѫ�x�Z�Ҽw�kù
��j���b����j���ƤU�A���`�O��‫ܥ‬X��� �ۤv���ƻs�~�C�@���ܵJ�~��A�‫ۦ‬P���Ϲ��L�����ƥX�{�C�b�Ŷ��‫־‬
Ǥ��A�[���y�P�‫�ڤ‬Լw [��]. . . ��Ǯa���w�g�‫�ݨ‬F�L�b��L�褤�[��쪺�F��A�ӥB�٬
ު��O�A�H�̥�� i L�q�ӨS���Ĥ@���‫���ݨ‬F��C���X�X�J�Ҵ��P��S�ҡA��N���i�H�M�^�m��Flash Art
Hargely ���s��]����O�H��H���h�����R�AMandelbrot �������F�̲{�N�ƾǤ����
‫ۦ‬W��H�C���]�O�@�ɤW�̵‫ۦ‬W����ΡC�� 1980 �~�H�ӡA�Өt�C����N�a���ѤF�F�P�A�O�Ч@�_�
‫����ݪ‬u�ǵ��A�H�ΫD�u�ʰʤO�Ǭ�Ǫ��ΨU�����C���O���x�V�P���R�C���X�����O�@�Ӽƾǯ����X�X�@�
ө_�ǧΪ����L���s�I�E���b�ҿ‫����ת‬Ƽƥ������W�C��̸‫ڭ‬յۧ⥦�ζH�ơCIBM��Ǯa Clifford Pickover
�B�ΤF�@�ǥ������‫��ޥ‬A�b�e�����e�{�X�@�‫��ؤ‬P���Ӹ`�CMandelbrot �]�m��ɡC�L�
‫ٳ‬o�ӧζH����Mandelbrot Stalks���C���F�ϥ��̦ ��ΡA�̷‫ڭ‬Q���� L, 2, 3 �o�˪����.. . �u�
‫ۼ‬ƶb�j�}�C�]���Ƽƥ��̦ ���ӳ���X�X�٬����곡���M���곡���X�X�c���Ƽ�tangible �
‫ݭ‬n���u�ζb�A�o�N�� �ۤ@�ӥ����C�yø�ѽƦX���I�����
󪺥�Ʀr �@�� p���̹
�A�o���O Mandelbrot
������ı�Φ��Ҧb�o�{�C�N���A���q���̹ �@�ˡA�q���̹�W�л\�۳\
�h�D�`�L�p���B���ä�G���I�A�٬�����C�̹ �W���ʺA�Ϲ��O�ѹ���Q�ֳt���ʪ����y�q�l��E�o�]�o��^
�C�Q�Q�C�ӹ���@���ƼơC���F�줤������b�ƭȤW��������A�N�� 3�M 4
�b��ƶb�W�b�ƭȤW��������C����]�Ʀr�^�Q�s�@���q�L�復����έ��N��{�ӵo��C�b 1970
�~�N���M 1980 �~�N��ABenoit��δX�󪺵o��� Mandelbrot �M��L�X�ӤH���b�ϥ�²�檺���N
�� 21 ��
��{�ӱ���Ʀr�b�_�����W���欰�C�@�‫ث‬D�`²�檺�d�‫ݤ‬覡��
�N��{���B��p�U�G�q�_�����W���Ʀr���@�}�l�ñN��ȩ�J���������T�w�Ʀr���Ѥ��Cchamjmg �T�w
Re^u , �b����︹�X�����Ѹm�s�CNumber Number
�{�b�p���{�A���G���ñN��ƤJ����︹�X�����ѡC�A�����ƾ�Ӿާ@�]���y�ܻ��A���s�p��Ρ����N����{�
ͤ^���[����G���|�oͤ ������� C O�_�r� ‫�@ޤ‬өT�w���ȡA���O�ֳt�V�L�a�j���ۤW�ɡA�٬O�H��C���t�
‫צ‬V�W����X�i�H���N��{��Ω�_�����Y�@�ϰ 쪺
�I�ɡA���G�D�`���[�C�q�L�N�p���̹ �W����������W���I�A�Y�ϫD�ƾǮa�{�b�i�H�Y��o�ө_�‫ݡ‬C���S
���q���A�u���̪ ��[���ƾǮa�i�H�h�����̪ ��F��C�ϥέp���A�����u�@�覡�p�U�G
�Ұʨϥ��I�]�ι���^���ȨñN��{��Ω󥦡A�]�\���N��{1000 ���C�p�G�����G���O��í�w�A�h��
MANDELBROT SET NrV �‫�ۦ‬A* ����K���Ϲ���P�v�K���H�w��ƾǮa��]��-
��U���W�r�R�W�F�Ӷ��X����Peitgen��Peitgen�A�L�N��Τ���O�a�a��F�������e�C����¦�C�p�G�
Ʀr�H�@�‫ة‬Υt�@�‫س‬t�‫¦״‬V�L�a�j�A������W���P���C��A������t�C��C�ӹB�ʳt�‫ס‬C�N��̧ ��X�i�Ʀr���I
�]����^�i��O���A�y�C���v���A�D�`�C���Ŧ�X�X�L�‫�פ‬Ϊ��t���‫צ‬p���I�a�M�w�C�{�b���ʨ�U�@�ӹ
���èϥνզ�O���P�˪��Ʊ��A����̹ �W���Ҧ�������w�‫�ۦ‬C��Ҧ�����]�ΥN��Ƽƪ��I�^�Ʀr�^�w�g�Q��{���N
�A�X�{�F�@�ӼҦ��CMandelbrot �M�b�_�����@�Ӱϰ 줤�o�{����L�H�O�@�
‫����ت‬ΧΪ�í�w�I�X�XMandelbrot �������A�q�`�H�¦���
‫ܡ‬X�X�Q��K�]��ӳ��Ӹ`����ɡA�]�A���ΧΪ����L���B���L�ᦱ���ƻs�~�A�M�h�h�۬‫�ۦ‬Φ��C���X����ɰϰ
�O�L������A�]����ΡA�]�����i�H�a�X�V�ӶV��Ӫ��Ӹ`�C�p���ϧ���N�a�N�i�}�Ӹ`���L�{�٬��b���
X��ɤW����j���Ρ���j�����C���O�‫ܮ‬e��z�ѳo�N��ۤ����C�b��ƽu�W�A�̳‫ڭ‬q�`�Q���b�Ʀr 1 �M 2
�O��L�Ʀr�A�Ҧp 1.5 �� 1.6�C�]�̨‫ڭ‬C����‫ܮ‬ɳ��|�J��o�ӦV�W�@��
‫ؤ‬l�C�^��M�A�o�ǼƦr�����٦���h���Ʀr�A�Ҧp 1.53 �M
1.54�X�X�����A�L����C���_�����W���Ʀr�]�O�p���C�b����Ӥ�������� ‫��ܦ‬٦h�A�b�o�ǧ�h������
�٦���h���L�a�L�ɡC�o�ǼƦr�������Ʀr���\�̹‫��ڭ‬ϥ���L��@�˨ϥέp���q�L���N�I�b Mandelbrot
�����@�Ӥ ‫ثפ‬W���I�����A�i�H�v����j���X����p�‫ثס‬C�]����N���I�������L�ƭ��I�A�ҥHMandelbr
ot�����Ӹ`�O�L�����F�@�ӵL�k��q����u��X��C�o�̪ ��Ĥ@�V��ܶ��X�Ҧb���Ʀr�����ϰ�X�X���X�����
��¦�A��Υ��C��ۤ����ɰϰ�C����A�o 12
�V�����C�@�ӳ��V�ӶV�`�J�a��������ɲӸ`����j�C�U�@���~�� �`�J���Q��`���Ӹ`�C�X�i�
‫���� ̪ڭ‬A�p�G�̦‫ڭ‬b�_�����W�ˬd���Ʀr�O�N���‫ؤ‬l�W���Ʀr�A��p 1�B2�B3 ���A����
‫ ̱ڭ‬N�ˬd�W�ҳ̤j���Ʀr�C��̤‫�]ڭ‬i�H�Y�p�W�Ҩ��ˬd1.5�B1.6�šC���̤ ����٦��@�ӧ�p����ҡ]�]�A�Ʀr 1.53
�M 1.54�A���Ҧp�^�X�X�]���b�_���������ϰ�A�
‫�� ̳ڭ‬i�H�V�U�]�ΦV���^���ʨ�W�ҶV�ӶV�p�C�P�ˡAMandelbrot
��������̥� i H��j�H�i����Ӫ���s�C���Ӫ��Ӹ`�A�]���L���ˬd�F�ƼƤW�Ʀr�����V�ӶV�p���Ʀr�‫���ث׭‬
C�ƹ�W�A�@�x�a�έp���i�H�ˬd�� 15 �Ӥp���I���Ʀr�C�n������L�����A�p�G�Ʀr 1 �M 2
�۷��H��j�p������M���A�p���I�� 15 �쪺
�Ʀr�N�O���l��p������C��h���j�j���p���i�H�B�z���ӡ]�Χ�`�^���Ӹ`�C���~�A���P���檺��
�N��{�i�H�@��‫ܽ�����ٱ‬ƼƦ 欰�����P�譱��¶���C����ɤ����Ʀr��Ω�j�M���P�����N‫��ٱ‬
�� 22 ��
Mandelbrot �����ϰ���Ӱϰ�O�@�Ӽƾǩ_�Ǫ��l�‫ޤ‬l�C�o�o�̪ ����_���l�‫ޤ‬l���W�‫پ‬A�Ω󶰦X�A�]�����b�\
�h�‫ثפ‬W���O�۬‫�ۦ‬A�O�L�����ԲӡA�ì��Y�Ǥϴ_�X�{���欰
�l���I�]�Ʀr�^�C��Ǯa��s�Ӷ��X�`�J�F�ѯu��Y�Ϊ��D�u�ʡ]�V�P�^�ʤO�ǡC�Ҧp�A�I�M���P�����ӼƦr
�㦳�X�G�‫ۦ‬P���_�l�ȨåB���C�ӼƦr����ɪ�{�X���欰���X��ɤ�����L���N���� OT SET # .\ - vv
1 ?�E �C* ... * :'f �E �E�E * r ,# 1 1 ; .�Ev'''-" . '"?*�E�E 'j? '':'.-' .�E,?!
'�C-" n&maA ; ?�G Mandelbrot �M�˲Ӹ`���]�_�������ѷs�����{�t�J�������˺� Amygdala ��
Rollo Silver �p��C�Ȥ]��X�F�w���Ψg���l���ɨƳq�T�C��t�Ϊ��欰
�A�p�g��ʺA���Ѯ�q�q�A�]���������l��󪺱ӷP�̿ࡨ�C��O���X���@�ӥD�n���n�ʥi�०�w�g������Ǯa�B
��N�a�M�������@�ө_�Ǫ��l�‫ޤ‬O�A��� �ިC�ӤH���i��Q�l�ި��U�@���~�� MANDELBROT SET �E 79
�X�����󧹥�P ��� ]�C��Ǯa�̵o�{�ۤv�Q�@�‫ط‬s���f��ҧl�‫ޡ‬X�X�q�`�O�a�۫Ĥl�몺�߮� �
�X�X�A�ΥL�̦���� b G���ɥ������X���C��M�Ӹ`����N��‫ܡ‬C��N�a�M�����Q�o�M�O�H��H���h�����R�M
���⹳ ƾǪ�Q �k�ҧl���‫��ܦ‬F���Ϊ��ּ �ּ֡ C�@���Өt�C���w��{�‫��ת‬ҩ�AArt Matrix�A�@�ӿW�
ߪ����ì���ĥd�d�`���j�Ǫ���s�p�դw��X 50 �U�i��H��H�Φ� 1983 �~���ߥH�Ӫ��L�� Mandelbrot
��ε��W�C�� Homer Smith �MJane Staller, Art Matrix ���� Smith �P�d�`���j�ǼƾǮa John
Hubbard ���X�@�����B�w����s�s�@�Ϲ��C���B�w�O�@��`�誺�
�Q�a�A�L�w�g�ҩ�O���n����Q�a���@�C��󶰦X���w�z�X�X�@�Ӿ���w�z�A�Ҧ����g�A�Ҽw�kù�ϧγ����|
����ɦb�ƾǤW�O�۳ s���C�L�]�O�M�w�R�W����s�H��@Mandelbrot
��� ��� �X �᪺�A�H�� k��ƾǮa�b�N��j�� ‫ޤ‬J��CSmith ��i�� Benoit Mandelbrot�BJohn Hubbard �M
Heinz-Otto �������X�@Peitgen �ɭP�F 1985 �~ 8 �몺�m��Ǭ��H�n���ʭ��峹�A�H�ΨӦ
‫ۼ‬ƥH�d�p���ШDŪ�̥� i H�b�L�̪���W�‫�ݨ‬o�T�e������C�o�‫ئ‬X ͦ �@�]�ɭP�Fͦ n�v �����
�֥ i�H�s�@�X�̬
� ��[���@
�~�C�v�K���~����U���B�w�i��L����s�ì������s�@�Ϲ��A�‫��ت‬O�l�‫���ޥ‬Dz߼ƾǡC���̧‫ڭ‬Ʊ��ΥX�{�b�
�����ЫǸ̡A��Ĥl�̫ ‫��ܦ‬N��ƾǷP����A���v�K�����A���]�����u�� 8 OT SET �զ� **i zm&mk' ,&$
wmM >: ?n*. �o�i��N�x�}����v�K���٤�������ᡨ���Ϲ��O�ѡ���y��k�������N��{�����
Mandelbrot ���A�@�‫ؼ‬ƾǤ�k�Ω�D�Ѧh������{���
޳N�C�]���ƾ���N�C�^���}�Ĥl�̪ ������٨S�������Ш| �‫ ̧ڭ‬Ʊ��L�̤� ɨ 10 �~�ŮɡA�L�̷|�
‫�ݨ‬o�ǪF��M�ỡ�A���‫ڷ‬Q�b�ƾǡB��ǩM�p�������@�ǪF��DzߡC' �� MANDELBROT SET �E 81
��Ǯa�N�K�K��Y�M�����a�o�{�A�{�b�L�̤ ��o���٤�����ɪ��B��B�����B���D���B�ª��B��K���B�
�Ħ�����X�‫ا‬Ϊ��A�_�Ǫ��B�ȵ����B���骺�B��ʪ��B�R�R�@�T���B�K�
‫������ڤڪ‬A�q���H�᳣��� i H�b�Y��Ԧ ӥR�����O���ɩ|�C�X�X��δX�󪺵o��� Benoit Mandelbrot�C�
‫����ڤ‬D���D�o�@�I�A���@�ɼƥH�ʸU�p���H���‫ݹ‬L�q�v������μƾ� ^^^^�M�q��̹ �C�ϥγ̪�� Benoit
�}�Ъ���Χ޳N������Mandelbrot �M IBM
��s�H��B�p���ϧ���N�a���P�P�гy�F�~�P���[��� Ԫ�q �v�M�P� g
‫�� ڰ‬II�G�i������C��Τw�����n�ܶ�
S�ġCLucasfilm �s�@�b�L�̥� v� ֯ 몺�P�y�j�Թq�v���ϥΤF��ΡC�o�s�@���Ϲ����{�Ǧb�m�P�
g
‫�� ڰ‬n�����Х@��t�‫��ͦ�����ܡ‬F�s�ߤG�G�i������C�o�O�q�v����� �ۡP�d�^�S�s�@������s�����q
���p���ϧγ���]�{�b�O�@�ӿW�ߪ����q�A�٬�� �֧ J���^�A�ϥΤ��I�첾 � k�C���b 1980
�~�N���ACarpenter �N�w�g�‫�ݨ‬F�@�Ǥ��Mandelbrot �b IBM ���P�ƻs�@���Ϲ��C���‫�ڬ ݨ‬F�s�
ߪ��Ӥ�A�û��A���K�A�‫����ڥ‬o�˰��I�� ��O Mandelbrot
�ϥΪ���k�������A�X�ʵe�A�]���b�A���b���������a���@�i�Ӥ�C���ҥH�d�^�S�}�o�F�L�ۤv����k�
�ΰʵe�æb�P�y�j�Զ��‫����ؤ‬F�@��u�@�C�L���A�q�L�q���ʵe�A
�� 23 ��
���A�i�H�q�t�@�ӬP�y���‫�ت‬r��Τ��C�A�i�H�����C��A�ᦱ���‫ܧ‬ΧΪ��A���@�ǫD�`�Ϊ��Ʊ��C��άO�X
�i�i��ʪ��d��C�� 84 �E �ҥ� ��s�H��w�g�F�Ѩ�A�۹�²�檺�ƾǤ����i�Ω����۵ M���骺� �۬
‫�ۦ‬Ҧ��A�Ҧp�s�ߡC�ѩ��p�‫��ثת‬Ҧ��b��j�‫ثפ‬W���ơA�]���q�L�ϥΥH�U�����@���S�@���a�A�Φ^���Ʀr
�X�X���N���̡X�X�i�H�ϼҦ��t�‫���ܦ‬j���{��@�ɪ��骺�ҥ�C�̦ �����Υͦ��
޳N���@�Ҧp�A�s���ҥ�A���H��ʪ�²�歫�ưʧ@�T���Ϊ����I�C�@�Ӭ ۷�²�檺����
�i�D�p���b�@�ӤT���Τ��e�@�ӤT�����H��ʩθm����l�T���Ϊ��T�Ӥ��I�᪺�T�������C�H �ۭ���N���i
��A�C�Ө̦��‫ܤ‬p���T���Ϊ��Ϊ����|���‫ܡ‬A�åB�T���Τ����T������ä��_�X�j�A�‫��ܦ‬F�s���C���I�첾
�b ͦ �o�Ӳʲ����Ҥl������Fͦ �P �W�ɹϹ�үA �Ϊ�Ӷ �q �b�y �a�ΤW�C�b�o�ӵ{�Ǫ�A �I �H �����������
�ƦV�W�ΦV�U�첾�i�H�q�L����۹ 諸����G�W�ߡ��i��վ 㥿�b�‫ؼ‬Ҫ��u��@�ɦa�Ϊ����W�
‫ס‬C���M�Ӫ��i�H�q�L���k����]�tø�s���ƧΪ��H�Ы‫�ؾ‬K�B��B���M��A�P���H�������s�����̡A�æb�@
�w�ɶ�����‫��̪��ܥ‬p�‫��׭‬N���ơC�q�L�J�ӽվ�Ѽ� IMITATIONS �E 85 Vk- *" *f // Xi^ At L
jmw .wt VW' *-* v |^/V 5l ii/-- \ \ �E Sr j7^" * m*�G" -t^ ^ ^KOP \ fl \V >W ^
v>415A , ir �D sSr ^'hw^'^ ; f *&- vvl /" \ ii N^ tL-" 3KJ* V i * < i 1/ tA T//* V^
( rr * r �M�H��ʡAPrzemyslaw�[���j�d���[���j�Ǫ� Prusinkiewicz
ͯ�w�g���S ͯ �w���ҥ�Ӫ��Φ��A�p�Ӫ�� ߵ����C�\
�h��Τ����Ω����Ӫ��κA�δ��[���ҫ��O�q�L�ϽƸ���o�{���C�M�ӡA��v�Ȳz�u�ǰ|���‫ڧ‬J���
‫����ڮ‬Q�}�o�F�@�²�۷‫�ج‬檺��k ͦ �ӴM��������
ͦ һ‫����ݪ‬N�N�X�C�����٬O��Ϊ����� �۬‫�ۦ‬ʡC�q�L�Q�n�
‫ؼ‬Ҫ��‫�}�ﹳ‬l�A�‫����ڮ‬Q�N���Y�p�ç ᦱ����L�i�H�Q�X�@�t�C���j�Ρ��ܴ����]�Y�p�M�ᦱ�^��l�
�H�������^�i�H���|�æw�˦b�@�_�H�Ы‫�ح‬l��H�j�W�Ҫ��Ϊ��C�@��²�檺�Ҥl�O�
‫����ڮ‬Q��������μҫ��C���Τ@�i�Ӥ�l�A���‫����ڮ‬Q������A���A�������A���o�Ө��‫�_ݰ‬ӹ����l�
A�p�G�������M��ᦱ������ʥ��C�o��@�~�O���ӨƱ����ᦱ�C�p�G�A����F�o���_���X�X�Y�ϥ��̤ ��O
�S�O�ǽT�X�X����A�򥻤W�w�g�s�g�F�@�Ӥ�ι�H���y�z�C���b�o�ӨҤl���A�������|���ܴ��C�Ѹ�?�Ы
‫ب‬C���ഫ�һ‫��ݪ‬Ԧ�M���Y�L�{�]�C�ӥˤ�^�A�‫����ڮ‬Q��ɥX�@�t�C�ܴ������C�M��L�t���F�L�ҿ ‫ת‬
����V�á��C��C���q�p���̹ �W���@���I�}�l�A�аO���A�M����Ψ 䤤�@���ܴ�����
�C�o�ɭP�̹ �W���ĤG���I�C�аO������ഫ�����H��o�ĤT���I�����C�����ܴ�������Ω�@���I��M
��@�ӷ��v�‫����ڮ‬Q�p��å]�t�b�L���p���W�h���C�Ҧ��W�h�����N�F�@�Ӿ��‫ޡ‬C�H�۲ V�P�C������N�
i��A�I��Ӹ�h�A��M��}�̹ �W���H��‫ء‬C�M�ӡA�H���I����n�A�Φ��F�@�����]��M�������‫ۦ‬P�^���Ϊ�to)
��Ӫ����l�}�l�X�{�C��l�Ϊ��w�����I���l�‫ޤ‬l�A�]�����̳q�L�����q�@�Ӧ�m���ʨ�t�@�Ӧ�m�C���I�
̴��ˤҡP���|���� ͺ _�[���j�Ĵ��
‫�ع‬Ŭ٥d���[���j�Ǫ��ƾǥͪ��Ǯa�ӻ{�L�q�L�b�q���W�гy���Ӫ��κA����o�F�۷�j���f��ֽ�A��L���{���o
ͪ�ǹϹ��D�n�O��U�L���Ҧ���W���ǰ��]���ҫ��C�q�L������Y�[��Ӫ��κA���� ͪ APrusinkiewicz
�}�o�F�@�‫ع‬� � �۬ ‫�ۦ‬ʻP�W�����`�h��Y���ӾU�Pı���b�U�@���~��ҥ�S �E 87 ��W�h�C�‫ڥ‬i�H�q�L�
‫ݨ�ڻݭ‬n������~��z�Ѧ���L�{�b�p���W�Ы‫�@ؤ‬Ӧ۬‫�ۦ‬Φ��C���L�{��� �۬‫�ۦ‬O�@�٧�‫ع‬Φ��A��٩ʬO�{�N��Ǥ����
@�����䷧��C�Ҧp�A�b���z�Ǥ��A���誺����
�� 24 ��
�Ϫ���Ӧ ۹�٩ʡA�ƹ�W�]��M�^����h������t�z��Ϫ������‫�}ٯ‬ʡ��O�j�۵ M�гy���@�‫��ح‬n�覡
�Φ��C����Ϊ��J���|�o�|�����o�‫ا‬Ϊ��A���O��٩ʪ����D�X�X���}�̦‫ͪڭ‬bͪ �Ǥ �J ���� 쪺�C��۬
‫�ۦ‬ʰ��D�A�X�o�Ӥ@��‫�[ج‬C�̦‫ڭ‬b�‫ݡ‬A�̦‫ڭ‬b�Ӫ����‫ݨ‬쪺�o�‫�ئ۬ۦ‬ʬO�z�Q���٬O�b�Y�‫פ�{ص‬W�Q���}�F�H�
‫ݵۤ@�ش‬Ӫ��A�‫ڦ‬b�‫˪���ݤ‬ ͪ ��� ͪ W�߷|�ɭP�o�‫�}د‬H��� �۬‫�ۦ‬c�C��Prusinkiewicz ��X�A���}��ƪ�� �۬
‫�ۦ‬ʬO��N���@�Ӳ��ҩP������h�A��G�O�@����N�B�۵ M�M��ǥ�J���a��C����N���e�����Y�檺� �۬
‫�ۦ‬ʭI����@��A���L���C������t�z�]�H���Өӳo�ӭ�h�C�p�G�A�‫��@ݤ‬u�����J� ‫����ڽ‬A�A�|�
‫��ݨ‬Y�檺� �۬‫�ۦ‬ʪ��I��C��‫�ڹ‬եΤ�γгy�@�ӧΦ��A�‫����ڲ‬Y�檺� �۬‫�ۦ‬ʨӪ�‫ܧ‬l�‫�@ޤ‬Ӫ���l��K�A�ά\�䪺�
�K ͪ �C����� ͪ Ϲ���‫�@��ڦ‬w����N��ȡA�‫���ڤ‬ϥΥt�@�‫ش‬C���Ы‫̡��إ‬C�‫ڥ‬i�H�ϥε{�ǡC���i�H���ϥεe���@
ͬ�˥R�����P�C����M�L���@�~�O��Ϊ��A��L�j�եL��s����� ͬ Φ����@�I�]���V�á��C�V�P�t�Ω�j���X�
H�N�ۤv���‫��ܬ‬s���s�‫ס‬C ͩ ͩ R�Φ���ϥΤ��X�Ӻ޲z�‫ܤ‬ƨëO��۹�í�w�C�Ҧp�A�p�G�q�e�X�����N���R���F�@�
dz 椸��o ͪ �|�����F�L�����ӭM�Aͪ ��� 骺���X ͪ �N���s�t�mͪ �L���
{ A�H�K��� ‫�_��ޤ‬A��|
ͥ����� ͥ `�Φ��C���F��L��Ӫ��κA�i��p������APrusinkiewicz �ϥν����k�{�ǡC�ӵ{�Ǥ��ȲK�[�F�H��
‫ۻ‬Pͪ �L���������C�����N���s�W��A���W�[�F�\��M�\��A�H�Υ�eͪ �E���� ‫ܤ‬ơC�Ӫ����p���ҥ�H�@�‫ؤ‬覡
�i�}����u�����W��C���W��O���򪺦Ӥ��O�s�򪺡C�̸‫ڭ‬չϮ������ʹs��� 󤧶�C� ‫ ̥ڭ‬i�H��ճq�L�����C�@�ӲӸ`�ӭ�
�{���A��A���|�o����z�ѡC�̥‫��ڭ‬b�V�O�޲z���䪺�k�
ߩM��h�A�ñq�Ҧ����L���n���Ʊ��C�o�N�O��ǹL�{������C������N�`�O�b�L���P�ˡA���p�L���L���I
����H��V�Ұ����K�[�Ҫ���ˤ�έJ� ‫����ڽ‬M�L���ν���A�g�L�C�����S�O�B�z�p���{�Ǩϥ��‫�_ݰ‬ӹ��@�
T�L�H��ø�e�C�ϥΥ���Τ�k���ҥ��H�A�i�H���H�����P����ϥγ�W�����N�����]�Ҧp�Ҧp�A�@�Ӥ����Ω�
��A�t�@�ӥΩ󸭤l�^�γ�����P����C�o�ӹL�{�����s�Ы‫���ؽ‬Φ����Ϲ��гy�F���j���i��ʡC�۹�²�檺��
{�աC��Χ޳N���\
����Ϊ�����H���n�s�x�Ρ���Y�����Ϊ�����A���ħQ�έp���ɶ��M���s�Ŷ��X�X�ì���j������ʯd�X�Ŷ�
�C�p���ϧ���N�a���ȶȨϥΤ�ΨӦs�x��M�гy���쪺���[�C��δX��O���W�
ߪ���Ω�Ѧp�i��ƻE�X���B��K���E�X���M��L�j��lmoeIMITATIONS �E 89 �� cules �q�L�۬
‫�ۦ‬ʤO ͪ �Ǫ��H��Nͪ �M��� i Ƭ��ʡC�DzΤW�A�̨‫ڭ‬ϥμ‫ڴ‬X���o�Ϊ��X�X��ΡB����ΩM�T���ΡX�X�ӫ‫ؼ‬ҤH���M�����C�o
�O�@�ӶɦV�󷧬A�M�z�Q�Ʀ ۵ M�@�ɪ��L�{�C��δX��γ\��̧‫�󱵪ڭ‬j�۵ M���L���L���C���o�P����q��� Benoit
Mandelbrot ���H���ҵo�i���ά�s�A�L�b1978 �~�A����q (Oppenheimer) �@������;Dz
߼ƾǡC�b�L���u�@���ì�z�u�ǰ|�p���ϧι���ǡAOppenheimer �ϥέp����u��Φ��i���μҥ�A��復�̪���
�e�V�ӶV�h���ҩ�C����dz��w�{�������‫ؼ‬ЬO��۵ M���X���[����‫ܡ‬A���G�‫���{ڻ‬Ҧ��o�Ǫ�‫ܡ‬B�i��Ʃμҫ��
��u�O�j��F�@�ǿ�‫��ܪ‬ѼơA�@�ӹ�H���X�Ӥ 譱�A�M�ỡ�A�p�G�̥‫ڭ‬u�‫ݳ‬o ͤ �Ƿ|�oͤ �H �C�@����
‫��ؤ‬P����k���A�@�ӵy�L���P�����G�C���Lĵ�i���A���̱‫ڭ‬q�p�����o�F�‫ܦ‬h���ѹϤ�D�`���[�A����Q�
���[�C������n�‫ٹ‬復���ҫ��A��{�b������o���h�úA�‫ס‬A�L�{���A�]�����̪‫��ڭ‬Ӥ�O�H�@�
‫ث‬D�`�L�����覡�O�H�H�A�C�p�G�Ϥ�‫�_ݰ‬ӹ����Ӫ���A�̤‫�@ڭ̻{���ڭ‬w�O�b��
�� 25 ��
�@�ǥ��T���F��C����O�V�P�z�‫��ת‬H�����@�O�A�L�‫�׬‬Ǽҫ��Τ����A�`���@�Ӱ򥻪����i�w��ʩM���T�w
���X�ʰʺA�t�ΡC����q��ij�Ҽ{�V�P�M��Τ������T�w�ʹϹ��i�ണ�Ѥ@�‫ط‬s�����ѡC���̤‫ڤ��{���ڭ‬w�g�
˲M���F����˪����ѴN�O�C��o�@����@�‫���ؤ‬O��̸‫ڭ‬ѨM���D����O�������P��q��A��O�]�\�
‫���� ̥ڭ‬Ĩ�Y�‫ث‬H������D�C�z�A�̵‫ڭ‬L�k�˲M���A�O���O��m���H��̱‫���ڭ‬o�ǷӤ�A����̱‫̡���ڭ‬A�Ӥ��O���
ߺ̲‫اڭ‬D�����ѡC�]�\���
‫��ܦ‬F��N�Ӥ��O��ǡC�����M�O���ѡA��P������C������ı���O����q�ϽƨϥΪ��@�ӵ�C�L���V�P�z�
‫ק��ܤ‬F�L��@�ɪ��‫ݪ‬k�G���u�O�‫�ݨ‬ƪ�����l��󪺱ӷP�{�‫ק��ܤ‬F�̦‫ڹ�ڭ‬b�t�z������m�H�Χ̨‫ͪڭ‬ϨƱ��oͪ �O ����
��‫ݪ‬k�C�@����O�p���ۤ�����p�C���Ҧp�A�L��X�A��ΩM�V�P���ϥL�C���L�չϼҥ�@�‫ا‬Φ��ɳ��ӻ{�o�ۤ‫ج‬
��pô�G���A�����Ĩ���ҦҼ{�b���C�Ҧp�A���@�ʾ 𪺨C�Ӥ�ΡA�t�Ŷ��]�O�@�Ӥ�ΡC�Φ��o�‫ا‬Ϊ����O�䵲
�c�P��ҵ��c���������šC���ϧΦ��������۵ M����O�]���‫ܤ‬F�L��۵ M���ӤH�‫ݪ‬k�C������ɭԦb���٬O�ӫĤl
���L�{���A�‫��ڴ‬g� �۫H�̩‫ڭ‬P���
򪺪�z ��� H�Y�‫ؤ‬覡��� 򥻪��A�L�̥��F�C�̹‫ڭ‬復�̪���
�Q�k���W�X�F���z��H�C�{�b�۫ ‫ڬ‬H��Q�B�ƾǷ���B��H����B�‫ڷ‬Q�B�믫�H�Y�‫ؤ‬覡��򥻡A�åB�o�Ǫ��z�
‫�ﹳ‬H�Y�‫ؤ‬覡�q ͪ ����ͪ X�ӡC�‫�ڦ��ھڧڹ‬p���ϧξǪ�����o�X�o�ӭ�ǡC�‫ڦ‬b���̰ ����O��@��Ʀr�ñN�����
‫�_ܦ��ݰ‬ӹ���@�˦���Φ ۵ M���F��A�q�‫�ڹ‬Ʀr�����a���X�{���F��C�{�b���ܱo��[�f�ԹϥD�q�̤� F C�@�@
�۫H����H���Φ��A���z�‫�ﹳ‬O�o�ǧΦ�����{�Φ��C�‫ڹ‬q���W���X���ϩM���~���𳣬
O�X�������H���F��C��o�ä��N�� �ۧ‫ ̥ڭ‬i�H��̦ۤ‫ڭ‬v���X���P���;𪺦
۵ M����H�C���]���A�i���μҥ����q��IJ�F�@�ӡ������‫ۦ‬P�����L�{�A���ϯu�ꪺ� � C�@�ӰϧO�O�L���D��
|�F����A���@�Ӭ}�]�ξ�ӡ^���b�Ϥ�C���ƹ ꤣ�P�A���ǪF��Q��|�F�A�o�N�O���ܱo���쪺��]�F���N�O�
䤤�̭��n���O����C���L���L���@�~���w�g�q��Ǻt�‫���ܦ‬N�F��M�A�‫|ڷ‬
���w�y�L�ҽk�o�ǰϧO�C���b�L���Ϲ����A�L�èS���չϡ��g�ꡨ�X�X�M��Φ��A��չϧe�{�@�ӻP�ƹ�‫��ۦ‬c�
C�o�b����ƪ��~�[���‫���ܩ‬L�����Ь֤l�A�ʳ���顨�Ψ�W�{��D�q����M�L�C�ҥ� �E 91 �o�
޲‫����ظ‬V�í����O��P�B��ʵe�u��m���Ρn�����@�Ӯ ‫�[ج‬A�ϥΤ�λs�@�X��ǡC�B��b�����Dz���N�B�g�@�
M� �߲z�ǫ�}�l�Dzߤ�ιϧΡC�U�‫�ؾ‬c�A�ñq�¬‫ٲ‬z�u�ǰ|�‫ۦ‬W���C��������o��s�;Ǧ�A���o�O�@�ӾDz
ߪ��n�a��Q�n������Ǭ 쪺
�H�C���B��N�V�P�y�z�����@�Ӭ�s����ʦӤ��θ���C���L���A�b�L��s��ΩM�V�P���e�A�L�S���‫��ݨ‬
�թM�H��‫ۥ‬ѷN�Ӫ��D�[�g�窺�
�k��ǰ��]�t�z�����@��������Ѩ��]�M�w�C���o�V�P�t�άO�T�w�ʦ�i�w��ƹ ꦳� ɳQ��ѨM�‫ۥ‬ѷN��/�M�w�
‫��װ‬D�C�‫���{��ڤ‬V�ìO�ѨM�o�Ӱ��D����k�A��‫��������{ڻ‬D�S���ѨM�C�� CHAOS SYMMETRY �o�O�
‫������⤤ڤ‬A�N����v��x�����@�ǥզ ⶮ��A�@������‫ܮ‬z�����x�A���q�C. . . . . �ӧ‫ڬ‬O�@�쯫�
����A�]�����|
�]��M���S��Ӧ��`�C�o�ӥ@�ɪ���l�i��O�@�ӧ�L������a���Ϊv�A�I��tooureyes�C�p�G��l�b���‫ڡ‬A
���Ӥ���n�� - ��p�w�P�h�����o��Ƥ��P�A�Ӧۡ�����C�� �@��L�p�����‫ر‬q�j�𤤸�
�U ͧ �A��@������ε��c�B��l�q�L�X����q�M���l ͧ �ު���q��b�䤣 ͪí�w����ɳBͪ �L �l �C�b�������餣
í�w�������|���A���J��F�ū‫ש‬M���}�l�o�i�ɡA��‫�|׷‬v�T�����Ҧ��A�@�Ӧy�‫ݩ‬Υt�@�Ӧy�
‫ݱ‬q�Ů�C������ɤ�í�w�ʻP��í�w�ʤ������v��
�� 26 ��
��V�䤣�_�W���q����ӪŶ����i�O��j�F���骺�L�[���n��٥
ͪ�ͪA�P�ɦV���Ӥ�Vͪ �C����� ] A��٩M�V�P���O�q���X�b�@�_�N���骺��ɤ�䦨�����
�Φ��C�V�X��٩M�V�P�O�j�۵ M���X�X�M��N�X�X�гy�Φ����@�P�����C���O�@�‫�غ‬i�A�I�U�F�s�b��
���A����B��P�M�̦ۤ‫ڭ‬v������A�гy�F�@�ӬJ�]�t�_�����@�ɳ\�h�‫ثפ‬W���h�˩ʩM�
‫�ۦ‬ʡC���ͳ� �� ��
�έp
�᪺ �� {�Ǧb����A�N���b�k� 䲣 ͯ ͯ u����� �ʤO
� �᪺ �@�ˡA�� X�F������
٪���O�P�ɭP�V�ê����X��n�C�Ъ`�N�p������‫�_ݰ‬Ӧ��Ǥ��u��A�]�����̤�٤F ӹ �C�u��������A�M�ӡA��
ͪ�Y�Ϧbͪ ��� 骺�L�[�Ŷ����A�]���L�����v�T�����O�q���t���C����O����
‫ܤ‬ƪ���ΰO��b�U���L�{���J�쪺�B�C�S������Ƹ�������|�����
‫ۦ‬P���p�C�W�S��������Ѯ�O�@�ӲV�ê��t�ΡA�䤤�Ҧ�����������ӷP�a�̿�̤ ��
_�̤ ‫ܤ‬ƪ
̤̤̤̤̤̤̤̤̤̤̤̤
���ҡC�ƾǮa
̤ �𴵹
y�j�Ǫ� Martin Golubitsky �M�D�j�Q�ȱx���j�Ǫ� Mike Field�A�N�o�‫�ع‬
٪��V�ú٬����ϼС ͦ ��C���O�b�p���W�ϥΥH�U�զXͦ �{ �X�V�P�D �u�ʤ�{�M�A�ι��������
٩ʪ���{�C��c���
ͪ�M��{���b�{��@�ɤ��A�L�̬ ��s�@���ϼЦӶ}�o���ƾǤ�k�i��|�Q�ϥδy�z�b�e�����oͪ �V �áA�p�~ �B����
޹D�M�V�X�]�Ʈe������٩ʷ|�v�T�V�ê��i�}�覡�CGolubitsky ��X�A���
‫�� ̪ڭ‬V�X��٩ʩM�_��ʺA���Ϥ�j�[�F��H�Q�����W�ߴ��e�C���@�ɤW���h� � ֬ ‫�_ݰ‬ӡ��W�h���A�Ʀܹ�
٪��L�{�M����L�̤ ����O�_�s�b�V�áHHYBRIDS �E 95�]��}���^�o�‫����ؤ‬Ϊ��椸��Ϯ
‫צ‬b�[����o�e�����Φ��C�@����̤ ������Ůt�e�������M�����F���{���I�A��y�ӭM�_�w�V�æa�q�e���
���ɦۧ‫�_�´�ڲ‬ӡA�o�ˤ@�ӹ�����æb�V�ä���� �ۤv�C�Ъ`�N�۲�´��y�椸�����R�S�g���w��� �۪v�j�Ǫ�
Manuel Velarde�C��e�������ū ‫׳‬Q��o�󰪡A��
‫ټ‬Ҧ��Q���A�M��̲��H�ۨt�Υ��h�V�۰���ӲV�ê����A�o�i�C��٩M�V�P���O�q��{�bDNA
��l�J���ʥͩR�V�e�o�i�A�S��N�䭭��b�@�w�d�򤺡C�o�O�p������q�����‫ݨ‬쪺��۪�� DNA
����CHYBRIDS �E 97 CHAOS �̺‫�}ڭ‬B�b�s��������A�`�O�Ʃ����w�A�Ӧ^�j�F�C��̻‫�@��ڭ̦���{ڭ‬ӧ
‫ ̥ڭ‬i�H�����}�ֳt�������T�w�I�A���|ಾ ����� ̸‫���ڭ‬F�p�G�̿‫���`�ڭ‬A���k�
̪‫��קڭ‬x���A�Ȩ��A�û��b�̭‫��ڭ‬e�k�]�C�S������O�R��ʪ��C�o�O�۵��̪̪‫ڭ‬M���A�A��S�O�̹� H I�̷‫ڭ‬N�@��
���A�C�̴‫�@����ڭ‬a���q�ߨ��I�A�@�Ӳ‫����׷‬B��[����¦�A�b����¦�W�‫س‬y�@�y�W�ɨ�L������A��̪‫ڭ‬
�����a���}�A�j�a��}�K�K���X�XVirginia Woolf, Pensees�C�@�A�ͬ‫������ ̥ڭ‬z�@�ɬO�@���
‫ܤ‬ƪ���v�A�䤤�j������S���Q�̪‫�`ڭ‬N��X�X�Ϊ̳Q�
‫�{�_ ̧ڭ‬C��Ǯa���a�y��������W�O�@�νw�C���ʪ��K��A�P��O�@�άy�ʳt�‫���֪�׸‬K��W���}�B�ۤ@�h���
��a�ߪ��G�A��� �ۡC�b��A�@�Ǧa� �߳Q�l�J�U�����j��A�Ӧa�ߪO��ۤ���ͤi�X�A���� ͤ s�Q�o�M�a�_�G�̩‫��~ڭ‬
�a�襨�j���O����ΩM�V�ø�H�C�ѩ�b�a�y�����a�
ߤW�L�B���b�A�۵ M���[���b�Q�V�P��Φ��Ϊ������B��K�M���_�A�H�βӸ`�������Ӹ`�A�ʺA�����j�ۤ��
��´�O�q�c���F�۵ M���ë��B���_�‫ܤ‬ƪ����M�ӻP�M�ӡA���l�‫ޤ‬F�X�ӥ@��H�Ӫ���Ǯa�M��N�a�C���骺
�V�P�¤O�i�{�b�‫��ز‬y�t��۴���s���o���Q�o�C��u�M�h�A�ӳQ�]�b���^�b�D�w�E�o��P����‫ܥ‬X��
�W�h����ιϮ‫׼‬h�۵ M���ʤO�C�賡�M��_�������ϰ�O�b�a��ʪ��z�򤧫e����y�CEOSAT �� Mark
Eustis�]�s�y�����~�����q�^�Ϲ��^�A�L���g��i�D�L�A�[���|ı�o�o�i�Ӥ��H�ӥB���I
�� 27 ��
��Ū���C�M�ӡA�L��X�A���Ǯa�V�A�~�γ�����|�L�̮� a m���ìP�Ϲ��A�L�̤�
w g���\Ū��a�����[�L�̫
֡‫ܧ‬A�j���O�]���L�̧ �A����[���‫ܤ‬ƩM�`���C�g��ʪ��ۭ���X�X�۲�´�V�ê����~�X�X�r�P�a����L�
‫ک‬s�[�԰ꪺ� ‫ڪ‬e�C��T���w����y��‫ܥ‬X�g�媺��K�����c��ΡC��j�Ƥ�t�Ϊ��@����A�ӳ��������䵲
�c��j���T���w�C���䪺��a�O�s�[�Ԫ�̫� ᪺ ̫����
ҡC���[��v�v Lawrence Hudetz
�N�L�b�۵ M�ɤ��o�{���ʺA�‫ܤ‬Ư��ǻP�H��չϱj�[���۵ M���Y�毴
�ǡG���۵ M�����ǬO���_���s�o�{�A���L���C���o�N�O�����򥦦p���O�H���ġA�]���C�i�Ӥ�O���s���
C�A�O�g�`�b���P���a��A���P���ɶ��C��‫ڨ‬ӻ��A�H� FRACTAL LAN ���Ӥ�DSC AP ES �E 1 1 �
‫��ز‬y�p�����s�B�}�����o�ӳ�i�‫ܤ‬F�@�Ӥ�δ��[�X�X�\
�h���P�ʤO�L�{�����G�A�]�A�B�t���i�d�M�ѩ���`�ᵲ�B���ƩM�I�k�C����r���i�‫ܤ‬F��O�p��u�۴��
[������θ�|�y�ʪ��ö�y���̡C����S���o�‫���_��ؤ‬s�o�{���~��C�� Hudetz
���P�ƫX�ǩ��{��v�v���ҡP���S�p�� (Joseph Cantrell) �{���A���ǡB�޳N�M�g�٦
ۨ��Q�q���O�q�A���b�V�O�H�Ʀ ۵ M�V�ê����ǡC���̦‫ڭ‬b�e�y�W�v��A���˪L�A�b�_���p���C�o�O�L��²
��ƪ���աA�٥h�j�۵ M���ӷL�t�O�C���J�w��ź١A�b���~����V�P����ΧΪ���L�Pı������B�S�����b� ‫ޡ‬٬�
�A���‫ޥ‬L���D�o��G�O�@�Ӯ��‫ס‬C���b�‫ڱ‬o�쪺�Ҧ��o�Ǥ�ο�J���A�‫�@�ڹ‬ӯS�w���b�Y�@�S�w�ɨ��
´�_�ӡF��‫ڷ‬Pı��o�@�I�ɡA���@���‫ڻ����ߪ��ۥ‬ѷP�C���L�{��� �ۤv���‫ۥ‬ѷP�i��|
�b�o�@���ӡA�]������v�v�{�Ѩ�ۤv�A�[��̡A�P�ۧ‫�ڬ ۦ‬P�@�ɨ�L�[���C���[ ��v�v���ҡP���S�p��
(Joseph Cantrell) ��� �X �᪺�ǩ�˪L �v���i��Q� ٬�����Ӥ�Ρ��C�\��M��檺�ˬy�j���
‫ۦ‬P�A�M��Cantrell ������F���̤ ������`��
‫�ۦ‬B�C�o�̴y�z����Өt�Φ��ʺA���ǻP�V�P��������ɽu�C�o�ʾ�O�Ѥ@�Ӱ��‫ �����´���צ‬Cantrell
���ʤO�t�αN��v�۵ M�y�z���@�ӱӷP���L�{�L�ۤv�h�P��j�۵ M�гy�V�ê��L���B�ʡG���‫� ܦ‬ ‫� ګ‬N�o�{�A�p
�G����Ʊ��|�ӱ`�o�͡A� ‫�ڷ|�ݨ��گ‬гy�����F��C�@�@�{���o�O���Ϊ�����Pı�C�
‫ڱ‬q�ӳ����O�@�Ӧn���ӷ~��v�v�X�X�]���‫�۫��ڤ‬H�]�m�Ʊ��C��‫ڨ‬ӻ��A���\�Ʊ��o�ʹX�G�O�@�
‫ر‬R��Φ��H�ߩұ�a�o�͡X�X��B�ʪ��ӷL�t�O�ӷP�C���‫ܤ‬ơF�y�O���‫��ݪ‬ӷP�B����_�i�ʪ��v�T�C�M�ӡA�q�
t�@�Ө��‫ר‬Ӭ‫ݡ‬A ͩ �V�æ��`��ˤF��A�Ӥp�˦b�����������M�O�@��í�w���B���R ͩ ���F��C�i�ʡC�۵ M�ɤ��R��
�۲ V�éM���Ǫ����‫ס‬C��δ��[�ɶ��M�Ѯ�w�g�N��a�I�k���@�ӥj�Ѫ���Τ��X�X�@�ӥO�H����·�ê����r�r�
��o�V�\�h�‫ثפ‬W���i�‫�ܦܦ۬ۦ‬ʡC��v�v Lawrence Hudetz
�N�o�@�t�C�����٬���¶�X�ǩ��{���J�w�s���ࡧ�@�ӡ��_�Ǫ��l�ު̡�ު̡ ���??�v���C�� ���_�Ǫ��l�
‫ޤ‬l ͪ �N�O�o�ӦW�r�V�P�Ǯa���L��ø�s���ʺA�t�Τ����V�P�ϡC��M���`���a�y�Wͪ ��� 骺
�H��B�ʤ]�Φ��F�V�ê��B�ʭ����C�b�o�̡A�X�ӥͪ��d�U����ιϮ‫׳‬Q�䤤
�@�Ӯ�����F���̳ǥX����v�v�A�w�G���R�w�‫ء‬P ͪ �����y�C��Mͪ ���
Ǧ 欰�O�H�@�
‫ʺذ‬A�V�P�Φ�����¦�A�Ϩ�b�Ӹ`�W�L�k�w��A���M���a��‫ܤ‬F�L�����B���骺���ǡA�b�o�̨ �쭳��
�y���g��C�t�αq�����ơA�ӥB�O���i�w��A�_�Ǫ��O�A�Өt�νT��N�ۤv����bø�ϪŶ����Y�Ӱϰ�G�V�P�Ǯa
���t�Ω_�Ǧa�Q���Ӱϰ�l�‫ޡ‬A�]�����̹� B ʤ������‫�_ܩ‬dzQ�J�w�s�ҧl�‫ޡ‬C�o�i��� �ۤW�a��Ӥ�i��O���W����
쪺�Ť�����a�ΡC�a�y�ĥΤ�γ]�p�A�]�����b�\�h���P���‫ثפ‬W����{�X�۬‫�ۦ‬ʡC���[�� �ۡB�t�l�M�ۧ‫ڡ‬C��´
CNAOS �V�äް_��
�� 28 ��
����ʤ]�O�̼‫ڭ‬f�����������]�C�V�P���X�ϱo�A���Ҧp�A�J���J�P�J�ܴ��y (Eric Clapton)
����j�N�L�t����O�H���ġB�����C�Ӧ ۲�
ͪ´�t�Τ������ ͪ ۵ o����ʨϤ@�ʾ��@�ʾ����R�q�u��C�X�m�s��Ǯa�n�A1989 �~ 10 �� 21
��C�Q�E�@����z�Ǯa�w��t�z���i�‫ק‬K�a�µ��i�����`��V�}���X�X�@���H��šA�S�����c��C�M�ӡA�
b�P�@�@��A�d�����P�F����M��p�w�P�Զ 뺸 � P�‫صܤ‬h�y�z�F�@�Ӧ
֦‫ܤ‬b�a�y�W�A�V�ӶV�����c�t�ƪ��L�{�C�i�H������[�I�O�_���T�H�V�P�Ǯa�b�‫ܤ‬j�{�‫פ‬W�ѨM�F�o���
��D�C�P�²V�òz�‫פ‬Ψ 䦭����X�A�p��Q�ɤƾǮa Ilya Prigogine�A�
̲‫�{ڭ‬b���D��󲣥͵��c���D���šC��� �ަb�Y�Ǧa��]�Ʀ‫ܥ‬i��b�����^�ƪ��i��|
ͦ�ͦV�󷻸ѡB����� L M�i�A�b��L�a��h��� ۵ M�����šX�X�ѤƾǪ���ή���y�ʡA�μ�֯ �� m�˩M��J�`�šC�q�o�‫�ؤ‬
���šB�R�����O�B���‫ײ‬V�ê����ʤ��۵ o�a����� ͵ c�M�_��ʡC�{�b���b��������D�O�V�P�p���{�o�@�
‫�]��ؼ‬N�‫��ޥ‬C�o�Ǯ‫ܤ��[ج‬F Belousov-Zhabotinskii
������W��C���Ǯaø�s�y�z�o�Ӥ������{�A�L�̵o�{���‫������ޥ‬ʱq�ɨ��ɨ�O���i�w��M�V�ê��A���
��d�b�@�w���欰�d�򤺡C���ӱ��`�y�z�o�‫��ؤ‬i�w��ʪ��d��Q�٬� Rosseler �_���l�
‫ޤ‬l ͤͪ �C�@�Ǭ�Ǯa�{���� BZ �o�˪��ƾǤ�����F ͤ �a�y�W�Ĥ@�ӥͩR��H�Cͪ ��� ƾǮaArthur Winfree �H���� BZ
������Ӥ�ӻD�W�A�L�{����۳ z��ä��νƲ������c�i��O�Ѧ ۲�´�i�Φ����CĹ�‫ۥ‬ѻ{�����W���Ϯ
‫׬‬O�۶ ʤơ]���X�^�L�{�d�U������A�q�V�ä��a�ӯ��ǡC�t�@�Ӫ������۲�
´� �ާ@�P�B�{��s�������ä��ΡC�L�]�A�ä��δϮ��b�e������W�A�Ĥ@���H��{��C�M�ӡA�֡‫ܧ‬A���̪ ��p��}�l
�@�_�{�{�A�o�P�B�Ǽ��A���� Anally ��Ӹs�鳣���n�{�{�C�ƾǮa��s� � ߽Ľ��X����
‫�{����ۮ‬H�A�Ҧp�q����B��Ŧ�ӭM�ΰ{�{���ä��Τw�g�F�ѤF�� �۬O�p��u�@���C��C�Ӯ���IJ�o�ɡA�����F
�~�|��쭫�ƫH�����X���v�T�A�]�������IJ�o�H�Ȫ������˴��Ӧۨ�F�~���H���å
ߧYIJ�o�C�b�����I����Q��w�b�@�_�C��Ǯa�̻��� { A�o�ӹL�{�|
�~��i��A����Ҧ�������]�ä��Ρ^�ܱo���X�C�]����۲�´�M���X����h�Q�‫ס‬A�аѨ��U�@���C�^�۲�
´�L�{������u����@�O�o�{�F�@�ӥH����y�z�������Ĭ�p��Ǯa�R�W���ƾǤ���C�O���Q��ҡX�XZhabot
inskii (BZ) ����P���H�Ӫ��H��‫ޡ‬٬‫ۥ‬A�Y�ƾǤ���O�º 骺�������l���H����X�C�� BZ
ͤ��������ƾǪ����b�@�_�ɲL�L�A�_�Ǫ��Ʊ��oͤ F�G����� H ઺�۵ o�Φ����S�x�P�߶�B���b�M�� �ۡA����M���
ͩӥ@�ɡA�N���@�Ӥ��_�i�ƪ�� R ͩ �Φ��C��s�L BZ ����ƾǪ���Ǯa�̲{�b���D�q�o�
‫ؤ‬ƾǪi�ʶ}�l��M��`��Φ��A�䤤�@�
‫ؤ‬ƾǪ
ͧ ���}�l���� ͧ h���ۨ���A�ƾǮa�٤������۶ ʤơ������X�L�{�C�n����auS ELF -OR GAN I 2 AT
I ON �‫���ۦ‬w�i��-�ʤƪ����X�N���@�Ӭ��Ы ‫��ج‬ʰϰ 쪺�i�e�C�b�o�ǫ᭱�i���X�ʫe���O�R��ϰ�P���̬
‫۾‬F���O����ϰ�A�Φ�����i�檺�� �ۧΡC�M�ӡA�b�i�}�����A�‫ۦ‬P���]�p�P���X�X�@�ӹL�{�b��p�M��p���
‫ثס‬X�X�ϱo�����t�ƼҦ���������ΡC���‫��ׯ‬-zhabotinskii ��Ĭ�p�åͳ����j�����P�O���Q���
(Boris Belousov) ��������1951��‫�~� פ‬A���o�‫ؤ‬ƾǤ���A���Q�
‫��ڵ‬A�]���L����ӵo�{���o�{���i��C���O���Q��ұq���]�L���o�{����o�C������ߤj�Ǫ� Anatol
Zhabotinskii �ҹ�F����A�]�S���‫�ݨ‬ƾǪ����Z�W�R���۳\
�h��L������ƾ���M�۶ ʤƤ������i�C�b��~�ӡA�V�P�Ǯa�o�{�F�q�V�P���o�i�X�Ӫ��۲�´���Ǫ����
�� 29 ��
�b� �߲G�Ҩ 㤤�]��`��Y�@�ɨ 誺�ӭM���c�‫�_ݰ‬ӻP BZ �X�G�‫ۦ‬P���b�^�A�u�
‫��ۯ‬g�Ǽ��H���A�b�`�ŧΦ���۪���P���C�@�Ǭ�Ǯa�{���A�� BZ
ͩ�o�˪����c�Φ��ƾǤ���i��ɭP�F�a�y�����R ͩ ���X�{�C� ٬ު��O�A���b���۲�´�i�|
�ɭP���`���̦� b H���Ŧ���q�� ߽Ĥ��Ǽ��ɡC��ż�f�o�@�M���w��Ǯa�{���A���w�o�@�O�@�۲‫�ئ‬
´���V�çΦ��A���Ŧ�Τj����M�ܱo�ӳW�ߤF�C�o�Ǿ�c ' 7. ATION ��Ǯa�w�g���i���N Belousov-
Zhabotinskii ����y�z���p���D�u�ʤ�{�ü���o�ǤƾǪi�e� �۪���M���Ǽ��C�L�̤� ] i�H�q�L�Ы
‫���ب‬o���̡����M�۰ ʾ�C�� ��s�H��N�p���̹ ����h�Ӥ�‫ب‬ýs�g²�檺
�W�h�Ҧp���p�G���k�����l���O�Ū��A�N���䪺���l�C��
�H��}�l�A�H�ۤ@�Dz��l�Q�񺡡A�ɭP�@�ӥR���V�ê��̹ �C��L�H��}�l�{�{�M��F�A�٦��@�ǰ{ģ������
´���Φ��A�b�̹ �W�Ǽ��C��s�H����Y�a�o�{�X�է������P���W�h�ɭP�F���b� 몺 BZ
�i�C�o��@��x�Ů�}�l�W�ɨäް_�P��Ů��‫ۮ‬ɡA���s���N�Φ��F�æ ۲�´����y�W�C����B�ū
‫ש‬M���O������ 󥲶�n �B�� O�o�‫��ئ‬ǵ��c�q�y�ʤ��B�{�X�Ӫ��C) �t�Υ��h�F���̪ ��i�
‫ܩ‬ʥ��`�B���d���I���V�áA�o�‫����ؤ‬d�B�L��W�ߪ����A�P�Ϥ@�Ǩt�Τ@���{�ɤ�A���ֳͧt���P��ʪi�A�
����´�A�y���l�`�C�o�T������������z�_���i��O���Q�n���۲�
´�������t�@�ӨҤl�ѲV�ò��͡C�@�ӲV�ê��t�Τ��_�a�N�ƪ��V�X�b�@�_�A�гy�X�s����V�t�Υi�H�h�C�
o�ǥi��ʮɨ�Q�V�P�Ǯa�٬�����I�C�b�@�Ǥ�e�I��n�O�ƾǪ���μ�q�q�����T�@�‫ש‬ήɶ��q� � ߽ĥi�H�q�L�t�
Ϊ����X��j�C�‫���ۦ‬W�v���X�Q��w�b�@�_�A�@�ӵ��c�N�X�{�F�C�@���Φ��A�۲�
´���c�q�L�q�P�򪺬y�ʩM�L�Ǥ��V����i�ӫO���O���C�o�O���s�����M��L�ۭ���Ѵ�y�Φ��ɷ|
ͤ�oͤ �C �F �O������ �ۤv�~��e�i�A���̥�H p�ɡB���B�~�k���ū ‫ש‬M��O��‫����׬‬A�åB��y���|
�F�L�̡C�S�O�O��[�Φ�����ۤ���X�Q�٬��t�l�C��P������X�X�� 1644 �~�����Q�o�{�æb���U�Ӫ�
150 �~�̩ ����X�j�X�X�O��
‫ڤ‬W�O�@�Ӥ�a�y�٤j���x��C��Ǯa�{���A���O�Ѵ�y�Φ����A�b�@�Ӥ���I�C�b���̡A��P�����൲�X�F�V
�_�M�V�n���h���t��y�H�����y�èϨ�í�w�A�N���b��y�����u�ʪ��@���ѹ��ѥ]�v����x�C�a�_���a�
_�V�÷|�ɭP��v�
‫���ۦ‬w����S���μ��i�b�a��X�^�o���A��Ʀʦ̲`�A���n�L�l�a�Ȧ�Ƥd�^���A�����q��j���W�y���Y��
�}�a�[�l�C���ҩP���A��L��v�t�l�i�|�b��ɤ��u�ʫܻ����Z���`�N��M�a��a���Ť���C�
޳N�H��гy�F�t�l�q�L�b��֤ ��� H���n�B���W�v�o�e� � ߽Ĩӵo�X��C�P��L��ߨR���P�A��t�l���|
��Z�����C�@���@�‫�{ز‬H�A�����s�F�t�l�@�̡GĬ����u�{�v��P����S�Pù��A�L�J��F�@�ө_�Ǫ��i��B
�e NIZATION
�æb���I�W���H���X�^���C��Ǯa�{�b���D�t�l��i��۵ M���ͶճQ�Y�Ǧ]��������v�ɡA�N�|
ͪ���ͪi��C����]��]�Ҧp�A�� � ߽Ī��j�‫ש‬M���֪���‫ؤ‬o�^�Cù����B�e�t�l�~��e�i�A�]���B�e��M�`�‫׳‬гy�
F���n�B�����ɭP��y�����\�h�p�i - �_�h��� - �
‫���ۦ‬w�C�i��A�ìP������X�Ӭۤ����H����v�t�l�i�C�o�˪��i��|�Ǽ��
‫�ܪ‬ɶ���Z��Ӥ�����C�t�l�٦���L�_�Ǫ��S�ʡC�����q�t�l�i��������O�p���P�B�A�H�‫��ܩ‬ӥH���‫ש‬α
q� �ۤϪ���V�|���۬��L�A�X�{�b�t�@��A�N���S���I���@�˵L�‫׵‬o ͤͩ ͤ F�C ͩ R��������
�ۡA���p�o�
‫ؼ‬Ҧ��i��Q�٬��A�X�{�b�‫��۾‬ɥN�@�ɦU�a�����c�C�o�T�J��Ӧ ۷ R������‫�ܤ‬A�~�N�����e 2500 �~
�� 30 ��
��ı�Τ@�ǥj�Ѫ��v�Ь�ǡA�o�ǼаO���ʤ�̦ �G�w�g�x���F��۹ Ϯ‫׶‬H�x�‫��ۯ‬ǻP�V�ä���ᤩ���ͩ R����ɤW�����ʡC�
H��Ǯa���A�� �۬O�g�c���j�ѶH�x�A�O�g�c���ᦱ��|�C�q���s�b� ֤ ߪ��ȵ{�C�۲�´ 1 3 ###
�T��������ɦV�O�ѹB�e����v�A�޾ɶǼ��i�^��@�_�C�t�l�A��p��L�۲�
´���c�A�b���k�o�i���ʺA�@�ɤ��c�ީM�c�a�M�ӿ���������t�CHarry Swinney�BJoel Sommeria �M
Steven Meyers �b�w�J�Ĵ��j�Ƕ�ūD�u�ʰʤO�Ǥ�� �߳гy�F�@�‫˸���ج‬m�q���ӤJ�f������줻
�ӥX�f��������A�H�K�ֳt���઺�y����Φ��F�C���e�@�ξɭP��y���Φ��A�b�{����t�U�A�X� �֧ Φ��@�Ӽ���
�P����j��í�w�� �ۡC�o�Ӻx��Oí�w�����b��y���X��Φ��C���CNIZATION ���X���N�G�߸�CHAOS ��
‫ڨ‬ӻ��A�ճ������۩��㪺�������X ͪ �L�O�A�o��M�O�i�ƹL�{���oͪ �Y ���
‫����ؤ‬B� ��í�w���z���������C. . .�F����N [peajhen
��@��ɮa�i�ʪ��i�ƹL�{���H��}�i��ŦX�f��_�䧮
�Q ͬ ���ʪ��C�X�X�z�d�w�P�D��A���H���K�C�A�J��@�Ӧn�[�������B�͡C�o��� Bͬ ‫�_ݰ‬Ӥ��@�ˡC�A���A
���z�A�A�G�F���A�Ϊ̡��A�‫�_ݰ‬ӫܲ֡C��
��A��F�C�A����a�F�Ѩ�o�O�]���o���@�ӷs���v���Ϊ̥L�w�g��F�G�l�C��M�C�A���|
ͬ��L�O�H�@��]�O���X�C�A��A���� Bͬ ‫�@�@ݧ‬Ӿ���A�@�ӧ��ΡA�ҥH�A��ı���C�@����Ϲ����i�‫ק‬K�a�v�T�
��L����C���F�@����A��ӤH�n�����‫ܤ‬F�C�D�u�ʨt�ΡX�X�]�A�\
�h�ʤO�t�ΩM�Ҧ��V�P�t�ΡX�X�O��������L�p�‫ܤ‬ƱӷP�A�]�����̤ ��i��Ϊ�����������������X�i�H��j
�L�p���‫��ܤ��ܦ‬j�����G�C�p�G�l�ηs�v���‫ܤ‬Ƥ��j�A����ӥi��O�H�L�H�`��C��Ǯa�q�`�Ϥ��‫��ش‬M
���B�������P���B���X������C���t���X���O����Ʊ�������G�������� �֪��˯S���]�T��Ы‫ؤ‬F�@�ӭt
���X�j��A�]�����b�o�ʾ�Ұʮɥ��}�ֳt�B��H���]�T�Ͼ���|
�z���ӬO��H�O���o�ʾ�}�l��t����O�ɰ��C���������X���A���‫����ޥ‬W�r�O�ä��`�O�@��n�ơA��‫ڤ‬
W�|�P�Ϩt���z���Υ����C��۹ q���ṳ�Y�b�� �ۤv���ʵ�W���X�F�P�����X���y�s�n�
‫ۦ‬P����ı�ĪG�ӦۤӾa���n������J���C���W�V�ê��ᵲ�V���\�̪‫�`ڭ‬N��A�o�‫ؿ‬n�������X���@�ӵ��c�ʺ�
‫ס‬G�o�O�@�Ӧa��s�Φ���B�ӥ͡C���X�L�B���b�A�L??�ǽs
ͬ´���Ǩëj�j���ǡC���X�O�sͬ �M �s�}�a�u �X �X������ Ӧۨ� conn
��դ������x���v�ɤɯŪ��n�����X�A�Z�íp����A�ñN�p��P���F��e�X�Y�ǭy�D�A���‫ظ‬s���t�����X��
򤤪��W���ܱo�ӵ}�֮ ɡA����
򤤪�W � �ܱo�h�Ӱ��ɼW�[�C�z�d�w�P�D��A��z�j�ǰʪ��DZб¡A�m�ۨp����]�n�M�m�ۨp
����]�n���@��The Blind Watchmaker �{���i�ƥ����N�O�@�
‫��ا‬j�����X��{�A�L��X�A�]���Ҧp�A��i�����̳]�p�����‫ܧ��ܤ‬F���y������O�H�K�y���ϹL�Ӷi�ƥX
��n�����m��O�A�H�‫�}׶‬o�ǾA��ʧ�n�������̡C�@���y���ܱo��[����A�����̦������‫ܦ‬a A �i��]�p���C�
o�̥����X��ʶi�ơC�P�ɡA�i�Ƥ����t���X�O�������‫ۦ��������ܤ‬ơX�X�\
�h�t���X�j���ˬd��O²��a��j�h�Ƭ��‫ܨ‬æb�‫�@�ܪ‬q�ɶ����O��‫�]��ت‬pí�w�C��Ҭ�Ǯa�{�b���b�G�‫��פ‬
X�b�̥‫��ڭ‬y��ԩR�B�����@�ΡC�b�@�譱
�O���ǻ{���L�Ƶ��W�V�ìO�ѩ󭡥N�ӾɭP����q���ṳ���Ǧۤv����ܾ��ɩ�m�C�b�o�ǨҤl���A��l�Q��m�b�P�̹ �
����A�‫�����۾‬l�M�̹ �۹ J�����_�C�o���_�����ʳ��Q�����X��j���V�á]�Τ�Ρ^�Φ��Q��l�˱o���U�ᵩ
�C�a�y�i�H�Q��@�ӥ��j���ʤO
�� 31 ��
�t�λP���X��Φ��`��A�Ϩ�O��۹�í�w�æP�ɵo�i�C�����X�`������ҵo���‫ܤ‬ơF�t���X�`��O��t���ˬd�C
�Ҧp�A�a�y�����t�δN����ž����t���X�ӽո`�ū‫ס‬C���v���ܱo�Ӽ�ɡA���|���X��]��A�]�����h�Φ��þ
‫�צ‬F�Ӷ��F���N�o�ɡA��T����W�ɡA����A��h������U�A�A���[���C�o�i�Ӥ�O�Ѫ�iù 1 ������� 7.
�t���X�`��N�O��j��ū‫׵‬L�̳‫קڭ‬q�L�K�[�G��ƺҦh���Z�å��A�����Oí�w���C�t�@��O���ǫ�X�t�Τ��Y�B�
�‫������ۦ‬X�i��|�[�t�Ʀ
‫ܤ‬H�����Ҩa��z�Z�۹��p�C�]���a�y�����ꪺ� � � t���X�j��ϥ��y�t�ΥR�����O�X�X�åB�q�‫��ڥ‬W�ӻ�
�O�V�ê��X�X�̵‫ڭ‬L�k�w���‫ة‬R�B�|���{��‫��ڭ‬Y�W�C�䤤��...���@chaologv
�����n�o�{�O�����X�i�H�ɭP����A�ƦܲV�ê����æb���Ǩt�Τ����欰�|�i�}�A�åB�t�����X�|
�b�_�h�V�ê��t�ΡA��M��´���èϨ�í�w�C�Ҧp�A�V�ä��� oi �q�𳻰
_��������{�X�n�������X�C���઺����Ҧ��O�g���M�L��´���A�]�����̸չ��‫ק‬K�b���餧��
�Φ����X�o�s�U���A�]���L�̸չ��‫���}׶‬A�P�ɤS�Q���l�ި��L;
�U����G���n�q�L���X�t��A�H�K���̦ ���´�a���ʤj�j�a�C���X�i��O�q�V�è 즳
�ǥH�αq���Ǩ�V�áC���X 1 1 9 �b���檺�̪�ɨ�ۤ���I���C�]���A�t���X�`��Q�Ы
‫ء‬A���������Ҧ���M�ܱo���‫��צ‬ǡC�@��ʪ��Ǯa�Ʀ‫��ܯ‬b�L���q���W�������Ϯ����欰
�q�L�ϥΤ@�ǯA�Τ��X��²��W�h�ӳ]�m�{�ǡA�Ҧp�G����Q�l�ި���p�G�L�̾� a o�Ӫ�N�|
�Q�ƥ��C�V�P�Ǯa�i�H�b�ƾǤW�ҥ�\�h�۵ M�ɤ��ϥΨ 㦳
�q�@�����X��������{������ʺA�L�{���{�b�p���W���ƹB��έ��N�ɡA�N�����ഫ���t�@�ӡC���N�
{�b�V�P�Ǯa�g�`�ϥΤ�{�Ӵy�z�ʺA�L�{�A�Ҧp�P�‫��ڮ‬骺�
�y�A�q�l�t�Τ����R�q�A�H�Τ�����b�q�l�t�Τ����@�ΤƾǤ���C�q�L�ϥΡ����k�s�{�������N�S�x�A
�D��ƦܳЫ‫ؤ‬F ͪ �@�Ӽ���i�ƪ������ ͪ κA���{�ǡC�ӵ{�ǭ��N��]�M�����|
ͪ�K�[�Q���X�}�a���ƨ��~��s�@�N�p����� ͪ A�䤤
�@������b��v����a���T����5.7��~�e���H�Z��C�ϥί¼ƾǨ�ƪ����N�ACliffIBM �� Pickover �Ы
‫ؤ‬F�@�ӥͪ��κA����ǰ�i�‫ס‬CPickover
ͪ �����
ͪ κA��{�X�۬‫�ۦ‬ʤ��P���‫]ثס‬ �ͪ ���
骺�p ͪ ����Pͪ ���
骺��j����
‫^�ۦ‬ͩ �M����ʺA�t�Τ����X���@�ӭ��n�S�x�C�u��Y�ΡA�Ҧp�H����M ͩ �s� ߡA�]��{�X���P�‫�ثת��۬ۦ‬ʡC�̪‫ڭ‬
����͡B���g�M�`��t���ҩ�̪‫�����ڭ‬O���X�������C��@�Ӥ�{�A�ѥ��F��G�ñN����|
ͦ�^��{�A�M��A���D�ѡC�~��o�˰��@�ʸU���C�o�N�O IBM �� Clifford Pickover ����� ͦ o�
‫ا‬Ϊ��Ұ����u�@�C�C���L�Ѥ�{�ɡA�L���|
�b�ϤW�аO�@���I�A�]���L�i�H��`�I�A�]�������Lø�ϪŶ��C�o���I���l?
�a�ǩI�S�ӹL���y��@�өж��P��C�M�ӡA�p�G�o�ӽ���Ϊ��T��O�Ѥ@���a�ǻs�����A���N�O�@�ө_�Ǫ����
A�]�����������|�u���d�b�ж��̬� Y Ӿ���J�誺����C�a�Ǧ�G�w�g���i�‫ܩڦ‬a�Q���Ӧa�ϩҧl�
‫ޡ‬A��� �ަb���Ӧa�ϥ�����|�O�V�ê��C���y�ܻ��APickover �����X�J��Q��Ǯa�٬����_�Ǫ��l�
‫ޤ‬l���A�o�N�� �ۡAPickover ���A���Y�ϥ��D�`���W�h�A���]���@�ǵ��c�C�� ���‫�_ܩ‬ǧl�
‫ޤ‬l�O��Ϊ��C���X�H��гy�p�G�A���w��ΡA���O�]���A�O�ѥL�̲զ����C�p�G�A����Ԩ��ΡA���O�]���A
����Ԩ� �ۤvͤ �C���oͤ F�C���X X��v�K���A�p���u�{�v�A�Ӧ ۤH�骺
�Dz���Ǽҫ���N�x�}�⥦�yø���@�Ӧ����C����몺�`���A�p��Ŧ����ʡA����
�� 32 ��
��i�l�F�C�N���y�`�M���쪺�U�����c�@�ˡA���f���@����i�H�‫�_״‬A�Ʀ‫󴫡ܧ‬C���ҫ��N���g�t����
‫��ܬ‬q�‫ܥ‬洫�A�Ϊ̦b�̪ �
񪺰���
�� ‫�ޤ‬뤤�A����󡨭p���q��O�C�o�ӹϤ���P�s�@�N��Ǯa��
ߥ��y������Φ��A����}�l�N�̪‫Ͳ��ڭ‬z�Ǵyø���@�ӥR����ΩM�V�ê����鬡
�ʡC��δX��Ǵy�z�F�R���Ŷ��M�������c�A���̰� _ K�B���M���|���۳\�h�‫ثפ‬W���
‫�ۦ‬Ӹ`�C�o����������c�M���b�̪‫����ͬ��ڭ‬H�B�i������C�Q�Q�{�N�ѭ�Ǥ���w�w�P�ȴ��P���įd��
(Andreas Vesalius) ø�s���g��ϵe�G��DZЬ�Ѥ��뺡
�F�o�˪��ϵe�X�X�yø�F�@����ϵe�@�s���p����ި�����Ŧ�A��K�����B�h�‫���ثת‬Ӵ`��t�Ϊ����C�
O�‫ڨ‬t�ΡB�p�z�B�͡B�‫ײ‬٦�´�B���l��´�B�j���������|
�Ҧ��B�Ḱ�L�o��Ŧ�M�x�ު���]�p�X�X����{�X���W�h��� �۬‫���ۦ‬h�C�o�Ӥ�γ]�p���j�a�W�[�F�i�Ω��
G�B�����B�l���M�ƪn�j�q���W�ߦa�q�L���骺��
�n�G��M�M�I�r��C�o���g���������μҦ��c���F�@�ӷ���ӷP�M���Ī���H���B�z�C�]�����骺
�C�@�Ӥ�ε��c���O�h�l���b���W�h�����p�U�A��Ψt�Ϊ��Y�dz���i��|
��˩Υ ᥢ�A���G�۹��p�C��ΨϨ����F���Ӱ�T�C�@�Ӵc�ʤ�ΡC�o�‫ب‬Ÿ���ӭM�O�K�‫��ڤڪ‬B��䪺
�B�R���Ŷ����Ϊ��A�i�H�q�L�l�����鰷�d����ε��c�C��L�f���骺�Ϊ��]�O��Ϊ��F�Ҧp�A����ǽ 誢
�f�r���~�ߡ������q����‫ܥ‬X��γ]�p�C��K���]��Ρ^Fidia
���@�ӹζ��b�o�i�Ӥ���a�����F�j�������ӭM���c�N�j�Q���h�ˬ�s����ǡC�j������δX�󤹳\
�T�S�����y�‫��ڭ‬Y�������ӭM�N���j���B�i�‫����ܪ‬ϰ 쥴
�]���@�Ӥp�Ŷ��C�@���@�ӳ�W�����c�A�C�Ӹ��ӭM���i�H�‫ۥ‬Ѧa���E���X�W�S������A��q�L�ӭM�����
A���Q���ѻP�@�Ӻ�A�q�L���X�N���P��Ӻ��pô�_�ӡC���C�b���ӭM�������Ŷ����A��L��κ���Ѯ��B��i
�M�O��g����q�ҥ��‫��ݪ‬E��C�`���A�j������δX�󵹤F���@���F���ʩM�_����٨S���L���޳N�}�l����C
����� �E125 �b�̨‫��ڭ‬骺�o�Ǽh�h�|�|����ε��c���A�V�ê��L�{�e�D�ɦa��C�o��Ŧ���W�
ߪ��P ͩ ��ʸ�ʪ��DzιϤ�u���b����� �ͩ w�̤߹q�Ϫ��ӷL���B�C�ƹ�W�A���`��߫ߪ��߹q�Ϭ��H�‫ۮ‬ɶ������ø�s�A����
‫ܤ‬F�`�綡�j���۷�p���‫ܤ‬ơC��@�Ӥ@�‫د‬S���ϡA�٬��۪�Ŷ��ϡA�ѳo�ǰ϶��զ��A�Ӥ��Oø�s�X����ιϮ ‫ס‬A�㦳�W�
ߪ��B�g��ʪ��`���S�x�A�X�{���Ϯ���‫ܤ‬F�@�ө_�Ǫ��l�‫ޤ‬l���j�窱
�Ϊ��S�x�C�o�O��Ӫ�� �۪Ŷ��ϥ��`�߸�G�_�Ǫ��l�‫ޤ‬l ͪ �O�ѰʺA�t�β�����
ͪ ιϮ‫ס‬A��{�X�V�áC�̪

񪺬�s�� A�߸��
�V�ìO���`���A�ӻP�w��A�o�O�̯� f A����Ŧ�A���̪ ���ʦbø�s�ɳq�`�‫�_ݰ‬ӳ̨�g��ʡC�o�O�@�Ӧb�o�Ǥ�Ŧ��q
�Q�Ĩ��ȤK�Ѧ����ż�f�o�@���w�̡C� ‫����ھګ‬k 򪺻� � �A�o�‫���`�߸ؤ‬w�g���h�F�i�‫ܩ‬ʡA�����I���V����ǰ|
��ż�f�M�a Ary
Goldberger�C��w�B��{���A�o�{�֤ �� Ŧ���I���V�ñN���U��E�_��ż�f�C��s�H��b�����V�ӶV�N�Ѩ�
f�z�P�餺���۵ M���I���V�ê��ॢ����C��M���w�o�@�q�~���
‫ݴ‬N���O�@��V�ê�ŧ��A��q�j�������‫ݡ‬A���‫ھڦۥ‬Ѥj�Ǫ� Agnes Babyloyantz �����k�A�o�O�@�
‫�`��ز‬g��ʪ�����C���|�뺸
�C���w�o�@�}�a�F�j�����۵ M�V�áA��ӥN�����O�����������j�ˡC�`��C�����a�A���d�H���ղӭM��
|�L�Ǫi�ʡA��|�i�ʦb�Y�ǥզ�f�w�̤ ��e�g��ʡC��s�٪��K�̨� t Ϊ���k�`��t�Ϊ���δX�󤹳\
�N��G��e��C�ӲӭM����C��Ϊ��嫬�S�x�A��ު�����Ϊ��‫�_ݰ‬ӬO�@�˪�
�� 33 ��
�b��p���‫ثפ‬W�ˬd��Ӹ`�C����i��A�βV�ê����ʡAGoldberger
�{������˯f���_Ÿ�i��O�ѩ󯫸g�t�Υ��h�F���`���V�èt�ΡC�L���A�ƦܰI�ѥ����]�i��O���ܲ��ʳॢ����
���G�A��[in]��‫ש‬βV�õ{�‫ס‬C�����骺�V�ó���O�Ѥ��_�����X�ް_���H�۳ o�ǰ��
‫���׽‬t�Ϊ����P������������ۤ���@�Φӵo�͡C�o���X�A�ήɶ�����C�o���H�ۤ���X���i��ӫߡ‫إ‬A�H�
K��󲾰ʨt���`�O�b�o�ͷL�����‫ܤ‬ơC�o�‫ث‬D�u�ʤ��X�ɭP���i�٬��‫�����ܩ‬t�δ��ѤF������污�p�ҥ��
‫��ݪ‬i ͪ ��ʡ��C���i�w��M��Ϊ����� ���ӭM�s���oͪ �Ʊ �O �@�Ӱ����� ‫�׮ھڬ‬s�� Walter Freeman
�M�L���P�� Christine �����k�A�ӷP�B�i�����V�ô��d�F�C�o����
‫��ܪ‬O�H���ı�������ʪ��p���ҫ������G�O�w�A�̶‫�ڭ‬ı�j�������B�z��ҡC�Ӽҫ�����‫ڥ‬Ψߤl��������C�
‫ھڳ‬o����Ǯa�����k�A�j����y�����ӭM�H�V�ê��Ҧ��s��g��C�L�̪ ��p�լ��ʹ���‫ܦ‬b�‫������[ج‬C�o�ӹϪ��
_�ǧΪ����A��M�C�ӲӭM����q�Ҧ��O�������i�w��A�ӭM���s���ʸ��b�@�w�d�򤺡C�o�Ӿ���V�ì��ʪ��Ϊ��
Q�٬����_���l�‫ޤ‬l���C�٬ު��O ͪ �A�����oͪ �V �é_�Ǫ�l ����
‫ޤ‬l�]�t�@�����ê����ǡA��̻‫ڭ‬D�쥦 � � �
�D�ɴN�|�ܱo����Y���C���l�������������E�ɡA���̷|�N���Ķǻ�����y�C�H���Q�
‫ޤ‬J�O�w�����@��A���Q��j�F��b���V�áA��M���‫ܧ‬Ϊ��æ ۲�´�A�p�
‫�[ج‬ҥܹ�C�o�i�O�w���ʪ��u���u��Ϥ�]�O�@�ө_�Ǫ��l�‫ޤ‬l�A���� 󦳯�ǡC ���� ҩM�L���P�Ƶo�{�A��y��{�X
�@�‫ؿ‬W�S���۲�´�C�‫�_��خ‬ǧl�‫ޤ‬l�C�o�ǧl�‫ޤ‬l���̹‫ڭ‬華�����O�С��O�O�J�b�
‫ ̤ڭ‬j���q���ʪ�����V�ä�����t���ǡX�X�u�O���۱ q� ᩱ��Ǩ��L�ɳQ�s��C�q�L�Q�βV�áA���骺
�t�ι�{��񪺡B�g��ʪ����ǵL�k�����L�̪ ��h�˩ʤ���C�_�Ǫ����o�˪��l�‫ޤ‬l�O�V�P���ʩM�V�P���j�j���Ǫ
���ΰO��C��Ǯa�̶}�l�o�{�j���P�_�Ǫ��l�‫ޤ‬l��´�b�@�_�C�d�‫ݥ‬t�@��A��V���СC���_�
‫ܤ‬ƪ���ҡA����w�B�满�C���峹���A�L�M���P�ƻ{���A��M����ǤW���Dzδ��z�{���e�f�M�I�ѬO�ѩ��쥻
���ǥB������t�άI�[��O�Ӥް_���X�X��O�q�L�ް_��í�w��������Z�è��骺��
�`���A�ӭ��C���Ƕg��ʸ`�����X�X�ƹ��ҩ�A�ƹ�W�����W�h�ʩM���i�w��ʡC. .
�O���n�����d���S�x�C���̪‫���ڭ‬Ψ���]�N�̩‫ڭ‬w�q������G�`�N�o��ӡ����`���A���‫ݨ‬쪺�߸�_�Ǫ��l�
‫ޤ‬l�O�‫��ܩ‬㪺
�C�{�b�Ҽ{�S���ѤT�Ӵ��n�������C�@�ӵo�X���y���Ҧ��b��boot�����o�X��oo�����n���C�J�Q �ּw
IBM �� Pickover �N�o�ǹϮ‫����פ‬C�@�ӬM�g��@�
‫ظ‬U�ᵩ����l�W�A�H�K�ϧ�e��o�{���̤ ��������P�CPickover �]�Q�F�@�ӮɥN�b���[���N�ӡA��
‫ ̥ڭ‬i�H�Y��̤‫����ڭ‬V�ê��Ӥ�ɡA�L�٤������ͪ��ѧO��N���C�o�O�@�ӨӦ۪�x Pickover ���k����
޼Ҧ����Ѽƪ���N�‫ܨ‬Ҳ���C�L�N�ѼƥN�J�@�ӥΩ����V�P���ƾǤ�{�A�åͦ��b�L���q���̹ �W�A��‫ܥ‬X�̥‫��ڭ‬ʪ����
W�h�ʩM�W�ߩʡC�C�ӧ‫����� ̪ڭ‬O�V�ê��W�S�лx�C�Y�Ϧb�‫��ڭ‬y�W����K�M�K�����A��̶‫ڭ‬i�J�o�ӥ@�ɡA��
‫���}���ڭ‬ɡA�̴‫ڭ‬N�O��ΡCFRACTAL BODY ORDER OP �Ӧ‫�_۾‬ʪ��T�‫ץ‬i��O�b�·t�����
ߪ���W����A�_�_����A�q���B�L�b�o����W�A���H�I�����q�C�����~��� 򪺭�q �H�A �ȶȬO�@�ӭ��q�A
�N�L��Ţ�n�b�@�Ӻx��C�}�b�L�̪ ��Y�W�A���Q��r�P�a�񺡥L�̪ ��զ��B�L�‫ک‬M��աC���Q�^�O�F�L�̪ ��L�A�
b�L�̪ ����u�W�^����ʡA�b�L�̪ ��U�‫ڤ‬U���t�m�ˡF�å��}�L�̪ ��L�̪
������F��n�p�s���w�j�A�b�‫�_ݰ‬ӹ��
@�����  H�C �X�X���ҡP�d�Լw�A�䭷�C�L��M��q��ɰ_
�� 34 ��
�H��D�A�a���u�W�m�˪��p�B�A�B�o�A���������϶��j���l��ϡA�l�l� ᭱�����̫_�۴�G��B���O�ìy�
b�̩‫ڭ‬P��C���H�ӡA�e�a�M� ֤ H�@���‫����ܨإ‬L���M�O�q�G�@��p�˨R��s�y�A���H���ƿ��A����l�u�C�b
ͬ��`ͬ �A �����
̫‫�ڭ‬浹���a�ӫB���y�M��ê��n���C��̤‫�`�]ڭ‬ȥ������㭸��Τ���C��y�O�V�ê��嫬
�H�x�C�j�ɤ���e�a�yø�гy�A�L�̪ �{�s�b���骺�ۭ�����X�{�C���骫�z�Ǯa�
‫ڧ‬J���հҦb�W�ŭp���W�p��F�o�i��y�Ϲ���Q�ե�j�Ǥ̤ ‫�گ‬-���b��ձN��٬����Ȫe����
‫��ޡ‬C��M�Ω���p�⪺�D�u�ʤ�{�۹�²��A���̳Q�p��ɡA�L�̪ ��欰�ܱo�������A�H�
‫ܩ�ݭ‬n�۷�j���p���O�B�z���̡C�b�o�‫��ر‬p�U�����G�O�b�j�P����y���o�{����y�ҫ��q�P�t�����o
�X���ɤl�C�@�ǻȪe�Q�g�y�O�@�ʸU��h�~�C�o�̴yø���Q�y�q�Ȫe�t�y�X�A�M��b�����K�����a��ɲV�
æa���R�۫‫��ܭ‬n�A�N�n���@�޳���‫ڪ‬Q�Q�i�F Jell-O ����l�̡C�‫ؼ‬Ҭ���Ǯa���ѤF����|
�q�L���ҫ����欰�ӤF�ѥL�̹ �Q�y���F�ѵ{�‫׻‬P�Ѥ��[��CBUIENCE ��L���o�� Argo Merchant �|
�o1976 �~ 12 ��A���I�J�j��C�o����C�p�ɬ��|�� 40,000 �[�
‫ڳ‬o�I�C��v���_����y�@�ΨϷ��o�X���o�p����� ֡ A�H�‫�ܩ‬K��L�̧ ����O���i�઺�C�M�ӡA�@�Ӧh�@��H�ӡA
���y����Ǥ�R�X�X�]�N�O���A�F�ѾɭP�����T����Ψ�o�i�L�{ - �@���O�g�媫
�z�Ǥ��̴Ƥ⪺ ���D�C��Ǯa�̷Q��R��y�A�ҥH�L�̥� i H�w��M���� �C �F�Ѵ�y�N�� U��L�̳]�p��Ω� ‫ܪ‬i��@�Ρ
B���Z�y�ʪ��޹D�M���|�L�N�����઺�H�y��Ŧ��G�‫�����ܦ‬C1932 �~�A�@��‫ۦ‬W���^���Ǯa�b�^���|
��Ǩ�|���@���|ij�W����Ƕi�i�G���‫�{ڲ‬b�O�@�ӦѤH�A��‫��ڦ‬h�Ѱ�ɡA����ӧ‫ڧ‬Ʊ�o��ҥ
‫����ܪ‬D�C�@�ӬO�q�l�q�ʤO�ǡA�t�@�ӬO�y�骺��y�B�ʡC���e�̡A� ‫ڽ‬T������[�C��
�D�n���D�q�l�q�ʤO�ǽT��w�g�ѨM�F�A��O�g���{�O�b�@�Ӥ@�ӥ@��e�y�z����άy�餤�
�y���W��A�Y�ϬO���ѳ̱j�j���q���C�o�Ǥ�{�]�t�y���q�M�t�‫׻‬P��p�‫����פ‬A 񪺶� � ��O�]���������٥]�t
�D�u�ʶ��A�ҥH��{�|���_�ۤ���ɥR�C�p�⤤����ȧ ᦱ�M����H�Τp��~���H�p����� �֥ H�
‫󵲪ܩ‬G�ܱo�S�ΡC�V�P�Ǯa�b��y��s����o�F�@�Ƕi�i�A�M�ӡA�q�L�@�Y��i�䤣
�i�w��ʪ��`�W�C��y�����i�w��ʬO�s�b���]���ѲG��ή���c�����ʤO�t�ΫD�`�ӷP�C�y��t�Ϋ‫ܮ‬e����|
�^�� �ۤv���W�A������K�i�H�ֳt�W��X�X��Ϯ‫׻‬P��K�@�˥X�H�N�Ƥ@�i�Ȭ�M�b�A�⤤�|
���@�ΡC�Q��Ⱦ���l�W���X�ɦB�A���Ҧp�A�i�H�b��y�����ͽK���A�o�‫ؽ‬K���|
���X���ۨ���A�W�ި����ۤW�ɨ 첣 ͥ ͥ i�ਬ�H�ɭP����Y������y�C��y �E 133

ͦ�t�@�Ӵ�y�p����H��R����]�O���oͦ b�\��� h ‫ثפ‬W�C��j�p�d����p�˹Ϥ�@����A���‫�_ݰ‬ӻP��j��Ҫ��Ϲ��
‫�ۦ‬F����K��K����K�C�P���P�ɡA��y�M��L�Φ����V�P�@�ˡA�O�٬ު۬ ‫��ۥ‬G�b�b��L�ǹB�ʤ��A�i��|
�X�{�x��ëO��í�w�A�ӵL�ǹB�ʹq�y�b�L�̩�� P m�ˡC�N�V�P�z�‫���ת‬Q��Ω��y�A��Ǯa�̤� w g�o�{�F���s�
ͩL���I���W�h ��y���� ͩ @�Ӿ��骺���|�L�{�o�ϱo�G��ή��骺�y���ܱo�V�ӶV����X�X�p�o�ǭ��ҥ
‫ܥ‬Ѫk���a��ů�Ѭ�s�줽�ǻs�@���G�D�Ϥ�C�o����άy��Ѧb���|�ɪ��_�K�M�_�K�O��Ϊ��C��y���R�o�|�Ӯ
‫�[ج‬yø�F�V�ê����‫�@��פ‬C���F�B�z��y�A����Ǹ�V�@�ɳ]�p�F�b����U��s������k�C�b�o�̡A��s�Ҫ
���Ǯa�̲���Q�o�Ǥ�j�Ǯ�H�P��v�dzդh
�� 35 ��
����G����a��J�@���Q��A�۳‫ݵ‬o�DzG��ۤ���I���A�N�ۤv��
´���@�����Y�x��C�V�üȮɶi�J�F���ǡX�X��O�@�‫���إ‬W���i�w���ǡC�q���y��f�y�A�ö}�l��h�W�z�
ͪѤ��X���|�L�{�O�p��oͪ �C �ϥΫD�u�ʤ�{�W �ӥ@�} �o�g �{ �² �A �V�P�Ǯa����������� Ʀ
‫��ܯ‬s�@��y���G�u�p���Ϲ��C�Ϲ��N�ܱo��[�Բӭp����ܱo��j�j�A��ѩ�V�ê��ʽ�A�o����y���ӥi���y�N�
û��o��ѨM�A���H�ϸԲӪ��w���i��C��y 135#�E0 �γ\
��y����N�a�۰ g����]���@�O�����L�����B�ϬM�F�L�����̦ۤ‫ڭ‬v��� �߲z�M�����‫ܤ‬ơC�b�o�̡A�ҭ ۴��P�J�
w�� (Lawrence Hudetz) ������F�X�
‫���ر‬L�b�X�ǩ��{��Ҽw�J���J��� �Ӥ �᪺�� y�C�C��Ǧh�P�F�P��_ (Leonardo da Vinci)
�O���h�H�����@�X�ӥ@��H�ӡA��N�a�̳����ʿ�������ҵo�C���F��_��y�O�@�ɥ���;
�L�۫H�@�ɱN�b�a��ʪ��x�����C�i��ƲV��AS A STRANGE / �٨S ͨ ����
ͨ _�Ǫ��]�p�̪
��f��l�
‫ޤ‬O�C�o�Ǩt�Ϊ����u�A�o���I�����ɷt�‫ܬ‬P�t���Ϫ�A���ɫh�_�ǦӥO�H���w���Ӫ��W�‫ޡ‬C�o�̦ ��@�ӻ�즳�
‫���ݱ‬A���‫ݵ‬o�{���M�ӡC�X David Ruelle�A�@�ɤW�̭ ��n���V�P�M�ʤO�t���v�¤��@�C��Ǯa�̹
‫���ﵦ‬Ʊ�����C�]�\
���l�󰶤j���k���Ǯa�Ǥ��P�åd���M�L���^���~��̦ ��ħJ��y�C�åd���M��y�b�t�z�W�Q�]�F�@�Ӻ���ҩ�
Ҧ����ʪ��F�賣
�i�H�q�L���ж��Ӵ�q�M��w�C��Ǯa�̱��� q H��N�@���b�p���l�l�a����� �ۨƱ��C���Ǯa�}�lø�s�g��ʤO�
t�ΡX�X�H���W�ߪ��t�‫�|ץ‬B�b�i���t�ΡX�X���̸g�`�R���L�̪ �ø�ϪŶ��㦳��
�B��ƪ��Ϊ��A�٬�����C�T�����‫ק‬Φ��]����i�H�s�b��\�h��
‫�_פ��^�ݰ‬ӹ��@�ӵ��c�}�n���ʦN��Τ@�Ӧ��@�Ӭ}����겢���
�C��Ǯaø�s�F��{�}�n���ʤO�t�ΡA�Ҧp�y�D�W����P�A�ή������q�l�]�ơA�Ƿ|
�F�i�H��¶���Q���q�u��¶���Q������A�H���o�Ǫ�{�}�n���\
�઺���Ǩt�ΡC�Ҧp�A�@���P�b�y�D�W�����ǹB�ʥi�H�yø���@��d�骺�u��¶������A���Ƭ‫ۦ‬P����|
�A���H�ۨC�ӹq��y�L���ʡC����V�P�Ǯa�X�{�F�C�V�P�Ǯa�Q�n�b��g�������A�U��s�ʤO�t�ΡG�V�P�Ǯ
a�Q�n�b�t�αY��B����B��Y��R�Ϊi�ʮɹ��i���q���i�w���a���‫ܤ‬F� �ۤv�C��V�P�Ǯa���o�Ǩt��ø�s���
�ɡA���G�‫�_ܩ‬ǡX�X������G���F�ᦱ�B��K�M�_�Ǫ������Ϊ��C��‫�@ڭ̬ݤ‬ӨҤl�G��s���V�P�ʤO�t�Τ��@�A�
Τ@�ǯS�O�Ū��b��P�M��P�������p��P�a���B��CĬ�p��Ǯa�w�w�P�P�_�������ҩ�F�@�өw�z�A���ѩ��
ͤ�b�o�ǭy�D���oͤ F�V�� åH�ΥѤ�P�B�Ӷ��M��P���B�ʦ@�P�@�Ϋ ߪ‫���@��إ‬C�Q����j�����M�ʤO���ۤ���g
ͪ�L�ò��ͪi��ɵoͪ ����
i ‫��ܬ‬骺�R��I���C�p�G�A���b�@���Q���۹ J���a�讷�򪺦E���W�A�A�|
ͪ�P��V�áC�_�����ҩw�z���ƾǥi�Hø�s���@�Ӷ���F�ŤF�����}�A�����ѤF��z�Ҽ{��ɵo�ͪ�_ �_� 򪺲V�ê�����
��ı�Ϥ�X�Ӭۤ��v������P�B�ʡC�V�P �q�޳N�W��A�o�Ӷ���Q�٬��ҽk�l��Kolmogorov ��
YAK�A²�١C�o���Y�g�ܶK��A�]�� Yak �O���ʦb�L�‫ץ‬j�Ѫ��t��m��ѧp��n���CVAK ����ܲV�P��
teroid�y�D��{�X�@�Ǧ��W�ߪ��B�ʡX�X�Ҧp�A����¶�����b�Y��‫ܡ‬X�X�_�h�|���‫ܦ‬h�\�ʩM�s
´�C����������
󤣩�B �b�o�ˤ@�Ӱg�H�� B�a���몺�ϰ�|�K�H�H�a�n�\�A���쥦 �̲ ‫���}׶‬CKolmogorov
���ҽk�l�‫ޤ‬l�O�̩‫�_ڭ‬ǧl�‫ޤ‬l�e�Y�����Ĥ@�ӡC�o�u�y���_�Ǫ��l�‫ޤ‬l���O�@���@�‫�ج‬ǫ��q����զӳгy���C�
g��A���`�W���Ѧp��P�Τ�P���y�D������t�Υi�Hø�s�����ƥB�~�[�W�h���Ϊ�����C��Ǯa���o�Ǹg��t
�Ϊ��B�ʳQ���ǡ��l�‫�_ޡ��ݰ‬Ӧ��Ǫ��Ϊ��A���̬� O L�̦
��Ǧ 欰����H�v���C��O���ʧ@
�� 36 ��
�V�P�t�Φ�G�Q�_�Ǫ��Ϊ��ҧl�‫ޡ‬A��p Kolmogorov �l�‫ޤ‬l�������V�áC���_�ǧl�
‫ޤ‬l���u���_�Ǫ��Ʊ����@�O���̽�T ꦳��@�ӥi�w�����Φ��A��O�@�‫إ‬Ѥ��i�w��Ӹ`�զ����Φ��C�q�L�ϥΤ�{�
ӿ�`�@�өΦh�ӲV�P�t�Φb�‫ܤ‬ƩM���ʮɪ��ܶq�A��Ǯa�i�Hø�s�X�@�ө_�Ǫ��l�‫ޤ‬l�yø�F�t�Ϊ����ʡC���F�гy�
o�ǩ_�ǧl�‫ޤ‬l���Ϥ�A�V�P�Ǯa��{�Q�p�⬰��X�A�M���X������J�A�]����{�O�A���p��C�o�ҥ�F�{� ꤤ�o
ͪ �����‫�[إ‬t�B��j�����X�V�P�t�ΡX�X�ϳo�Ǩt�Τ��_���‫��ܪ‬i��ƲV�P�]��L�̦ۤv�C�Q�Q�Ѯ�Τs���p�ˡC�t
�Ϊ�����‫�]ס‬ƹ�W�A�C�Өt�Τ����B�ʥH�Y�‫ؤ‬覡
�v�T��L�Ҧ��B�ʡ^�O�y����V�ê���]�]���i�w��ʡ^�C�P�ɤѮ�b���_�‫ܤ‬ơA���]�O��b�̩‫ڭ‬һ�������� Ԫ���ɡA
�N����y���d�b����ɤ��@�˻Ȧ�C��O�Y�ϬO�_�Ǫ��l�‫ޤ‬l�A�p�G�t�άO�w�g���ļ�F�A�N���@��j�ɫB�i�H
��@��p�˨R�}��A�a���@�ӷs���ҵ{�C�o�ǤѮ�ԾǮa��ߤѮ 𪺩_�ǧl�
‫ޤ‬l�]��ԡ^�i��ѩ�H��y�����u�~�Z�ʡA�դѧ��‫ܤ‬F�����Ϊ��C����~�o����Ѱʦa���‫ܧ‬ΡA�H�ۤ���X���C�@
�����N�A�V�P�t�γ��|���|���]�α���^�b��_�ǧl�
‫ޤ‬l���������Ŷ����s�ϰ�C�ƹ�W�A�H�ۭ���N�`��A�l�‫ޤ‬l��������ɤ��_�Q���sø�s�M�_��ƥL�̶i�J�s�
���‫ס‬C�o�O�t�@�ө_�ǧl�‫ޤ‬l���Ϥ�C���Q�٬����j���Ϫ�C���z�L�‫��ݪ‬D�p��\
Ū���Y�i�N���V�ê��Ϥ�C�^NG CHAOS����߻��o�˪���s�Q�o���H�‫�_۾‬ʡA��ø�s�A���ܼ�b���_�ǧl�
‫ޤ‬l�C�o�ӯS���Q�٬� Rbsseler �_�ǧl�‫ޤ‬l�C�_�Ǫ��O�ARosseler
�Q�o�{�A�Ω󧹥����P������ʤO�Ǥ�s�_Ÿ�t�ΡC���]�X�{�b��Ǯaø�s Belousov-
Zhabotinskii�ƾǤ���C�b�o�̡A�ƾǸվ����V�P���X�۲�´���Ͱ��‫��׵‬c�ƪ���۪���Φ��C�]�Ѩ� Sell-
Organization�C�^���y�ܻ��ARosseler �l�‫ޤ‬l�yø�F�q���Ǩ�V�P�����‫ܡ‬A��]�yø�F�q�V�P�쯴
�Ǫ����‫ܡ‬C�@�ӵ��ù��ǩ_���l�‫ޤ‬l�C�i��ƲV�P -14 1 �o�ө_�S����A�� Cliff �p��IBM ��
Pickover �i��Q�ΨӴy�z�@�ӥ�í�B�檺���g�塨�ʺA�t�ΡA�Ϊ̥��i��O�`�����C�o�O�Q�٬� Ueda
�_�S���V��������l�‫ޤ‬l�C�ӳ�����ܶ����_ ͩ ���|�_�ӡA�N���|�I�p�v�bͩ �Nձ���
m V�ƬV���J�|
�k�C���Ǯaø�s�ҫ�����{�ɡA�W�Чl�‫ޤ‬l�N�|�X�{�ʤO�t�ΡA�Ҧp��εĤ��q�ϳ����άY������������̩� M y���
‫ظ‬s�����I�C���ϰ��‫ܨ‬t�Χ��W�c�a��{�X���@�‫ئ‬欰�C�`���ϰ����W�v��C�g�`��{�X�欰
�C��j�@�ө_�Ǫ��l�‫ޤ‬l�����p�‫ث׳�����ܤ‬F�Ϊ�����b��j�d�򤺬‫ݨ‬쪺�Ϊ ̶ ��C�ѩ̶�
̶ R�Ŷ����۬‫�ۦ‬覡
�A�_�Ǫ��l�‫ޤ‬l�O��Ϊ��C���̬� O L��ø�s���V�P�ʤO�t�Ϊ���C���O���W�Чl�‫ޤ‬l�P����j�N�����‫ܤ‬ƲŸ���
�‫�ۦ‬B�O���‫��ݰ‬M�CING CHAOS �o�O�@�i�V�ê����աA���i�w��������̦ ����V�P�Ǯa���@�R�w�‫ء‬P���
‫( �ۯ‬Edward Lorenz) �� 1960 �~�N��o�{�F���C���
‫�ۯ‬ø�s�y�z�Ѯ�t�ιB�ʪ��X���ܶq�A�L�o�{�D�`�p���L��J��L���ҫ�������l�C��Ѯ�ƾ‫��ڪ‬t���|
�ɭP�D�`�j�����w��t���C�o�N��‫�ۮ‬H�Ǯa�p���‫ؤ‬Ѯ�L�H�‫ۦ��ۦ‬P���ƾ‫�}ڶ‬l���w��̲‫�|׷‬o���ӧ����
‫ۦ‬P���ƾ‫��ڤ‬P�����w��C�q�L���N�L���ҫ�����{��ø�s�@�ӹϡA���‫ͤ�ۯ‬F�o�ө_�Ǫ��l�‫ޤ‬l�A�o�O�L�Ҿ֦��
����i
򥻤� � �w��ʪ���δyø�b�Ѯ 𤤵o�{�C�t�ΦV�ۨ�����Ƨ��|�]���y�ܻ��A�s���ܶq�]�p�ū
‫ש‬M��O�^���ۤ���@�Ρ^�ѧl�‫ޤ‬l����ӡ�����C��¶���ժ����ƧΪ����Ѯ�O���i�w��� �۬‫�ۦ‬G���C���‫ס‬B�ū��‫ܤ‬
ơB
�� 37 ��
�M��L�]��s�b��U�Ӥ‫ثפ‬W�A�q���y�Ѯ�Ҧ���a�Ϥ����������‫ܤ‬ƧA�Фl���e��|�C���o�˪��_�ǧl�
‫ޤ‬l�yø�F�@�Өt�ΡA��欰�û����|���Ʀۤv�A�`�O���i�w��A��٬
ު��O�A���`�O��� �ۤv�@�ˬO�i�H�L���ѧO���C�V�P�Ǯa�o�{�F�U�‫�_�����_ة‬ǧl�‫ޤ‬l�G�V�ä����Ǫ��e��
�CIBM ��Ǯa�bø�s��Ӫ����ʮɵo�{�F�@�ӷs���Q�q�l����������򪺾X��l�C�q�L���‫ܥ‬L�̨ ϥΪ���q�j�
‫�����׮‬l�A��s�H��i�H�[��o�Ӭ ۹²�桨���t����‫�@ܤ‬ӦW�ƨ�ꪺ� 欰��C�b�@���W�v�U�A�t�η|
�ᵲ�Ρ���������l�A�ϥ��̷|��i�a�����‫۾‬F�L�ۡC���W�v�ϥ����H��ϼu�������q��C�b�o�
‫ز‬V�ä��A�W�v���L�p�‫ܤ‬ƥi��|�ϥ��̦�b i��ƪ��V�ä��n�\�θ�R �o�T��H��N�@�~�Q�٬��g����W�ϩ��
޿�ϡC�o�O�t�@�‫�_ة‬Ǫ��l�‫ޤ‬l�C�ʤO�t�Φ��B�‫ؼ‬Ҫ��i��O�ӫ~���ΦN���ɸ����ƶq�C�q����k�\Ū�A�̥‫ڭ‬i�H�
ۨ‫ݵ‬t�αY��C�H�۬Y���ܶq���W�[�A�Ҧp�A���N���ɸ����γ��w�Y�A�ƶq�r�W�A�d�U��h���Z��~��ơC�i�O�
��~�����Ӧh�A�Y�����A�ҥH�ĤG�~�N���F���`�C�H�f�b��ӭȤ����i�ʡX�X�@�~�O���A�ĤG�~�U���C�
i�@�B�W�[�_�l��������A�H�f�W�[�i�J�|
�~�P��F�A�W�[�@���A�`���K�~�F�����C�]�m³���������A�H�f�v���p�V�áA�L�k�T�w���~��Ʀr�
C��Ǯa�̵o�{�F�W�ߡ]�H��v�^����q��Ӷg���|
�Ө�K�ӥH�βV�ê��L���ɵo�ͳo�DZӷP���t�ΡC�g����W�Ϫ��A�H�ۧ��h����q�`�J�V�P���ʤO�t�ΡA���̧ ��|
�_�Өð_�K�A�ܱo�V�ӶV������C�_�K�M���|���
‫ܤ‬F���̪
���Ωʽ�C�`�N�Ϥ������½u���ѡC�o�ǬO����ΰ��b���Ŷ��b��i���V�ä��o�X�u�Ȫ��T�n�@�q�ɶ��
�X�X�X�~�X�X�������ƶq�i��|�H���㪺�P��ʤ 覡�W�ɩM�U���C��M��Ϯ
‫צ‬A�����J�V�áC�`�N�o�ǵ��f�����L���ϡGING�V�P �o�ǬO�V�P�t�Φ۬‫�ۦ‬ʪ���СC�p�W�Ҷg����W�µ
‫ۯ‬U�������Ǥ����������V�ñ_�‫ޡ‬C�N�N���ɸ��Ө��Ҧp�A�o�‫ؤ‬p�W�Ҧ۬‫�ۦ‬ʪ��v�T�ӷL���ӵL�k�˴��C�ɴ���B�
H�m����‫����ܪ‬W�Ϫ�ܶg����W���p�������㳡��æ]���ǧl�‫ޤ‬O�ӳQ�襤�C�J�Ҵ��P��S�� (Klaus
Ottmann) �O�@����N���i�H�A�L�� 1989 �~��
´�F�_��Ĥ@�����V�ê�ø�e�B�J��M�p���ϧήi��A�����O�@�Ӧ�m�ɴ�����W���`�A��L�N�Ѩ��ΩM��N���
`�h��N�i��ʲV�áC���ǼҦ��A���p��Ǯa�һ�������ۡ���C��s�H��_�ǧl�‫ޤ‬l���Bø�s���O�q�L�V�P����
�I���C�a��¦⤤� ߪ�����ΰϰ�ø�s��l�۲�´����۶��Ǫ��W�v���񪺰ϰ�C��ۤ���uø�s�F��l������
‫��ۦ‬iͪ �J�V�ê��W�v�C�V�ӶV�h����Ǯa���b�@�Ӥ�y�M�åd���q���Q���L�����Ŷ ͪ ���� ‫׹‬L�ɥ�C�i��ƲV��
�E 145
��ƾ��s�b��a�W��� ԰�C �L̪
��� G�O�����⪺�C�X�X�X�ۡm��g�n�A�yø�s�A�N���ǡA����ɭP�V�ê��Ĭ�C191
8 �~�A���j���ƾǮa�B��Ǯa�B�޿�Ǯa�B�S��Pù��]Bertrand Russell�^��‫׹‬D�G�����T�
‫��ݫݪ‬ƾǤ��Ⱦ֦��u�z�A��ܰ��L�W����X�X�@�‫ا‬N�ŦӾ�����A�N���J��@�ˡC�����H�Q���Dù��O����|
ͦ���p��������
ͦ Ϊ��J��몺�Ϊ��C�����N��{���‫�ܬ‬A��D���N�š��C�����Ϯ
‫ץ‬R����m�M�Ӹ`�A�N�����Ī����g�t�ΩηϪ�‫׺‬t�C�bù��ɥN�A�@�ӤH�����O�@�W�ƾǮa�~�‫ࡧ�ݨ‬졨
�ƾǪ��J��C�p���A�h��F��δX��A�Y�ϬO���Y���ƾǮ�� �߯g���H�i�H�H���Ϊ��Φ�����ù��b���ƾǨ 㦳��
�ܰ��L�W����C�� �O�H��� 򰩮�M �� B�g�w�`�몺
�ƾǤ�Υͪ��p�B��K�����{�@�ɦU�a��Ǯ��y���ʭ��C�o�ǹϹ���‫ڤ‬W�O�q���s�@���G���v��
�� 38 ��
�㦳�@�P���N�S�x����{�աA�o�O�@�
‫ؼ‬ƾǧΦ������X�C��@�ӭȳQ��J��Τ�{���@���åB��{�Q�p�⬰���G�ɡA�M��N���G���J� 쵥����
�A�æA���p��ӵ����C�s�����G�O�M� ᭫��s���J�A�æA�����N�]���s�B��^��{�C�@�ǰ_�l�ȡA���̬�� O
�J�@�ӭ��N��{�`��A�V�L�a�j�z���A��L�H�i�ʡA���ǤH���‫ܤ‬ƫ‫ܤ‬j�C���N�ɸg���M���i�w��欰����
{�O�D�u�ʡC�D�u�ʤ�{�b�Ȫ��Y�ǰϰ 췥�
�ӷP�A�Ө��ǭȼаO�ƾǯ��ǩM�V�ä�������ɡC��o����ɭȬO�ϥ��C��b�p���̹ �Wø�s�Apresto�A��{���ʺA���
ʴ��‫ܤ‬F�@�Ӥ�Ϊ��ϰ�C�w�g�o��F�@�Ǥ�Τ�{�Ӽ���u�ꪺ� V�P�t�ΡA��L�H�h�����æb�ƾǥ��������V�öi��F
����ơC��L��ø�s��ιϮɵ����A�\�h��Ǯa�o�{�ۤv�Q�j�Ѫ���N��ǩҧl�
‫ޡ‬C�@��]�i��O�G����ʤO�t�ΡX�X�Y���_�‫ܤ‬ƪ��t�Φ]�����̦ ��\�h�ۤ�����X����������X�X�q�Y�
‫ط‬N�q�W���A���̬���骺�o
O �Ǩt�Τ����@����|�v�T��L�@��C�ʤO�t�ΩM�ƾǤ�Ϊ�{�X �۬
‫�ۦ‬ʡA�]�����̫� D `���P�j�p��������������a�ۤ���ϬM�C�ۤv-�
‫�ۦ‬ʩM��t������D�q�O�j�N�f����N�a����‫��ح‬n�[��Ψӻs�@�ϬM�B�ҥ�����a��_�t�z�����աC��Ǫ��T
���s�H��H���P���覡�Ч@�v����Τ�{�b�L�̪ ��p���W�CScott Burns�A�u�{�]�p�Ʊб¥�Q�ե�j�Ǥ̤‫�گ‬-
���b��աC��s�@�ө_�Ǫ���μƾǡA�s����y�k�C�Ӥ�k�X�X�H��o��̦ ��ħJ�P��y���W�r�R�W�X�X�O�M��h�
�����{�]�㦳�h��������{�^���‫ڡ‬C�q��
‫��ڪ‬q��}�l�ȡA�ƾǮa�N�q��J��k�������í��N�A�[��C�ӸӤ�k�����N�`����‫ܤ‬F�q��A�Ϩ�V�ӶV����A�
����ġ���Y�өT�w�ơA���O�h�������‫@��ڤ‬ ͬ �C��O�A�p�G�}�l�q��oͬ �����
‫�����ڤ‬ɰϰ 쪺
�ȡA�h��y��k�‫��ܬ‬V�áC�q�Lø�s���P���_�l���q��î ‫ھڬ‬O�_���N�復�̵‫̨�⥦ۦ‬ϵ��G���ĩ�䤤�@�Ӯ
‫ڡ‬A���V�L�a�j�A�Φ����ɰϰ�A�B������o�F��ιϡC�u�{�]�p�H��ϥΤ�y�k�D�Ѱ��D�A�Ҧp���Ѩ�‫ڬ‬W�l�զ�
�����c�M��̨‫ؤ‬o�����伵�
Τ
�C�̨ Τu�{�]�p�O�̦ ��Ħa�Q�Χ�Ʀw���C���F�ϥΤ�y�k���i� ઺�̨ γ]�p�A�u�{�v�Φ��@�Ӥ�{�A��F�Ѧp��O��B
���j�‫ץ‬H�Φp��\�h���P�j�p������s���C�M��u�{�v�i��q��]���W�� 2 �^�o����A��4
����^�o���A�Ҧp�^�A�èϥΤ�y��k���N�q��C�b�j�h�Ʊ��p�U�A�u�{�v���F�ѨM��‫ס‬C�b�Y�DZ��p�U�A�
L�o�{�ƾDzV�P����ΧΪ��C�N�ˡA� ֦ b Macintosh �ӤH�p���W�u�@�A�i�‫ܤ‬F�L�ϥΤ�y�Ы
‫�@��ت‬Ǥ�Τ�u��~�i��|�M�e�Y����k�C���‫ڳ‬o�˰��O���F�‫ڥ‬i�H�i�J���̨ ûP�H�̽‫׼‬ƾǩM
ͽ ��N�C�
‫ڵ‬o�{�H�̹ �o�ǪF��ܵ۰ g�C���B�������L���ϩR�O�ǹF�ƾǡA�]�����O ATH
��N�]�O�۵ M����G���o�ǹϹ��N��F�ӤH���ê����F�C�A�i��|�‫ݡ‬A�o�O��N�‫ܡ‬H�b�Y�Ǥ 譱
�A�o�ǹϹ��i��O�Q�{���O�j�W�Ҫ��Ʀrø�e�C�‫�\���{��ڤ‬h�H���ɦ���N�\�ҧΪ��M�Ϯ
‫ס‬C���̦۵ M�a�X�{�b�ƾǤ��C����L�T�갵�X�F��‫ܡ‬G�C��զ�O�A�������N�C���‫ڥ‬i�H�E�J�e���A��
‫گ‬u���L�k����b�‫ݨ‬쪺�O����C���o�̪ ��Ĥ@�i�Ϥ�O��y��k��Ω�㦳�T�Ӯ‫�{���ڪ‬C��{���
‫ڬ‬O�Ϥ����ʡ����y�‫ݡ‬C���o�V�ðϰ�O�Φ��ܱo�V�ӶV�p�åB��G�E���b�@�_���a��C�‫ڦ‬ѱC���q�ܳo��'�@�ӥ�
��'�C" �ĤG�i�Ϥ�O��{��ɰϰ 쪺�S�g���Q�ӸѨM��‫ס‬C�����M�k���������ϰ�O�Q�ӸѨM��
‫���פ‬Ӫ���m�C�¬}�N��@�ө|���}�l���Ī��I�ϰ�]�}�l�q��^��B��������N�ɡA�Q�ӸѨM��
‫�@������פ‬ӡC����B���O�¦�
�� 39 ��
�}�A�����\�F�@��V�ê��ϰ�C�L�B���b����ɳQ�¬}�л\�C��������Markus
�O�w��h�S�X�w���ԧJ��s�Ҫ����z�Ǯa�C�ϥΥL���q���̹ �@���q�l���ȡA�Lø�s�F�@�t�C��{��� ᦱ�f���
}����ʴy�z�q���Ǩ�V�ê��L��ϡC�o�Ǥ�{�i�Ω����u�ꪺ� 㦳�_��ۤ���@�Ϊ��t�Ρ]�ҿ
‫ʺ��ת‬A�t�Ρ^�A�Ҧp�q�����q�A�H�Χֳt�y�ʪ������y�C���w�������ѭ��b�ܷ�A�W�{�ꪺ� A�]�\
�O�O�H���w����L������_�A���̵L�B���b�A���æb�j�۵ M���������ʡC�C�ӹϤ����`�Ŧ�I���y�z�F��
ͬ���V�ê��·t���C�o�e�����L������Ϊ��O�@�ӥO�Hͬ Ȫ�Υͪ �A �b �L�ϡC �o�ǬO�Ǫ �ҥͪ �C ���������������
t
�����x�M�R�ͪߥ������N�����‫ܤ‬ƪ����W��í�w���ϰ�C�`�N����‫ۥ‬X�{�b�V�ӶV�p���‫ثפ‬W���j���Φ���
�‫�ۦ‬ƥ� -
���S�x�лx�@�Ӥ�ΡC�b�Ŧ⪺�V�P��v���A�o�ǧΪ��N��F����j�����Ǥj���C���w�����A���o�N�� ۳ o�ǰϰ
쪺�
X�{�õL��ҡA�b�s�򪺹Ϥ��j��A�Q�V�P�j�}�C�]���ä��`�O�i�H���G���t�Φb�Ѽư϶��Y�Y�O�V�P�����A
�]�����V�P�϶����i��]�t�󰪯ŧO���v�����Ƕ��j�C�o��‫ڨ‬ӻ��N��۰��D�A���W�ҬO����l�٬O�����H[��
�y�ܻ��A�t�z�O�Ѱ��M���٬O�ѥi�w��ʤ�t��]���i��O�S�������ᵷ�g�c�����i� ઺��ȴN�^���F�o�Ǥ�ΡC
�����w���z�S�A�s�@�L�����`�����‫ڱ‬a�ӤF�@�‫ط‬s����N�Φ��A�����ı�o�ۤv������N�a�C��M�A�H�̥ i
�H���X��ij�G�o�ǹϤ�O�ѹq���M�‫ڥ‬u�‫ݭ‬n��X�ӫ�s�C��O�A�]�i�H���X�o�‫ؤ‬Ϲ�N�������v�C�i�H���A�u
�‫ݭ‬n�‫�ݤ@���۾‬A��U�@�ӫ�s�C��v���ҥH�Q�{���O�@����N�A�O�]���@�W�u�q����v�v�Ұ������ȶȬO
��ʫ�s�G�L�q�ƦʸU�i�Ӥ��‫�@ܤ‬Ӫ���B�@�Ө��‫ס‬B�@�����Y�}�‫ש‬M����ɶ��C�i��ʡC���~�A�L�i�H�b����
Ǥ����a�·t�M���‫ס‬C��v�v�]�����\�h�‫ۥ‬ѫ‫ץ‬i�H�b����‫���פ‬F����A����ѼƪŶ��C�ƾ���N �E 15 1
���N����v�v�@�ˡA�‫ڵ‬o�{�ۤv�b�s�@��ιϹ��ɦb�p�����j���Ŷ������ʡC�‫���ڱ‬ѼƬO � �Y��{�‫ס‬B���f�B
��M������ҡB�C��A�����٦��ĤT�� ‫ھڬ‬Y�DZj�‫ׯ‬ŧO�C��@�ӤH�}�l���‫ܮ‬ɡA��j���h�˩ʬO�i�઺�ÿ�‫����ܤ‬
��Y�ơC�T��i�H���A��{�b�o�̥� i H�Q�{���O�s������e���C����Ұ��w�����Ӥ�ɡA�@�Ӧ��쪺
�K���C�N�����V�k����E�Q�‫ˬ��ר‬d�Ϲ��C��M�A���Ұ����|���Ǯa�P����Y�A��D�Ϲ��b�Y�‫פ�{ص‬W�󡧨
㦳��ǷN�q���‫ܡ‬H��N�E 15 3 Cliff Pickover �O IBM �� Thomas J. Watson
�i��ƨt�βժ�����ì��J�����a��s���ߡA�‫��ۦ‬m�p���B�Ҧ��B�V�P�M��P�p���P�Q���O�C�L�g�`�u�@�
��p�ж��̶뺡�F�q���̹ �M����x�C�L��J�@�ǼƦr�ø����t�@�ӫ̹�H�@�‫غ‬
٬������ͩն����Ǧ�ӵ����c�I�Uͩ R�A��� o O�@�ӻP�ƾǬ���ƾǹ�H� ‫ۦ‬W�� Mandelbrot �M�ˡA�˹��F�\
�h���y�ʭ��CJulia ����‫ڤ‬W�O�@�ӼƾǺc�y���٬��Ƽƥ������Ʀr�O���C����졨�
�Φ����ն������A� �֧ J�����q���̹��‫��ܦ‬F�@�i�W��Ӫ��q�l�ϯȡC�̹ �W���Ҧ�������I�X�X�åB���W�L�@�
ʸU�������v����X�X�N���b���ȤW���u�����I�B�аO���I�CPickover���j�j�p���q�L��έ��N�ӡ���
ա��_�����ϰ 줤���C���I�]�Ʀr�^�����ðO��ӭ��X�i���t�‫ס‬C�p�G�ӭȫO��í�w�A�L�N����255 �
‫إ‬i�઺�C�⤧�@�]�q�`�O�¦�^�F�p�G��Ȩ��t�t�ɦܵL�a�j�A�L�|��t�t�@���C��;
�p�G���H��C���t�v�V�W���ɡA�L�|���C�ӳt�v��w�@���C��C���Ѧ��W���F���F�i�‫ܥ‬L���
޳N�APickover �}�l�� Julia �]�m���ǫ‫�]ס‬Ĥ@�V�H�W���ǡ^�C�Ϥ��C�ӳ��v�N��@���I�X�i�j�P�
‫ۦ‬P����v�C�¦�ϰ�аO��{�̦���
n Ʀr�A��í�w
�� 40 ��
�I�X�X��� Julia �����������I�CPickover �ٰ���@��ø�ϡ��‫�����ޥ‬o�S��ĪG�A�Ҧp�v�
‫ڽ‬u�V�U��������ɡC�L���Ĥ@���C����άO�L�٤������q�{���զ�O�C�L�b�q����L�W� ֤ F�@�U�A����
�ժ��ǫ‫׬‬O���C��b�̹ �W�H�i��Φ��e�i�A�л\�F�O�M�����y��󶰦X��t���Ʀr����u�C���o�O�
‫��ڳ‬w�ϥΪ��զ�O�]���A���D�����H�Ŧ�A��⻷�D�Ŧ�C�ҥH���@�w���N�q�A������C�� Ho
���b�L���w���@���C��Ϯ ‫פ‬W�èM�w�N�����L�b�‫ۿ‬O��W�]�ĤG�V�o�̪ ����ǡ^�C�M��L��‫��׻‬G�����S��
��X�����t�C�b�o�i�Ϥ�A��G�����O�֪���A���M�Ŧ�O�̺��� C C���ϲĤT�V�APickover
����ä����L�̳��w���զ�O�C���̱‫ڭ‬N�j�յ��c���@�Ǭ��[���F��C��Ϊ���P�i��O�ѧA������‫ݨ‬쪺
�A����F���b��ǤW�]�O���Ϊ��C�‫ڭ‬n�}�lಾ �� C���C�b���̡A���i��‫ܦ‬n�C�A���‫ݡ‬H�� ø�s�̫ �@�V
Pickover �A�ζ��X�����H���C���C���̷‫��|ڭ‬դ@�ǵ�ù��Τ@�ǩ_�Ǫ��C��C�{�b�
̥‫ڭ�����ڭ‬H�e�S�����C��C�e�@�ӨS���v���C���L֦ ��� `���a��U�p���W���@����A�C��b�O�M����
ή�W���q�C�����O�‫ܦ‬n�C���L��a���C���‫��ڳ‬w�o�ˡC�‫ݡ‬A�̥‫ڭ‬u�O�N�H��ʱa�J�F�̪‫��ͬ��ڭ‬C�A�i�H�i�
�|�N�����X�@�ǭ�ǩʪ����z�X�X����H��ʦb��N�����@�ΡC��Pickover
ͪ�b��l�ͪ�z �ǩM�ͪ�ƾǻ �} �l�F�L�ǥ ͲP�A�L �{�b�O �L�Ҧ�ɶ �b �ϥέp�ϧξǡA �H�V�O�Q�Ρ�����������
�p���Ӫ�ͪͪ‫����ܥ‬c�M��L�_��ƾ‫ڡ‬C���L���A���‫ܦ‬h�F��b�ѩ�U�‫�]�ح‬A�۵ M�O��Ϊ��A�L�‫׬‬O�W�[���n�٬O
�]�����‫ܮ‬e���ǤW���@�Ӥ�γW�h�ӭ��ƭ��ƭ��ơC�o�Ǥ�{�A�Y�ϥ��̯� º O�ƾǤW�A���‫ۦ‬P����k�A���ƾɭP���P�
j�p���‫�ۦ‬S�x���C���L�P�N�H��q�`�{�����[���Ϯ ‫׬‬O�@�‫ʺذ‬A���šC���q��Ӧh�A�N���q��̹ �W����ձ�@�
ˡC�����Ӥj�N���R�A�@�ˡC�A�Q�n�����̤ ������F��C����L��s�L�ͦ������
ΧΦ��ɡAPickover �߰� �
ATH ART ���i����Ǫ��C�ӤH�A�L�i�H���Ǥ���ӧ ‫�ﵽ‬Ϲ��C�L��氵�X���‫ܨ‬ù�շs�ƪ��C���p���O�@�
‫ؤ‬u��A�i�H����N�a�A�ƾǮa�M��Ǯa�̬ ‫�ݨ‬F�L�̵L�k֦ ����� X�G�N�ƩM�_�Ǫ��s�@�ɤ��e�g��C������D��
N�a�ѻP��̩‫ڭ‬ҿ‫���ת‬N���C��N��‫׮‬a�i�ण�|�٤�����N�A��‫ک‬Ұ����@�~�A��
‫ڨ‬ӻ��A�b��N���C���X�� �ާ@���W�h�����O�y��A�s���O�@��A��u���O��A� ֤ ��� O��ƪ��A�{�q�]���O
���u�Ǽ��C�X�X��δX�󪺵o��� Benoit
Mandelbrot�CQuclidian�X��N�Φ��z�Q�ơC�T���ΩM����ΥѪ��u�c���F�Ϊ���M���u�O��ƩM�W�h���C
�‫ڴ‬X���o�X�������覡�w�q�Ŷ���ơX�X�s���I�B�@��u�B�G���B�������C�̫‫� ̫ڭ‬Ӽ‫ڴ‬X���o�W�S�
‫س‬y�ЫΩM�����A�o�‫ش‬X��Ϊ�����q���o�ӥ‫���ت‬M���ΡC��Ω�Ϊ��M�۵ M���B�ʡA�M�ӡA�‫ڴ‬X���o���áB�T
��B�K�‫��ڤڪ‬F�誺
�ⴤ���ӥO�H���N�D�H��@�ɪ��s��ΡC��δX��]�O�z�Q�ƪ��A�]���Ҧ����ƾ
dz������p���A��p��e���C���O�@�‫ر‬M�`��ʺA�B�ʪ��X��ǡA�Ѯt����u��M�Ŷ��p���K�‫ڤڡ‬A�J���O���u�
A�]���O�����A�]���O��ߡC��N�a�̳��w���C�����N�a�ӻ��A���W�d�@���O���n���C�Y�ϬOè�g�󪽽u�
��{�N����e�a���o�X�w���w�b�L�����u�W�d�U�F�w��M�L�z���i�ʡA�H���s�b��� ⹳ ƾǧΪ�I �᪺�H���гy
�̡C�̶}��� ԰ ù�J�F �L���J����H�j�z�ۤ�������z�C��M�A�j�۵ M�û����|�e�X����u�Χ����
٪����u�C�Ʀ‫�ܦ‬P�����y�D�]�|�\
�ʡC��N�a�̪ ��D�A�@��u���ӷL���W�h�A�����i�ܲͩʲӡA��{�F������q�A�������nͩ R�C�����T A���i��|
���G���A���W�h�ʬO��N���@�ӭ��n�S�x�A�]�O�c����N�@�~���@�Ӳզ�����C��N�~���R�ӯu��C��δX
����w�q��q�A����i�q�ƪ��S�x�A�p�Z��M���‫ס‬A�å]�t
�� 41 ��
�ƪ��X�X���̪ ���a�B����ʩM����Ҧ��]�Y���̦���
b P�‫ثפ‬W���Ҧ��^�C�]���A��δX����
󤤪�ǡX �X���� [��X�
X��� 󱵪�j �N��� ǡC�o����N�a��‫ڴ‬X���o�X�󪺼f��@���C��M�j�h����N�a����Τ�ΥH������ 󥿦����覡�Dz
ߴX��ǡA�j�h�ƤH�|�ߧY�x����έ�z���е��L�̡C���`�yø���o�����N�a���Ӥ�㦳��
�P����k�A�q�o�ӿŶq�@�ɪ��s�ƾǤ���o�F�P�C�^��*�H^ : ? ��v�vLawrence Hudetz
���Ĥ@��¾�~�O�q��u�{�v�C�b�L�����M�~�H�h�h�~����v�v�A�L�\Ū�F�V�P�z�‫ס‬A�o���
‫ܤ‬F�L����N�C�L�^�л��G���‫�ک‬ն�B�T���ΩM����Ϊ��‫ڴ‬X���o����A�S�O�O�]���‫ڨ‬ϥΪ��O����ή 榡
�C��O 1 �@���Pı�즳�@�ǪF��W�V�F���C1
���Ӫ��D�p��B�z�Φp��B�z�Υ��C���J�w��ı�o�V�P�M��ε��F�L���‫ס‬C����ΧΪ�������Q�k��‫ڨ‬ӻ��O��
�F�‫ڥ‬t�@�Ӻ�‫ס‬C���ª��X��ǡA�‫�|ڷ‬i�J�˪L�A�‫�|ڷ‬M��ƦC������o�@�w���`���A�ӭI���V�þ�K�N�
‫��ܦ‬F�I���C��O�� 1 �H�I�����u�����D�D�ɡA�h��쪽
�Τ������ƹ��ܱo���M�C�s���X��ϧάO�@�ӧ�h�}���[�‫ݤ‬覡�C�o�гy�F�@�ӷL�������‫ܡ‬C�����\�
‫ڱ���ڥ‬i�֦ ����� Ϲ��L�h�Q�‫��ڵ‬O�]���‫��ڪ‬j���b���A�o���O��´���T���G��O�A�p�G�
‫��ڤ‬p�ߡA��‫��ڮ‬X�‫�۾‬ɡA�‫�}ڶ‬l�����Ĥ@��ƴN�O�^���ª��‫ڴ‬X���o�Ҧ��]�����ӵΪA�F�C�ߺ��̳‫ڭ‬D�F�Ψ�
�‫ئ‬Ѥ�k�‫ݪ‬F��C��Hudetz �y�z�D�C�@���@�W��N�a�A�L���b�M��P�L�ҿ
‫������ת‬b��Ρ�� �ۤǰt���Ϲ��C�L�q�L�N��‫ۥ‬L�M�D�@�‫�ؽ‬a�A�@�‫غ‬c���L�����W�M�ȵ������b�Ҧ��s�
b��@�ɪ��Pı�C�L���b�o�‫��ر‬p�U�A�o�O�@�‫ء��ݭ‬n��{�X�Ӫ��s�b�~??�表�L�Q��ӡC���
‫گ‬u�����໡���C���s�b�Τ��s�b�C�p�G�‫�ڹ‬դ�R���A�M��Ʊ��N�|
��Y��R�C���L�n�١A�p�G�Ӥ�X�ӬO���T���A���N�yø�X�ǽT���L���I�A���ǻP�V�ê��涰�C���
‫ڷ‬Q�n���O�A��A�‫�ݨ‬Ӥ�A�o�F�詹���Ӥ�V���A�‫ٯ‬u���n���C�
‫ڦ‬b ͪ ��o�Ӷ��N���O�O�q�V�ä��������
ͪ ǡA�٬O���ǥu�O�i�J�F�V�áH���Ĥ@�Ӧ��B���Ӥ� Hudetz
�٥L�����‫ڴ‬X���o�˪L���C�c�Ϫ����I�O���u�C�e�����@�‫ص‬ξA�B�g�媺�
�P�C�ĤG�i�Ӥ��O�H���w�C�o�|����¶������Ӯg�W�X�F�e�����‫�[ج‬A�]���S�����㪺
�w�q�զX�������B�����ΰ����F�e���M�I���V�X�b�@�_�C�s���X�� �E 161 rriBp-^o^s^
-/...Mi �����e�a Margaret Grimes �o�{�F��δX��ǥu�O�b�o��ø�e�w�g�g��F���j���
‫���ܤ‬C��O��ΩM�V�ë‫���ܧ‬U�o�T�{�F�o���s�[�I�����n�ʡC�o���G���‫ڥ‬h�g��F�@�q�D�`�h�W���
ɴ�A�‫ڵ‬o�{��ı�W�O�H���Ī��F��P���DzΪ��p��‫������ݫݭ‬Φ��C�Ҧp�A�‫ڥ‬i�H�‫�ݨ‬q�‫ڮ‬a������Ҧ������
�O�A��W���Ҧ��ý��A���b�������X�X�o�O��˩ʪ��C�̤‫ڭ‬w�g�ĥΤF�Ҧ��o�dz¾K���覡�Ӫ��̯‫ڭ‬u���a�‫ݫݦ‬
۵M�C��M�A���‫�~ݤ‬O�u�������̳‫ڭ‬o�Ӫ��‫��ت‬F��C�ҥH�‫ڷ‬N�Ѩ�Ʊ��b�Dzδ��[�F�u�Q�M�z�C���@�‫���ؤ‬몺
�~��C����‫ܩ‬i���y�zø�e�H�s�X��Ǭ�����`�۵ M�Φ�������ʡA��Y�X�X�Ŷ��M�Ϊ�����Y�A�H�Υͬ�����Y�
C�������F���b�@�_�P�b��Ӻc�Ϥ��]�m���Ҧ��C�@���A���F���������c�A�A�N�i�H�b���}�a�c�Ϫ�
���p�U�A�b�z���[��ܱo�D�`�ԲӡC�ҥH�A���@�Ӹ�L���Ŷ��A�Pı�䤤���C�@��Ƴ��㦳
�X�G�P�������n�ʡA�åB��ǧt�q�G�@�ͩ‫إ‬R�Φ����@�w��t�@�‫�󦳻ا‬ȡC���\�hø�e�‫ݭ‬n�X�Ӥ�~�৹���A��
‫ڸ‬չϫO�d��@���s�A�P�M�Y�ɩ��@���X�X�Y�ϬO�@�T���j�Ӵ_��e�@�A�]��‫_ݰ‬ ͤ �Ӧn���@�U�l�oͤ F�@��ˡC�
��o��i���C�[�����ɷ|�]���‫ݦ‬o���e�ӷP�줣 � w�A�]�����L�̬ ‫�_ݰ‬Ӧn���S�������ɡC���o���o��
ߤH���۵ M���[�t�}�a��ҵ��o���u�@�a�ӤF�򭢷P�C���b��N�ǮաA�̳‫ڭ‬Q�i���n���A�@�˧@�e�Ĥ@���‫ݪ‬F��C�
‫ڸ‬յ ۵ e�e�A�n���‫ڬ‬O�̫ �@���‫ݤ‬j�۵ M�@�ˡC��
�� 42 ��
�o�{����N�a��ӬO�@�ӡ��ĺ����A�N�[�̻��� P t�M�������X�b�@�_�C�۵ M�A��U�[�����s�o�{��۵ M�@�
ɪ��`�‫ר‬I��C�� Hudetz ���Ӥ��N��AGrime
ͬ���s¼�e����F�ξA���T���ή��I�z��A���[���I��bͬ ������ �ۤ���C���j��N�����K
�p���i�H�ǿ�~�A��M�A�åB�`�O�H�p�ӷФH���覡�ǿ�A���~�O�i�H�‫���_״‬åB�X�G�`�O�p���C�b�o�譱
�A�L�̱�‫��ڥ‬W
q �O���H�D���A�o�O�O�H���P����Q�G�p���|���‫�@ޥ‬ɡA���̤ ����N�̡‫ڭ‬A�]�����̤
��O���
‫�@ ̤ڭ‬ˡA�M����‫��ٱ‬i�ӳ]�p�C�X�X�B��P�������A�mť���Ǫ��`�]��ҡn�ĤE���T���C�Ҵ��P��S�� (laus
Ottmann)�A�@��ժ��]�]��A�L�� 1989 �~��´�F�@��W���m�_���l�‫ޤ‬l�G�V�P�_�[�n�{����N��쥿
�b ͤ �oͤ @�έ �R �C�p�����ߤ��nͪ �N���b�oͪ �Ʊ ����
٬�����ιB�ʡA�L�٨䬰�����ʡ��G���̥‫ڭ‬i��ͽ
‫�פ‬ά��ʡA�N���̴‫��ڭ‬g�ͽ‫׹‬L�W�{��D�q�ε��c�D�q���ʤ@�ˡA����S�һ��C�������N�a�J�O��|� �߲z�M��|
���A���@����l�A�ɭ��C�L�̤ ��A�u��ߪ��~���s�y�A�ӬO��ߤ�Ϊ��g��C���L��ij���A���`�N�T���‫ݩ‬ʤ�
�����@�Ӫ��s�b��Ρ]�Y��A�۬‫�ۦ‬ʩM�H��ʡ^�H�T�w��ε�ı�O�_�b�u�@�C�����T�A���B�‫ڬ‬w�M�Ȭw����N�
�N�a���b�ε��_�ӡA�Φ��@�‫�ؤ‬ΥD�q�̪ ��@���C��S�Ҹ`�‫ت��@���׮‬a��v���G�����ǩM���Ǫ��P�ɩʥ���
�i��Ϲ����V�ìO�s�ƪ� �۱ q���۰}���۵ M�@�ɪ������B�@��G����N�M�
‫ؿ‬v���R���F�w��C����N��N�a�������ʡ��O��Ϊ��A�L���n�٦ۤv���򲣥i�H�l������N�v�C�ƹ�W�A�ϥβ{�
b�Q�{���O��Ϊ���N�a�W��Ϲ��|�‫�ܪ‬G�Q�Q��˯S�밪��¶���骺�K����q�x��F�oMaritus Escher
�����k�X��]�L���A���‫�@�ܪ‬q�ɶ��H�ӡA�‫�ڹ‬Ҧ��P�����H�ۡ���ʾ�V�ӶV�p�A���쥦
�̹F��L���p���������^�F�w�o���A�ǧJ���i���J���ȵ���H�F�‫��ھ‬q�@�|���‫��ڬ‬J���Բӳ]�p�Фl;
��S���j�а󤤤ϴ_�X�{������ҡF�M����j�N���s�㦳
‫ڰ‬
�B�ᶳ�h����~�[�����[�C��O�{�b�A�b�G�Q�@��@��A���N�Ѫ���ΡC��N�w�g�������@� ‫ۧئ‬ѷөM� �ۧ ‫ڽ‬ƨ�
t�ΡA����S�һ��C���Ѫ���N�a���Ϊ��{�ѷP�쿳�ġA�b�Y�Dz`�誺
�N�q�A�O��N�C�M�ӡA��Ϊ����_�]����N��D�ơA�óy���F�Y������G�C��N��N�a�����D�C�b�L���V�
P����N�i��� �@ �᪺��� Q�|�W�A��S�Ҷ ‫��׶‬F�Ӧ۬�ǡB�p���ϧξǩM��N����ιϹ��Ǯa�C�b���̡AIBM
��Clifford Pickover �N RETS Carlos Ginzburg�A�@��‫���ھ‬N�a�M�p��l����
‫ڬ‬w������Ρ��N�o�T�@�~�٬���Chaos Fractal 1985-86���C�j�W�Ҧa�‫�ݨ‬A�b�q���B�‫ݡ‬A�������
‫���_ݰ‬H���H�A�a��������q��M�C�⪺��t�C�d�‫�ݩ‬p�W�ҡA�o��@�~���‫ܤ‬F�j�q�O�H��Y����Ϊ���M�Ϯ ‫ת‬
��s�Ӹ`� �߲z�B��|�M�۹�j�p�‫ث׬‬O�V�X���C����}�����a�ӻ{�����ΩM�V�P���z�Ѥ��ȧ��‫ܤ‬F�
‫��ڹ‬Ϊ��P������@�ɡC�‫������ڪ‬H���X�X���O�B�H���X�X���c�]�H���X�X���|�n�H������
‫��׳̲��ܦ‬F��Homo Fractalus���C�‫ڬ‬O�@�Ӥ�ΥD�D-��ΤH�C���L�ɥR�D�A����άO��‫ס‬A�O�̤‫�ڭ‬ƪ��D�n��
‫ס‬C�̲‫�{ڭ‬b�B��� 󡥻 Ȫ�� Ϊ��A�������‫ܤ‬F��|
�M�ӤH���f�r���X���C���۵ M�����ǻP�V�ä�������Y�A����^�����A���‫گ‬u����۵ M���ܻ��A�����q�
l�H���Ҧ��A��������ǩM�V�ê��C��C���ì���N�a�R�w�‫ء‬P�B�컡
�A�L�ϥΤ�ΩM�V�P����Q��������c�b�۵ M�ɤ�����{���A�åB�L��o�Dzz�‫ͤ��ײ‬F����C�f���[�I�C����ø
�e�O���F�����δX��� 󪺼 O�A�F �@�‫��ح‬s����F�۵ M����ǡC���b�@�g�W�����‫�פ‬Τƪ����表���峹��
�ABerko�y�z�L�� - ^ _ ,_�C. _. ._ _ ? ___ m ^^^_ �f��GF \ ^ ^X-^^^�C\. �@�@ \
�C^V^l/ ^^^^BI ^^^P ���̵‫ڭ‬o�{�_�Ǫ��AunnatI "^^ ^ ^^^V^^ '^WA^^^f ^^^^B ^ mm J^T^^L
��������Y�C^^ ^^S^V ^^ -�C*J\. ^M f "" 1. ^^. "^^�Q�k�C�b���`��^JW^ ^^ ^ V^ 1 ^L
^^�CV^.\�p�G^^^R 1 rush,
�� 43 ��
�̰‫�]��ڭ‬Ϲ� - - - - ~ --- - ��ЩʡC�̴‫��ڭ‬X�@�Ӱ��D�G�̬‫ڭ‬O�_�B��L�����ơH�L��� �۬
‫�ۦ‬H�t�����L����j��‫ڤ‬W�O�‫ڭ̻{�����ۦ‬P�I�O���P���H�̦‫ڭ‬Ҽ{�b�‫ۦ‬P���M�䯴�ǡA���ǬۤϪ��P�@�ʡA�H��
欰�������ǡC. . . ���N���Ы
‫�ؤ‬Τ@�˵��c�A�έ��N���L�{�A�ҥH��N�@�~���s�@�A����l�C�o�Ч@�L�{�O�@�Өt�ΡA�䤤��X�̲
‫�����צ‬J���@����C�o�ˡA�L�{ :q ��N�ܱo�۬‫�ۦ‬B� �ۧ ѷ‫ ڰ‬өM�ۨ�������N�C" r>iece
ͤ"Fractal��C���p���ϧ�/�V�P���R���F ͤ �s����N�a�C�^��H�·G�ܷ�i�w�����@��ϥιq���̹ �N��j�z�۩�
�ߤg���J��a�C����饻�������N��‫׮‬a��?�‫ڱ‬N�ܷ�i���@�~�y�z�����
‫�@��ﭱ‬Ӧ�G�w�g�s�b���P�W���_�ǦөDz����Φ��b��L�@�ǬP�t���A�g��F�@�ӧ������P���i�ƹL�{�H��b
�a�y�W�C�o�ǧΦ���G�O�Ѧ���M�L��C. . ��]���@���h�ª��Pı�A�@�‫ئ‬b�A���e֦ ��� 쫬���Pı�A�
‫�[ܤ‬H�e�b�Y�B���L���Y�ͩ‫إ‬R�Φ��C���ܷ�i�]�ϥΤ�δX��@���L�u�@������L�p���ϧΧ޳N�C�L���G���L�h
�A���밪�o�˪���N�a�A�Ҧp�A��|�B��`�@����`��{�۵ M�@�ɡC�밪���V�鸪�β�`���ν��C�
‫ڷ‬Q�����O�s�@�ۤ‫ڦ‬v���۵ M�����@�ɡC. . . �[���‫ݨ‬쪺�O�@�‫���ᦱا‬X���۵ M�A�N���b�
‫�@��ڤ‬ˡC���J��A�L�٤����������Φ����A�ܷ�i�Τ���л\�F�Y���� �ۧΪ����Ϯ
‫��ֽ��ת‬C ͦ ���w��ʪ���D����N���D�C��²��ӧήe�H����O��k�M�p���p����� ͦ _�Ǫ��l� ‫ޤ‬l�M Mandelbrot
�����R�]�pPickover �I��‫��ۻ‬G���‫ڷ‬Q���D�@�Ӱ����Ͳ{�b�i�H����N�a�̷P�줣 � w�
‫ܡ‬H�s�@�o��������Ӥ�A�j�h�ƤH�|�٨䬰���R�ӥL�̤ ��|���M��
ߡ��u������N���C���]�����D�O�A����O�u������N�H���O���R���A���쪺
�A�ѬJ���ǤS�V�ê��Φ��զ��H�p�G�O�o�ˡAMandelbrot ���Ϲ����o�ǫ~��C�
‫ ̬ڭ‬O�_���b����@�Ӥ�έp���N��N��N�a���ɥN�H��ı�H��M���‫׬‬O���i�ण�O���A�� �۬‫�ۦ‬ʩM�P�ɥX�{���V�é
M���Ǧ�G�T� ꦳��U���ĩ������N������C�Ҽ{�H���Ϊ�� �۬‫�??�ۦ‬ʡ]�p��쪺��μҥ�M�s�
ߡ^ ͦ �M�p�������
ͦ D�u�ʤ�Ρ]�p Mandelbrot ���^�A�䤤�Ҧ��b���P���‫ؤ‬o���ƥX�{�C�Q���@�U
Mandelbrot ����� �᪺۬Ъ����H�b�x��B��K�M�Ϫ ᪺� ƦC ���A���]�N�v���
ߤl�@�˭��s�X�{���L����u�W���ѪšC�@�L�ð ‫ݡ‬A�o�ӳ�O���R�Ӧh�‫��ܪ‬A��]�\
�@�q�ɶ��ᦳ�I�ӥi�w��F�X�X��M�A���O�r���W�i�w��]�����O�r���W���i�w��^�A��b � �߲z�W�O�i�w
��C�]�\�L�F�@�q�ɶ��A����G���I�L��C�{�b�N Mandelbrot
��N�P���{�����u����N�����Ҥl�i����X�X���[��Ϋk�|�\
���β�h��ȡX�X���ɴ�B����Τ�ƪ��g�[���I���@�~�Y�Ϧb�̦‫ڭ‬h���P�L�̬ ۹ J����A���M�R�����O�C���j��
�֩ εe�`�O�s���A�`�O�@�ӷũM����ߡC�H�X�R�R�諸���e���ҡA��v�v Marie Benedicte Hautem

�N��������c���‫��ھ‬q�@�|�‫ؿ‬v��� �۬‫�ۦ‬Ӹ`����Ӥ�h�CMandelbrot ���H�
‫ޥ‬ΤF�ӵ��c�@����δX���Y��S�x���‫ܨ‬ҥL���o��F�C���‫�@��ڪ����פ‬A���Ҽw����ù�S�g�D�A���N�O�
‫ٱ‬K���Z�wù�����‫ؿ‬v�W�ҧ��j�X�X���z�Ǯa�|�γo�ӳN�y�Ӵy�z����L�媺��M�Ӷ��t�X�X�ñN�‫��ھ‬q�@�|
�٬��Y��‫ؿ‬v�X�X�N�y�Y��]�Q�٬��A�Ω���s���嫬���[�M�\�h��L���骺��ı�S�x�۵ M�C����H�̪�� u
Rue de I'Opera ���ɡA�V����o�y�‫ؿ‬v���ۧ�����Ӹ`�M�J��î�CMandelbrot ��o� ‫��ؤڬ‬J����N�ǰ|
���‫�_�ݦ‬Ǫ����b�۵ M�ɤ��‫س‬y�����X�F�o�ˤ@�Өƹ�A�Y������N�@�~�q�`�‫�_ݰ‬ӫܻP���g�ꡨ�����餣
�P�A�\
�h��N�a���`�h�N�ϬO�гy��{�Φ��b�۵ ͩM�ɪ��Φ����i�H���@�Ǥ������c�Mͩ R�C����� M O�@�ӥë���C��s�
j�������B�@���V�P�Ǯa�o�X�����G�O�A�q�L
�� 44 ��
���_�A�i��|������|̷‫ڭ‬
̤‫˷�@���ڭ‬P�����j����N�C���U���S�����ҳo�˪�����Ǯa�M�Où�Դ����A�@�Ӱ��d���j���|
�O��C����V�áA���ɦa�ۧ‫�ڷ‬X�{��x����E�ɡA��´����²�檺���ǡC�b���礤����
�ҩM�L���P�ƭ̡A�@���ߤl�Qᤩ �� F�@�‫�ؼ‬x�����ӻD�A�H�Ψ ߤl��y�����q�����ܱo��²��G�Ϫ�q�_�Ǫ��l�‫ޤ‬
l��@�Ӥ��ө_�Ǫ��l�‫ޤ‬l�C�M�ӡA��ߤl�D��@�‫����ͪ��ح‬ɡA���`���_�ǧl�‫ޤ‬l�ܱo��[�_�ǡC��o�‫خ‬ĪG
�g��F�V�P���Q�k�M��ΡA�‫ؿ‬v�v���o�w�w���N�L���ռӤ��J�������]�p���@�ӡ��_�Ǫ��l�‫ޤ‬l�C��
�N�� chaol �b�q���̹ �Wø�s���_�ǧl�‫ޤ‬l�@�ˡX�X�q�e�@�� ogists�A��ı�u��d���L�Ŷ��A��y�X��̪ ��٬
޷P�L���P���ơA�H��P�Τ@�C�o�N�O��ά�Ǫ�����C�u����F�@�q�ɶ��C�֡‫ܧ‬A������� ͪ ͪ �ܱo��x�A�ߤl���j��
���ߺD���F���A�åB�o�ӥͪ����j�����ܱo��²��F�C�ѩ��Ǯa�ͤ۫H�b�H�������L�{�oͤ F�A�� ̥‫ڭ‬i��|
���@��g�[���I����N�@�~���Φ��H�Y�‫ؤ‬覡���j�����ߺD�ƶɦV�C�@�����j���@�~��G��_�F�@�
‫ط‬s���B�g�������ͷP�C���H���J��l�‫ޤ‬l�C�L�‫�קڭ‬Ū�F�h֦ ����� j���֡ Ať�@�ǰ��j�����T� ֡ A�Ϊ̾���@�
ǰ��j��ø�e�A�L�̦‫קڭ‬h���x���o���u�@�A�b�̻‫�����{ͪڭ‬Y�ӭ��n�h���W�A�����M�O����� ͪ C����O��N���۬‫ۦ‬
�ʳy�����[�q�C�o�O�饻�H����誩�e�m�N���r���n�e�a Hokusai (1760-1849)
�ϥΤF�Ȭw��N�a���DzΪ��Ϯg���Y���ҡC�o�o�̪ ������Ϯg���O�L�����A��L�B���b�X�X�@�‫ئ‬b�‫ܤ‬Ƥ��ϴ_�X
�{���Φ��A���ѤF�@�ӹ�u�@���Τ@�P�B�h�˩ʩM����P�C�o�‫ؤ‬ϬM�Φ��i��j�P�O�ήe���ɤ�C��ΥX�{�b�U�
‫ؤثש‬M�\�h��ӳQ�B��B���ۤ�����a�h�]�`�N��⩥�‫�����ۮڳ‬l��誺����
�^�C��۰��Φ��u�۩��۩b�]����l���򳡥k�䪺
�e�y�C���]�Υ�����l��ΧΦ���� �ۤv��L������ΡC�L�̭ǨϤH��i���S�O�@�ӷL������l�C��N���K��e�a�N
�h�Ӧۧ‫ڨ‬øm�ɵe���W�‫�ۦ‬Φ��M�C��A�Χ@���a�N�@�t�C�����ഫ���h�Ӧۧ‫ڳ‬q�L���ܸ`���ñN���ŧǦC��g�줣
�P������‫�ۦ‬Φ��ީ���ֶ��A�L�̳гy�F�@�‫ر‬i ͤ �O�A�q�Ӳ��F
ͤ �M�����[�q�C�o�˪���N�f�t�i��Q� ٬����
Ϯg�顨�A�]��� �۬
‫�ۦ‬Φ��ۤ���ϬM��]�t�A�p���A�ѳN�y���������P�զ����i�O�C�o�Ϯg�ʺ�i�O�p���ʺA�A�H�‫󥦨ܩ‬Ϥj����
�J��_�B�q�ȡB�x�b�M�Pı�X�G�N�ƪ��u��ά��R�C���F�Ч@�X���j����N�@�~�A��N�a�������X�A���
Z��b�L�̤ ϬM���N�y�����A���n�B�a���ũM�ӻP���M�Өӳгy��i���եH�ΥѦ�������ͪ �� 㦳�ҵo�ʪ���
‫��ٱ‬i�C�o�‫ؾ‬A�����ŬO�N�~�a�����j�����B�z�L�{���A�вߺD�C���O���ŭ��ϧ‫ ̤ڭ‬j���h������B�Φ��α۫ߡA
�n���Ĥ@���A�C���A�L� ̥‫קڭ‬H�e�J��L�h֦ ��� C��N�a�q�L��յo�{�Ϯg�M�Ӧۤv����� �۬‫����ۦ‬Z��Ĥ@�C�‫ק‬
�֪��� �֤ H�i��|Ū�b�@��r���W�Ʀʦ��C�‫��ݧ‬F�o�Ǥ��A�O���O�٦��I��
ߡHŪ�ơH�p�G�O�o�ˡA���O�@�ӤϮg���G�۬‫�ۦ‬M���P���N�y���æC���G���U�󥴶}��Q�C�ҥH Mandelbrot
������δX�G�O��N�A��O�۷�C�s��Ӭ‫�ۦ‬A�Φb�Y�DZ��p�U�����Ӥ��P�A�L�k�Ͳ��R���[�q���ϬM��u�@��
���j��N�@�~���S�x�C��N������o�ǦӤ��O���Φ����ƦC�C�����гy������� 󥻽 G�N �@�~�����C�@�‫ا‬Φ��M
���A�����‫ۥ‬D�ʡA�� �۬‫�ۦ‬ʤS�N��l�ި��ͤ@�ӻP�@�~������L�Φ��M��դ��ʡA�H���@ ͤ ����ҡA??���ϧ
‫_�� ̤ڭ‬ ͩ �a�N�Ѩ���N�~�O���Rͩ �O���A�ʺA���C���~�A�N���C�ӳ���ΩΪ��H�t�ܾ�Ӧ ۵ M�A���h�⪺���T� ֦ b�
䱡��M�`���W�N��۩Ҧ����@��A�]�A�̦ۤ‫ڭ‬v�C�b�o�Ӹg�崺�[���A�����ξ�A��16 �@�����w�e�a
Pieter Brueghel�A��̡A��N�a�q�L
�� 45 ��
��ı�W���B���M��´�‫ڴ‬X���o�Φ��C�Ъ`�N�A�Ҧp�A���h֮ ��� 諸�T���ΧΪ����
‫ܤ‬ƥH�Φ��h�����C���i�H�b�k�H��b��U�����աA���󨫴Y���U�Q���H�۬�⪺����� q�г��_�X�ӡC�`�N���
G�@�ӬO�Ѱ����M�k�䪺��x���ξ�C�t�@�ӬO�ѳιL���z��u�[�J���䪺
�D��A�[�J�q�V�����⩷�u�A�M��¶�D�Ӧ�C�T����@���O�Ѧb�k�e�����Y�����@�s�H�Φ����C�Ҧ��o�
Ƕ�鳣�O������M�}��F�T���Ϊ������O�@�Ӷ��I������ΡC�`�N���ΧΪ��F�o�ǻP��ΩM�T���Υ�
´�b�@�_�C��p���䪺��Φ��@�Ӳ��W���x�Ϊ��@����A�H�Χ@���D�ɪ��j�����W�ꪺ� @����e�����
ߡC�Ъ`�N�A�D��W���@�ӳ��I�A�bø�e�������t�‫ܤ‬T���Ϊ����I�A�åB�b�ί�u�W��B���O���I�G�o�dzгy
�F��h�T���ΡC�Ъ`�N����� 󨮦 p�� D��p��ϬM�b�e���G�J�‫�ۦ‬S���P�C�`���ӻ��ABrueghel ���F�@�
‫�ؤ‬k�ӥ�´�M����Ρ��‫ڴ‬X���o�Φ��A�гy�P�ɹ�٩M����٪��Pı�C��N���K�E 175
�@�Ǥ����κ�k�A�@�DZj�j��L�������X��{�A�`���@�ѧ̯‫��ڭ‬H���T���Z��B���T���‫�ۦ‬ʨӻs�@�Ϯg�y�M�
ϧO�H����h��Ǯa�]�p�F�@�‫�ؤ‬κ�k�A�䤤�A�@���ì�Times ���A��JS �
‫���֪����ڻ‬ƾǴ���i�H�@���x�}�A�i�H�c�����‫���֪����ڻ‬s�@�~�A����q�i�񡨧@���a�ۤv�C���o�
‫�ؤ‬k���e���O�����D���A�]���p�G�‫��� ֤�����ڻ‬ ȶȬO� �۬‫�ۦ‬X�X�p�G���O�ѤϮg��զ����X�X�������򧹥����
гy�O���H�O�D�`�ȱo�h�ê��Ʀ‫ܥ‬i�H�q�L��κ�k���‫״‬I�ʨӻs�y�øm�C�Ы‫�@ؤ‬ӭ�� ֤ ϬM��]�гy���j����N�@�~
�^�‫ݭ‬n���_��`�H���b��ť֦ ��� ɪ��\
��A�H���M�өM�N�y����������ձN����N�a�M�[���j�������_�ǧl�‫ޤ‬l���ߺD�C�{���@�Ӿ�񪺡A�p�G���i
�w���k��G�۬‫ޥ‬٬‫ۥ‬i�H�����o�ӷ���L������ȡC���G�‫ܥ‬i��u�O�@�Ӧ��쪺�A��̲‫���צ‬I�I�A�
‫��ڻ‬ҥ�C��N�a���ҥH������N�a�A�O�]���L�̦ ���O�s�@�ϬM�����L�̪ ��@���X�X�]�N�O���A�L�̦ ���O�
�g����骺�Φ��]ø�e�B�ֺq�B��� ֡ ^�L�̹���骺�W�S�‫ݪ‬k�]�̨‫ڭ‬C�ӤH����鳣���W�S���‫ݪ‬k�A��� �ާ
‫ ̨ڭ‬ä��O���ΤϮg���Ӫ�F���^�C�C�@�󰶤j����N�@�~���O�@���Y�v�Φt�z����l�C�o�N�� �ۨC�Ӱ��j��N�a��
ͩ�ӤH�@���]�����ϬM����A�Y�ϬMͩ R�V �éM�ǡC ���������������
�۬‫��ۦ‬reflectaphors ��ƾǤ�Τ���� �۬
‫�ۦ‬ʭn�‫״‬I�o�h�A�ä��\�C����N�a�b�C�@�N�H���C�@�‫�ؤ‬Ƥ����o�i�X�W�S����k�C����~�e�a
Brueghel�q�H���P�‫��ث׭‬ƪ�� �۬‫ۦ�ڴ‬X���o�Φ��гy�Ϯg��A��L��Laromee
�ϥλɡB�Q�M��b�{��Ч@�o���J��C�o���G���‫��ڪ‬u�@�������P�۵ M�B�H��M�ۧ‫����������ڤ‬Y�C
���P�۵ M�L�{�����H�‫ۮ‬ɶ�������i�}�C�‫�����ڦ‬b�@�w�{�‫פ‬W�h����N�a����A�u�O���‫|���ڪ‬
�C�ߤ‫ګإ‬F�P�۵ M�X�@���‫�[ج‬C. . . ��{�b�@���J��Φ��A�‫�~�@��ڪ‬гy�F��ұ��ҡA�j��ðO��F�
‫ܤ‬ƪ���q�@�‫��ت‬A��t�@�‫��ت‬A�C�‫��ڪ‬u�@�a�ӤF�L�{���d�U���‫ݾ‬l�β���]�o�B�I��B�ƾǤ���M���
��C���l�‫׳‬B��@�‫��ت‬A�‫ܤ‬ơ��X�X�]�N�O���A�@�‫�_��ؤ‬t�‫���ܪ‬μҦ��CLaramee �ɥR���A���
‫�����{ڻ‬ǩM�V�ìO��j���s���餤���ɨ�C���̬� O z�M�䥦�̪��a��F�b��N���A���̬� O A��‫��ܪ‬j��ή
‫�[ج‬C�‫�����{��ڤ‬ǩM�V�ìO�W�ߪ�����A�ӬO���P������‫ۦ‬P�C���o���{��� �ۤv�O����ΥD�q�̡��Ρ���
Ϊ̡��A�o���A���Ϊ̧‫�������~�@��ڻ{���ڪ‬N���C�‫�۫��ڤ‬H�o�˪��B�ʩέ���s�b�C�۫ ‫ڬ‬H�‫��ڪ‬u�@�O�ۧk
�X���Υ�e�‫ޥ‬ΡA�Ϊ̬O�V�éM��Ϊ����ϬM���C......�‫���ڹ‬N�a���h�úA�‫�׹‬ճЫۤ‫ئ‬v���B�ʩμ��ҩγN�y�C��ı
�o�o�‫۩ܦ‬R���Z�C���⥦��� ‫��ܦ‬a���J�T��S�W�h�A��‫ٻ‬P����١A���D�P�B��C
�� 46 ��
���[��M���ԧJ�q�L�N�����Ѧ����A�M��b��ı�W�гy�F�Ϯg����o�ǯ}�H��� 譱�C�Xù���e�a�
‫ܤ‬W�D�q�ǮաA���D��@���D�q���R�A�b�e���W�Q�W�j����A�M��Ϊ��B�j�p�B�M��ժ���A�Ϩ�P�ɥX�{�R
�A�M�Y�N����ø�e; �o�ӷQ�k�O�
‫ۦ‬P���Φ���ӧ�g�X�I�M�ۤϪ����A�C�C�Ӥ@�N��N�a����s�@�Ϯg�����s��k�C�b�Y�Ǥ�Ƥ��A�q�@�N��U�@
�N���ϬM�޳N�u�O�ӷL�t�O�A�N���o�‫��ر‬p�H����N���K���L���‫� �ܤ‬E 177
�ʦ~����s��e�a�C�b��L��Ƥ��A�Ҧp�̦ۤ‫ڭ‬v����ơA�j�ա���Щʡ�����ȩM�өʳo����N�a�b�@�N�S�@�N���Ϯg
���s�@�覡�W ͤ ���ͤF��H���‫ܤ‬ơC�Ҧp�A�Ҽ{��k�q�L�H������鬣�����
‫ܡ‬C��ΥD�q����N�a�]���ҥ~�]��M�A���F�L�̫� D `���P�^�Cť��εe�aCarlos Ginzburg �ͽ
‫ץ‬L���f��C�L���b�^� Mandelbrot �]�m���w�y�Ϲ��ƾǮa��]��-��P�‫د‬S�� (Heinz-Otto Peitgen)
��� �ۧ@�m��Τ���n���]����R������N���Ϲ��C�����٥L�M�L����N�a�P�楿�b�M�䦳�Ǥ��P�C���
‫ ̷ڭ‬Q�n�A���L������A���i�‫��ܡ‬A�U����Ϊ���A�H���Peitgen �դh������Τ���C�p�G�̤‫���ڭ‬W�V
Peitgen �դh���߳� �A�����N�N�O�u�O�@�‫���ء‬Dz{�������A��b�O�S����� 򿳽 C�� c����‫د‬S�
‫���ڪ‬άO�L�̪ ����n�榡�𡨡
A�L�̪ ����b�M�ӡA�L�̧ �������í�w�ʡA�ƹ�L�̬� O s���Φ��A�º�O�Ҽw�kù�Ѥ~���o��C�o�Ǥ���‫;��_�ݩ‬
�L�̴��ѤF�̶DzΪ���P�A�]�\�O�{�N�D�q�̬ ��C���ѥi�H��֩ w���O��ı��N�\��F�o���[����Ҿ
ۤ‫ڦ‬G�Q�@���A�Φ1960 �‫ܤ‬ ֦ ‫�~� ܤ‬H�ӡC�����A�U������ΡAGinzburg
���ȶȬO�O�H�v��F�L���b����N�a�Ҿ֦����`�O���F��̬‫��ڭ‬b ͩ ͩ R�C �L�b �s�@�s�Ϯg �M ������������
¤Ϯg
�����s���e�C�]����N���|�i�B�A�ӬO�չϦb�C�@�N�H���‫��إ‬pô�@�ӮɥN���W�S�믫�A�㦳�
�V ͬ �P��`����l�����}��O�C���n�H���i�w��Φ���� ͬ o�O� ‫�@��ڪ‬Ӥ��‫��ܪ‬Q�k�A�b[��`�{�ꪺ]�ֵ���
�õۤ@�ӼҦ��A�̡‫ڭ‬X�X/��O�Ҧ��H��X�X�O�ۤ���pô�����F�o��; ��ӥ@�ɳ��O�@����N�~�F�
‫ ̬ڭ‬O��N�@�~���@����C�X�X���N���ȥ�Ҧb�L�h����y���C��N�a���[�a�z�Ѥ�ΩM�V�P������A�åB�b�
L�̹ �s��Ǫ��f�����i��b���u�������n�ʡC�L�‫׾‬Ǥ����ΩM�V�P�i��a�ӹ����ΡA�̲`��§���i��O�o�ǷQ�k
������۵ ‫ܧڭ̬ݫݦ‬M���覡���ѤF��|�C��Φ��b�i��̲‫ׯ‬A�Χ‫ͦ ̦ڭ‬b�a�y�Wͦ s����� 줤��U�
‫���[���ܻ�� ̧ڭ‬O�q�C��ǡA�O���̦‫ڭ‬b�۵ M�����M�ӷP�A�w�g�����@�‫ح‬P�R���Y�¬��ʡC���D�O�A�̬‫ڭ‬O�_��
ӥͬ��b�@�ӥѦ���I�I������y���@�ɡ]���p�̪‫��ڭ‬H�өҬ۫H�����ˡ^�H���k�h�X�ʪ��ۤ���@�Ϊ��H��̪‫��ݧڭ‬
��թM����H����̥ͬ‫��ڭ‬b�@�ӥR�����O�B�гy�ʩM�h�ˤƪ��@�ɡX�X��ΩM�V�éҷt�‫�@��ܪ‬ɦ]�������U�ӳ���
O�Τ@���B���i��Ϊ��A�åB����̲‫׶‬W�X�̪‫����ڭ‬i�w��ʱ���H�o��‫�������[���@إ‬t���A���㤣
�L�F�C�@���@�ӵ�‫�׭‬A�¾���Ǫ���b���Ѥް_�F�V�ӶV�h���h�óo�‫��د‬ǡA�֫‫�ܤ‬ӤH������k�A��‫ڤ‬W�|
�ɭP�V�áC�q�F�v���ǡA�H���G�O��ۨ���̤j���¯١C�C�ӸѨM��‫�צ‬G���|���ͦۤv�����D�C���Ǻ
‫���]����ش‬H��N���q��諸�˪L ͪ �ɭP�f�ή`��sͪ �}��� a H�Ϊ��
‫�����ت‬C���ù�e����x��M���ѹq�O��ӤF�U�媺�g�[�üW�[���Q�‫ס‬C�a��믫��R�v John R. Van
Eenwyk ���G�}�a���ǡA�{�b���ǥ����]�O�o��‫��׭‬C��ǬO�_�H�Y�‫ؤ‬覡�ȹL�F��l�H���\
�h��Ǯa���Q�s���]�]�\�O��l���^���Ѥ��y�z����ǡC��N��‫׮‬a�J�Ҵ��P��S�� (Klaus Ottmann)
���o�‫ا‬l�‫ޤ‬O����ƹ�W�A��Ǯa�̪ ��H�Ӥ@���ʥF�M�`���
󤣨���ּ�
�� 47 ��
�b�L�̻�۵
P M���u�@����ı��‫פ‬W���覡�C�Ҧ���o�Ϲ�����Ǯa�o�̮� i
‫��ܪ‬H�M���a�o�{�F�L�̹ �V�éM��ά�s���ֽ�C�@�ǯ��g��Ǯa Paul Rapp �M Gottfried Mayer-Kress
����Ǯa�Ʀ‫��ܨ‬ҵo�q�L��s�P��N�a�i��X�@�C1990
�~�Ҽw����ù�S�p��P���Q�������@���a�d�����P�U���� (Charles Wuorinen)
�X�@�Ч@�h�C���t�ì�L֤ ��� ߡC����P�B�� (Morris Berman)
�b�L��� �ۧ@�m�@�ɪ��A�g�H�n���I�~�@�‫إ‬i�H�N�̪‫���ڭ‬ǡ]�̹‫�@�ڭ‬ɪ����ѡ^��Ƭ���N����ǡC���f���ΩM�V
�P�ҩ�F�o�@�ӿաC���o�˪��D�Ի‫ݭ‬n�@�‫�_ث‬I�M�@�w���i��C�o�N��۩���̱‫�ۤ ���ڭ‬v����O������H��
��ҡ]����DZN�@�ϧ̡‫�^��ڭ‬A�ӬO��̪‫�\��ͬ��ڭ‬椣�i�w��Ϊ��C���N��۹�
‫ ̦ڭ‬b�t�z������m�O��@�w�����C��]���Y�����M�I��ΩM�V�P������N��Ƭ������X�X�Ʀ ‫�ܧ‬h���v�D�q�
X�X�‫��ڭ‬ª����H���[�������C�V�P�Ǯa�ϥ�²�椽������O ͦ �b�p���Wͦ �ʥi �������
ַ‫��|ܧ‬L�̬۫H�H���
‫ڤ‬W�i�H�������ʨôx���۵ M���ʤO�C�L�h���O�o�‫ض‬ƺC�ɭP�500 �̨̨‫�~� ڭ‬ӫd��۵ M�H�A��
‫� ̥ڭ‬J���D���Q�k���g�w�X�X��‫ڤ‬W²�ƤF�̪‫����ڭ‬s�b���@�ɡC��|�H��Ǯa���A�b����q�f�Y��ѭ������
̾‫ܤ��ڭ‬Ƿ|�F²�Ʋ{��H�O���ơC�{�b�A�H�ۭp�����_�A�‫�]�ڭ̦��@�ػ‬㦳�
‫�ب‬N��O�A���O�o�{��ΩM�V�P����^�i�H��Ʀp�����j������ʡA�̥‫ڭ‬i��|�~�H���
‫ ̤ڭ‬w�g�O��b��q��гy������C�o�‫ئ‬M�I�O�u��s�b���C�b 1991 �~ 10 ��m��Ǯɳ�n���@�g�峹��
�A�y�z�F�@�Ӥ@���s�H���X�A�o��������ͺA�t�Φ ۵ M�|
���V�ê��v�T�V�P���o�{���}�F�۵ M�ɡ����š������[��C�L�`���D�G�����u���d��F�q�o�Ӧ�m�U��
��X���L�A�̯‫ڭ‬u���n�����N�O�d�U�o��[�ͺA]��W���t�ΡA�@����|�ܱo�M��C�̭‫ڭ‬n�����O�F�ѳo�Ǩt�Φ 欰
�A�M��̧‫���@ڭ‬H�̥�i H�M�w�̷‫ڭ‬Q�n����A�p��޲z���̾���
A ]�j�ղK�[�^�C�b�@�Ӧ���n���h���W�A�o���Ǯa
��G��L�F���V�áX�X�֬‫ܤ‬O����[�I�C��ΩM�V�P�i�D�ͬ‫������ ̥ڭ‬b��Ȧb�@�ӧ‫ ̵ڭ‬L�k����� @�ɤ�C �o�˪��@
���‫״‬I�M�E�o�F�̪‫��ڭ‬n�_�ߩM�q�ȡA�o�N�O��������N�a�̹ �o�ǷQ�k���X�F���[������C�]�\�b�Y�
‫ص{�פ‬W�̷‫�|ڭ‬Ҧ��H���‫ݭ‬n������N�a�M�V�P�Ǯa�~��@�ϥ��CCODA �Ы‫�ؤ‬ήa�ιq�� �q�����ϧΥ\��û����
‫ܤ‬F�覡�ƾǮa�M��Ǯa�q�ƼƾǩM��Ǥu�@�C19 �@��g�\�ꪺ��H�����{�b�i�H��V�����R���Ϯ
‫ש‬M�C��A��z����G�Ƥ@�‫ؤ‬F�M����Y�M�_����X�ʺA�C�٬ު��O�A�����ιϧη��۬۹��²�檺�
�N�C���F�ϳo�Ǻ}�G���Ӥ���Ӹ`�A�M�ӡA�‫ݭ‬n�ƦʸU���c�������N�ާ@�X�X�o�O�L�B�z��������u�@�Ӥ�
�O�@�ӤH�C��M�����i�H�� ֦ a�����u�@�A��a�x�ӤH�p���]�i�H�Ы��u������ιϹ��C�U���C�X���O�@�
Dz{������Φ����{�ǡX�X�ѥ��̥� i H�B�檺�����Ӳ�´�C�٬��{�u��� �ۤv�ʤ⪺�H�C�X�F�\
�h�q�κ�k���ӷ��C�O�w��ĵ�i�G��N��p���ӻ��i���²��A��p��M�ϧ���‫ܮ‬ɶ���j�_���ι�H�A�p
Mandelbrot �M Julia ���i�H�D�`�i�B�b�C�
‫�ݾ‬W�w�C�C�����U��b�O�W�w�˼ƾǨ�B�z���M�s�@�N�����L�B�z���C�@�ǵ{�ǥΩ�����‫ܡ‬A�@�ǥΩ� 8-
�B16-�B�� 32 ���C��C�аȥ��ˬd�ӳn��O�_�P�z���w��t�m�ۤǰt�C�i�J�L�����`�B�A����I�XDoug
Smith�A1992 �~ 5 �� IBM �� FRACTAL �n��@�ɳn�� �H�U���A�����{�ǡA�i�q Public Brand
Software ��o(PO Box 51315, Indianapolis, IN 46251, 800-426-3475)�A���\���� Julia
�MMandelbrot �]�m�M�Ы‫ر‬z� �ۤv�����N�ϧμҦ��GMandelbrot 1-MA40.0�F�Ҽw����ù�S 2-
MA42.1�F�A�Ω� Windows-MA45.0 �� Mandelbrot�C�ӷ~�p���H�U���Ӧ� Media Magic�]�l�F�H�c
507�ANicasio�ACA 94946�A800-882-8284�^�C
�� 48 ��
��� Grahcs�A���P�n��C�Ω�Ы۵‫ئ‬M�D�q����δX��ø�ϵ{�dzq�L���ЩM��L�� IBM PC �
‫ݮ‬e��H�M��H�X��ϧΡC�ୱ��γ]�p�t�ΡA�‫����ڮ‬Q�A�dzN�X����C�s�P�‫����ڮ‬Q����εL�B���b�奻
�A�o�ӱоdzn��O�u�{�v�B��Ǯa�M��L�ǥͪ��j�j�J���δX��C�Ȧb 5.25 �^�o�ϽL�W�A�‫ݭ‬n EGA �� VGA
�d�B640K RAM�BDOS 2.0�C�]�i�����q�dzN�X������o�A800-321-5068�C�^
Chaos�A�n��AAutoDesk, Inc. A���H James Gleick �Z�P�� Chaos, Making a New Science
���n��]�]��ʤH�^�C�]�A����U�‫�_ة‬ǧl�‫ޤ‬l�ƾǪ���U�C�‫ݭ‬nIBM PC/XT/AT.PS/2 �έ‫ݮ‬e 640K
RAM�C��γЧ@�A�����P����� (Timothy Wegner) �M���J�P���o�ˡC���{�Ǫ��‫ئ‬P�W���y�]5.25
�^�o��L�^only) ���\�Τ�Ы‫�ؤ‬μ���۵ M����X�X����Ӫ��B�H�s�B�s�ߡX�X�@���H�έ��N�Τ�ۤv�Ы
‫����ت‬Ҧ��C���٥ͦ������ΡA�䤤�i�H�ϥΥ]�ˤ��]�t�� 3-D �����[�‫ݡ‬C'Ctools, Bourbaki,
Inc. �@�ӽ���Ω�Ы‫��ج‬R�������N�Ϲ����ϧε{�ǡC�\�h ng �M���‫ۿ‬O���\��C3.5�o�M5.25�o��
‫ص‬w�L�A�‫ݭ‬n�w��PC/XT/AT/PS2�λP 512K RAM�BDOS 2.0 �M EGA �� VGA �‫ݮ‬e�C)urbaki, Inc.
�N�p����‫��ܦ‬Ω󱴴�]�A Lotka Volterra �b���� if
��ƪ��W�������t�����L���{�B�T����ơB��y�k�BPickover's as FRACTALS on Home
Computers�H�� Mandelbrot �M Julia ���H�ΥH�ӧl�‫ޤ‬l�C�n�D�P Fl u �‫ۦ‬PPickover Sampler
Software, Bourbaki, Inc. k �ʤ��j Cliff Pickover ����m��t�ѭp���A�Ҧ��CChaos, and
Beauty (St. Martin's Press)�A���\�Τ��J�ȡA�H�K�‫�ק‬M����U�‫�{�ؤ‬C��γn��MACINTOSH
SHAREWARE �H�U�ϽL�i�b�A�‫��|׷‬M�D�|����q�L Mac Group, Boston Computer Society, 48
Grove Street, WestSomerville, MA 02144, (617) 625 7080�C�|��i�H�q�L���i�U��ӧO�{��-
���Ʒ|�A�ȡCSuperMandelzoom �O�@�Ӷ¥ժ��B�D�`�ֳt���{�ǡA�㦳�u��������L�趥�q���e�‫\��ݤ‬
�b��Υ@�ɤ����P���a�C�‫ؼ‬аϰ�O��‫ܦ‬b�@�t�C��� 󰪤�v �� �ܾ����A���\�����Y��Χ��L�‫�ݪ‬ɶ����
‫ݧ‬Y�i�d�‫ݡ‬C�C�� B: AniMandel: �C�� C: Fractal, MandelColor; �C�� E�GMac II ��ΡF�C��
I�G�Ҽw�ԡF�Ш| B�G��ν��BMandelbrot�BSuperMandelzoom�F�Ш| C�G��ΡF�Ш|
G�GLifemaker�F�Ш| E�G���M�۰ ʾ�G�ϧ� E�G�Ҽw����S�F�ϧ�
E�G����]�k�A��h�V�áC�ӷ~�p���p�U�i�q Media Magic, PO Box 507, Nicasio, CA 94946,
800-882-8284 ��o�C�����ι���ǡCEberhardt �M Parmet�ASpringer �X����C�@�Ӧh�\��B�\
��j�j���n��]���H�֯‫ۥ‬S�‫ک‬M���ƯS���u�����y��Τ���A��Ǥ�ιϹ��M�Ұ��ΡC���v���s��W�[�[�t�F���G�
C�]�A��Υ@�ɪ����� 3-D �a�δ�V�M�C��s��\��C�b�Ҧ� Mac IP �W�H 256
��B��C�Ҽw���q�v�C�ʺA�n��C�i�b�Ҧ� Mac �M��� Mac IP �W���C��A�㦳�����M�Y��\
��H���� Mandelbrot�BJulia ���M��L�l�‫ޤ‬l�C�]�A�ʵe��ε{�ǥH�Ы‫ع‬q�v�Y��M
HyperCard�е{�C�i�H�ɥX�M���L�� PICT ���C���Զ�J��C�ʺA�n��C�ϧ���N�M�оǵ{�DZN�‫ھڥ‬Τ�Ы
‫��ت‬Ϊ 򥻧��Ы‫��ح‬N�Ϲ��]�Ϲ��w�]�t�b�{�Ǥ��^�C�]�A�����Y�\��C��Χl�‫ޤ‬O�A��M�쮦
�A�dzN�X����C�@�ӡ�� �ۤv�e������ε{�ǡG��J�@�Ӥ�ø�]�p���f�Ψ����ܴ��b�t�@�Ӥ��e�{�C�b Mac
Plus �Χ󰪪����W�B��A�åB�bIP �W���C��C�ୱ��γ]�p�t�ΡC�‫����ڮ‬Q�A�dzN�X����C�b Mac Plus
�Χ󰪡C�аѾ\ IBM �����C��X������ ֡ C�c 219, �tCristobal, NM 87564�C�M��Ф�ζ�M�_�ǧl�
‫ޤ‬l���ɨƳq�T�C��N�x�}�C���ʭq��Box 880, Ithaca, NY 14851�C���y�B���W�B���B�‫ۿ‬O��M T �򪺥
‫�ؿ‬C�o�{ Apple �лx�G�j�áP��B�� (David Thornbury) ��۵ M��N�M�Ϯ
‫����ת‬С]���ĽѶ�{�p�B���GAddison-Wesley�A1983 �~�^�C��� Apple He's �M Commodore 64s
��֦ ���� LOGO�A���Ѵy�z�F�\�h�i�Ω�Ы ‫�ؤ‬Ϊ����k�ϧ�
�� 49 ��
�۵ M�@�ɨϥ�²�檺�����t���R�O�C�‫�ܩ‬Ǧh�G��‫��|�ڪ‬x��N�B��ǩM�޳N�M�~�A672 South Van
Ness, San Francisco, CA
94110�C�u�Z�A�ά�ǩM��N���������D���X�����A�]�A�V�P�B��ΥH�Υ��̻�� P ı��N�M�� �֪����Y�C��
�N�X��w���CAK�A���p���T֡ ��� A�m��Ǭ��H�n253�F1987 �~ 7 ��F1989 �~ 2 ��C���šC�
‫ڧ‬J���A���Τ�δӪ��s�M�ˤj�۵ M��ˡ��AMacUser�A1989 �~ 3 ��A�� 213-25
���C�гy�a�έp���W����� �E 183 ��^�m�̪ ��ǰO Juan Acosta-Urquidi �O�趮�ϵ
‫��ز‬y�j�Dz���t������A�‫��ز‬y�C���۵ M��v�ժ��]�������󤤥�����誺�� 79 ��ì�CPeter Anders �O�ì�
Kiss Cathcart Anders ���‫ؿ‬v�v�C��g��Bacon �O�[�Q�֥��� Ȧ{���W�����@�W������N�a�A�L�P
Gottfried Mayer-Kress �X�@�V�ê��p���Ϲ��COtto Baitz �O�@��
‫ؿ‬v�M�Ǥ��]�p��v�v�s�A��{�p�w�Z�J����ƳB�CPer Bak �O���|
�J����a����Ǫ����Ŭ�Ǯa�ì�̴��y���z�t����ǡC�‫ڧ‬J���‫����ڮ‬Q�O���z�Ǯa��v�Ȳz�u�ǰ|�æb��ꦨ�
ߤF�
�ۤv�����q Iterated Systems, Inc.��v�Ȧ{�էJù���C�‫ڧ‬J���P�‫( �ڸ‬Michael Batty) �O�ì�{�
ߤj�Ǧa�z�DZб¤��CEdward Berko �O�@��~��b�ì���ı��N�a�C���o�P���|�\
���A��̡A�O����~�e�a�A1520 �~�H�X 1569 �~�C�J���������P�B�J (Christopher Burke)
�O�ì�J�ĹF / �B�J (Quesada/Burke) ����v�v��J���CScott Bums �O��Q�ե�j�dzq�Τu�{�Ʊб¦b�̤
‫گ‬ǭ��b�CJoe Cantrell �b�ӥ��v��_��N�ǰ|�б���v�X�ǩ��{�i�S��CLoren Carpenter
�O���[�Q�֥��� Ȧ{���h����� �֧ J���ʵe��Ǯa�C��v��ǻ���æ���
󫢦�Ǥ� �߰� ��ĽѶ�{�C��j�ǡCLilia Ibay
ͬde Guzman �O�Ӯժ���sͬ �A �~�/ �A �~�A �w �{ ������������
‫�|�]ڧ‬骺�e��|�
‫ء‬B��ǾǩM�Ͳz�Ǭ�s�C�����
󰨨�{ �i ���a�y�[��ìP���q�t�d�B���� LANDSAT
���P�ìP�A�Ω�b���y�d����P�M�P�� LANDSAT �ƾ ‫ڡ‬CFidia Research Laboratories ���N�j�Q��
‫ڿ‬ծ��C�‫ڧ‬J�Ẹ�w�O�@��б¿D�j�Q�ȱx���j�ǼƾǨt�CDeborah R. Fowler
�O�@�W�դh�C�ǥͦb�[���j����Ǥj�ǡCWalter J. Freeman �O�Ͳz�Ǩt������-
�[�{�j�ǧB�J�Q��ժ��ѭ�ǡC�պ��I�ǬO�դh�C�ǥͦb�[���j����Ǥj�ǡCCarlos Ginzburg �O�@��~��b�
‫�����ھ‬εe�a�C���w�RGlenn �O�ե����c���ߪ����W�s�@�M�a�C��F�w�Ŷ����
ߦ����{
󰨨� � � ��L�����S�C��dzդh Ary Goldberger �O���j�Ǫ���ǰƱб«�����ǰ|�M�߹q�ϥD��A� �߫
ߥ��`�p�X�D���ĽѶ�{�i�h�y Beth Israel ��|�ߦ�ެ�����ǡC: ���� H.Golden
�O����a��v�M��v�����u��Ǯa�줽�Ǫ����Ů�H�Ǯa�C�‫��ز‬y�S�ϬF�� ORS ���ǰO Martin Golubitski
�O�‫��ڪ‬б¥𴵹y�j�ǼƾǨt�CCelsoGrebogi �O�@��б°�����j�� Ci i [e Park
����l��s����ǡA�H�ΰ�����j�DzV�P�p�աC�‫�ڤ‬P�樽�� (Owen Griffin) �O��x��s���
ߪ��@�W��s�H��‫��ز‬y�S�Ϫ������ Margaret Grimes �O�����N�t���б±d�I�f��{�
ߤj�ǡC�o�b�ì��Ťs�e�Y�i�X�o���e�@�����CDavid B. Grobecker �O Kailua Kona GA1A
��v��s�Ҫ���ǥD��A�L�¦i�CJames Hanan �O�[���j����Ǥj�Ǫ��դh�͡CMB Hautem �O�@�ө~��b�
‫�����ھ‬v�v�M�e�a�C�F�����P������ (Daryl Hepting) �O�۴��j ͨ �Ǫ��Ӥhͨ �Ǧb �[�j ������
CJohn
A. Hoffnagle �O���[�Q�֥��� Ȧ{�t��몺 IBM ��s�|�����z�Ǯa�C�����_�N�]1760-1849�^�O�饻
�e�a�M���e�a�C�L�Q�{���O�䤤���@���찶�j���B�@ø�j�v�M�D�ɳo�@��쪺
�s��e���Щl�H�b�̫� ᶥ q�Φ��CLawrence Hudetz �O�@��~��b�X�ǩ��{�i�S�����v�v�C�դh�CEugenia
Kalnay �O��a��v�M�j��o�i�q�q��‫��ز‬y�S�ϰ�a��H���޲��ߪz���� Nancy Knight
�O����a�j���s����/��a��ǰ��|��s��
�� 50 ��
��ù�Ԧh�{�պ��w�CEL Koschmieder �b�w�J�Ĵ��j�Ƕ�Ť�ե�Фu�{�ǰ|�M�έp�P��O�Ǥ�� ߡCKamala
Krithivasan �O�@�ӦL�‫��װ‬w�Դ��L�‫ײ‬z�u�ǰ|�б¡Cù�B�S�P��樽�_�P�[�{�j�ǭp���ϧι���ǡCEve A.
Laramee �O�@����N�a�b�ì�C�·G�P�ܷ�i (William Latham) �O IBM
�b�^���Ǥ����٧U����N�a�~���p�Ź�S�CJohn Lewis �O NEC Research
���p���ϧξǬ�s��s�A��{���L���y��s�ҡC����w�P�L�n�‫( �ں‬Aristide Lindenmayer) �б©M�z�
‫�׬‬sͪ �t�d�H1989 �~�h�@�ɡA�L�b����Q�o�Ǥ�j����oͪ �dz �h�ǦդC�R�w����
Lorenz
�O��H�ǩM���z��v�Ǥ��ߪ���H�Ǯa�C�¬‫ٲ‬z�u�ǰ|�CDavid Mai
�b�^�D�Ѥ�x�u�@�A���D�j�Q�ȮJ�����J������ǡC������P���w���]Mario
Markus�^�O���J���P���ԧJ��s�Ҫ����z�Ǯa�b�w��h�S�X�w�CGottfried Mayer-Kress �b Sante
Fe ��s�D�u�ʰʤO�Ǭ�s�ҡCWilliam A. McWorter, Jr.�A�X��X�{�ߤj�ǼƾǨt�б¤j�ǡCPaul Meakin
�O������o������s����S�Ե‫�{ئ‬º���y EI DuPont de Nemours & Company, Inc. �����篸
�C�аOMeier �b��ù�Ԧh�j�dzպ��w��ժ��_���M���s��s�Ҥu�@�CNachumae Miller
�O�@��~��b�ì��e�a�C���J�����b��_�‫��ز‬y�{�趮�Ϫ����Y���ߡC�v���� D.�‫����ں‬P���
‫�ث׮‬Ŷ�����
ԫ�ù �� F�{�ߤj�Ǥ��ʤp�աC����a��ů�ѧ��F���o�g�F���̤���
@ A�b 1979 �~�M 1980
�~�J��F��P�M�g�P�C���� 2 ���� 1979 �~�J���P�A1981 �~�J��g�P�A1986
�~�J��Ѥ�P�C�^�m�̶ǰO �E 185 ��a��g��s�Ҧ�󨩶봵
�F�A������{�C��a��ǤѤ�x���ȧQ�ᨺ�{�ϴ˥��C��a���j���ɹ���Ǧ��X�J�Բ�{�հҥ��C�‫ڧ‬J���հҬO���骫
�z�Ǯa������Բ��a����ǡC�L���b��Q�ե�j�ǨϥζW�ŭp���Urbana-Champaign ����P�‫ڼ‬Q�y���欰
�COffice National D'Etudes et deRecherches Aerospatiales
���k��F���áC���o����q�b�ì�z�u�ǰ|�A�p���ϧι���ǡCClifford A. Pickover �O IBM
���@�W�u�@�H����ì��J�����a�� Thomas J. Watson ��s���ߡC�j�áP���c�q (David
Plummer)���‫��ز‬y�S�Ϫ���a��H���� Przemyslaw Prusinkiewicz �O�@��б¥
[���j��B��٥d���[���j�ǭp����Ǩt�C�񺸡P�‫����ڤ‬O��d�I�f��{�ߤj����N�t������CPE Rapp
�O�@�ӻ��i�k������ǰ|
�Ͳz�Ǩt�б¡Cù���ȱq�t�J�������˺��X���F�@��ɨƳq�T�A� � ֡ ]�P�O���ΩM�Ҽw����ù���^�A�s�����CPe
ter Siver �O�d�I�f��ǰ|�Ӫ��Ǩt������C�D��Smith �ϥΦh�C��޳N����dzժ��]�}�o�椬���
�Ǯi����U�a�C�L��b�i�h�y�CHomer Smith �O�����ĥd�� Art Matrix ���p�X�Щl�H�A�ì�CAllan
Snider �O�[���j����Ǥj�Ǫ��Ӥh�͡C�캸�P�ı�ȬO�k���� ꨽�v �d�ǰ|
����s���z�Ǯa�C�������ť��O�б¼w�J�Ĵ��j�Ƕ�ūD�u�ʰʤO�Ǥ��ߪ����z�dzդh�C�S���FTavernise
�O�~��b���ĽѶ�{������‫ۥ‬Ѵ��e�a�CGJF van Heijst �O�Q�o�Ǥ�j�Ǯ�H�P��v��s�ұб²���CManuel G.
Velarde �O���w��� �۪v�j�Ǫ����z�DZб¡CAndreas Vesalias (1514-1564)
�O��Q�ɸѭ�Ǯa�A�Q�{���O�{�N�ѭ�Ǫ�����H�C�L���D�n �ۧ@�O��De humani corporis fabrica
libri septem���CBritony Wells �O�@�i��v�@�~��d�I�f��{�ߤj�Ǿǥ͡C�R�w�‫ء‬P�����y (1886-
1957) �O���H����F�W�L 75
�ӳ�H�i��åB�O�X���@�~���@�̪ ���v�v��v���y�C�L���@�~�O�s�b�ϴ��d���зN��v���ߡA�ȧQ�ᨺ�CArt
hur Winfree �O�ͺA�P�i�ƥͪ��Ǩt������ȧQ�ᨺ�j�ǡCJack Wisdom �O�¬‫ٲ‬z�u�ǰ|�����z�DZб¡C�
޳N�CLewis R. Wolberg, MD�A�O�@��b�ì��~���‫ۦ‬W�믫
�f�Ǯa�A�M�@�̷L��N�G���å@�ɤ�����N�Ϲ��C�L�� 1988 �~�h�@�C Jerome J. Wolken �O�@��
�� 51 ��
�d�����j�ǥͪ���Ǩt�б¡CNT UTORS'�ǰO��ij�\Ū����ΡB�V�P�M�ۧ‫�ڬ‬Ǫ����y�㦳�D��ǭI����Ū�̪ ��‫�ۦ‬B
John �M F. David Peat�C��y��G�V�P�z�‫ש‬M����ʬ�Ǫ��ϸѫ�n�C�{�b����J�G���Ĭ_�L���A1989.
�[��ȡA�Y�F�C��α���̡C�[�Q�֥��� Ȧ{�t�J�|���GDynamic Press�A1991 �~�CGleick,
James�C�V�P�G�гy�@��s��ǡC�ì�G��ʤH�A1987 �~�C������A�‫ڧ‬J���C.4/! ��Τ����GA�ϧΩM��v�
‫�פ‬C�[�Q�֥��� Ȧ{�p�w��w���GAddison-Wesley�A1991 �~�CPeitgen�C��A�M P�CH.
���ƯS�C��Τ���G����ʤO�t�Ϊ��Ϲ��C�f�L�G�I���L��-�X����A1986 �~�C�B�����CClifford A.
Computers, Pattern, Chaos and Beauty: Graphics from an�
‫�@������ݤ‬ɡC�ì�G�t���B�X����A1990 �~�CPrigogine�BIlya �M Isabelle
Stengers�C�R�O���X�V�P�G�H�P�۵ M���s��‫ܡ‬C�ì�G�G�}��A1984 �~�C���Ϻ��S�A�쮦
�C���S���W�Ҫ���l�G�V�P�ƾǡC���ĽѶ�{�C��G�‫�گ‬P���‫ܧ‬J�º��C1990. ��ij�\Ū' 187 �Ϥ�ӷ� �� 13
ͪ���GJoe Cantrell ���Ӥ�C�� 14 ���GPeter A. Siver�ATheMallomonas ͪ �ǡG �κA�ǡB�������
\v
�M�ͺA�ǡ]Kluwer Academic Publishers�^�C�� 17 �� ��a��ǤѤ�x�C�� 20 ���G�Où�P�̪ �C�� 22-23
���G�����洵�C�� 26 ���G����a��ů�ѧ��A��F�w��Ѥ��ߡC�� 29 ���G�Ƿ���P�̰ ǡC�� 31 ���GPE
�Դ��C�� 33 ���G�g�a�y�[��\�i�ƨ��갨����{ Lanham �ìP���q �� 36 ���G���v�Ҧ� R 1992
Lawrence Hudetz�C�����O�d�v�Q�C�� 37 ���A�����G�L��N�]�ì�GHarry N.�㥬
�ԩi�����q�^�C�� 37 ���A�����GJuan Acosta-Urquidi�C�� 38 ���G�j��
B.��ù���J�A�\�Ȯ�x���Զ���s�ҡA��ǡA�L�¦i�C�� 39 ���A�����GBill Quinell �M Brittony
Wells ��C�� 39 ���A�������ϡG�L��N�]�ì�GHarry N. Abrams, Inc.�^��dzդh Lewis R.
Wolberg ����C�� 39 ���A�k�U�GMichael Barnsley�AFractals
Everywhere�]�t�a�ȭ�G�dzN�X����A1988 �~�^�C�� 40 ���G���v�Ҧ� c 1992 Lawrence
Hudetz�C���v�Ҧ��C�� 41 ���G����աP�쨩�P�w�P�j��ҡAUSDS/ARS�A�e��|�‫�ؿ‬ǾǩM�Ͳz�ǹ���ǡC1157
Ben Hur Rd, �‫��|�]ڧ‬,LA 70820�C�� 44 ���GJennifer Bacon�A�Ӧ� Gottfried Meyer-Kress
���a�ϡC�� 46 ���GPer Bak�C��47�A���G���a��լd�� (Mark Meier) ��C�� 47 ���A�k�GMark
Moore�A��_���Y���ߡC�� 50 ���GDavid Malin ��A���v�Ҧ� c Ango-Australian
Telescope���Ʒ|/�b�겣���q�v�C�� 51 ���A�����G�Ѿ�v��ǻ���ô��ѡC�� 51
���A�����G����a��ů�ѧ��C�� 52 ���G�ǧJ���z�C�� 53 ���G�����ů�ѧ��C�� 54
���G����a��ů�ѧ��C�� 56 ���A���G����a��ů�ѧ��C�� 56
���C�k�G��a���g���@�ǷӤ�ɹ���ǡA��a��v�M�j��޲z���C�� 57
���A�����G�Ӥ�Ѱ�a�j���ɹ���ǡA��a��v�M�j��޲z���C�� 57 ���A�����G�� Edward N. Lorenz
ͦ �u �C� 59 �GNancy Knight �A�a �������������
ߤj���s�A��a��ǰ��|�C�� 60 ���G�j�áP���c�q�M�
‫�ת‬g��Kalnay�A��a��H���ߡA�o�i�q�C�� 62 ���G���a�y�[��ìP���q�\�i�A��갨����{��i �� 63
���G���vc 1992 �ҭ ۴��P�J�w��C���v�Ҧ��C< 04 �M�� 65
���A�����G�·G�P��J�U�S�C����GPrzemvslaw Prusinkiewicz �M Kamala
Krithivasan�A�GMcWorter�C�� 67 ���A�����GJoe �᧢�S�p���C�� 68 ���A�����GDaryl
Hepting �M Allan Snider�A1990 �~�C�� 69 ���GTiana Glenn�A�ե�����󳡪���ߡC�� 70
���G�񺸡P������ (Bill Quinell) ���Ӥ�C�� 74 ���GC.
Pickover�B�p���M�Q���]�ì�G�t���B�X����A1991 �~�^�F�M
Pickover�B�p���B�Ҧ��B�V�P�M��e�]�ì�G�t���B�X����A1990 �~�^�C���v�Ҧ��C�� 76
���G��P�v�K���A��N�x�}�C�� 77-80 ���A�����G��v�K���A��N�x�}�C�� 79 ���A�����GRollo
Silver�A��֡ A���l219�A�s�����{�t�J�������˺��A87564�C�� 81 ���G��v�K���A��N�x�}�C��
84 ���G��� �ۡP�d�^�S�C��85�GMichael Batty ���Ӥ�A����ΡG��‫������פ‬X�󡨡ANew
Scientist�A�Ĥ@��C105�A�S���C1,450�]1985 �~ 4 �� 4 ��^�G31-35�]�� 34 �M 35
���W���Ӥ�^�F�M�‫ڧ‬J���P�‫��ڸ‬A�L�p���ϧξǡG��N�]�p�M�зN�‫ؼ‬ҡA�]�۴��GChapman & Hall,
Co.,1987�^�C�� 86 ���A�����GPrzemyslaw Prusinkiewicz �M Aristid
Lindenmayer�A1987�C�� 86 ���A�����GMichael Barnsley�AFractals
Everywhere�]�t�a�ȭ�G�dzN�X����A1988 �~�^�C�� 87 ���GPrusinkiewicz�A1986�C�� 88
���A�k�GPrusinkiewicz �M Norma Fuller�A1990�C�� 88 ���A���GDaryl
�� 52 ��
Hepting �M Przemyslaw Prusinkiewicz�A1990 �~�C�� 91 ���GPeter Oppenheimer�A�ì��s�ҧ
޳N�A�p���ϧι���ǡF��� Haresh Lalvani �� Raspberry �� ‫ټ‬ҫ��C�� 92 ���G��P�B��C�� 94
���G�g Mike Field�]�D�j�Q�ȱx���^�MMartin Golubitsky�]�w�J�Ĵ��{�𴵹
y�^�C�o�ǹϤ����٩ʼv�T����s���V�P�ʤO�ǡC�� 95 ���A���GPeter Oppenheimer�A�ì�z�u�ǰ|
�A�p���ϧι���ǡC�� 95 ���A�k�G�_�w�C���C2A 5144�F�Ϯ��]��§���A�ȡA���۵ M��v�ժ��]�C�� 96
���A�����GEL Koschmieder�A�i�i�ƾǪ��z�ǡ]�ì�GJohn Wiley & Sons�A1974 �~�^�C�� 96
���A�����G�s�@���Ϥ�MMG Velarde �б¡]��Z��^���ѡC�Ϥ�X�{�b Milton Van Dyke, An
Album�y��B�ʡ]���Z� ֡ G�ߪ��u�X����A1982 �~�^�F�b MG Velarde �M Christiane Normand
���A����y���A�m��Ǭ��H�n�A1980 �~ 7 ��C�� 97 ���GRobert
Langridge�A�p���ϧξǥ[�{�j���ª�s��չ���ǡC�� 100 ���G���v�Ҧ� c
1992�ҭ ۴��P�J�w��C���v�Ҧ��C�� 101 ���A�����G�g�a�y�\�i����갨����{��i�[��ìP���q��
101 ���A�����G����갨����{��i�a�y�[��ìP���q���\�i �� 102 ���A�����G���v�Ҧ� c 1992
Lawrence Hudetz�C���v�Ҧ��C�� 102 ���A�����G���v�Ҧ� c
1992�ҭ ۴��P�J�w��C���v�Ҧ��C�s��� 103 ���GJoe Cantrell ��A�� 104
���C�����G���v�Ҧ� ? 1992 Lawrence Hudeti ah ���v�Ҧ��A�� 104-105 ���C�����G���v '"
1992�ҭ ۴��P�J�w�J���C���v�Ҧ��C�� 106 ���A�����G���F�����y�񡨡C�_��C1937";�Ӥ�� Ed
ward Weston ����A���v B 1981 �зN��v���ߡC�ȧQ�ᨺ�{���Ʒ|�� 106 ���G���v�Ҧ� c 1992
Lawrence Hudetz ���v�Ҧ� �� 108 ���G1978�Ӧ� AT Winfree ����Ǫ��Ӥ�C�� 109 ���GJerome J
Wolken �� 110 ���G��a��ǤѤ�x�C�� 111
���C�����G������P���w���C���J�����ԧJ��s�ҡA�h�S�X�w�A�w��C�� 111 ���A�����GJoseph
H. Golden �դh�A��a��v�M�j��޲z���� 1H�C�W�ϡG�����洵�C�� 113
���A�����G����a��ů�ѧ���F�C�� 114 ���GJ. Sommeria�CS. Myers �M HL Swinney�A�� 116-
117 ���j�ǡG��P�����洵�A�Ӧ‫�ۥ‬P��d�������W�C�� 118 ���G����a��ů�ѧ��C�� 119
���G��P���S�p�� (Joe Cantrell) ��C�� 120 ���GC.
Piekover�A�p���M�Q���O�]�s��J�G�t���B�X����A1991�^�F�M C. Piekover, Computers,
Pattern, Chaos, and Beaun (.New��J�G�t���B�X����A1990 �~�^�C���v�Ҧ��C�� 121 ���GC.
Piekover�C�p���M�Q���]�ì�G�t���B�X����A1991 �~�^�F�M C.
Piekover�A�p���B�Ҧ��B�V�P�M�ծ��]�ì�G�t���B�X����A1990 �~�^�C���v�Ҧ��C�� 124 ���GA.
Yesalias�]1514-1564�^�C�� 125 ���A�����G��a��g��s�ҡC�� 125 ���C�����GFidia
��s����ǡC�� 126 ���GAry L. Goldberger �դh�C�� 127
���G�J���������P�B�J�A�J�ĹF/�B�J�A�ì�C��128�G�g�U���S�P�����ҩM�m��Ǭ��H�n�\�i�C��
129 ���C�����GC. Piekover�C�p���M�Q���O�]�ì�G�t���B�X����A1991 �~�^�F�M C.
Piekover�A�p���A�Ϯ‫ס‬C�V�éM���R}-�]�ì�G�t���B�X����A1990 �~�^�C���v�Ҧ��C�� 129
���A�����GC. Piekover�CComputers and the Imagination�]�ì�GSt. Martin's Press.
1991�^�F�M C�CPiekover�A�p���A�Ҧ��C�V�ûP��]�ì�G�t���B�X����A1990
�~�^�C�Ҧ��v�Q�w�q���C�� 132 ���G�‫ڧ‬J���P�հҡC��Q�ե�j�ǡC�� 133 ���GNASA �Ӥ��Owen M.
Griffin�A��x��s����ǡC�‫��ز‬y�CDC Pages 134 136�A�����Ӥ��GJF �ѥ]�� 1 �I< j
(����Q�o�Ǥ�j��) Pages 134 136, bottom Office NationalD'Btudes el do Recherches
terospatiales�C�� 1 �� 3d Copyrigl I nee Hudetz Ml ���v�Ҧ�����139 Jerrold E
Marsden, Foundation of Mechanics (Reading, Mass Iddison-Wesley, 1978)�A���ϳQ���sø�s
bj Lucinda Tavemise�C�� 140 ���F�‫ڧ‬J���P�‫����ڮ‬Q�m�L�B���b����Ρn�]San Diego Acs
demic Press�A1988 �~�^�� 111 ���A�����GJoe Cantrell ��C�� 141
���A�����G��v�K���A��N�x�}�C�� 142 ���A�����GC. Piekover�AComputers and the
Imagination (New York Si���L���X����C1991); �M ('. Piekover, Computers, Pattern.
Chaos, and Beauty (New York: St.���B�X����A1990 �~�^�C���v�Ҧ��C�� 142
���A�����GCelso Grebogi�A�j�ǰ�����V�P���ΡC�� 143 ���G��v�K���A��N�x�}�C�� 144
���A���G��v�K���A��N�x�}�C�� 144 ���A�k�GC. Piekover�AComputers and the
Imagination�]�ì�GSt. Martin's Press�A1991); �M C.
Piekover�A�p���B�Ҧ��B�V�P�M��]�ì�G�t���B�X����A
�� 53 ��
1990�^�C���v�Ҧ��C�� 145 ���GJohn A. Hoffnagle�C�� 149 ���F����S A. �B�����C�� 150-
151 ���GC. Piekover�A�p���M�Q���O�]�ì�G�t���B�X����A1991 �~�^�F�M C.
Piekover�A�p���B�Ҧ��B�V�P�M��]�ì�G�t���B�X����A1990 �~�^�C���v�Ҧ��C�� 153
���GMario Markus�A���J�����ԧJ��s�ҡA�w��h�S�X�w�C�� 154
���G������P���w���w��h�S�X�w���J�����ԧJ��s�ҡC�� 155
���G������P���w���A���J���P���ԧJ��s�ҡA�w��h�S�X�w�C�� 159 ���G���v�Ҧ� c 1992
Lawrence Hudetz�C���v�Ҧ��C�� 160 ���G���v�Ҧ� c 1992 Lawrence Hudetz�C���v�Ҧ��C��
163 ���G�����R�S�P��‫ܩ‬i���C�� 167 ���G�d�����P���B��C�� 168 ���GEdward Berko�A�쪩
�o�A48" x 36" (122cm x 91 cm)�A���v�Ҧ� c1991. �ͱ����ѡG�ì�p�H���áC�� 169
���G�m���A�Φ��n���@�ӡA�ѫ·G�P�ܷ�i (William Latham) �Ы‫ء‬C�b�^��Ź�S�� IBM �^���Ǥ��
ߥͲ��C��170�GMB ���� �� 171-172 ���G�‫ؿ‬v�G���o�P�w�w���C�Ӥ�G��P����C�� 173
���GHokusai�A�Ѭ�P�����洵���ѡC�� 175 ���G���o�P���Ǯ�]Pieter
Breughel�^�A��̡F�����ξ�ì�j���|��N�ժ��]�C�� 176-177 ���GEve A. Laramee�C�k�v�Ǥ� �E 1
89���骺���X��O���ϡC�D�w�C33, 101 ��Ԫe�C33 Ħ��C14 �~�P�H�C92�w�w���A���o�C171-72
�u�ʪ��A36-41�C37, 38. 40. 41 ��, 115, 119-20 �i��, 37-41, 117,120 ���X�A89 ���A37,
40, 119 ��ı�A171-72 �t�����ΰʪ�?��A105�Ϫ���M����, 88 Apollo, 16 Apollo II, 118
Architecture, 65, 170, 171-72 Argo Merchant,133 ��N, 27-31, 158-64, 166-78, 180
ͪ �ѧO, 129 �D �, 156, 169-70 �����
Ӧۤ�Τ�{, 44, 148�X 156, 169, 170, 174, 178 �����,
148-49 ���W�h��, 158 ø�e, 27-28,29, 158, 164, 167, 168, 173, 174, 175, 176-77
�ϬM�b, 173, 174, 175, 176, 177-78 ��ǩM, 32-33, 44, 80, 180- 181 �J��, 32-33, 158,
169, 177 �174
۬ ,172 ,149,168 -148 ,89-88 ,30 ,�‫� ۦ‬ө_�Ǫ��l�‫ޤ‬l�A166, 172 �ӹ��-
�V�P�V�X��A94 �Ӵ�y�A136 ���٦���v��N�x�}�A80, 81, 123 �p��P�a�A52, 54, 138
�Ѥ�ǡA49-54 �W�V�̤‫ڭ‬Ӷ��t, 17, 50, 110, 132 �̪‫��ڭ‬Ӷ��t, 47, 49-54, 51, 53, 54, 138-39
�۶ ʤƹL�{, 109-12, 109, 110 �t�����X���Y, 47 in mythology, 16'/.. Agnes, 126-27rd,
Gaston, 73 Bak, Per, 46 �s�[���
԰ , 101 �X�l, 143 ���\�ܿ��Y�N�� (Siver), 14
Barnsley,Michael, 39, 86-87 Beauty of Fractal, The (Peitgen), 178, 183 bees, 41
beetles, 37 Belousov, Boris,110 Belousov-Zhabotinskii (BZ) �ƾǤ��, 108, 109-10, 109,
111, 141 Berko, Edward, 168�B�ҡB����A181 �ӹ�]��ҡ^�A10 �Ӥ�e�I�A112 �ӥͪ��κA�A120
�����A115 ����Ҧ�, 119-20 Blind Watchmaker, The (Dawkins), 115, 117 Book of Changes,
147�i�h�y��y��, 36 �j��, 125, 128, 171-72 ���q�ϹϹ�, 31-32, 31 Braque, Georges, 177
�^��H��ǫP�i��|�A133 British Columbia�A47 Brookhaven National�����, 46 Brueghel,
Pieter, the Elder, 175, 176-77 Brussels, Free University of, 126 Burns,Scott, 32,
149-50 ���i�w��������, 143 Calgary, University of, 86, 87 Cameroon,33 ����ӭM�A125
Cantor�AGeorg�A67 Cantor �ǹСA67 Cantor set�A66 Cantrell�AJoseph�A13�B28�B102-3, 103
carp, 119 Carpenter, Loren, 84 cauliflower, 70 �j�ǫD�u�ʰʤO�Ǥ��߼w�J�Ĵ��{�A114 ��|
�A�Où�A169 �E�o�A�‫ܧ‬J�A101 �V�áG�N�y���y��A12 ��w�q�����21 ,�‫� ת‬t���S�w�D�D "Chaos
Fractal 1985-86" (Ginzburg), 167 �ƾǤ��, 108,109-10, 109, 111, 141 Chemung River, 62
Chen, Kan, 46 ����e, 166, 178 Chinese���, 16, 142 ����, 16 �`��t��, 127 ���, ���Ѯ�,
118�_�Ǫ��l�‫ޤ‬l, 104-5 ��u, �L��, 62-63, 63, 70 Columbia Gorge, 36 Computer�ì�z�u�ǰ|
�ϧι���ǡA90 �x�p���A�a�ΡA�b 182-83 �W�Ы‫��ؤ‬Computers, Pattern, Chaos and Beauty
(Pickover), 154, 183 Computers and the Imagination(Pickover), 154 Conrad, Joseph,
131 Cornell University, 80 creative process, 28, 37-38 Creutz,�‫ڧ‬J���A46 ��ʡA39
�ۭ���A112 �F����A�d�����A35�B37-38�B39�B108�B115 �D��A�z�d�w, 115, 117, 120 �åd��,
�Ǥ�, 138 �f��16 ,�‫� ״‬e�f, 69, 125, 127 DNA, 19, 97God Play Dice: The Mathematics
of Chaos (Stewart), 43 Dorn, Alfred, 93 Earth Observation�ìP���q (EOSAT), 62, 101
�a�_, 112 �߹q�� (ECG), 126���q�� (EEG)�A31-32,37 �q�ϳ�A142 Emerson�ARalph
Waldo�A37�i, 17, 108 ���w�o�@, 110, 126-27 Escher, Maritus, 166 �‫ڴ‬X���o�X��, 24-
25, 57,62, 64, 90 ��N�A175, 176-77 �z�Q�ơA158 ��v�A161 �‫ڬ‬w�A51 �‫ڬ‬w�����Ѯ 𤤤ߡA59
Eustis�AMark�A62�A101 �i�ơA37-41�A117�A120 ���X�A
�� 54 ��
89, 109-12, 109, 110, 112, 176 �ƾǹL�{, 109-10 �b�H��, 125, 127-28
�b�ƾǡA�Ѩ����N�M�D�u�ʤ�{�t�P���A116-21, 117, 118, 119, 121�F�ӫ‫ש‬M�A19-20 ����A95
�n���A107 �ө_�Ǫ��l�‫ޤ‬l�A139-40 ���W�A116�A117 Fidia Research Laboratory, 125 Field,
Mike, 95 ���, 109 ��, 37, 40, 119 Flash Art, 73�a��, ����, 121 ���|�L�{, 133,
134, 142 �Ѯ�, 60, 143 ���~���, 144-45 �֯S,Joseph�A10 ���˪L��a�A69
�Ӥ�Τ�{�A�Ѩ����N�M�D�u�ʤ�{��δX��of Nature, The (Mandelbrot), 71 ��ΡG�N�y���y��A22,
61, 66 �w�q�A22-23, 71 ���٦�������D����κ�(Berko), 168 Freeman, Walter, 128,
171-72 �쳽, 38 16-17�‫ڪ‬e, 101 �a���, 67, 100, 112, 141 �t�����[,
��γ�v�Ȳz�u�ǰ|,��v�Ȳz�u�j�ǡA10 � ‫��ګ‬A39 ����A�d�����A167�A178 �B�t�A47 ��w���w�z�A27
��w�B��C�@�ӡC�‫�ڤ‬c����C���B�A95 �y��S���j�а�C��166�� 51 ��þ�y���‫ܡ‬A16 ��
‫ܩ‬i���A�X֮ ��
|�B�A�N�‫ؼ‬w���N�CGH�C147 �����w��ǰ|�C126���ξ�CThe" (Brueghel), ITS
Hautetn�CMario Benedicte�C170 ��Ŧ�A�H��C110. 126, 129Herach* HUbert ���u�A64 I
Hokusai�Cf73 ����‫ס‬C21��N�C148-49 ���w�q�C24 ��y�M�C134 �b�Ѯ�C140 �𴵹
y�C�j�ǡC���B�w�C��A�‫��ڪ‬J�w��C�ҭ ۴��C101-2�C104-5�C186,161, 164 �H�� 71 12 IX
�I���V�ê��C110-12�C126-27�C171-72 �Y�p�C120���_�ǧl�‫ޤ‬l�C31-32, 31, 120. 128
�DzΧζH�C124 �� svmmetrv �M�V�P���V�X��A93- 98, 95. 97 ��i�s�C52 IBM�C22. 46. 74.
S4�C121. 129. 142. 143. 154 IBM �‫ݮ‬e�p���A�b�W���Ы‫�ؤ‬ΡC182�y�B�s�C47 1 �M�C147
��Q�ե�{�C�캸�‫گ‬Ǥj�ǭ 쳥�C".32. 132. 149 ��۵ M, ���, 84-92, 84, 87-89, 90-91, 92. 95. 97
�K�̨�
t ΡC126-27 �L�‫ס‬A16�B65�C139 �‫��ة‬ΡC37. 41. 109 ����C121 �H�f�C144-
45"���Φ����]�ܷ�i�^�C169 ��H�M��v��s�ҡC�Q�o�Ǥ�j�ǡC/�E��-�� ‫ڽ‬ìP����Զ��‫ء‬C���t�觽
�C59����l�A�B�ʪ��C14:;-45 �R����C113����‫ܡ‬C16 �ӭ��N�M�D�u�ʤ�{�G��N�ӦۡC44. 65. 148-
56�C169�B170�B174�C17-5 ����O�� �ƾǤ���M�C108�B111�q���b�ѡC25 27. 47.136 ��v�Ci">
17. 02 72 �۵ M�‫ �ؼ‬wiih. 26 27. 11 120 21. 121. 182, 133 135�ӷP�‫ס‬A1 �O��y�A133-35
�b��ı�W�ҥ�۵ M�C85 90 ��]�O Mandelbrot�]�m���A37 �ӼQ�g�y�A�Ȫe�t�A182 Julia
�]�m�C154-56 �b�a�ιq���W�Ч@, 182, 183��P, 51. 138 ����, 50, 53. 54, 112. 114 �‫ٷ‬O,
��. 27 Knight, Nancy, 59 Koch, llelgevon, 64 Koch island, 66-67, 68, 70 Kolam, 65
Kolmogorov, Andrei, 138 Kolmogorov �w�z, 138��y, 101 ����, �j��, 175 ����, ���, 13-
14, 36, 37, 47. 53, 99-106, 100, 101,�� 102�B103�B104�B105�B106 ��C29.
164��L����u�A62-63, 63, 70 �b��P����G�W�A5136, 37, 47, 100, 101-6, 101, 102, 103,
104, 105, 106, 164 �ìP�Ϲ�����v, 33,101 �Y�p�A104 Laramee, Eve�A32-33�A177
�j���
�۬P���A17 �`�]��Ҳ�ť���Ǫ��]�����T���]�������^�A�ܷ�i 165 ���C�·G�A169 ���A13. 37
��μҥ�A86-87 �B��A��A92 �{�q�C57 �ӥ�t�l�A112 �ӽu�ʡA19�C45-47 51
�t�����N�M�D�u�ʤ�{���‫�ۯ‬A�R�w�‫ء‬A15-17�C18,56-59, 143 ���‫���_�ۯ‬l�‫ޤ‬l, 59Macintosh
�p���A�b���w�� 183 ���W�Ы‫�ؤ‬ΡC^UtonOmous I niU'iMh of, 97Mandelbrot, Benoit, 25, 68,
70, 71. . 170�A�O 81 ����Ρ��� 61 68 Mandelbri 10, 68 0-71 �гy���A1, 74 Bl, 77. 70.
SI�C154 �@�ˡC169�B170�B171�B178 �b�a�ιq���W�Ы‫ء‬A182�B183 �R�W�AB0 �y�檺, BO Bl
weathei �M, ifl "Mandelbrot Stalks" (Pickover), 74 ����, 86 S7Marduk, 10 Markus,
Mario, 32, 151-52 Mars, 138 Martin�C���ǩ� H ������{�C�j�ǡ��‫ڡ‬A10�¬‫ٲ‬z�u�ǰ|, 15, 19,
52 �ƾǡA�����N�M�D�u�ʤ�{�FMandelbrot �]�m����M�Ϫ���A88 Mayer-
Kress�AGottfried�A44�A180 �C�����ǡA�¬‫ٲ‬z�u�ǰ|�A���i�k���Ȧ{ 92 ��ǰ|�A31 �
‫ڭ‬C���A�v����A114 Michelangelo, 158 MicoArt, ���å@�ɤ�����N�Ϲ� (Wolberg), 37 Miller,
Nachume, 28,29, 30 ���, �v�‫ܩ‬i, 110 �X�w���w, ���o, 158 ��`, �J�Ҽw, 16!) ����ߤj��,
110�a��, 106 ����, �N���ɤH, �‫ظ‬s, 144-45 �y�s, 47 ��Υ�s�~, 84, 85 �sHood, 104-5 Mt,
Rainier, 102 Mt. St. Helens, 100 �q�v, ��Χ޳N, 84-85, 84,92�{�N��N�], 29 ����, 65,
176, 180-81 �86 ,���ߵ ����, �V�P��, 16-17,18 ����a��ů�ѧ� (NASA)�C26, 59 Nature
(Emerson), 37 New��Ǯa�C107 ��y�A���ħJ�C39, 15, 51. 138 ��y�k�A81, 138, 1 19 50, 182
�ì�C62
�� 55 ��
�s�� r*ort Instituti 00 Sen York rimes �D�u�ʤ�{�A�Ѩ����N�M�D�u�ʤ�{Norman, Michael,
132 ��v�۪o���|, 183 �ìP�Ϲ�, 113 ���, 112, 118 �줽��National d'Etudes da Re cherches
Alrospatiales, 184 �|�o, 133 ��y, 128, 171-72 "OnHie Nature of Fractalization"
(Berko), 168 Oppenheimer, Peter, 90-91 "Orchid, The" (Smith), si�X�ǩ��{, 36. 103,
101. 186 ���‫�( ��_ذ‬F����), 38 �y��y�P��, 17, 50 orreries, 51, 51Ottmann, Klaus, 73,
145. 166, 180 �~�ӪšA���Ѥ�ø�e�A27-28, 29, 158, 164, 167,168, 173, 174, 175, 176-77
�ȡA�K�‫��ڤڪ‬A71 �‫��ھ‬q�@�|�A166�A170 ����˯f�A127 �ճ�, 115 � �֨ ȿ�, �����, 64 �‫د‬S��, 76
�‫د‬S��, ��]��-��, 76, 80, 178, 183���i�k���Ȧ{, 62 Pensees (Woolf), 99 ��v, 13, 28,
136, 161, 164 �p���Ϲ��ۤ񤧤U�A151-52����δ��[�A36, 37, 47, 100, 101-6, 101, 102, 103,
104, 105, 106,164 ������, 23, 37, 38, 40, 41, 70 Picasso, Pablo, 177 Pickover,
Clifford, 74, 120, 121,129, 142, 154-56, 166-70, 182-83 ���J�����ԧJ��s��, 32, 151
��P�B��, 47, 49-54, 138-39 �Ӫ�, 23, 39-40, 39, 70, 106 ��Υ�s�~, 85-87, 87-89 ���,
69, 85, 10:1 Pluto, 49 53Poetics or Space, The (Bachelard), 73 �ֺq�C174
Poincare���AHenri, 17, 51 52, 55 ����ǽ 誢�f�r�C125�i���J�C.Jackson, 166 �E�f�A�m,
20 INDEX �E 191 ��'�_�Ǫ��l�‫ޤ‬l�����v�� 1 (Hudetz),104-5 Prigogine, llya, 108
���L���y�j��, 90 Pmsinkiewicz, Przemyslaw, 65, 86, �q�l���v, 27 ���ߤl, 171-72 Rapp,
Paul, 31-32, 31, 171-72, 180 "Raspberry, Garden at Kyoto"(Oppenheimer), 91 Raymo,
Chet, 36-37 Reenchantment of the World, The (Berman), 181�Ϯg�y, 173, 174, 175, 176,
177-78 Regina, University of, 68 Rig Veda, 139 rivers, 33, 101Rosseler �_���l�‫ޤ‬l,
108, 141 Ruelle, David, 137 Bertrand, 148 1, John Scott, 112-13
Sakane,����A169�ӨF��A46�Ӭ⩥�A67�Ӹt�F���s�ҡA44�ӽìP�Ϲ��A33�ӡA101�Ӯ�v�A113�Ӥg�P�A52
����A54 ���Y��]�@�ɤ����@�ɡ^�A14�B20�B23-25�B41�B68�B134 �b�‫ؿ‬v���A��N 170�A�q�ϳ�
28, 173, 176-77�A��μҥ�۵ ͪM 142�A��� 85���[�AJulia �� 104�AMandelbrot �� 156�Aͪ ����
26, 77-78�A23, 23, 106, 120 in�Ѯ�, 23-24, 59-60 ���, 27 ��N, 32-33, 44, 80, 180-81
�V�P�ѧO, 15 �۵�޿M�M�D, 14-17, 27 ���[�ʴM�D, 30 ��Ǯɳ�, 181 ��Ǭ��H, 80,129
���b�����c�A110, 111 �J��A32-33, 158, 169, 177 �ۨp����]�A�]�D��^�A117 �۲�´�V�P, 25-
26, 26, 108-14, 109, 110, HI, 113, 114 �ƾǤ��, 141�Ѯ�M, 56 �۬,68 ,26 ,26-25 ,13 ,�‫ۦ‬
169 ,45-144ͪ ��N, 30, 88-89, 148-49, 168, 172,174 �Ӥ�δ��[�A53 �Ӧbͪ ���餤�A70
�Ӧb���z�Ǥ��A88 �Ӥ]���Y��F����F�ӫ‫װ‬ʤO�t�ΡA18-19, 21, 90 ���Y�A47 ���X�A19-20, 116
�Ѯ�A15-17, 56-60, 56, 57, 58,
143�º�������b�Y�A68�º������򦱽u�A70�º���������԰ A68���� A14�A97 Silver, Rollo, 79 Siva,
16 Siver, Peter, 14 Skarda, Christine, 128 Sketch of the Past, A (Woolf),179 Sligo,
Ireland, 113 ��ı, 128, 171-72 Smith, Homer, 76, 80-81, 81, 123 �m����n(Dorn), 93
����, 14, 59, 94, 95 �n��, �Ω�Ы183 -182 ,��‫� ؤ‬Ӷ��t, 47, 49-54, 51, 53, 54, 138-39
�t�l, 112-14, 113 Sommeria, Joel, 114 Ĭ�p�åͳ�, 110�y���Ҧ��A129 ����۬P���A110
����۵��cͪ �G�b�ƾǤ�����A111�B141 �Ӧb��l����, 145 ͪ �, 97, 109, 110 ��‫��۾‬ɥN���c, 113
Staller, Jane, 80 ��P, 40Star Trek II: The Wrath of Khan, $4,84 Star Wars, 84, 84
�]�T��, 116 Stewart, Ian, 43 Stone�~�ֵ��c, 113 �ө_�Ǫ��l�‫ޤ‬l, 121, 137-45, 141, 142,
143, 144-45, 169, 171-72 in�‫ؿ‬v�A171-72 ��N�A166, 172 �ƾǤ���A108 �N�y�y��A139
�гy�a�ιq���A�a��� 183�A�H�� 141�A31-32, 31, 126, 128 Mandelbrot ���A78��P�B�ʡB139-
40 �Ѯ�M 59-60�B104-5�B140���_�Ǫ��l�‫ޤ‬l�G�_�[�V�á��A166 Sun�A138 �‫ܤ‬W�D�q�e�a�A177
Swift, Jonathan�A41 Swinney�AHarry�A114 �x���j��, 95 symmetry: and Chaos hybrids,
93-98, 95, 97 in ������, 97 in ���z��, 88 in����, 95 �q��, ��Χ޳N, 84 �q���ṳ��, 116,
117 �w�J�Ĵ��j��,114 ��O�DzV�P�A17 �������A�B��A165 ���Ȱ��S�A16 ��A�s�[�ԡA101
�s�����A112����B138-39�B142 �ӹL��ϰ�B21 �ʾ�B69�B103 �Ӥ�Υ�s�~�B85 ���F�l����B17 ��y,
112, 113, 131-36, 132, 133, 134, 135, 136 ��M�L, �P�Z, 19 �䭷 (Conrad),131 Ueda
�_���l�‫ޤ‬l, 142 Utrecht, University of Kolmogorov (VAK) 135 Vague Attractor,139 Vak,
139 van der Rohe, Mies, 170 Van Eenwyk, John R? 180 Van Gogh, Vincent, 166,
169Velarde, Manuel, 97 Vesalius, Andreas, 124 ���W���X, 116, 117 Vinci, Leonardo
da, 27-28,
�� 56 ��
136 ����áA23 �i��ƨt�βաAThomas J. Watson ��s���ߡA154 �y��s�A100�A141 Voyager 1, 53,
53 Voyager 2, 53 Wallace, Alfred Russel, 108 Washington, 100, 102 ��G���t�ΡA118
�Ӥ�δ��[�A102 �Ӥ�ιB�ʡA18-19�A20 �өt�l�i�A112-14, 113 ��y, 131, 134, 135 "�N���r��"
(Hokusai), 173 ���s��, 111Thomas J. Watson ��s����, 154 Watt, Thomas, 116 �i��,
110, 112-14, 113 �Ѯ�, 13-15, 111, 112 ���X, 117-18, 118 ���w��, 15-17, 56-60, 56,
57, 58, 143�Y��, 23-24, 59-60 �ө_�Ǫ��l�‫ޤ‬l, 59-60, 104-5, 140 Weierstrass, Karl, 64
Weston,Edward, 105 Wiin-Nelson, Aksel, 59 ���}, 134 Winfree, Arthur, 109 Wisdom,
Jack, 49, 52-53 Wolberg, Lewis, 37 ��誩�e, 173 woods, 103 Woolf, Virginia, 10, 99,
179 �ӥ@�ɥ@�ɡA�Ѩ��Y�� Wuorinen, Charles, 180-81 Yellowstone Falls, 102 yin/yang
concept, 16, 142Yorke, Jim, 12 Zhabotinskii, Anatol, 110 Science
Art������F�O�H��Y����Υ@�ɡC����Q���@�ӧ����B��‫ޤ‬H�J�Ӫ����СC���X�X��Q�������w�ҡA�m�X�z�
h�án���@�̡������洵�a�
‫ ̶ڭ‬i�J��Υ@�ɩM�H��Q���O���������_���ȡC�@�ө_������ǡB�ƾǡB�۵ M�M��N�����X�C���X F. David
Peat�A���z�Ǯa�M�mThe��Ǯa�����Y��άO���i�w��B�ʯd�U���W�S�Ϯ ‫ס‬X�X�V�áX�X�u�@�����@�ɡC�𪺤
�K�A�⪺�ߡA�����Ӧۤ@�ӥ��b�B�檺���s�Y�X�X�Ҧ��o�dz��O��ΡC�Ƿ|
�ѧO���̡A�A�N�A�]������Ʊ������@�ˡC��κ��z��̪‫����ͬ��ڭ‬A�X�{�b�P���@�˷L�p���a��@�‫د‬f�r�A
�M�j�l���@�˶����C�q�j�N������‫�{�ڨ‬N�e�a�P�y�j� � Ԫ � ʵe � v�A�N �a�̳Q��ΰg��F�A�æb�L�̪
��@�
~���ϥΤF���̤�u @�C�p���R�n�̹
��Τ]�‫ܨ‬g
ͦ ��A�]�����̥�
i H�b���q�a�x�����ͦ q���C�b��ΡG�V�P�Ҧ����A�
�ǧ@�a�����洵�ϥΤF 170 �h�T���ϲM���a�����Ϊ����n�ʡX�X�󭫭n���O�A�������R�C�L�y�z��άO 1
n �I| iii J '80671*7421 Vr ISBN D-b7i-7ME17-S �w�o�{�A���̦�� p Φ��A�H�Τ��P��Φ@�ɪ��W�S�
‫ݩ‬ʡC��άO�@�ӥO�H�Ĭ��[�����
�C �� s����N�B��ǩM�۵ M��ǡC���N����‫ܧ‬A�‫�@ݫݥ‬ɪ��覡�M�A�b�䤤���
�m�C�E �]�t�@�ӯS���ѦҮѥ‫ئ‬C��A�Ω�ୱ��Υͦ��n��p�����Ǭ}��O�M²��ʡA�����洵�N�V�P�z�
‫ס‬B��δX��B�M��N�A�H�K��̧‫�ڭ‬n�a�F�ѧ‫ ̩ڭ‬P�򥿦b�i�}�M�]�򪺲{��C.. .
���ǫD�`�M���C���X�X�j�áP�թi�A���z�Ǯa�A�m����ʡn���@�̩� M @����t���Ǭ����洵
�O�@���ǧ@�a�A֦ ��� դh�Ǧ�C�b��ǩM��߲z�ǡC�L���@�~�X�{�bOmni���A�L�O�X����@�̩��
M y���X�۪���
�l�C�L�‫ث‬e���b���g�L���U�@���ѡm�@����N�~���t�z�n�CSfllJR.ti��..: ..,THE PATTER
WHEkiFW-gg' $20.00 �ʭ��]�p Mary Bess Engel �ʭ��]�p CliffPickover "--'"?"? ��s�Ӥ� c
1992 �ҭ ۴��P�J�w�� (Lawrence Hudetz)�A�J���������P�B�J (Christopher Burke)
���X�ӡA�� Margaret Grimes pica 35-2992 ihstone �ѡA�� Simon & Schuster brk ���
<4J�G-W�C������‫ڱ‬Ш|��

THE PATTERNS OF CHAOS


DISCOVERING A NEW
AESTHETIC OF ART,
SCIENCE, AND NATURE
JOHN BRIGGS
Digitized by the Internet Archive
in 2012
http://www.archive.org/details/fractalspatternsOObrig
?-
7IK

OTHER BOOKS BY JOHN BRIGGS


The Fire in the Crucible The Alchemy of Creative Genius, by John Briggs
Turbulent Mirror An Illustrated Guide to Chaos Theory and the Science of Wholeness,
by John Briggs ond F David Peat
Looking Glass Universe
The Emerging Science of Wholeness,
by John Briggs and F David Peat
Metaphor
The Logic of Poetry, by John Briggs and Richard Monaco
AESTHETIC
OF ART,
SCIENCE,
NATURE
G
PUBLISHED BY SIMON & SCHUSTER
EWYORK LONDON TORONTO SYDNEY TOKYO N G A P O R E
s
7irc
TOUCHSTONE
Simon & Schuster Building
Rockefeller Center
1230 Avenue of the Americas New York, New York 10020
Copyright c 1992 by John Briggs "Creating Fractals on Home Computers" c 1992 by
Doug Smith
All rights reserved
including the right of reproduction
in whole or in part in any form. TOUCHSTONE, and colophon are
registered trademarks of Simon & Schuster Inc.
Designed by Bonni Leon
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2
Library of Congress Cataloging-in-Publication Data
riggs, John.
Fractals : the patterns of chaos / John Briggs.
p. cm.
Includes bibliographical references and index.
1. Fractals. I. Title. QA614.86B75 1992
514'.74�Xdc20 !
671 74217 5 Grateful acknowledgment is made to the following for permission to
reprint previously published material: Alfred Dorn. "Snowflake," The Diamond
Anthology.
Cranberry, N.J.: A. S. Barnes and Company for The Po#etry Society of America, 1971.
Edward Berko. On the Nature of Fractalization. copy#right c 1991 Edward Berko.
Publisher: Ligeia Art Jour#nal, Fractalisms issue 1991. Ed. Giovanni Lista, Paris.
CIP
TO
JEFF. RICKI, AND
DEVIN
(MAY HE JOYOUSLY
INHERIT THIS FRACTAL WORLD)
My greatest gratitude for help on this book must go to its many illustrators who
are listed at the back. They
have been unfailing in providing me with information, marvelous pictures, and
patience. In locating fractal
artists, several people aided me: Denis Arvay of IBM in Yorktown Heights, New York;
Cliff Pickover also of IBM in Yorktown, a great networker as well as a great
fractalier; Professor Milton Van Dyke, Department of Mechanical Engineering,
Stanford University; fractalist painter Carlos Ginzburg, another great networker. I
want to acknowledge the enthusiastic assistance of art critic Klaus Ottmann; Mark
Eustis of the Earth Obser#vation Satellite Company in Lanham, Maryland; and Douglas
Smith, curator of the Boston Museum of Science, who. among other advice, taught us
how to photograph video chaos. I thank my colleagues at Western Connecticut
State University, Professors Hugh McCarney (who actually filmed the video chaos),
Margaret Grimes, Bill Quinell, Kalpataru Kanungo, and Susan Maskel for their
interest and help on the project.
I thank Karen Holden of Simon & Schuster for initiating the idea of a book on
fractals, and Heidi von
Schreiner at Touchstone for taking it over and seeing it through with such
professionalism, grace, and for- bearance (thanks, Heidi). Bonni Leon for her
wonderful design of this book, given all the strange constraints
I placed on her, and for bringing both it and her new son to term at the same time.
I thank especially my
assistant Kristina Masten, without whose hours of research this book would simply
not have been possible, and
Carol Zahn, whose early research helped to locate many of my sources of fractals. I
thank David Peat for his kindness in reading the manuscript and relieve him
entirely from any responsibility for errors therein. I thank my wife, Joanna, as
always, for putting up with my moods and long hours while writing. Last but not
least, I thank my agent Adele Leone for her dogged determination and nurturing to
get the project done. And Benoit Mandelbrot for his early advice and invention of
fractals.
INTRODUCTION 13 A PLANET OF LIVING FRACTALS 35 OF CAMELS, STRAWS, AND FRACTALS 43
THE FRACTALS AND CHAOS OF OUTER SPACE 49 OUR WEATHER TODAY IS CHAOS 55 BETWEEN
THINGS: FRACTAL DIMENSIONS 61 THE HAUNTING MANDELBROT SET 73 FRACTAL MATH
IMITATIONS, BOTH FANCIFUL AND REAL 83 CHAOS AND SYMMETRY HYBRIDS 93 CHAOS SCULPTS
FRACTAL LANDSCAPES 99 SPIRALS, SOLITONS, AND S ELF -ORG AN IZI NG CHAOS 107
FEEDBACK AND ITERATION: THE HEARTBEAT OF CHAOS 115 THE HUMAN BODY IS A rRACTAL
CREATION 123 THE FOLDED ORDER OF TURBULENCE 131 VISUALIZING CHAOS AS A STRANGE
ATTRACTOR 137 THE ART OF ABSTRACT IMAGES FROM FRACTAL MATH 147 THE NEW GEOMETRY OF
IRREGULARITY 157 GREAT ART'S FRACTAL SECRETS 165 CODA LIVING WITH
UNPREDICTABILITY'S SHAPES 179 CREATING FRACTALS ON HOME COMPUTERS 182 CONTRIBUTORS'
BIOGRAPHIES 184 SUGGESTED READING 187 IMAGE CREDITS 188 INDEX 190
We arc in the beginning of a major revolution �XThe whole way we see nature will be
changed. �XJoseph Foh>, physicist, Georgia Tech University.
"The forecast," said Mr. Oliver, turning the pages till he found it, "says:
Variable winds; fair average tem#perature; rain at times." . . . There was a
fecklessness, a lack of symmetry and order in the clouds, as they thinned and
thickened. Was it their own law, or no law, they obeyed? �XVirginia Woolf, Between
the Acts.
Qtiaos and fractals are nonlinear phenomena, so you are hereby invited
U) avoid reading this book linearly. Try weaving your own fractal path
through the text. Perhaps you started to do that when you first picked the book
up. Jumping around might seem a little chaotic, but that's the pattern under
discussion here. The button icons you'll find at the end of each chapter are
suggestions about where you might jump next in order to learn more about some
fractal/chaos topics closely related to the material you just read. For example,
this is the button for the Mandelbrot Module. The other buttons are
listed below. �E
�E BIOFRACTALS �E NONLINEARITY SPACE �E WEATHER �E FRACTAL DIMENSIONS �E MANDELBROT
SET �E IMITATIONS �E HYBRIDS �E FRACTAL LANDSCAPES �E SELF-ORGANIZATION �E FEEDBACK
�E FRACTAL BODY �E TURBULENCE �E VISUALIZING CHAOS �E MATH ART �E NEW
GEOMETRY ART SECRETS
We tend to think science has
explained everything when it
has explained how the moon
goes around the earth. But
this idea of a clocklike
universe has nothing to do
with the real world. �XJimYorke, University
of Maryland physicist who coined the term
"chaos."
Obvious and Hidden Order: Chaos, Fractals, and a New Aesthetic Qverybodj talks
about the weather; it's one thing we have in common. On a given afternoon, sunshine
may fall on our porch
while I resident in another pari of town may have falling rain. But
weather is the phenom#enon we share. With its variability, general de
pendability, and mo- ment to moment
unpredictability, weather infiltrates our
schedules, sets or un- dermines our plans, af- fects our moods, and
unites us with the envi- ronment and each
other. Weather is also an example of a myste#rious order in chaos. Some other
exam#ples: The pattern cre- ated by boulders tumbled over in a gla#cial landscape,
poking from the soil, spotted with lichens and moss. Trees sprouting out of a glade
random These haunting self-similar forms fell in the backyard of photographer
Joseph hranf'hcs and twi2S Cantrell. Fractals record what happens in the transition
zones between order and
chaos. The leaves of this random bouquet lie in the zone between life and death.
Cantrell's lens reveals the aesthetic order in the haphazard grouping and unites
the viewer with these fractal objects.
9: ^^ -'V
_
5 #v. ^r
, vTBt
>
�E �D**ir �E %?t
-
i �E> r#fc^^^
The "fallen leaves" from a collapsing algal cell were caught by biologist Peter
Siver. Though they
don't appear translucent here, these surreal plates are actually glass scales which
the microscopic freshwater algae make out of sand, and secrete and attach in
spirals all over their body in order to protect them and let sunlight through to
their chlorophyll. After collecting the algae, Siver dried them on a piece of
tinfoil. The glazing of these algae collapsed in a random pattern. The arrangement,
which is neither Euclidian nor symmetrical, is irregular and fractal. Siver calls
this particular com#position "Barn Owls" and dubs his silicone-coated algae
"aquatic snowflakes." Real snowflakes, it turns out, are also fractal. The
minuscule plates of the algae also illustrate the fractal scal- ing properties of
nature. In a tiny pond drop swims a world within our world. In the detail of that
world is yet another. Our own bodies are collections of worlds within worlds at
finer and finer scales. This
is a key fractal idea.
tangled together. Swallow scattering into a field like a handful of thrown dust,
rising in a riotous twittering, then gathering and flying off in an organized
flock. A lightning bolt fracturing the sky. Most people find the haphazard
profusions of nature so intensely pleasing, even spiritually profound, that it
seems plain common sense to say that there
is an invigorating, even mystical, order to the variable shapes of waves as they
break, swallows on a summer evening, and weather. Yet for centuries scientists have
dismissed such common-sense order. For a long time their attitude made
good sense. The traditional task of science has been to simplify nature, expose
its underlying logic, and then use that logic as a means of control. But complex
natural phenomena such as weather can't be stripped down,
cleaned off, and studied under glass in a laboratory. An individual tree is the
result of a vast, shifting set of unique circumstances, a kaleidoscope of
influences such as gravity, magnetic fields, soil composition, wind, sun angles,
insect hordes, human harvesting, and other trees. An individual wave as it pulsates
toward
shore is driven and sustained by a beehive of "dynamical" or continuously active
forces, far too numerous to determine in detail.
The wave and the tree are dynamical systems, systems whose stale changes
overtime. Systems such as these are multifaceted, complex, and interdependent.
They constantly push and pull at themselves to Create the sensuous irregularity and
unpredictability that is the signature o$ our physical environment. From
the scientific point of view, such irregularity has long been considered a mere
messiness obscuring the mechanical, clocklike scientific laws operating beneath.
In theory, scientists have believed, the messiness of such systems would be
clarified and accurate predictions could be made about their behavior if we
could only amass enough information to pinpoint the multitude of their inter-
linked causes and effects. Though most people aren't aware of it, many important
assumptions we have about nature have been shaped by this scientific idea. In the
twentieth century, we have been overwhelmed by the almost magical
ability of science to understand and control our physical environment. This
century's dazzling technological progress has led most people to believe that what
science doesn't now know about nature it will someday know and that
this knowledge will inevitably lead to more and more control. According to this
assumption, even the behavior of highly complex dynamical systems will even#tually
yield to scientists' formulas and computers. For example, for decades
scientists have invested great effort, ingenuity, and technology into studying
that vast dynamical system called weather on the assumption�Xwhich most of us
share�Xthat by improving the quantity and quality of measurements taken on the
various factors influencing weather, forecasts would be steadily improved.
And it was in weather forecasting that this deep assumption was dramatically
overturned.
WIND FROM THE MOSQUITO'S WINGS
In 1961 a Massachusetts Institute of Technology meteorologist, Edward Lorenz,
discovered a disturbing fact. He learned that getting more information about such
variables as wind speeds, air pressures, humidity, temperature, and sun#spots won't
help increase the accuracy of a long-range weather forecast. Lorenz
ascertained that no matter how much information a meteorologist piled up, his
weather prediction would quickly go awry. The reason, he deduced, is that
INTRODUCTION
dynamical systems like the weather are composed of so many interacting ele- ments
that they are tremendously sensitive to even the tiniest factor. The heat
rising from the hood of a car, the wind from the wings of a mosquito in
Mad#agascar, almost anything not included in a meteorologist's measurements can
be enough to change the behavior of a weather system. Lorenz's insight meant
that in one sense the old assumption was still correct: Complicated dynamical
systems are indeed determined by their causes. If we could know all their causes,
we could predict what they'd do. But the influences on such a system, Lorenz
found, are effectively infinite. As one physicist noted, such systems are so
sen#sitive they can be affected by something as minuscule as the gravitational
attraction of an electron on the other end of the universe. So nature is dominated
by chaos, but it is not a superficial chaos that theoretically can be reduced to
order once we gain enough information. Rather, nature's chaos is profound
�X
because the only way we can ever gain enough information to understand it will be
to include the influence of even our attempts to gather the information
itself. With Lorenz's discovery, researchers eagerly plunged into examining all
kinds
of dynamical systems, from electrical circuits to human brains, and they found new
laws. This effort propelled them into an altered view of reality. With im#pressive
speed, scientists moved from their traditional enterprise of studying nature as
order to studying nature as chaos, though there was no immediate
consensus on how to define what the term chaos might mean.
In mythology and legends, most cultures have wrestled with the idea that order and
chaos are a primordial duality. In the Christian tradition, God is described as
having moved on the face of the deep (chaos) to bring light (order). The ancient
Babylonians told of a mythical hero, Marduk, who slew Tiamat, the cacophonous
Mother of All, and transformed her into the order of heaven and
earth. In India, Siva, the father of order in heaven, is said to lurk paradoxically
in horrible, chaotic places like battlefields and burning grounds of the dead. In
the ancient Chinese tradition, daily reality is constantly created and re-created
by an oscillation between the light-bringing, ordering principle, yang, and the
dark, receptive fullness that contains all matter, yin. The ancient Greeks pitted
rational Apollo against libidinous and chaotic Dionysius. The Iroquois peoples
of North America cultivated a host of Dionysiuslike spirits, the gagonsa or false
faces�Xtwisted looking fright masks that are worn to represent (and purge)
psychic and physical disorder. Many tribal peoples around the world include a
trickster character among their pantheons, a figure who undercuts order by
representing reality's perpetual ironies ami deceptions. Given its quest to
simplify nature into a tew quantifiable "laws," modern
science kept itself largely aloof from such descents into the murky domains of
ideas about chaos However, in the nineteenth century, engineers did discover
�X
to their chagrin�Xa kind of technological chaos. They realized that energy, or
heat, was always lost by their machines, and this led physicists to the notion
of thermodynamic chaos, a kind of thingless soup that results when hot, or- ganized
molecules of directed energy cool off, slow down, and begin to randomly
meander into each other. This form of chaos is called "entropy." Nineteenth-
century scientific theorists predicted that the universe itself would one day
experience a heat death and end in a whimper of entropy, dissolving galaxies,
stars, comets�Xeverything�Xinto a cosmic scale consomme.
The universe as it explodes and expands leaves behind a
fractal imprint of swirling turbulent gases, star fields, and repeating forms. No
mat#ter how deeply we peer into space, more detail will al- ways unfold. The photo
here
is of the Large Magellanic
Cloud, a small, irregular com#panion galaxy to our own
found by looking into the re- gion of the Orion Nebula.
INTRODUCTION
SENSITIVE CHAOS
The form of chaos that Lorenz and other scientists discovered in the 1960s and
1970s was perhaps closer to the chaos of the old myths and legends. The chaos,
which began to appear like abstract, colorful spirits on computer screens around
the world, displayed a wild, haunting order. It was chaos, all right: inherently
unpredictable. But as scientists stalked the spirits capering across their screens,
they began to uncover a richness in chaos never before imagined.
In order to picture this richness a little, imagine for a moment watching two
autumn leaves drop side by side into a stream. The stream, with its leaves, rocks,
twigs, bends, and water pressure, is a complex dynamical system that moves in a
tortured path through the woods: Straight, smooth stretches are twisted and
squeezed into torrents that splash through a labyrinth of boulders, and then slow
into quiet pools dammed by downed branches. Moments after the twin leaves fall,
they are drawn together by the current into a pool, circling
in lazy tandem around a vortex. This doesn't last long, however. Soon the very
slight difference in each leafs position becomes magnified by the water's
move#ment, and the leaves begin to separate. After another swirl, one is swung wide
and whisks over the edge of the branch dam, bumping downstream; the other
spins slowly into a twig of the dam and is caught there, water backing up against
it and rolling in thin, dark ribbons so that the leaf itself now begins to alter,
in a small way, the shape and movement of the downstream current. Chaologists would
say that the leaves in this dynamical system exhibited an extreme sensitivity to
their initial conditions. The very slight difference in their starting points made
a very large difference in their fates. Such extreme sen#sitivity is the hallmark
of a chaotic dynamical system. Such systems are highly
sensitive because they are always on the move, always changing, never precisely
recycling to their initial states. They are like the changing river of time con-
templated by the Greek philosopher Heraclitus: You can never step into the
river of time twice, Heraclitus said, though it is always the same river.
Hera#clitus's paradox is also true of a real-life river and is central to chaos.
Evidently, even when a complex dynamical system is behaving in a regular and
orderly way, at some level the underlying "sensitivity" principle of chaos may be
at work
subtly separating things, breaking them up. This is not always a bad thing.
Indeed, it is part of the richness o( life. For example, in the fetal development
of twins with identical DNA, the cells migrating into position to form the twins'
brains take different courses and create different pat torus o( connection. The
development of the embryo is a dynamical system, and its extreme sensitivity
to initial conditions creates an inherent background chaos which ensures that
"identical" twins will never be completely identical.
CHAOS: WINDOW INTO THE WHOLE
One reason that the elements in chaotic dynamical systems are so sensitive to their
initial conditions is that these complex systems are subject to feedback. For
example, through its eddies and turbulence, the water in a stream creates feedback
by constant 1\ folding in on itself. Systems fraught with a variety of feedback
called "positive feedback" will often undergo revolutionary changes of behavior,
such as when a microphone is placed beside a speaker and the mi- croscopic static
generated blows up into a deafening screech, or when a tiny grain of ice on a piano
wing explodes into a turbulence substantial enough to cause the plane to crash.
Systems that change radically through their feedback
are said by scientists to be nonlinear. As the name implies, they are the opposite
of linear systems, which are logical, incremental, and predictable. Linear sys-
tems, strictly speaking, are systems that can be described by linear mathematical
equations�Xsuch things as ballistic missiles and the moon, moving in its orderly
orbit around the earth. A spacecraft being nudged by its thruster rockets into a
pinpoint touchdown on the lunar surface is a linear system. Like the bursts
of the thrusters, small changes in linear systems produce small predictable
effects. In nonlinear systems, on the other hand, the folding and refolding of
feedback quickly magnifies small changes so that the effect�Xlike the speaker's
sudden howl or the small rolling pebble that unleashes an avalanche�Xseems
all out of proportion to the cause. Nonlinear systems behave nonlinearly because
they are so webbed with positive feedback that the slightest twitch anywhere
may become amplified into an unexpected convulsion or transformation. The
chaologists have learned that in some circumstances nonlinear systems behave in a
regular, orderly, cyclical way until something sets them off�X
a
INTRODUCTION �E 1 9
critical point is passed, and suddenly they go chaotic. But then another bench-
mark may be passed, and they'll return to order again. Imagine, for example,
a rock lying on the bed of a stream, a foot or so beneath the surface. When the
water is moving normally, the current flows smoothly past the region above the
rock, showing no ripple. But after a heavy rain, the speed of the current over
the rock suddenly creates an area of turbulence on the water's surface. Then
when the current goes back to normal, the surface water courses once again
as if the rock wasn't there. Whether chaos rears its head or not depends on
the situation. It appears that in dynamical systems chaos and order are different
masks the system wears: in some circumstances the system shows one face; in
different circumstances it shows another. These systems can appear to be simple
or they can appear to be complex; their simplicity and complexity lurk inside each
other. Indeed, the chaologists were delighted to find that in modeling
dynamical systems, quite simple equations yield results that mimic the unruly dance
of chaos. Thus, studying complexity hasn't forced scientists to abandon
their faith in nature's simplicity after all �Xthough, to be sure, it has proved a
rather strange and uncertain kind of simplicity. As the chaologists worked, they
quickly learned that a dynamical system's
When surfaces crack through the dynamical ac- tion of drying, warping, or pressure,
they often do so
chaotically, creating cas- cades of self-similar forms
at many scales characteris#tic of fractals. This image, which looks like multi-
colored dried mud or
paint, is actually a layer
of polystyrene only one
molecule thick compressed
ractured between two
sheets of glass.
transition areas�Xthe points at which the system moves from simplicity to
complexity, from bright, stable order to the black, impenetrable gyrations of
total chaos�Xwere the most interesting places. Inside these transition zones and
boundary regions, systems degenerate ami emerge in patterns. Though
unpredictable in detail, one can predict the patterns and ranges of a system's
movement. In fact, scientists learned that there are certain repeatable, rough
patterns systems seem attracted to as they break down into or emerge from
chaos. This discovery delighted scientists because it meant they could still hold
on to their scientific reverence for predictability�Xthough now it was a strange
and uncertain kind of predictability. But how do we account for these strange
aesthetics of chaos? One rather unexpected answer is "holism." Dynamical systems
are sensitive and nonlinear and unpredictable in detail because they are open,
either to "outside" influences
or to their own subtle internal fluctuations. With the advent of chaos theory,
it became impossible to ignore the simple fact that dynamical systems�Xwhich,
after all, include the most significant processes in our world�Xdon't operate in
isolation. The tree that sheds the twin leaves that fall from "outside" into our
stream can also be considered an integral part of the dynamical system called the
stream. Moreover, within the stream itself, all the elements�Xfrom the sharpest
bend to the smallest leaf and pebble�Xconstantly interact with each
other. In other words, dynamical systems imply a holism in which everything
influences, or potentially influences, everything else�Xbecause everything is in
some sense constantly interacting with everything else. At any moment, the feedback
in a dynamical system may amplify some unsuspected "external" or
"internal" influence, displaying this holistic interconnection. So paradoxically,
the study of chaos is also the study of wholeness. However, many chaologists would
not put it that way. As is undoubtedly fitting to the subject, the debate continues
over how to precisely define chaos. Some
scientists confine their idea of the chaos phenomenon to the boundary area between
stable and purely random behavior. Others prefer to think in terms of degrees of
chaos (with randomness at one extreme), arguing that underlying
all degrees of chaos is a fundamental holism. But even the holists would agree
that the most fertile area of chaos study lies along the ferociously active
frontier that has been found to exist between stability and incomprehensible
disorder.
INTRODUCTION �E 21
A GEOMETRY OF THE ROUGH
In the 1960s and 1970s an IBM researcher, Benoit Mandelbrot, invented a new
geometry, which he called "fractal" geometry, that pushed deeply into this
frontier. Mandelbrot coined the term "fractal" to suggest "fractured" and "frac-
tional"�Xa geometry that focuses on broken, wrinkled, and uneven shapes. Chaos
sometimes convulses dynamical systems and sometimes simply resides in the
background. Fractal geometry describes the tracks and marks left by the passage
of dynamical activity. We see fractals every day. Trees, mountains, the scattering
of autumn leaves
in the backyard: all these are fractal patterns, signs of dynamical activity at
work. Chaos theory tells the story of the wild things that happen to dynamical
systems as they evolve over time; fractal geometry records the images of their
movement in space. So a fractal is the fracture left by the jarring of an earth-
quake or the winding coastline printed with the turbulence of the ocean and
erosion; it's the branching structure of a fern which traces the process of its
growth; the scrambled edges of ice as it freezes; the spacing of stars in the
night sky; the clouds and plumes of pollution spreading out from a power plant.
When a chaotic thunderstorm self-organizes into a tornado, it leaves behind it a
fractal shape of its destruction. Even the byzantine intricacy of snowflakes is the
fractal result of a chaotic process combined with the sixfold symmetry of
crystals.
11 �E INTRODUCTION
As the camera zooms closer into a vine-covered wall, each magnification reveals new
detail which
repeats the same patterns discovered at larger scales. According to fractal
geometry, this vine is an
object that exists between dimensions.
Fractals describe the roughness of the world, its energy, its dynamical changes and
transformations. Fractals are images of the way things fold and unfold, feeding
back into each other and themselves. The study of fractals has confirmed many of
the chaologists' insights into chaos, and has uncovered some unexpected
secrets of nature's dynamical movements as well. One of these secrets is fractal
scaling. Fractals show similar details on many
different scales. Imagine, for example, the rough bark of a tree viewed through
successively more powerful magnifications. Each magnification reveals more
details of the bark's rugosity. Moreover, in many fractals (such as the tree bark),
scaling is accompanied by another corresponding pattern of nature's dynami#cism:
self-similarit}: This means that as viewers peer deeper into the fractal image,
they notice that the shapes seen at one scale are similar to the shapes
seen in the detail at another scale. Perhaps that seems odd. How could systems
that are essentially chaotic possess self-similarity on various scales? To
under#stand, consider the weather again. Seen from space, the earth's weather
appears on a vast scale: swirling cloud banks are intermingled with ragged clear
regions streaked here and there by more clouds. A snapshot of temperature readings
at this planetary scale would
INTRODUCTION �E 23
show vast hot spots as well as cool areas. Hypothetically, let us suppose that
at the global scale we see heavy clouds over North America and that the continent
at this moment registers cooler than normal. Suppose we zoom down to the
continental scale. It turns out that from this scale the picture looks not unlike
what we saw of the planet as a whole. There are quite a few clear areas behind
moving fronts of clouds, and here, with more detail in our temperature readings, we
learn that some regions of the United States are, in fact, unusually warm.
At this scale Colorado seems to be one of those warmer places, so we'll drop
down another notch to the state-size scale to have a look. When we tune in to a
forecaster on a Denver TV station, the state weather map fills the screen. Once
again we see the same variegation we saw at larger scales. There are clouds over
Colorado Springs and the temperature is chilly, the forecaster says, but the Aspen
area has clear skies and is warm. That forecast might amuse
some hikers along the ridges bordering Independence Pass near Aspen. For
right now, at their relatively small scale, they are getting rained on.
Fortunately, from their vantage point they can see their weather is local. Looking
toward a western valley they see the sky above it is clear, and as they move from
saddle
to saddle along the ridge, they experience a kind of microweather, passing
through cool and warm pools of air, intense or slackening bursts of rain, and
even a momentary ray or two of sun. Obviously, the weather at its different scales
displays a self-similarity, a fractal structure. One way to explain this is to say
that the weather is holistic, which means that between its "parts" (its fronts,
patches of rain or snow, high-pressure and low-pressure zones) are other "parts of
parts," and "parts of parts of parts"
(right down to the shimmers of heat rising from the sweating body of one of the
hikers, or the chemical heat generated inside her straining muscle tissue). The
result is that when all these "parts" and "parts of parts" start feeding into each
other, they can generate images (such as weather maps) whose patterns have scaling
detail. These patterns illustrate the fact that the system's whole movement takes
place continuously at every scale. In the abstract, Euclidian world, scale isn't
important, and magnifying spheres,
triangles, squares, or lines won't yield much new information about the object
at hand. In the fractal world, there are wrinkles and crinkles, sometimes infinite
detail, and more and more information the deeper we go. In the Euclidian world
24 �E INTRODUCTION
the observer moves in discontinuous jumps from the one dimensional line to the two
dimensional square to the three dimensional cube. In the fractal world, dimensions
arc tangled up like a ball of twine, and objects are neither two
dimensions nor three but somewhere in between. In fact, fractal geometry has come
to be known as a geometry between dimensions. Depending on its wrinkling
or fragmentation, a fractal object may bo any one of an infinite number of possible
fractional dimensions.
Fractal images have led to a growing contemplation of our reality as a place
made up of folded worlds within self-similar worlds�Xthat is, of worlds folded
in between dimensions. Bend down to look at a moss-covered rock and you see
a miniature mountain range covered with trees, a microcosm of our larger landscape.
But if it's true that everything on the planet has evolved through
intense interaction with even thing else, then these self-similar images of holism
we see around us should perhaps not be surprising. The fingers on our hands
are self-similar to the wings of a hummingbird and the fins of a whale. After
all, we all evolved inside the same holistic dynamical system called life. COMPUTER
AS MICROSCOPE
When scientists and mathematicians began to work with fractal geometry they learned
to their amazement that they could generate intricate fractal forms on
their computer screens with fairly simple nonlinear formulas. These formulas have
feedback terms: the result of a calculation is input back into the equation, and
the equation is run again. Continually rerunning an equation inputted back
into itself is a process scientists call iterating the equation. This leads to
fan#tastically complex, sometimes eerily beautiful structures that display fractal
self-similarity. One of the most well known of these structures can be created by
using the computer to iterate an equation involving a particular set of numbers
named after Benoit Mandelbrot, who was the first to uncover their beauty.
Elegant and fiendishly clever self-similarity appears along the boundaries of the
Mandelbrot set, making this purely mathematical construct an emblem of real-world
processes of chaos where fractal self-similarity exists at the edges
of waves, in fracture zones, and along weather fronts. Scientists now regularly
INTRODUCTION �E 25
An explosion of fractal self-similarity at different scales occurs in the boundary
area of the Mandelbrot set. The set is actually an infinite cluster of numbers on
the complex number plane constituting what has been described as "the world's
>t complex mathematical object." To generate this particular spiderlike image from
the boundary area of the set involved
is of mathematical calculations by the National Aeronautics and Space
Administration's massive parallel processor.
use iterated fractal formulas to model the unfolding and gyrations of real dy-
namical systems such as turbulent Hows of water or gas.
It would be hard to overestimate the role the computer has played in the
revolutions of fractals and chaos. Without the calculating power needed to iterate
equations millions of times, the revolution simply would not have been possible.
The high-speed, number crunching computer became to the study of complex
dynamical systems what the microscope was to the study of microbes, the particle
accelerator to the study of subatomic structure, and the telescope to the study
of deep space. The computer brought phenomena into focus that scientists had
never seen before. The computer's power to make vivid images out of mathe#matical
models led to a growing appreciation of the complex beauty of chaos. One surprising
result has been to draw two cultures together that have been
separated by hundreds, if not thousands, of years.
DISCOVERING A NEW (AND OLD) AESTHETIC
Chaos theory and fractal geometry extend science's ability to do what it has
always done: find order beneath confusion. However, the order of chaos imposes
a definite limit on our ability. With the use of computers, scientists can see
chaos, can understand its laws, but ultimately can't predict or exert control over
it. The uncertainty built into chaos theory and fractal geometry echoes two earlier
scientific discoveries of this century: the fundamental uncertainty
that Godel's theorem found skulking inside mathematics and the array of es- sential
atomic uncertainties and paradoxes unearthed by quantum mechanics.
Science, in this century, seems destined to learn about nature's intention to
remain behind a veil, always slipping just beyond our understanding, imposing
a subtle order.
Artists have always exploited and valued what might be called "the order
that lies in uncertainty." The British Romantic poet John Keats admired what
he called "Negative Capability," the ability to be "in uncertainties, mysteries,
doubts." He claimed that this capacity was key to the artist's creative power.
Leonardo da Vinci insisted that "that painter who has no doubts will achieve
little," and he advised fellow artists to seek out inspirations for their paintings
INTRODUCTION �E 27
in the stains on walls. Artists have perennially discovered in the doubt,
uncer#tainty, and haphazard of life a harmony that goes straight to the essence of
being. Whatever it is that the painter, poet, or musician depicts�Xwhether
abstract or realistic�Xthe artist's final product implies worlds within worlds.
Within art there is always something more there than meets the eye, the mind,
or the ear. Because of this ability to intimate worlds within worlds, art has
always been fractal. The science of chaos is helping to newly define an aesthetic
that has always lain beneath the changing artistic ideas of different periods,
cultures, and schools. Many contemporary artists, like Connecticut-based landscape
painter Mar#garet Grimes, immediately recognized in chaos theory a deep connection
to their personal artistic orientation to the world. Says Grimes: "These ideas con-
firmed mathematically something that I had already perceived experientially
through observations of nature. The theories thus had great resonance, as of a
truth one has always known but has not known how to express."
New York painter Nachume Miller participated in a 1989 art exhibit on chaos
after he realized that chaos theory applied not only to the subjects he painted
but also to the artistic process by which a painting comes into being: "The way
I go into certain processes is fairly chaotic, not very clear to me. You respond
to a chain of events that happen when you work. You first have to create a drama on
the canvas that is very disturbing. You don't actually know what it
is. You don't even like it, and then through looking at it more, getting more
familiar with what's going on, you get some more clarity." Oregon photographer
Joseph Cantrell describes a similar process in his own
work: "The order is out there in so many planes for which we either have no
perception or have been trained not to see it. I shoot for the surprise. Very
often I get it in some of the most prosaic subjects. There's a state you can get
into when photography is going well where you lose yourself. At the end of it
you've been somewhere that's pretty wonderful but you can't remember the
details until you see the final result." The results are a fractal record of his
interaction with his subjects, which are usually fractal objects themselves such
as ferns, volcanos, and turbulent water.
28 �E INTRODUCTION
"A collision of forces that occur when boundaries are eliminated . . . these dark
and turbulent paintings [have the] power
to evoke many different realms," reads the catalog to Nachume Miller's 1988 show at
the Museum of Modern Art. Miller himself says, "Looking at my work, you could see a
seascape, a microscopic cosmos ... it could be the Milky Way. It's finding out
things about your mind." After becoming acquainted with the scientific ideas of
chaos theory, Miller now also sees his works as repositories of self-similar forms.
He calls this particular painting of oil and wax a "landscape" because
of the vague sense of earth and sky and the way the light breaks through the
turbulence.
INTRODUCTION �E 29
This new (and very old) aesthetic brought out by chaos might be described
as follows:
It is holistic: a harmony in which everything is understood to affect everything
else. In mathematical fractals and also natural fractals, the holism appears as
self-similarity, evidence of a holistic feedback process. In art, self-similarity
�X
which can come in infinite variety�Xis not created by a slavish permutation of some
form at different scales. Rather, it is closer to the self-similarity seen when we
compare a human hand to a hummingbird's wing to a shark's fin, and
to a branch of a tree. It is the artist's task to find and express this significant
relation between forms and qualities that are simultaneously self-similar and
self-different so as to create an artwork that allows us to glimpse the holistic
nature of our universe and our being in it. Miller says of his own work, "If you
take a fracture of my stuff, typical of the patterns I use, in principle it is very
much like the totality of the picture. It will have the same kind of logic as the
whole."
Miller insists that the artist isn't trying to "represent" nature. "Instead of
illustrating nature the pictures want to work like nature." They should be "like"
life-forms, in other words�Xand an essential feature of life-forms is that each
in its own fractal way reflects the dynamical system of nature as a whole. The
holistic element is an essential feature of this new (old) aesthetic appreciation.
It's why when you see a colored pebble gleaming on a beach among a jumble
of others and take it home, it may not look as lovely on the shelf as it did in the
natural chaos where you found it. To cut a path through the woods or a highway
through the jungle is to recognize that through your gesture the entire landscape
has become altered. Chaos affirms that individual details matter.
Artists know that like the sensitivity of a chaotic dynamical system, a change
in one small part of a painting or a poem may destroy or transform the work. The
holism of the new aesthetic also brings out a new (and very old) rela- tionship
between the observer and the object observed. The Greek roots of the word aesthetic
suggest that an aesthetic experience involves a transformation which takes place in
both the object and its observer. Science has traditionally assumed that the
observer could stand off and be "objective" about what he
observed. Chaos theory has revealed, however, that observers are inextricably
30 �E INTRODUCTION
The brain's "strange effractors " show up in these two plots of the
electroencephalographic data collected from a woman
with her eyes closed resting, left, and performing a seven-step arithmetical
problem, right. One of the discoveries of chaos
theory is that the brain is in fact organized by chaos. In this experiment,
neuroscientist Paul Rapp found that the chaotic
activity of the brain was attracted to specific regions of the plotting space in
each of the two states. Thus there is a strange
aftractor for the mind when it is resting, and another for a mind doing a math
problem.
part of dynamical systems, something artists have always understood. With chaos
theory, it is no longer possible to assume that an observer can blithely analyze an
object or process into its constituent parts (an assumption that in science has
been called "reductionism"), because "parts" are dynamic and therefore have
unpredictable effects. Grimes sums up the new aesthetic when she says that its
vision is of "structure/evolution, stability/spontaneity�Xinfinite gener#ation: The
pattern we perceive is composed of an endless variety of interwoven
patterns. The concepts of order and chaos reflect the absolute relationship of the
whole and yet the infinite significance of each part whether the part is an element
or an action or a process."
The study of chaos has clearly sensitized scientists to the aesthetic experience
of art. Paul Rapp, neuroscientist at the Medical College of Pennsylvania, admits
that the forms he's plotted on his computer don't compare with the "worst Monet."
But he describes with the enthusiasm of an artist his reaction to these
fractal plots�Xmathematical representations of a human brain thinking. His \ideo
pictures of electroencephalographic (EEG) data show that while our
brain's electrical activity is chaotic and unpredictable, it has a hidden order in
that it is attracted to a certain region of the plot space. He says of the
discovery
of these fractal strange attractors in the brain: "The emotional impact of elec#I
INTRODUCTION 3 1
troencephalographic images is, for me, rather considerable. For the first time we
are able to see the changes in the geometry of EEG activity that occur as the
result of human cognitive activity. Before these attractors had been con#structed,
I didn't know what to expect. I expected to see something very boring
that did not significantly change as the subject began to think. The moment
these structures flooded onto the screen and began to rotate, I knew that I was
seeing something very extraordinary."
Scott Burns, an associate professor of general engineering at the University
of Illinois at Urbana-Champaign, says he's seen the images he generates of
mathematical chaos excite awe in viewers. "I have a colleague who said, 'Boy, this
is sure a basis for a belief in God.' I wouldn't go that far, but I would say
it's certainly a basis for reverence of nature." To get a feel for how the
aesthetics of chaos is bringing the two cultures of science and art together,
compare statements by Mario Markus, a physicist at the prestigious Max Planck
Institute in Dortmund, Germany, and Eve Laramee,
a New York-based sculptor. In his lab Markus generates brooding, monstrously
graceful fractal images of an important set of equations used to model turbulence.
The control Markus
has over variables such as which equations to portray, which mathematical
values to start with, what colors to assign to the values, what scaling and
intensity
level to use is, he says, like the control that the photographer exercises over
his subject matter and is not just a mechanical pressing of the button on the
computer. He argues, "The particular choices made by one person, as compared
to those made by others, allow us to speak of a personal, recognizable 'style.'
Truly one can say that equations can be considered here as new types of painting
brushes." Laramee creates ancient-looking constructions out of copper, salt, and
water. Once she has installed one of her artworks in the gallery, the salt
dissolves and
begins to eat intricate, ageless fractal shapes into the copper so that the piece
evolves over time. While Markus strives to insert himself into his equations and
exert some control over the chaos that automatically unfolds, Laramee strives
to take herself out of the process and let the inherent chaos roll in. She says,
"There is a point where I 'remove' the hand of the artist, and allow nature to
T I ON
take over and finish the work." Thus the new aesthetic created bj chaos ensnares
both artists and scientists, both observer and observed. The so called objec
tive/subjective wall that for centuries has divided scientists and artists in their
approach to nature is now being shattered from both sides.
From space we immediately see that our planet is fractal. The
red areas in this satellite shot of the prominently fractured re- gion around the
Ala River on the Nigerian-Cameroon border in Af#rica indicate vegetation on the
mountainsides. The valleys and
plains were colored blue-green by the computer, indicating heavy cropping and land
use. The highly fractured geology of the region displays dendritic scaling
(branching forms of many different sizes that make
it look like a network of blood
vessels). This is a signature of
fractals. The intricate fractal de#sign of this region records the dynamic action
of geological
forces. The sinuous black line of the Ala River follows the fault
lines, as if to underline the frac#tal pattern.
INTRODUCTION �E 33
A UNIVERSE FULL OF CHAOS AND FRACTALS
Perceptions change almost hourly as artistic and scientific investigators peer
through the windows of fractals and chaos to discover meaningful patterns of
uncertainty everywhere: The surfaces of some viruses are now known to be
fractal. Fractal rhythms and distinct fractal signatures have been found in
dopamine and serotonin receptors in the brain, and in enzymes. Fractal geometry
is being used to describe the percolation of oil through rock formations.
Com#posers are creating fractal music; programmers are studying the effect of chaos
on computer networks; chemists are applying fractals to the creation of polymers
and ceramic materials; economists are locating a strange attractor underneath
the fluctuations of the Standard and Poors Index; ecologists are using the
principles of self-organizing chaos to reconstruct lost habitats; nonlinear models
have been made of the international arms race. One enterprising novelist has turned
the idea of strange attractors into a science fiction story equating chaos
with immortalitv. Many other views of fractals and chaos can be seen in the
chapters that
follow.
OP
LIVING
FRACTALS
If the eye attempts to follow
the flight of a gaudy butterfly,
It is arrested by some strange
tree or fruit; if watching an
insect, one forgets it in the
strange flower it is crawling
over,- if turning to admire the
splendour of the scenery, the
individual character of the
foreground fixes the attention.
The mind is a chaos of
delight . . . �XCharles Darwin,
writing home from his
Beagle voyage on his
impressions of the
Brazilian tropical rain
forest.
mikeinto a forest and you are surrounded by fractals. The inexhaustible
detail of the living world (with its worlds within worlds) provides
inspiration for photographers, painters, and seekers of spiritual solace: the
rugged whorls of bark, the recurring branching of trees, the erratic path of a
rabbit bursting from underfoot into the brush, and the fractal pattern in the
cacophonous call of peepers on a spring night. The landscape is the crucible in
which living forms have evolved, and since the landscape crackles with fractals,
the forms bred there are fractal as well. Living creatures, from trees to beetles
to whales, have shapes and behaviors
that provide a fractal record of the dynamical forces (the endless feedback)
that act upon them and within them, forces that have continually caused them
to evolve new niches in which to live. In his Boston Globe newspaper column,
physicist and science writer Chet Raymo declared after seeing a museum ex#This
photograph by Lawrence
Hudetz of Oregon's Columbia Gorge is alive with fractal shapes that result from
forms
continuously evolving together.
36 �E BIOFRACTALS
If we were to zoom in, we would see that the
fractal shapes in Columbia Gorge carry down to the microscopic scale shown by this
photograph
of leaf veins. This image was made by the late Lewis Wolberg, a psychiatrist
fascinated by the
aesthetics of science, nature, and art. Wolberg
said, in his book Mico-Art, Art Images in a Hid- den World: "Why do the
representations of some
artists so often resemble microscopic structures?" He answered, in part, that
artists "may be re- sponding to the same interacting processes that operate in all
of creation. As Emerson expressed
it in his essay Nature: 'Compound it how she
will, star, sand, fire, water, tree, man, it is still one stuff, and betrays the
same properties.' "
hibition of beetles, "Darwinian explanations are reasonable enough, but . . . the
spectacular variability of beetles suggests that nature is infected by ... a sheer
lunatic exuberance for diversity, a manic propensity to try any damn thing that
looks good or works." The riotous beauty and dreamlike
strangeness of nature provided a chief
inspiration for Charles Darwin as he
struggled to develop a coherent theory
of evolution. Psychologist Howard
Gruber, who has done a lengthy study
of how Darwin arrived at his theory, says, "The meaning of his whole creative life
work is saturated with . . . duality
�X
The primordial shape of the jellyfish is a sinuous
record of the dynamical forces of the flowing water in which the creature evolved.
BIOFRACTALS
It would take some doing to calculate the fractal dimen#sion of this mottled,
warty- shaped inhabitant of tropical waters. The frogfish can change colors to
match its surroundings and become al- most indistinguishable from an algae-
encrusted rock. Na#ture makes cunning use of symmetry and fractal irregu#larity to
create its organic
On the one hand, he wanted to face squarely
the entire panorama of changeful organic nature in its amazing variety, its
numberless and beautiful contrivances, and its disturb- ing irregularity and
imperfections. On the
other hand, he was imbued with the spirit of Newtonian science and hoped to find in
this shimmering network a few simple laws
that might explain the whole movement of nature." Darwin concludes his landmark
Or#igin of Species with a striking metaphor of nature as "the tangled bank,"
reveling in what Gruber calls "the spectacle of com#plexity itself." Indeed, the
pattern�Xthe image�Xthat gave Darwin his essential in- sight into how evolution
works was a classic
fractal: He conceived of the evolving forms of nature as an irregularly
branching tree. Examining Darwin's notebooks, Gruber carefully tracked Darwin's
creative process to the moment when this image emerged in his thought. Gruber
initially expected Darwin's mental processes on ev- olution would be "fine, clean,
direct," but soon found that they were
"tortuous, tentative, enormously complex." Gruber realized that "Dar#win's picture
of nature as an irregularly branching tree attributed
to nature some of the characteristics I saw in his thinking."
According to Gruber, after considerable mental bifurcation Darwin
reached a point where he drew in his notebook three tree diagrams which captured
his insight that all creatures are related to one
another through a process of branching pushed forward by natural
selection. Darwin had found a simple law that could explain life's breathtaking
complexity.
Through the ages artists have been driven by a desire to capture life's si
multaneous complexity and simplicity in a single image or work. Some artists have
created simple images with hugely complex overtones; others have spun
out complex images that imply a simple order beneath. Artistic "truth" seems
to involve presentation of a dynamic balance between these two opposites. Darwin's
admiration for complexity and his belief in the Newtonian model of simple natural
laws brought him an important step toward the artist's aesthetic (sense of harmony
and dissonance), but in the end the emphasis of evolutionary
theory fell on the simplicity side of the equation �Xon scientific law. Many of the
scientists of chaos (though certainly not all) now seem bent on readjusting
the balance. Accordingly, they are proclaiming a new dynamic that emphasizes
how complexity can be wrought from simple rules while at the same time
revealing a challenging new perception that the laws of complexity will forever
prevent the kind of simple predictability and control over nature implied by the
clockwork Newtonian model of the world that Darwin had admired. Using simple
mathematical rules, chaologists can now model complex dy- namical systems,
formulating rules to mimic on a computer such natural phe- nomena as the flocking
pattern of birds flying to a roosting spot and the growing branch and leaf forms of
specific flowers and trees. Chaos theory and fractal
This apparent piece
of modern sculpture
is in fact the fractal shape of a ginger
root, one of nature's many living irregu#larities.
This stained cross section of cells in a cucumber bears a curious resemblance to
the purely mathematical fractal pattern generated on a computer. Michael Barnsley
has calculated and graphically represented here the values in a portion of the
boundary of the Mandelbrot set, an infinite collection of numbers found on the
complex number plane.
Notice the fractal patterns on the symmetrical starfish and the fractal composition
created by their bodies washed up
on the rocks. They are beneficiaries and victims of nature's dynamical action.
geometry have opened up undreamed of correspondences between the abstract mental
realm of mathematics and the movements and shapes of our planet's myriad organisms.
The seemingly endless niches in nature, for example, can now be perceived as an
analogue for the intricate complexity which fractal geometers have found in the
nooks and crannies of the Mandelbrot set. Indeed,
the idea of niche itself can now be understood as a fractal idea.
Niche means a corner or space. Biologists have traditionally used the word
to signify the little empty comer of an ecosystem that an organism evolves to
fill; a niche presents an opportunity for evolution. 11' one species of cormorant
nests on high cliffs with broad ledges and eats a certain kind of diet, another
species will evolve with special characteristics that allow it to nest lower down
on narrow ledges and eat a slightly different diet�Xso the two species occupy
different niches. In this traditional view, nature abhors a vacuum and will evolve
new forms to fill it. But, in fact, the situation is considerably more subtle. An
organism creates the niche it occupies as much as it is created by the existence
of an unexploited region of the ecosystem. New spaces or niches constantly come
into being, unfolded by the total activity of organisms. When a species
dies out, the fold (or niche) smooths over or is further crumpled into other
folds. The great biological diversity on the planet is a sign that nature is
con#tinually rippling with new and related niches. It is like the surface of the
sea
wrinkling in the wind. The constant crumpling of reality that we see in evolution
takes place over
millennia as species emerge and pass away, creating new landscapes, new en-
vironments, and new opportunities for new species. The old scientific concept
of the "balance of nature" is quietly being replaced by a new concept of the
dynamic, creative, and marvelously diversified "chaos of nature."
The eighteenth-century British satirist Jonathan Swift took a humorous view of
nature's scaling:
So, Nat'ralists observe, a Flea Hath smaller Fleas that on him pray, And these have
smaller yet to bite 'm, And so proceed, ad infinitum. Probably Swift would have
been suitably amused at
this photograph which shows mites inside the trachea
of a bee. Swift was correct that life is built on the
principle that evolutionary activity creates worlds
within worlds, all moving, changing, feeding back
into each other from small scale to larger scale, back
to small scale.
BIOFRACTALS �E 41
OP CAMELS,
STRAWS,
AND
To call a general differential
equation "nonlinear" is rather
like calling zoology
"nonpachydermology. " But
you see, we live in a world
which for centuries acted as if
the only animal in existence was the elephant. �XIan Stewart,
mathematician, in
Does God Play Dice:
The Mathematics of
Chaos.
I T 1 ost things in nature are like the camel that had one too many straws ^^^J on
its back. Continental plates push against each other for centuries and nothing
happens�Xthen suddenly, an earthquake. The boss, who relentlessly drives himself
and everybody else and seems to have boundless energy, drops dead of a heart
attack. A new insect is introduced accidentally into the envi- ronment, and at
first its population explodes, a few years later collapses, then
is stable awhile before exploding again.
Regularity, abrupt changes, and discontinuities are primary features of life.
Scientists call such jagged behavior "nonlinear," and the name is a clue as to how
they feel about it�Xor felt about it until recently. Nonlinear means not
This portrait of a nonlinear equation was created by an unusual collaboration
between an artist and
a scientist. Gottfried Mayer-Kress of the Sante Fe Institute is one of the world's
experts on nonlinear
systems. In the early 1980s he saw a potential for artists in the dynamics he was
plotting, "but I also knew that I �Xas a scientist without artistic talent or
training�Xwas not the person who could uncover these other, nonscience layers of
chaotic structures." He eventually teamed up with graphic designer Jenifer Bacon
who was entranced by the images Mayer-Kress showed her: "The chaos images
on the computer were like the land and sky in which I could paint and interpret
what I wanted,"
she says. "There was something intriguing about the
structure of the images. They seemed to flow and move
like liquid or atmosphere." Sometimes Bacon takes off from the science to trans-
form the images into her own landscapes. Other times, she uses her aesthetic
sensibilities to heighten the visual impact of the scientific information in the
plot. The image here is a faithful, though artistic, portrait of a
nonlinear equation showing in graphic form the huge
range of behavior possible depending on the starting values applied to the
equation. The "island" in the lower
left, for example, indicates values where the equation shows periodic behavior.
This equation has been used to model the behavior of subatomic particles.
linear, and the implication is that linearity is the preferred state. It all has to
do with equations.
Equations can be thought of as science's similes and metaphors. When phys#icists,
chemists, or biologists use equations to model real processes in nature, they
assume that the way an equation unfolds is like the unfolding of the real process
that the equation models. The values in linear equations change in an
orderly way. by steps and proportions, so the cause and effect processes of nature
in the linear world are lawful and orderly, just as Isaac Newton described them in
his work on celestial mechanics. A nonlinear equation is strikingly different and
provides a strikingly contrary picture of nature. While solving linear equations is
a simple matter of slotting in quantities and
calculating the equation's terms to a result, nonlinear equations must be solved by
iterating, or recycling, the end result of the equation to see whether processing
the equation pushes that end value toward a stable number, a periodically
returning number, or a number that fluctuates randomly. This suggests that the
cause and effect processes of nature described by nonlinear equations them#selves
involve some kind of dynamic recycling that leads to stability, periodicity, or
chaos. If mathematicians solve a linear equation with one starting value and
then solve it again with a closely related starting value, the end results of the
two calculations will remain close to each other. If these same mathematicians
try plugging two similar starting values into a nonlinear equation, the results
of the two calculations might be close or they might be shockingly far apart. While
a linear equation will behave the same way almost no matter what values
are slotted into it, a nonlinear equation is exceedingly sensitive to its starting
conditions. With a linear equation, when you've solved for one value, you have
a good idea of how the equation will behave when you solve for any value. With
a nonlinear equation, you have no such assurance. So, while linear and nonlinear
equations both describe the relationship of causes to effects, metaphorically
speaking, they seem to describe the causal behaviors of nature on entirely
different planets. For a long time scientists could formulate nonlinear equations
that modeled some of nature's complex processes, but couldn't solve them. Unable to
solve them, scientists did the natural human thing and linearized all the
nonlinear,
NONLINEARITY �E 45
Scientists at the Brookhaven National Laboratory in New York have been studying the
nonlinear dynamics of sandpiles. Like the camel that collapses under one straw too
many, a sandpile added
to one grain at a time will reach a critical mass and then suddenly collapse. Per
Bak, Kan Chen, Michael Creutz, and a team at Brookhaven have constructed a computer
model that plots a sandpile avalanche. The first frame plots a sandpile that
appears stable in the sense that nothing is sliding. The colors red, blue, and
green indicate different levels of stability for individual grains. Black
indicates open spaces. The muddy red area in the second, third, and fourth frames
show a spreading avalanche that occurs when one grain more is added to the pile,
setting off a sudden change in its behavior typical of nonlinear systems. Notice
the outline of the avalanche wave is fractal. The yellow
spots indicate grains that are still rolling. In the real sandpiles studied by
scientists at IBM in York- town Heights, New York, avalanches of sand drizzle down
the side of the pile in fractal patterns. Both the real and the computer
experiments have shown that sandpiles "perpetually organize themselves to a
critical state in which a minor event starts a chain reaction that can lead to a
catastrophe," report Bak and Chen. Avalanches tend to maintain the pile at the
critical state, so even though the pile rises and falls as grains are added and
avalanches occur, as a whole the pile
is always evolving toward its most unstable state, a process Bak and his colleagues
have dubbed
"self-organized criticality." Says Bak, "The geometric description [of fractals]
does not explain any#thing in itself. One has to understand the dynamical origin of
fractal structures. I see our idea of self-organized criticality as a contribution
in that direction. . . . The dynamics of self-organized crit- ical systems [are]
'at the edge of chaos.' . . . We believe that the fractal structure of nature
indicates that nature is turned to the edge of chaos."
tumultuous phenomena they could, such as heat flow�Xand then neatly dis- missed the
behavior of any "messy" natural phenomena they couldn't linearize. Linearizing
involves throwing away the awkward terms in the nonlinear equation
(the terms that involve feedback), using instead a series of approximations to
model the process at hand.
At the turn of the twentieth ##@ century, physicists used linear approximations
to calculate and predict the movement of planets and satellites in their orbits.
It was a highly successful procedure. Then the great French scientist Henri
Poincare took up the challenge of solving a nonlinear equation that involved the
feedback of gravitational effects that are produced when more than two
celestial bodies interact with one another as they move. The calculations were
immensely complex, but Poincare soon discovered that chaos is present in the
very celestial mechanics that linear science had long trumpeted as the model
of nature's simple laws. Poincare was stymied, however, by the strangeness of the
results and the immensity of the calculations; so he abandoned the nonlinear
approach. Then computers came along, which could crank out the millions of
iterations necessary to solve a nonlinear equation. Almost overnight scientists
began to explore nonlinear equations as a potent and revolutionary mathematical
metaphor for nature. The shapes and figures that appear on computer screens when
scientists
iterate nonlinear formulas are fractal shapes�Xmirrors of underlying tempes#tuous
dynamics.
In a nonlinear world, small effects can have large and unexpected consequences. A
dynamical system may seem stable
until it reaches a critical juncture, and then some seemingly minor occurrence
pushes it over the edge to a new state. In the frame at the right an iceberg
suddenly breaks off, and "calves" from a glacier. Polar ice shows fractal scaling:
Ice fragments are mirrors, at different scales, of each other. In the frame at the
left, an avalanche, showing its fractal edge,
rolls down a mountainside in British Columbia. The avalanche could have been set
off by something as small as an echo
or a change in temperature. Nonlinear formulas would be needed to describe the
sudden changes shown here.
iT^

It has lasted for nearly a


billion years without flying
off. If I had to bet, I'd soy it
wasn't going to�Xbut we can't
rule it out. �XJack Wisdom, MIT
physicist, speaking
about the planet Pluto.
Space probes and flybys, cameras and telescopes equipped with so- phisticated X-ray
and ultraviolet sensors, unmanned landings and manned lunar expeditions�Xall have
combined to bring us spectacular views
of our solar system as a place full of bubbling, freezing, oozing, shattering
activity. The swirling cyclone of gases that makes up Jupiter's giant eye is only
one
instance of the dynamical chaotic forces that operate among the planets and
in the deep space beyond. Here collapsing neutron stars spin at frantic rates,
supernovas slowly explode in shock waves that trigger the birth of new stars,
suns�Xspinning balls of turbulence�Xspew out magnetic storms across millions
A cauldron of chaos, the Orion Nebula is a
crucible or womb of dust and gas in which
stars are born.
of miles, and black holes chew up passing energy.
It's hard to imagine that not very long ago our solar system was considered the
very paragon of nature's order. Ever since the late seventeenth century, Isaac
Newton's great theory of
"celestial mechanics" has enabled scientists to predict with amazing precision such
astronomical events as planetary
cycles, solar eclipses, and comet returns. Newton's laws of gravitational
attraction increased scientists' understanding im- measurably, even leading to the
discovery of new planets. By
the eighteenth century instrument makers were using gears and pendulums to fashion
"orreries," sophisticated clocklike instruments that kept the repetitive orbital
time of the planets
as they circled in the solar system. Then around the turn of the century the great
French phys- icist-mathematician Henri Poincare encountered a disturbing
glitch in Newton's celestial mechanics. The equations tradi- tionally used for
calculating the gravitational attraction of
celestial bodies work wonderfully when the planets are taken two at a time. But
when the effect of a third object is added,
the equations become unsolvable. Physicists had traditionally gotten around this
so-called three-body problem by using what
are called "linear approximations"�Xfor most practical pur- poses a fine solution.
Poincare, however, decided to work the#oretically on the problem by adding a term
to the equations
that would represent the feedback caused by the presence of the third body. This
term made the equations ".nonlinear" and
gave Poincare considerable distress. Nonlinear equations be#Like a bloodshot eye,
Jupiter's moon Europe displays a fractal pattern evi- dencing the complex dynamics
going on at its surface. The chaotic web of red
|i nes�Xan(j lines within lines
�X
are fractures in the 100-kilometer-thick crust
of ice covering the planet. The fractures are being filled with materials from
the planet's interior.
Orreries like this one made for Harvard College in 1767, by Benjamin Martin of
London, rep- resent science's view of a uni- verse under the strict guidance
of "celestial mechanics." That view has been challenged by the
recent scientific realization that
this clockwork system contains
traces of chaos.
Synchronous
(1:1) rotation
have erratically as terms are rapidly multiplied by the equation's dynamics.
Poincare's solutions suggested that in some orbits, the presence of a third body
might cause a planet to gyrate, weave, even fly off. The strange behavior of the
equations meant that the eternal clockwork
regulating the planets' orbits might come unexpectedly unsprung. Poincare soon
abandoned the calculations, lamenting that his results were "so bizarre that I
cannot bear to contemplate them." In his wake, scientists carried on with their
linear approximations, ignoring Poincare's nonlinear feedback as so much ex-
perimental "noise." But what is noise for one era of science may, in a later era,
become the drumroll to a new reality. In the past twenty years, "chaologists" have
returned
to contemplate the discovery Poincare abandoned�Xand increasingly found evi- dence
of chaos in the celestial machine. Chaologists have, for example, ascer- tained
that gaps in the asteroid belt between Mars and Jupiter are caused by
Mars' gravitational attraction, which though small when compared with the
attraction of Jupiter, is large enough to create regions so chaotic that no as-
teroids can reside in them. Jack Wisdom, an MIT physicist specializing in celestial
mechanics, speculates that some asteroids which wandered into the gaps may have
been hurled toward Earth, where they crashed as meteorites.
Scientists have also found chaos in the tumbling of Saturn's deflated rugby
ball-shaped moon, Hyperion.
A plot of Hyperion's orbit captures the strange, wobbling behavior of this 120-
mile-long satellite as it whirls around its mother planet. Hyperion's
rotation behaves regularly and predictably only
in spurts, which show up in the plot as yellow
islands of order amidst a blue sea of chaos. In some of these islands of order
Hyperion rotates twice every time it orbits Saturn; in others it spins nine times
for every four orbits; there are
also bands of regular or "periodic motion."
Hyperion's tumbling behavior has been confirmed by observation and is so
unpredictable that chaologist Wisdom says, "Even if it had been possible to
52 �E SPACE
determine the orientation and spin of Hyperion to ten significant figures at the
time of the Voyager I encounter, it would not have been possible to predict its
orientation less than two years later when Voyager 2 arrived." The self-similarity
represented by the islands of order in the plot are fractal: fingerprints showing
that a chaotic dynamical system is at work.
Chaologists now think that the orbit (not spin) of the planet Pluto may also
partially occupy a chaotic region. They think it is possible Pluto could one day
suddenly lurch off into a new orbit. From plots of planetary uncertainties to the
shapes and features of celestial objects, fractal patterns exist across the cosmos.
The pattern of distribution of craters on the lunar surface is fractal as is the
scattered pattern of galaxies in the universe. In the latter case, star clusters
contain gaps, and in the gaps are
Jupiter's giant eye
lives on the border- land between order and chaos. This picture was taken by
Voyager I.
SPACE
clusters that contain gaps�Xjust the kind of random yet strangely orderly group#ing
that is the signature of a fractal. Jupiter's cyclopian eye is also fractal,
composed of swirls within swirls, an organized dynamical system woven out of chaos.
In the old scientific aesthetic, the beauty of outer space lay in our perception
of an underlying mechanical order. In the new aesthetic, scientists appreciate
the universe as a fluctuating holistic hybrid of symmetry and chaos.
Scientists suspect that the gaps
in the rings of Saturn may have
something to do with chaos. These gaps seem to result from
the feedback effects of gravity exerted by Saturn and its satel#lites, which
conspire to make
the regions so erratic as to be
unoccupiable for any long pe#riod of time. In the asteroid belt between Mars and
Jupiter lie several orbital gaps, or empty
regions, which have almost cer- tainly been created by chaos.
WEATHER
IS
CHAOS
It may happen that slight differences in the
initial conditions produce very great
differences in the final phenomena. . . . One#tenth of a degree more or less at any
point, and the cyclone bursts here and not there, and spreads its ravages over
countries which
it would have spared. This we could have
foreseen if we hod known that tenth of a
degree, but the observations were neither
sufficiently close nor sufficiently precise, and
for this reason all seems due to the agency of
chance. �XHenri Poincare, great nineteenth#century physicist, perhaps the first
scientist to confront the perplexities of
dynamical chaos.
I T I eteorologist Edward Lorenz's cup of coffee is world famous. When
^^^^J he left the computer at his Massachusetts Institute of Technology
lab to go have it, he didn't suspect that the turbulent swirls of steam he saw
rising above the cup's rim were emblematic of the revolutionary chaotic message
his computer was at that very moment calculating. In the past two decades,
magazines and books all over the world have reported what Lorenz found when
he went back to his computer and looked. Lorenz had been working on a simple three-
variable model for forecasting the weather, and his computer had cranked numbers
into the model's nonlinear
equations to make a forecast. He decided he wanted to extend the forecast a few
more days, so he needed to make another computer run. Since computers were
relatively slow in the 1960s, Lorenz took a shortcut and rounded off some
of the numbers he plugged into his model's equations. He expected a slight
discrepancy between the two calculations of his forecast, but he was sure it would
not be enough to affect what he was looking for. He set the computer
to work on the shortcut version of his forecast and went out for his coffee.
Though each emerges from a different set of meteorological conditions, hurricanes
and tornados are
self-organized forms born of the underlying chaos of weather. They are like the
swirling, strangely ordered shapes that inhabit the boundary regions of the
Mandelbrot set.
The way the lightning branches and
forks creates a fractal pattern. Fractal geometers calculate jaggedness or bro-
kenness of irregularly shaped lines such
as lightning to arrive at the line's "frac#tal dimension." Lines that have detail
on many scales are said to have a fractal dimension that lies between the one-
dimensional Euclidian line and the two- dimensional Euclidian plane. The fractal
line of many lightning strikes is about
1 .3, fractal geometers calculate.
When Lorenz came back he discovered chaos.
Lorenz's computer showed him that the small difference in the starting point
between the two runs of the forecast had "blown up," as chaologists now put
it. leaving him with two very different long-term forecasts. We can see the same
effect he noticed in this plot of two long-term forecasts of westerly winds. The
starting information for each of the two long-term predictions of wind
speed is very close. The blue plot starts with the wind at 12.00 meters per second
and the red with the wind at 11.98 meters per second. For the first fifteen days or
so the slight difference leads to very similar forecasts. But then
the forecasts diverge radically. Lorenz realized this divergence meant that every
forecast is incredibly sensitive to the initial information the meteorologist puts
into it. Small errors in that information will quickly balloon to become large
errors in the prediction. Any information the meteorologist is missing and does
not plug into his model (for example, the information left out when numbers
with several decimal places are rounded off by a computer) will end up over-
whelming the validity of the forecast. But there was more. Lorenz realized that the
problem wasn't just that fore- casting models always display limited precision. The
problem is that no model, no matter how sophisticated, could ever obtain
sufficiently accurate information
WEATHER �E 57
i&J
v
-;-... The weather over the North Pole as it looked on May 28, 1991.
Here is a forecast of the weather
for May 30 (two days later) based on the initial conditions
in map A.
A forecast for June 12(15 days
since the first day when act- ual measurements were taken) based on the initial
conditions
of A.
Six hours later on May 28, the weather hadn't changed
much. The differences in the in#itial conditions of the two
weather maps are minor. How#ever, projections into the
future of these slightly different initial weather con#ditions reveal the
difficulty involved in making long-range
forecasts.
This is a forecast of the weather
for May 30 based on the initial conditions in map B. Notice how
the A and B forecasts are beginning to diverge at this point.
A forecast for June 1 2 based on
the initial conditions of B. The A and B forecasts of what the weather will look
like 1 5 days after the start of the process have now diverged
so much that they predict vastly different weather.
This is what the weather actually looked like on June 12. Because the weather is so
dynamical and sensitive
to its smallest elements, the accuracy
of long-range forecasting will always
be severely limited, chaologists say.
to start with because weather itself is so dynamical, so sensitive to the "infer
mation" continuously circling inside it, thai even the wings of a butterfly
stirring
in the forests of Brazil would have to be taken into account. Accurate long term
weather prediction, Lorenz concluded, is therefore not just practically, but also
theoretically impossible. Aksel Wiin-Nelson, director of the European
Centre for Medium Range Weather, put it this way: "We thought that if you
just knew the state of the atmosphere sufficiently well and if you built the right
models with powerful enough computers, there should be no limit in predicting the
weather. Lorenz's work came as quite a shock."
In one sense Lorenz's discovery revealed t ho obvious. Everything in the vast
dynamical system we call weather is connected by feedback to everything else. As a
result, just where any part" of such a system starts out will have an enormous
impact on where it ends up. Two specks of ice drifting in the upper atmosphere
might start out at almost exactly the same place, but the microscopic
differences in each speck's initial conditions will lead each to a vastly different
fate. The complex and subtle dynamical forces acting on each individual snow#flake
as its crystal grows will result in very dissimilar final forms. The exception
proves the rule. Look at these two snow crystals discovered by Nancy Knight
of NASA's International Satellite Cloud Climatology Project. They are, as Knight
says, "if not identical, certainly very much alike." She speculates they fell
hooked
together as Siamese twins, so the dynamical forces acting on them were virtually
the same. Still, we can see there are differences. Because all of the weather's
components (temperature, air pressure, moisture,
etc.) are subject to a sensitive dependence on initial conditions�Xright down
to the position and condition of individual molecules in the atmosphere�Xlong-
range forecasts will always diverge from actual weather within a few days no
matter how sophisticated the forecaster's information. Lorenz figured out a way to
plot the unfolding divergence that took place in his weather model's equations on a
graph. The result was a masklike shape
called a strange attractor. The particular strange attractor that came to be named
after Lorenz is an abstract portrait of the infinite raveling and unraveling
of the weather as a dynamical system. The self-similarity and ceaseless change at
all scales of activity shown in the Lorenz attractor mean the plot is a fractal.
WEATHER 59
#�E�E
The weather is a quintessential chaotic system. Because of its con#stant folding
back on itself�Xits "it- eration"�Xit displays a huge range
of behavior on many scales, yet re- mains within the broad limits of be- havior we
call climate. Climate is another name for the weather's
strange attractor. While they can't hope to ever make perfect predictions,
meteorologists are now using chaos theory to evaluate the reliability of their
models and to assess whether some initial conditions are more unstable than others.
We may soon
see a "confidence factor" assigned to our weatherman's five-day forecasts.
BETWEEN
THINGS!
DIMENSIONS
/ coined fractal from the Latin
adjective fractus. The
corresponding Latin verb
frangere means "to break": to
create irregular fragments. It
is therefore sensible�Xand how appropriate for our
needs!�Xthat, in addition to
"fragmented" (as in fractional
or refraction), fractus should
also mean "irregular," both meanings being preserved in
fragment.�XBenoit Mandelbrot.
Qolish-born, French-educated, American mathematician Benoit Man#delbrot caused a
stir in 1967 when he proved that the coastline of England is infinitely long. It
was one of several strange conclusions wrought by
the new geometry Mandelbrot invented. The word geometry means "to measure the
land." Euclidian geometry meas#ures land by distances, i.e., by angles and lengths.
It portrays the land abstractly
as blank, smooth parcels composed of points, straight lines, circles, rectangles,
triangles, cubes, and spheres. Mandelbrot's revolution was to reveal what every-
body knows�Xthat the actual landscape is not smooth or blank at all and that
distance is relative. In the real land, space is filled, twisted, kinked, and
pocked. Use the mileage rule at the bottom of
a map to calculate the miles between
one town and another, and you will probably get fooled. A country road
looks straight on the map, but a real road curves and winds across hills. Fifteen
miles "as the crow flies" (though it's a fallacy that crows fly straight) will
prove more than that when you drive. Mandelbrot showed
that distance on the land is relative
to scale and detail. Bend a thread around the coastline
of Great Britain on an atlas map and
ascertain the length against the map
The two-dimensional surface of this landscape near Elmira, New York, crumples
fractally toward three-dimensional space. The city of Elmira is the purple-colored
area at the top and to the west of the low-lying white cloud bank trapped in the
Chemung River valley. Notes Mark Eustis of the Earth Observation Satellite Company,
which produced this image: "The
forests of the central Pennsylvania mountains are a russet-green color. They are
surrounded by the random-ordered pattern
of fields, which are laid out across the hills and valleys of the southern tier in
a pattern which seemingly ignores the
considerations of runoff and geographic boundaries. This area is a classic
illustration of dendritic drainage." Fractal geometry describes objects and
processes that inhabit the countless niches between our conventional Euclidian
dimensions. The fractal pattern of this landscape was produced by a confluence of
chaotic forces.
DIMENSIONS
scale. Now do the same with a more detailed nautical map of the U.K. coast. Oddly,
on the second map the coastline is longer. If you were to take a pair of stout
boots, a meter long rod, a few months vacation, and actually measure the
British coastline on the ground, you'd tind it had grown once more. Use a ruler
Magnify a small portion of a coastline and it looks similar to a larger-scale
version. Draw a line that follows the convoluted edge of a coast, and that line's
complexity will fill a space between dimensions. A coastline is a fractal pattern
left behind by the forces of dynamic chaos.
a centimeter in length and it will be vastly longer still. The reason for this
protean expansion of the British coastline is that the smaller the ruler you use,
the more of the coast's twists and gnarls you can measure. Imagine how long your
result would be if you could measure the molecules along the water's edge
with a ruler a scant photon in length. Mandelbrot argued that in order to
appreciate how the points, lines, planes, and solids of the real world fill space,
the Euclidian idea of distance (and measure) must be abandoned.
Mandelbrot put this idea together with some insights he had gleaned from
several mathematicians whose work at the end of the nineteenth century had
challenged the Euclidian concept of dimension. These mathematicians, who
included the German Karl Weierstrass, the Italian Giuseppe Peano, and the German
Helge von Koch, had shocked their colleagues by creating curved lines, so-called
monster curves, that convoluted in such intricate ways they could
entirely cover the surface of a plane. The result was a disturbing ambiguity about
whether a monster curve was a line of one dimension or a plane with two dimensions.
Many other monster curves have since been created. Here's one called a "Hilbert
curve" (to clarify: mathematicians dub any line that has bends in it a "curve").
The Hilbert curve is generated by starting with a simple
figure: Next, that same fig- ure is applied to each of its own three
sides, and some eras- ing is done. The re- sult looks like this:
Now iterate (repeat) the
figure several more times, applying it to itself in the same way as above, and
watch as space begins to
fill.
n
64 �E FRACTAL DIMENSIONS
^�G^
Theoretically, the iteration of the Hilbert curve can be carried out indefinitely,
so that the curve crosses even' point on a plane without crossing itself�Xhence
the ambiguity. Is the resulting figure still a single, one-dimensional line or has
it become a two-dimensional plane?
Natives of India who have been taught how to draw a Kolam, as this pattern is
called, can draw
one very fast, according to biomathematician Prze- myslaw Prusinkiewicz.
Prusinkiewicz generated
this "Soissors" Kolam on a computer using an it- erative algorithm similar to the
algorithm that produces the space-filling Hilbert curve. He says he finds it
"amazing that people in India for cen#turies were using a fractal as a form of
art." There are many ways fractals are important to
art. For example, architects have recently realized that the irregular surfaces of
concert halls frac- talize the smooth sine waves of the orchestral in- struments
and enrich their sound.
FRACTAL DIMENSIONS
Nineteenth-century mathematics struggled with monstrous space-filling curves like
this one as well as with eaten-out lines like the "Cantor set," and
decided it was best to inject them with a theoretical formaldehyde, metaphor#ically
pack them in jars, and store them on a back shelf marked "curiosities"
�X
odd anomalies having no relevance to the rational progress of geometrical
knowledge. Then in the 1960s Mandelbrot took them out, dusted them off, and
examined them in the light. He saw these pathological shapes between
dimen#sions�X"fractals" he called them�Xas an important clue to a new mathematics
of natural forms such as clouds, trees, and mountain ranges. The classical
fractals�Xthose nineteenth-century griffins�Xare made by add#ing or taking away
elements in a recursive or iterative process. We saw that process at work in the
generation of the Hilbert curve. Here's the generation sequence of another
classical fractal called a Koch island�Xmade by repeatedly
adding a triangle to the middle of every straight line at each iteration. The first
generation is at the bottom.
CTAL DIMENSIONS
Though the repeated triangle shapes make this fractal perfectly symmetrical,
Mandelbrot realized that the Koch island docs suggest the kind of detailed,
recursive jaggedness that exists along a real coastline. He discovered that
classical fractals had also been made by repeatedly (it eratively) taking something
away. The simplest example of this type of iteration involves subtracting the
middle third of a line and then repeating that operation
indefinitely to create a "dust" of points, called Cantor dust after its discoverer,
the Russian-born. German mathematician Georg Cantor.
These ancient bubbles trapped in sandstone show a natural fractal scaling
reminiscent of Cantor
dust. The dynamic chaos of bubbling has left behind this fractal pattern.
A
Like the Koch island, this dust is suggestive of structures in nature�Xthough,
again, it is too symmetrical�Xfor example, of the way stars are distributed in
clusters and dusts across the night sky. A more complex form of taking something
away to create a fractal is an
iteration where triangles are repeatedly subtracted from within triangles, cre-
ating a figure called the Sierpinski gasket. The end effect of these subtracting
iterations is to shrink the two-dimensional
triangle into a figure that fills the space between one dimension and two. The
Sierpinski iteration can be carried out on a three-dimensional object, by
subtracting pyramids from within pyramids. The result is called the Sierpinski
arrowhead. The example here was fancifully generated on a computer as a "Desktop
Tetrahedron" by scientists at the University of Regina in Canada. The
arrowhead has more spaces than a sponge and lies about halfway between a two-
dimensional surface and a three-dimensional pyramid. The classical fractals
Mandelbrot first contemplated are now called "linear
fractals," a name indicating that as the iterations proceed, the lines in the
figures stay straight. Put another way, this means that the feedback loop of
iteration that generates the figure is well behaved and regulated, so that the
figures produced are exactly self-similar on many scales. Magnify a small portion
of the Sierpinski arrowhead, then magnify a small portion of the first
magni#fication. The two magnifications will look exactly the same. Compare this
with what happens when you magnify a portion of a classical Euclidian figure such
as a circle at increasing powers. As your examining lens gets stronger, you will
see a smaller segment of the circle's curve, and the curve will look increasingly
like a straight line. No new detail is revealed as magnification increases. Magnify
parts of fractals, however, and they reveal new, though self-similar, detail. Self-
similarity and scaling are characteristic of fractals in general, Mandelbrot
realized, though, not all fractals are as symmetrical in their scaling detail as
are the linear, "classical" fractals like the Sierpinski gasket and the Koch
island. Mandelbrot discovered that by using what are called "nonlinear" equations,
the feedback of iteration that produces a fractal can bend straight lines into
curves and swirls and make the self-similarity at different scales variously
deformed
and unpredictable�Xa "statistical self-similarity." the Mandelbrot set is perhaps
the best-known example of a nonlinear fractal, though it exists in a purely
68 DIMENSIONS
mathematical realm. The swirls and Roman candle explosions that appear along
the edge of this mathematical object create a coastline of infinite self similar
intricacy. (See Mandelbrot Set.) Eventually a third type of fractal was discovered
that introduces a random
element to the iteration. For instance, by randomly changing the size and shape
of the triangles as they are iterated inside of triangles, the irregularity of a
mountain range can be imitated. The random fractal allows fractal artists to model
the natural roughness and irregularity of surfaces such as waves, clouds,
The ragged, expanding boundaries of forest fires are as fractal as a coastline.
In an orchard, disease also progresses like a fire, and scientists have used their
knowledge of fractals to figure out how many trees should be randomly excluded from
an orchard's rows to prevent
disease from spreading.
FRACTAL DIMENSIONS �E 69
mountains, and the branching patterns of trees. (See Imitations.) But whether the
fractal is classical (linear), nonlinear, or random, the com#plex way it fills
space establishes it as an object between dimensions. Thanks
to Mandelbrot's geometrical invention, mathematicians and scientists can now
calculate the fractal dimensions of virtually any wrinkly, crinkly, or dendritic
object which has details at many scales�Xfrom mathematical objects like the
Mandelbrot set to natural objects like trees, to human-made objects like Swiss
cheese. Simply put, the fractal dimension indicates the degree of detail or
crinkliness
in the object, how much it occupies the space between the Euclidian dimensions. The
rugged coastline of Britain is a line crumpled up enough to partially fill a
plane. Using techniques that Mandelbrot developed, scientists now describe this
coastline as a fractal with a dimension of 1.25, similar to the Koch island curve,
which has a dimension of 1.2618 . . . �Xin other words, about a quarter of the way
between a line and a plane. The Sierpinski gasket is a fractal with a dimension of
1.584 . .
. ; protein surfaces bump up and wrinkle around toward
three-dimensional space in a dimension that is around 2.4. In a fractal world some
objects have been found to be incredibly complicated in the way they fill space.
Mathematicians have recently proven that the edge of the Mandelbrot
set is so intricate that it is a one-dimensional line with a fractal dimension of
The cauliflower�Xa fractal in your re- frigerator�Xarranges its florets in self-
similar scales. Self-similarity, in this case, is a pattern left behind by the dy-
namical process of growth as it filled the space between dimensions.
7 DIMENSIONS
Imagine a piece of paper as a plane of two dimensions. Now wad it up. The resulting
object is neither a plane nor a
sphere, but something folded in between the second and
third dimensions. As calculated by fractal geometry, this wad of colored paper has
a fractal dimension of about 2.5.
2. The two-dimensional surface area of the human vascular system is folded, bent,
and packed so extensively that it has an effective fractal dimension of 3; the
system of arteries alone has a dimension of 2.7. Most natural objects, including
ourselves, are composed of many different types of fractals woven into each other,
each with "parts" that have different
fractal dimensions. For example, the bronchial tubes in the human lung have one
fractal dimension for the first seven generations of branching, and a different
dimension for the branching after that. In the complex environment of nature,
intricate patterns of self-similar, scaled detail were laid down by the dynamical
forces affecting evolution, growth, and function. When he first published his
ground-breaking book, The Fractal Geometry of
Nature, in 1977, Mandelbrot defined the concept of fractals in terms of the
mathematical methodology used to calculate the fractal dimension of any object
or process. In a later edition he regretted having proposed a strict definition
of fractals at all. He writes that "for me, the most important instrument of
thought is the eye. It sees similarities before a formula has been created to
identify them." We will recognize fractal patterns intuitively long before we
specify them logically and mathematically. Leaving a definition open is not an
unusual procedure in math and science, and seems especially fitting for the
idea of the fractal. Not only does such openness allow us to explore the richness
of the concept without arbitrary restrictions, it emphasizes the great shift
fractal geometry has made away from a strict quantification of nature�Xmeasuring
objects and processes in terms of degrees, lengths, and calibrated time
dura#tions�Xand toward an appreciation of the qualities of nature such as
roughness, openness, branchiness. and roller-coaster rides of "fractal time." When
we are
FRACTAL DIMENSIONS 71
not confined to a strict definition of fractal geometry, we can appreciate that
this geometry is more than a measure of nature; it is a way of concentrating our
attention on the rich activity that has long been taking place in the vast, busy
spaces and cracks overlooked by our old quantitative Euclidian perception.
7? PENSIONS
HAUNTING
MANDELBROT
Zoom in at any part of the set
at any magnification, it always reveals a reproduction
of itself. As the zoom
continues, the same image
reappears ad infinitum. In The
Poetics of Space, Gaston
Bachelard [says] . . . the
scientist "has already seen what he observes in the
microscope and,
paradoxically, one might soy
that he never sees anything
for the first time." �XKlaus ottmann, art
curator and
contributing editor
of Flash Art
Hargely because of its haunting beauty, the Mandelbrot set has become
the most famous object in modern mathematics. It is also the breeding
ground for the world's most famous fractals. Since 1980, the set has provided an
inspiration for artists, a source of wonder for schoolchildren, and a fertile
testing ground for the science of nonlinear dynamics. It is the symbol of the Chaos
Revolution. The set itself is a mathematical artifact�Xan odd-shaped infinite swarm
of points clustered on what is known as the "complex number plane." Let's try to
visualize it.
IBM scientist Clifford Pickover employs some clever tricks to bring out a different
kind of detail in the Mandelbrot set fron#tier. He calls this image "Mandelbrot
Stalks."
To make them tangible, we imagine real numbers like L, 2, 3. . . as spaced
out along a number line. Because complex numbers have two parts to them
�X
called their "real" and "imaginary" parts �Xmaking complex numbers tangible
requires two lines, or axes, which means a plane. Picture the plane dotted by
complex numbers as a computer screen, which is just where the visual form of the
Mandelbrot set was discovered. Like the screen of your television set, a computer
screen is covered with a host of very tiny, evenly spaced points, called
pixels. The moving image on the screen is made when patterns of pixels are excited
(made to glow) by a fast-moving scanning beam of electrons. Think of each pixel as
a complex number. The pixels in any neighborhood are numerically
close to each other, just as 3 and 4 are numerically close to each other on the
real number line. Pixels (numbers) are made to glow by applying an iterative
equation to them.
In the late 1970s and early 1980s Benoit Mandelbrot, the inventor of fractal
geometry, and several others were using simple iterative equations to explore
the behavior of numbers on the complex plane. A very simple way to view the
operation of an iterative equation is as follows: Start with one of the numbers on
the complex plane and put its value in the "Fixed Number" slot of the equation.
chamjmg Fixed Re^u , In the "Changing Number" slot put zero. Number Number
Now calculate the equation, take the
"Result" and slip it into the "Changing
Number" slot. Repeat the whole operation
again (in other words, recalculate or "iterate" the equation) and watch what
happens to the "Result." Does it hover around a fixed value, does it spiral toward
infinity quickly, or does it stagger upward by a slower expansion?
When iterative equations are applied to points in a certain region of the complex
plane, the results are spectacular. By treating the pixels on computer
screens as points on the plane, even nonmathematicians can now admire this marvel.
In fact, without computers, only the most intuitive mathematicians could have
glimpsed what was there. With the computer it works like this: Starting with the
value of a point (or pixel) and applying the equation to it, iterate the equation
perhaps 1,000 times. If the "Result" remains stable, color
MANDELBROT SET
NrV,*
This flamelike image of the set has been named "Peitgen" by Homer Smith after the
German math#ematician Heinz-Otto Peitgen, who brought the beauty of fractals
forcefully before the public eye.
the pixel black. If the number heads at one speed or another toward infinity, paint
it a different color, assigning colors for each rate of movement. The points
(pixels) representing the fastest-expanding numbers might be colored red,
slightly slower ones magenta, very slow ones blue�Xwhatever color scheme the
fractal explorer decides. Now move on to the next pixel and do the same thing with
the color palette until all the pixels on the screen have been colored. When
all the pixels (or points representing complex numbers) have been iterated by
the equation, a pattern emerges. The pattern that Mandelbrot and others dis covered
in one region of the complex plane was a long-proboscidean insect shape of stable
points�Xthe Mandelbrot set itself, usually shown in black
�X
surrounded by a flaming boundary of filigreed detail that includes miniature,
slightly distorted replicas of the insect shape, and layer upon layer of self-
similar forms. The boundary area of the set is infinitely complex, therefore
fractal, because
it is possible to bring out finer and finer detail. Computer graphics artists call
the process of unfolding the detail "zooming in" on the set's boundary or
"mag#nifying" it. It's fairly easy to grasp what this means. On the real-number
line we routinely imagine that between the numbers 1 and 2 are other numbers, 1.5,
for example, or 1.6. (We encounter this every time we pick up a ruler.) Of course,
between those numbers are still more
numbers, 1.53 and 1.54, for example�Xand so on, indefinitely. The same is true
for the numbers on the complex plane. Between any two of them are many
more, and between those many more are many more still ad infinitum. These numbers
between numbers allow us to use the computer like a microscope to
By iterating the points between the points at one scale of the Mandelbrot set, it
is possible to zoom
into increasingly smaller scales of the set. Because there is an infinite number of
points between any
two points, the Mandelbrot set's detail is infinite; a coastline complex beyond
measure. The first frame here shows the region of the number plane where the set
resides�Xwith the set itself in black and the fractal boundary area on fire with
color. After that, each of these 12 frames explores in- creasingly deeper
magnifications of detail in the fractal boundary. continued on next page
dive into increasingly deeper detail. To extend our analogy, if the numbers we
were examining on the complex plane were all like the numbers at the level
of, say 1, 2, 3, etc., on a ruler, then we would be examining the largest scale
of numbers. But we could also go to a smaller scale and examine the numbers
at the level of 1.5, 1.6. Between those will be yet a smaller scale (including the
numbers 1.53 and 1.54, for example) �Xand so in any region of the complex
plane we could move downward (or inward) to smaller and smaller scales. Similarly,
explorers of the Mandelbrot set can zoom in to study finer and
finer detail as they examine the ever smaller scales of numbers between numbers
on the complex plane. Indeed, a home computer can examine numbers out to 15 decimal
points. To complete the microscope analogy, if the numbers 1 and
2 were the equivalent of objects the size of human beings and trees, a number
15 decimal points smaller would be an object tinier than an atom. More powerful
computers can go into even finer (or deeper) detail. In addition, different styles
of iterative equations can act as prisms to display varying facets of the behavior
of the complex numbers around the set. Applying zoom-ins and different iterative
prisms to the numbers in the bound#ary area of the Mandelbrot set has revealed that
this region is a mathematical
strange attractor. The "strange attractor" name here applies to the set because
it is self-similar at many scales, is infinitely detailed, and attracts points
(num#bers) to certain recurrent behavior. Scientists study the set for insights
into the nonlinear (chaotic) dynamics of real systems. For example, the wildly dif-
ferent behavior exhibited when two numbers with almost the same starting value and
lying next to each other in the set's boundary are iterated is similar
OT SET
# .\
- v
v
1
?�E . * ...
* :'f
�E
�E�E
*
r ,#
1 1
; .�Ev '''-"
. '"?*�E�E 'j? '':'.-' .�E,?! '. -" n&maA ; ?�G
This jewel box version of the detail on the Mandelbrot set was computed by Rollo
Silver of Amygdala in San Cristobal, New Mexico. Silver also puts out a newsletter
aimed at fractal fanatics.
to the behavior of systems like the weather undergoing dynamic flux because
of its "sensitive dependence on initial conditions." But a major importance of the
set may be that it has become a strange
attractor for scientists, artists, and the public, though each may be drawn to it
continued on next page
MANDELBROT SET �E 79
for quite different reasons. Scientists have found themselves attracted�Xoften with
childlike delight�Xto a new aesthetic that involves the artistic choices of color
and detail they must make when exploring the set. Artists and the public have been
attracted by the set's haunting beauty and the idea of abstract mathematics turned
into tangible pleasures. As testimony to the popularity of the set, Art Matrix, an
independent research group based at Cornell University in Ithaca, New York, has
sold half a million postcards and countless videos of Mandelbrot fractals since it
started in 1983. Founded by Homer Smith and Jane Staller, Art Matrix grew out of
Smith's work
with Cornell mathematician John Hubbard to produce images for Hubbard's
research. A deep thinker, Hubbard had proved one of the important theorems
about the set�Xa holistic theorem, that all the mini-Mandelbrot figures folded
into the boundary are mathematically connected. He was also one of the re-
searchers who decided to name the set after Mandelbrot in recognition of the French
mathematician's role in bringing its outline to light. Smith reports that
a collaboration among Benoit Mandelbrot, John Hubbard, and Heinz-Otto Peitgen
led to the Scientific American August 1985 cover article, and thousands of requests
from readers for views of the set to hang on their walls. This collab- oration also
led to a friendly rivalry over who could produce the most aesthet#ically pleasing
renditions of the set. Smith continues to help Hubbard with his research and to
produce images for the public with the aim of attracting young
children to mathematics. "We hope that fractals show up in early classrooms,
to get kids interested in mathematics very early," Smith says, "because it really
8 OT SET
ear
**i
zm&mk
' ,&$
wmM >: ?n*.
This image, which Homer Smith of Art Matrix calls "The Orchid," is a part of the
Mandelbrot set explored by the iterative equations of "Newton's method," a
mathematical technique used to solve polynomial equations. (See Math Art.)
opens the eyes of children who haven't been turned off to education We
hope by the time they get up to the tenth grade, they'll have seen these things and
say, 'There's something here in math, science and computers that I want
to learn.'
"
MANDELBROT SET �E 81

Scientists will . .. be surprised and delighted to find that now


a few shapes they had to call
grainy, hydralike, in between,
pimply, pocky, ramified, sea#weedy, strange, tangled,
tortuous, wiggly, whispy,
wrinkled, and the like, can
henceforth be approached in
rigorous and vigorous fashion. �XBenoit Mandelbrot,
inventor of fractal
geometry.
I f f I ithout knowing it, millions of people around the world have watched ^^^^
fractal mathematics on movie and television screens. Using varia- tions of fractal
techniques originally pioneered by Benoit Mandelbrot and IBM
researchers, computer graphics artists created the alien landscapes for the Star
Wars films and Star Trek II: The Wrath of Khan. Fractals have become an
important staple of Hollywood special effects.
Lucasfilm production used fractals in their epic Star Wars films. The program that
made this image
generated the mountains in the "Genesis Demo" segment of Star Trek II: The Wrath of
Khan. This is an early mountainscape made by Loren Carpenter of the film company's
computer graphics division (now a separate company known as Pixar), using the
midpoint displacement method. Back in the
early 1980s Carpenter had seen some of the fractal images made
by Mandelbrot's colleagues at IBM. "I saw the picture of the mountain range and
said, 'Hey,
I've got to do this!' But the meth#ods Mandelbrot uses are totally unsuitable for
animation, for making a picture where you
stand in the landscape." So Car- penter developed his own meth#ods for fractal
animation and
landed a job on the Star Wars
projects. With computer anima#tion, he says, "You can recreate the pyramids or a
civilization from another planet. You can change colors, twist or deform
shapes, do things that are com#pletely fantastic. Fractals are an
excellent tool to extend the range
of possibilities."
84 �E IMITATIONS
Researchers have learned that relatively simple mathematical formulas can be used
to model the self-similar patterns m a natural object such as a mountain
range. Since the pattern at smaller scales repeats at larger scales, by using
formulas that involve recycling numbers again and again �Xiterating them
�X
patterns can be made to evolve into imitations of large scale real world objects.
One of the earliest techniques for generating fractal imitations of mountains,
for example, involves the simple, repetitive action of randomly displacing the
midpoints of triangles. A fairly simple formula tells the computer to draw a
triangle inside of a triangle after randomly moving, or displacing, the midpoints
on each of the original triangle's three sides. As the iterations proceed, the
shape of each successively smaller triangle is altered, and the expanding jumble
of triangles within triangles grows into a mountainscape. Midpoint displacement
is illustrated in this rough example of two stages involved in generating the image
of a planet rising over lunar terrain.
In sophisticated versions of this program, the random amounts that the mid#points
are displaced up or down can be adjusted by a "distribution law" which
approximates the relative roughness of the real-world terrain being modeled.
Trees and plants can be simulated by recursive programs which contain
instructions for drawing repeated shapes to create twigs, stems, leaves, and
flowers, while randomly rotating them or bending them, and changing their thickness
after a certain number of iterations. By carefully adjusting parameters
IMITATIONS �E 85
Vk- *" *f / / Xi^ At L j mw .w t
VW' *-* v |^/V 5l ii/-- \
\
�E Sr j7^" * m*�G" -t^ ^ ^KOP
\ fl \V >W ^
v>415A ,
ir �D sSr ^ 'hw^'^
; f
*&- vvl /"
\
i i N^ tL-" 3KJ*
V
i * <
i 1/
tA T//* V^
( r r
*
r
and randomness, Przemyslaw Prusinkiewicz of the University of Calgary, Canada,
has been able to generate imitations of specific botanical forms, such as the
plant Mycelis muralis. Many of the fractal formulas that have been used for
simulating botanical forms or landscapes were discovered by trial and error.
However, Michael Barn#sley of the Georgia Institute of Technology has developed a
fairly easy method
to find the iterative codes needed to generate even complex scenes. The key, again,
is the idea of fractal self-similarity. Beginning with the object he wants to
model, Barnsley shrinks it and distorts
it on the computer until he can come up with a series of tiles or "transforms"
(shrunken and distorted versions of the original object) that can be overlapped and
fitted together to create the original large-scale shape. A simple example
is Barnsley's fractal model of a maple leaf. "With a picture of a leaf," Barnsley
explains, "you've got to say, 'This corner looks like the leaf, if only I squeeze
it and distort it and turn it about. This piece is a distortion of the whole
thing.'
If you make enough of these assertions�Xeven if they're not particularly ac-
curate�Xthen you've essentially written a fractal description of the object."
In this example, there are four transformations of the maple leaf. By keeping
track of the stretching and shrinking procedures required to create each trans-
formation (each tile), Barnsley derives a series of transform formulas. Then he
a
plays what he calls the "chaos game." Start with a point on the computer screen,
mark it, and apply one of the transform formulas. That leads to a second point on
the screen. Mark that and apply a transform formula to get a third point, and so
on. Which transform formula is applied to a point is determined by a probability
that Barnsley calculates and includes in the rules he gives to the computer. All
the rules are iterated for a while. As the iterations of the chaos game proceed,
the point hops around, leaving apparently random tracks on the
screen. However, as the dots pile up, a shape resembling (though not identical
to) the original leaf begins to emerge. The original shape has become an attractor
for the points as they are shifted from one spot to another by the formulas.
Pnemyslaw Prusinkiewicz, a mathematical biologist at the University of Calgary in
Saskatchewan, Canada, admits that he derives considerable aesthetic pleasure from
the botanical forms he creates on his computer, but he insists that these images
are primarily models to help him verify scientific hypotheses about growth. By
viewing the growth of plant forms through the lens of fractals, Pru- sinkiewicz has
developed a keen sense of the "deep relationship between self-similarity and growth
continued on next page
IMITATION S �E 87
rules. I can understand the growth process by seeing what I need to do in order to
create a self- similar form on the computer." He argues that self-similarity is a
form of symmetry, and that symmetry is a key concept in modern
science. In physics, for example, the notion of matter and antimatter comes from
symmetry, and the
fact that there is (apparently) more matter in the universe than antimatter
indicates that "symmetry#breaking" is one important way that nature creates form.
"How can a circular egg develop into a form such as a bird. That is a problem of
symmetry-breaking we encounter in biology. The problem
of self-similarity fits into this general framework. We are asking, is this self-
similarity we see in plants ideal or is it broken to some extent? Looking at a
plant, I am asking what kind of growth
rules lead to this broken self-similar structure." Prusinkiewicz notes that the
breaking of rigid self-similarity is a long-known principle in art and
seems to be a place where art, nature, and science converge. "The artistic content
is introduced the moment there is a departure from strict self-similarity," he
says. "The material universe also follows
this principle. If you look at a real carrot leaf, you see departures from strict
self-similarity. When
I try to create a form with fractals, I depart from strict self-similarity to
represent the son attracting a branch, or a branch wilting. The images that result
have some artistic value to me, and I cannot
create them using another medium. I can represent more than just mechanical things
using the program. It can be as emotionally charged as using a paint brush." Though
his work is in fractals, he emphasizes that the living forms he studies are "not at
all chaotic." Chaotic systems amplify feedback to transform themselves into new
regimes. Living forms use feed- back to manage change and remain relatively stable.
For example, if some cells are removed from
the first few iterations of cells in a developing embryo, the organism's feedback
will reconfigure the growth process so as to yield a normal form despite the
interruption. To make his computer simulations of botanical forms, Prusinkiewicz
uses a sophisticated recursion program. This program not only adds randomly self-
similar new growth with each iteration of his formula, it adds die-back and
wilting, and the effect of hormone changes on previous growth. The computer
imitation of the plant unfolds in a way that is analogous to real growth. "Growth
is constant and not sequential. We try to capture the interaction between parts. We
could try to reproduce it by capturing every detail, but you would not gain any
understanding. We are trying to sort out the key laws and principles, and abstract
these from all the things which are irrelevant. This is the essence of scientific
process." But the artistic is always in his mind, too, as indicated by the
additions he made to his abstract rendering of the background for his fractal
carrot leaf and his water lilies scene, which was specially processed by a color
replacement computer program to make it look like an impressionistic painting.
With any of the fractal methods for imitating objects, separate iterative for-
mulas can be used for different parts of the object (for example, one formula
for the branching, another for the leaves) or for different elements of a scene.
This procedure creates immense possibilities for re-creating the images of com#plex
forms out of relatively simple sets of equations. Fractal technique allows complex
information about fractally shaped objects to be stored or "compressed,"
making efficient use of computer time and memory space�Xand leaving room
for even greater complexity.
Computer graphics artists are not just using fractals to store scenes and
create entertaining landscapes. Fractal geometry is being regularly applied to such
problems as visualizing how polymers, dentrimers, and other large mole#IMITATIONS
�E 89
cules grow and evolve through random iterations of self-similar dynamical
ac#tivity. Traditionally we have used Euclidian shapes�Xcircles, squares, and
trian- gles�Xto model figures and landscape. It was a process that tended to
generalize and idealize the natural world. Fractal geometry brings us perhaps a
little closer
to nature's infinite subtlety.
Peter Oppenheimer was inspired to take up fractal research by Benoit Mandelbrot
himself, who
visited Princeton in 1978 where Oppenheimer was studying mathematics as an
undergraduate. In his work at the Computer Graphics Lab at the New York Institute
of Technology, Oppenheimer per- fected using the computer to make fractal
imitations of real forms, but has grown skeptical about what they prove. "Science
likes to think its goal is to make objective representations of nature, but it
seems to me
that all such representations, visualizations, or models merely isolate a few
select parameters, a few aspects of the object and say, what happens if we just
look at these? Each different approach
gives you a slightly different result." He warns, "A lot of knowledge we're gaining
from computer
pictures is very intuitive and must not be seen to be objective." Science purports
to be skeptical of
its models, but now it's harder to maintain this skepticism, he thinks, because
"our pictures are
convincing in a very subtle way. If the picture looks like that object, we figure
we must be doing something right." But one of the messages of chaos theory is that
no matter how good a scientific model or formula, there is always a fundamental
unpredictability and uncertainty driving dynamical
systems. Oppenheimer suggests that contemplating the uncertainty involved in chaos
and fractal images may provide a new kind of knowledge. "I don't think we've
figured out just what kind of knowledge
it is. One reaction to all this is dismay at the limits of our ability to figure
things out, but maybe we have to take some sort of leap of faith. Wow, we can't
figure it all out, isn't that wonderful? Let's accept these pictures, but let's
accept them as something else than the kind of knowledge we're used
to. Maybe it becomes art rather than science. It's still knowledge, but a different
kind." "Intuitive"
is a word Oppenheimer uses repeatedly. He says that chaos theory changed his
perception of the world: "Just seeing how sensitive things are to their initial
conditions has changed my notion of our place in the universe and our ability to
make things happen. Everything is so interconnected." He notes, for example, that
fractals and chaos
force him to acknowledge the interconnectedness every time he attempts to imitate a
form: "You've
got to take the environment into account. For every fractal you have of a tree,
say, the negative space is also a fractal. What forms that shape is a balance
between its structure and the environment's
structure." The ability to make forms "like" nature has also transformed his
personal outlook on nature. "When I was growing up as a child, I used to believe
that the physical objects around us were somehow
fundamental and they were there first. That any of the ideas we had about them were
outside the
physical objects. Now I believe that ideas, mathematical concepts, abstract
notions, dreams, spirits are somehow more fundamental, and that these physical
objects somehow grow out of that. I've come to that philosophy based on my
exploration of computer graphics. What I'm doing there is taking a bunch of numbers
and turning them into something that looks organic or natural like a
tree, something that emerged from my manipulation of numbers. Now I've become more
Platonist.
I believe that there are abstract forms and that physical objects are
manifestations of those forms. Both the synthetic image on my computer and the tree
outside my window are syntheses from something more abstract. But that doesn't mean
we can ever make our own syntheses match with
the abstraction of nature that produced the tree." Accordingly, making fractal
imitations puts Oppenheimer in touch with a process "similar to, but
not the same as" that which makes the real tree. One difference is that he is aware
of what's left out, that there is a hole (or whole) that's not in the picture. "The
fact that it is different, that something's left out, is what makes it interesting;
that's what is most important about it." He says
his work has "evolved from science into art; of course, I'd like to blur those
distinctions a little bit."
In his images he doesn't attempt to make "realistic"-looking forms but tries to
present a fiction that
is like the fact. This is evident in the stylized look of his "Raspberry, Garden at
Kyoto," and in its surreal twin.
IMITATIONS �E 91
This eerie chaos landscape is a frame from John Lewis's animated short film called
Aliens, made by
using fractal geometry. Lewis came to fractal graphics after formally studying art,
writing, and
psychology at various institutions and taking a graduate degree from MIT's famous
Media Lab, "a good place for people who want to be interdisciplinary." Lewis
describes chaos as "a field which studies complexity without explaining it away."
He says
that until he studied fractals and chaos, he did not see any way of reconciling the
subjective ex- perience that humans have of free will with the scientific
assumption that everything in the universe
is completely determined by its causes. "The fact that chaotic systems are
deterministic but unpre#dictable is sometimes viewed as a solution to the free
will/determinism problem. I do not view chaos
as a solution to this problem, but I think it shows that the problem is not
closed."
CHAOS
SYMMETRY
Here is a snowflake in my hand, like some
white Athens in the palm of history, a moment's fragile Parthenon . . .
. . . And I a god who holds it as it dies
To sudden dew. This molecule of world May be dominion of a subtler nation,
Inviolate tooureyes. If atoms dream, What kingdom claims this melting star of
-Alfred Dorn, from "Snowflake."
s a tiny seed crystal falls through the atmosphere, the hexagonal
structure of the single ice molecule grows at its unstable boundary
by diffusing heat and creating a charge that attracts other water molecules. During
the crystal's erratic flight path, its encounter with temperature and
humidity affect its pattern as it begins to develop, with one tip or another
picking up molecules from the air. A competition between instability at the
crystal's boundary and the stability of surface tension across the whole space
of its growing mass amplifies the crystal's microscopic preference to grow
sym#metrically, in six directions at once. Thus the forces of symmetry and chaos
combine to branch the crystal's boundary into an intricate lattice form. Mixing
symmetry and chaos is nature's�Xand art's�Xcommon strategy to create form. It is a
tension that fires into existence trees, snowflakes, starfish, and our own bodies,
and engenders a world that contains both marvelous variety and similarities at many
scales.
The fractal computer program that produced the snowflakes on the left, like the
dynamical forces that produced the real snowflake on the right, combines
instructions for sixfold symmetry with the convolutions of feedback that lead to
chaos. Notice that the computer flakes seem somewhat unreal because they are too
symmetrical. The real snowflake, however, shows that even across the microscopic
space of the growing crystal there were subtle differences in the forces affecting
it. Snowflakes are fractal records of the changing
circumstances the ice encountered during its de#scent. No two falling snowflakes
will meet pre#cisely the same circumstances. Unique snowflakes demonstrate that the
weather is a chaotic system
in which all of the "parts" are sensitively depend#ent on their constantly changing
circumstances.
Mathematicians Martin Golubitsky of the University of Houston and Mike Field of
Sydney University, Australia, call this bit of symmetrical chaos an "icon." It was
generated on a computer using a combination of nonlinear equations which exhibit
chaos and equations that involve symmetry. Go#lubitsky and Field think that in the
real world the mathematics they have developed to produce this icon might be used
to describe the chaos that occurs in containers such as cylinders, pipelines, and
mixing apparatus where the symmetry of the container would affect how chaos
unfolds. Golubitsky
notes, "Our pictures mixing symmetry with complicated dynamics impose a regularity
that was hard
to imagine in advance." How many "regular"-looking, even symmetrical, processes and
objects in the world have chaos enfolded within them?
HYBRIDS �E 95

(facing page) This hexagonal pattern of cells formed in a container of heated


silicone oil. As soon as the temperature difference between the bottom and the top
of the container reaches a critical point, the convection cells bubbling
chaotically from the boundaries of the container self-organize them#selves so that
a symmetry hidden in the chaos asserts itself. Note the beautiful close-up of the
self- organized convection cells by Manuel Velarde of the Autonomous University of
Madrid. When the temperature in the container is pushed higher, the symmetrical
pattern is maintained and then eventually lost as the system evolves toward a
turbulent and chaotic state.
The forces of symmetry and chaos embodied in the DNA molecule
both drive life forward and contain
it within limits. This is computer
simulation of the spiraling DNA
ladder as seen from the top.
HYBRIDS �E 97

CHAOS
We are floating in a medium of vast extent,
always drifting uncertainly, blown to and fro; whenever we think we have a fixed
point to
which we can cling and make fast, it shifts and leaves us behind; if we follow it,
it
eludes our grasp, slips away, and flees
eternally before us. Nothing stands still for
us. This is our natural state and yet the state
most contrary to our inclinations. We burn
with desire to find a firm footing, an
ultimate, lasting base on which to build a
tower rising up to infinity, but our whole
foundation cracks and the earth opens ..." �XVirginia Woolf, Pensees.
Ohe physical world we live in is a sea of change, much of it unnoticed
by us�Xor denied. Scientists say that the planet Earth itself is essen#tially a
slow-moving glob of liquid iron surrounded by a slightly faster-flowing
glob of liquid rock on which floats a thin crust. On the ocean floor, some of that
crust is being sucked into the cauldron beneath, while crustal plates grind
into each other, spawning volcano eruptions and earthquakes: fractal and cha#otic
signs of the immense dynamism of the living place we inhabit. Since everywhere on
Earth's thin crust, the natural landscape is being hewn
by chaos into shapes with branches, folds and fractures, and detail inside detail,
the immense intermeshing of dynamical forces constitutes the eternal, ever changing
dissonance and harmony of nature that has attracted scientists and
artists throughout the centuries.
The magnificent power of turbulent chaos shows in this eruption of the Mt.
St. Helens volcano in Washington.
The shoreline and swampy vegetation (in red) around
Lake Chad in Africa displays layers of irregular, fractal patterns resulting from
the dynamical forces of nature. The greenish areas to the west and northwest are
the remnants of the lake prior to a catastrophic drying spell. Mark Eustis, of
EOSAT (the company that made this image), says that experience tells him viewers
will find
this photograph abstract and somewhat difficult to "read." He notes, however, that
when scientists have shown members of agrarian or tribal societies satellite images
of their homelands, they have been able to read
the landscape in them quite quickly, presumably be- cause they are more in tune
with the landscape's changes and rhythms.
Periodically cyclones�Xmonstrous beasts of self-orga- nized chaos�Xslam into the
mouth of the Ganges in Bang#ladesh. The tributaries in its delta show the dendritic
structure of a classical fractal. Magnify a portion of the drainage system and that
section resembles the branch#ing structure of the larger delta. The green area to
the west is the last refuge of the Bengal tiger.
Landscape photographer Lawrence Hu#detz contrasts the dynamic order of change
he finds in nature with the rigid order human
beings attempt to impose on nature: "Na#ture's order is to be continually
rediscov#ered," he says. "That's why it's so exciting, because every photograph is
brand new.
You're constantly in a different place, a dif- ferent time. For me, photographs of
human
FRACTAL L AN DSC AP ES �E 1 1
This scene in an ice cave at Washington's Mt.
Rainier shows a fractal landscape�Xthe result of many different dynamical
processes, including the grinding of glaciers and the stretching, fold- ing,
smoothing, and fracturing that results from
repeated freezing, melting, and erosion.
Yellowstone Falls demonstrates how water both
follows the fractal paths in the landscape and
shapes them.
objects don't have this quality of con#stant rediscovery." Hudetz's fellow
Oregonian, photog#rapher Joseph Cantrell, believes that late-model human beings,
driven by the
forces of science, technology, and eco- nomic self-interest, have worked to tri-
vialize the natural order of chaos. "We
dam the rivers, cut the forests, drill the
Arctic. It's the attempt to oversimplify,
to obliterate the nuance of nature." Hudetz declares that going out in the
field to photograph the fractal shapes of chaos makes him feel "whole and free of
inner contradictions," though he knows
that may seem a paradox. "Out of all this fractal input I'm getting, I respond
to one particular organization at one particular moment in time; when I feel
that, the moment speaks to me of this sense of inner freedom." He thinks that
his feeling of freedom may come at such an instant because it is the same
instant when the photographer recognizes himself, the observer, as self-similar
to what he observes.
ANDSCAPES
This portrait of the Oregon woods by photographer Joseph Cantrell might be called
"Two Fractals." The dead tree and the rushing stream couldn't be more different,
yet Cantrell has captured their deep similarity. The two systems depicted here
lie on opposite sides of the dividing line between dynamical order and chaos. The
tree was produced by a highly organized dynamical system that resists Cantrell
describes photographing nature as a process of sensitizing himself to the subtle
movements of nature's cre- ative chaos: "Very early I discovered that if I let
things happen
as they would happen, I would see something more wonderful
than I could create. I think that was an early feeling for fractals. I've never
been a good commercial photographer be- cause I don't believe in setting things up.
It's almost a form
of worship for me to allow things to happen as they will �Xto be sensitive to the
nuance of movement."
change; the stream is extremely
sensitive and subject to constant
fluctuation. From another point of view, however, the chaos of death
is overwhelming the tree, while
the stream remains a stable, liv- ing thing inside its fluctuations. Paradoxes of
chaos and order abound in nature.
FRACTAL LANDSCAPES
Time and weather have eroded the badlands into an ancient kingdom of fractals�Xa
dazzlingly stark
ruin of variable self-similarity at many scales.
Photographer Lawrence Hudetz calls this sequence of clouds swirling around Oregon's
Mt. Hood
"Portrait of a 'Strange Attractor.' " Strange attractor is the name given by
chaologists to the plots they chart of the chaos in dynamical systems. Though the
plots show that the movement of a chaotic
The random movement of organisms on the planet also shapes landscapes. Here a
fractal pattern
left by the tracks of several creatures was caught by one of America's preeminent
photographers,
the late Edward Weston. Though biological behavior is underpinned by a form of
dynamic chaos making it unpredictable in detail, it clearly displays a subtle,
holistic order, here appreciated by
Weston.
system never repeats itself and is unpredictable, the system does, curiously,
confine itself to a certain region of the plotting space: Chaologists say that the
system is strangely attracted to that region, as the clouds in their movement are
strangely attracted to Mt. Hood.
This photograph of moss on rocks could be an aerial shot of trees on rough terrain.
Earth has a fractal design because it shows a
self-similarity at many different scales.
LANDSCAPES
SPIRALS,
SOLITONS,
AND
SELF. ORGANIZING
CNAOS
Chaos-induced complexity is
also partly responsible for our
aesthetic responses. Chaotic
feedback makes, for example,
the amplified guitar playing
of Eric Clapton a more
exciting, complex sound. And
the spontaneous complexity
generated in self-organizing
systems makes a tree more
beautiful than a telephone
pole. �XNew Scientist,
October 21, 1989.
ineteenth-century physicists predicted the inevitable drift of the uni- verse
toward a heat death of entropy�Xa random equilibrium without
structure. However, in that same century Charles Darwin and Alfred Russel Wallace
described a process by which�Xon Earth at least�Xmore and more
complex structure evolves. Could both scientific views be true? The chaologists
have largely solved this conundrum. Thanks to chaos theory and its early pioneers,
like Belgian chemist Ilya Prigogine, we now know that the conditions which give
birth to structure are
far from equilibrium. Though in some places (possibly even on average) things
may drift toward dissolution, no-thingness, and entropy, in other places there
is a natural imbalance�Xcreated by chemicals or gases in flux, or thermonuclear
energy boiling and spewing into deep space. Out of this imbalance, energized,
highly chaotic activity spontaneously produces structure and complexity. The
question now being explored is how chaos achieves this magic trick.
These frames show the growth of the Belousov-Zhabotinskii reaction. When scientists
plot the equa#tions that describe this reaction, they find that though its activity
from moment to moment is un- predictable and chaotic, it stays inside a definite
range of behavior. The plot that describes this range of unpredictability is called
a Rosseler strange attractor. Some scientists think that a chemical
reaction like the BZ gave birth to the first signs of life on earth.
Biomathematician Arthur Winfree, well known
for his photographs of the BZ reaction, believes that the spiral lens structure in
the compound
eye of the firefly may have formed from self- organizing waves. Winfree thinks that
the pat- tern on the lenses is the trace left by an auto#catalytic (feedback)
process, which brought
order from chaos. Another version of self-organization operates
to synchronize the flashes of fireflies when they swarm. On a summer night,
fireflies settling in a tree along a river-bank will first flash ran- domly. Soon,
however, small clumps of them
begin to flash together, and this synchroniza#tion spreads until Anally the whole
swarm is flashing in unison. Mathematicians studying the phe- nomenon of pulse-
coupled, or phase-locked, oscillators such as electrical oscillators, heart cells,
or
flashing fireflies have learned something about how phase-locking works. As each
oscillator fires, its neighbors are influenced by the feedback of repeated signals
so that an oscillator close to its firing threshold senses a signal from its
neighbor and fires off immediately. At that point oscillators become
locked together. This process proceeds, scientists think, until ail of the
oscillators (fireflies) become
coupled. (For more discussion of self-organization and feedback see the next
chapter.)
One of the early clues to the self-organizing process was the discovery of a
chemical reaction named after the two Soviet scientists who first described it. The
Belousov-Zhabotinskii (BZ) reaction contradicts the long-held belief that chemical
reactions are a purely random bonding of reactant molecules. When
the chemicals in the BZ reaction are put together in a shallow dish, something
curious happens: Characterized by the spontaneous formation of rotating con#centric
circles, scrolls, and spirals, the reaction looks for all the world like an
evolving life-form. Scientists who have peered into the chemistry of the BZ
reaction now know
that the order popping up from this chemical fluctuation depends on the for- mation
of a cycle where one of the chemicals begins to produce more of itself, a feedback
process chemists call "autocatalysis." The positive feedback of au#S E L F -OR GAN
I 2 AT I ON
phase-iocked feed- tocatalysis acts like a pump creating wave fronts of active
regions. Behind these
back may drive the fronts are quiescent regions and adjacent to them are receptive
regions into
formation of spiral which the reaction proceeds. However, within the wave fronts,
the same design
nebulae�Xa process repeats itself on smaller and smaller scales�Xmaking the
evolving pattern of
that is similar to the the reaction fractal.
Beiousov-zhabotinskii When Boris Belousov of the Soviet Ministry of Health first
submitted his paper
reaction, on this chemistry in 1951, it was rejected because his "supposedly
discovered
discovery was impossible." Belousov never lived to collect the Lenin Prize for his
discovery along with Anatol Zhabotinskii of Moscow State University, who
verified the reaction, nor to see the chemical journals fill with reports of many
other kinds of chemical clocks and autocatalytic reactions. In recent years
chaologists have detected the spirals of self-organizing order developing out of
chaos in slime mold (whose cell structure at one point in its cycle looks almost
identical with the BZ scrolls), in the propagation of signals along nerves, in the
formation of spiral nebulae in deep space. Some scientists think that a structure-
making chemical reaction like the BZ may have led to the emergence of life on Earth
itself. Paradoxically, scroll-like self-organizing waves can lead to death when
they
propagate in the electrical impulses of the human heart. Heart attacks and
epileptic seizures are, scientists think, a form of self-organized chaos which
occurs when the heart or the brain suddenly becomes too regular. These body
' 7. A T I O N
Scientists have been able to feed the nonlinear equations describing the Be-
lousov-Zhabotinskii reaction into a computer and mimic the spiral and
scroll-like propagation of these chemi#cal waves. They can also get them by
creating "cellular automata." Re- searchers divide the computer screen
into boxes and program simple rules such as "if the boxes to the right and
left ar? empty, grow into the box on
the left." A random start, with some
boxes filled, leads to a screen filled with
chaos. Other random starts flicker and
disappear, still others flare into orga- nized forms that propagate across the
screen. Researchers have been surprised to find that several quite different sets
of rules lead to the scroll-like BZ waves.
This waterspout evolved when a patch of warm air began to rise and caused the
surrounding air to eddy and self-organize
into a vortex column. Barometric, temperature, and wind conditions must be just
right for this ordered structure to emerge
out of the flux. )
systems lose the variability of their normal, healthy background chaos, and this
unhealthy, overly regular state pushes some systems to a critical level, spawning
fast periodic waves that pound away at the tissues, causing damage. The "knock#ing"
in your car engine may be another example of an unwanted self-organized
oscillation spawned by chaos. A chaotic system constantly mixes things up, creating
new directions in which
the system can go. These moments of possibility are called bifurcation points
by chaologists. At some bifurcation points just the right concentration of a
chemical or flux of heat or timing of an electrical impulse can amplify through
the system's feedback. The phases or frequencies of the feedback become locked
together and a structure emerges. Once formed, the self-organized structure stays
"alive" by drawing nourish- ment from the surrounding flux and disorder. This is
what happens when tor- nados and other cyclonic winds form out of turbulence. To
keep themselves
going, they feed off the thunderstorms, moisture, steep temperature and pressure
gradients, and turbulence that gave them birth. Especially long-lasting forms of
phase-locked feedback are called solitons. Jupiter's eye�Xfirst detected in 1644
and apparently enlarged over the next 150
years�Xis actually a swirling vortex bigger in size than Earth. It was formed
out of turbulence, scientists think, at a bifurcation point. There the planet's
rotation combined with northerly and southerly layers of high-velocity turbulence
to trap a vortex and stabilize it like a piece of dough rolled between the palms
of a baker's hands. The seismic chaos of an earthquake can cause the ocean to phase
lock into a "tsunami" or tidal wave a few inches high at the surface but hundreds
of meters deep and able to travel intact for many thousands of miles, until it
causes havoc by splashing over the continental shelf. Hidden from view, other ocean
soliton waves are known to roll vast distances in the boundary between
deep cold water and warm water close to the surface. Technicians have created
solitons of light by sending a pulse at just the right frequency down an optical
fiber. Unlike other light pulses, the light soliton doesn't disperse over long
distances. As a phenomenon, the soliton was first studied by Scottish engineer John
Scott Russell, who came upon a strange wave moving unchanged along a canal
NIZATION
and followed it on horseback for several
miles. Scientists now know that soliton waves are created when a wave's natural
ten- dency to disperse is exactly compensated for by some critical factor (for
instance, the in tensity of the light pulse and the size of the
optic fiber). Russell's canal soliton kept
going because the canal walls and depth cre- ated just the right conditions to
cause the many wavelets in a turbulent �Xotherwise
dispersing�Xwave to phase lock. The waves
A satellite catches several ocean soliton waves fol- lowing each other. Such waves
will travel for very
long distances without dispersing. Solitons also have other curious properties. The
phases of the elements in a soliton wave are so synchronized
that two soliton waves that collide at angles or from opposite directions will pass
through each
other, emerging on the other side as if no collision whatsoever had taken place.
The spiral of life, as this pattern might be called, appears
on Stone Age structures around the world. This carving is from Sligo, Ireland,
dated at about 2500 b.c. By intuition or some ancient religion-science, the
inscribers of these marks seem to have grasped that the spiral pattern symbolizes
ac#tivity in the life-giving boundary between order and chaos. Anthropologists say
the spiral is the ancient symbol for the
labyrinth, the twisted pathway for a journey to the core of being.
SELF-ORGANIZATION 1 3
### inherent tendency to disperse was compen#sated for by the canal walls, which
guided
the spreading wave back together.
Solitons, like other self-organized struc#tures, breed and thrive in the dynamic
world
that flourishes on the sharp and delicate edge of dissolution.
Harry Swinney, Joel Sommeria, and Steven Meyers at the University of Texas's Center
for Non-Linear Dynam#ics in Austin created a device that pumps water from an
inner ring of six inlets to a middle ring of six outlets so that a rapidly spinning
ring of fluid is formed. The pump#ing action leads to the formation of vortexes
which, at a critical rotation speed, merge to form a large stable vortex that
mimics Jupiter's Red Spot. This vortex is an
eye of stability formed in a crucible of turbulence.
t. N I Z A T I O N
FEEDBACK
ITERATION:
HEARTBEAT
OF CHAOS
For me the peacock 's fan has
the unmistakable stamp of
positive feedback, it is clearly
the product of some kind of
uncontrolled, unstable
explosion that took place in
evolutionary time. . . . Darwin compared the [peajhen to a human breeder directing
the
course of evolution of domestic
animals along the lines of
aesthetic whims. �XRichard Dawkins, The
Blind Watchmaker.
ou meet a friend you haven't seen in a while. The friend looks dif- ferent. You
say, "Wow, you lost weight," or "You look tired." But you're wrong. You learn to
your embarrassment that it's because she has a new hair#style or he has grown a
mustache. Of course. How on earth could you have
missed it? One reason is feedback. You viewed your friend as a whole, a gestalt, so
that every part of your visual image inextricably affected every other part. Change
one part and the whole seemed changed. Nonlinear systems�Xincluding many dynamical
systems and
all chaotic systems�Xare extremely sensitive to small changes, because the feedback
among their inextricable "parts" can amplify small changes into large
results. A mustache or a new hairstyle isn't much of a change, but the effect on
the whole may be impressive.
Scientists usually discriminate between two general, quite different, types of
feedback. "Negative feedback" is the type that keeps things in check: The valve on
Thomas Watt's steam engine created a negative feedback loop because it opened when
the engine was running fast in order to release steam so the machinery wouldn't
explode but closed to keep the pressure up when the engine
started to slow down. "Positive feedback," which despite its name is not always
a good thing, actually pushes systems to explode or spiral out of control. Pointing
a TV camera at its own monitor gives the visual equivalent of the positive feedback
loop screech that comes from a microphone placed too near its speaker.
The frozen frames of the video chaos allow us to notice that there is a structure-
making dimension to this positive feedback: This is a place where new forms come
into being.
Feedback is everywhere in nature, weaving order oul of disorder and holding order
tenuously in place. Feedback is the instrument of new life and new
havoc�Xfrom the positive feedback that escalates an arms race between conn
tries, scrambles computer networks, and sends asteroids thing out of certain
orbits, to the negative feedback of pike populations that increase when the
trout in a lake get tee numerous and tall back when the trout become too
scarce. Richard Dawkins, professor of zoology at Oxford University and author of
The
Selfish Gene and The Blind Watchmaker, argues that evolution itself is a grand
feedback performance He notes, for example, that a mutation which improves
the design of a predator changes the pressures on its prey so that the prey in turn
evolve better defenses in order to avoid these better-adapted predators. As the
prey get more wily, the predators once again selectively undergo a design
change. Here positive feedback kicks evolution forward. Meanwhile, negative
feedback in evolution keeps mutation changes from spiraling out of control
�X
the checking power of many negative feedback loops simply wipes out most
mutations and keeps the design of species stable for long periods of time.
Environmental scientists are now debating the role of feedback in the fate of our
global climate. On one side are those who believe that the countless
Video chaos results from the iteration that takes place when a TV camera is pointed
at its own monitor.
In these examples, a mirror was placed at right angles to the screen, and the
camera was pointed
at the seam where mirror and screen met. The imperfections in the seam were blown
up by the
positive feedback into chaotic (or fractal) forms made to look like a kaleidoscope
by the mirror.
The planet Earth can be seen as a huge dynamical system looped with webs of
feedback that keep
it relatively stable and evolving at the same time. Positive feedback loops nudge
the environment toward change; negative feedback loops keep systems in check. For
example, Earth's cloud system
acts like the negative feedback of a thermostat to regulate temperature. When the
surface of the oceans gets too hot, it gives off water vapor so that clouds form
and block out the sun; when the ocean surface cools, the water vapor stops rising,
the clouds dissipate and more sunlight comes down
to heat up the water again. This photo was taken by the crew of Apollo 1 7.
loops of negative feedback will work to keep the atmospheric temperature stable no
matter how much we perturb it by adding carbon dioxide. On the other side are those
who point out that spiraling positive feedback somewhere in the system
might accelerate even a relatively small perturbation by humans into environ-
mental catastrophe. Because the planet's interlocked positive and negative feed-
back loops make the global system dynamic �Xand fundamentally chaotic �Xit is
impossible to predict which fate will befall us. One of the most important
discoveries of chaologv has been thai positive feedback can cause complex, even
chaotic behavior concealed inside orderly
systems to unfold, and that negative feedback can grow inside an otherwise
chaotic system, suddenly organizing it and making it stable. For example, the
chaotic interaction oi birds lifting off from the tops of trees exhibits positive
feedback. The birds' flight patterns are wild and unorganized as they try to avoid
Feedback develops among the individuals of this school of carp as they try to avoid
each other while
at the same time being attracted to each other; the carp seem just about to couple
through feedback
so that they will move in an organized way. Feedback is perhaps the key element in
transitions from
chaos to order and from order to chaos.
FEEDBACK 1 1 9
crashing into each other in the first moments of flight. As a result, negative
feedback loops are created and suddenly the birds' flight patterns become highly
organized. One zoologist has even been able to mimic on his computer the behavior
of birds coming into roost by setting up a program with a few simple
rules involving feedback such as: birds are attracted to each other but become
repelled if they get too close. Chaologists can mathematically mimic many complex
dynamical processes in nature using equations that have terms feeding back from one
side of the formula
to the other as the equation is run repeatedly, or iterated, on a computer.
Iterative equations are now regularly used by chaologists to describe such
dynamical processes as the turbulent flow of interstellar gases, static in electri-
cal systems, and the action of reagents in chemical reactions. By using the
iterative features of "recursive pro- graming," Dawkins has even cre- ated a
"biomorph" program that simulates evolution. The program
iterates genes and occasionally adds copying errors which are blown up by the
feedback into new
generations of computer creatures, some of which resemble the trilo- bites that
swam in the oceans of the Cambrian era 570 million years ago. Using iterations of
purely math#ematical functions, Cliff Pickover of IBM created a lab dish of bio-
morphs.
Pickover's biomorphs show a self-similarity at different scales (small portions
of the organism are similar to larger portions of the organism) and illustrate a
significant feature of feedback in dynamical systems. Real systems, such as human
beings and mountain ranges, also show self-similarity at different scales. The
branching of our lungs, nerves, and circulatory systems is evidence that our very
bodies are a product of feedback.
Take an equation, solve it; take the result and fold it back into the equation and
then solve it again. Keep doing this a million times. That's what Clifford Pickover
of IBM did to generate this shape. Each
time he solved the equation he marked a point on a graph and therefore he could
follow the point as it swept around the plotting space. It's a little like tracing
the path of a fly as it whizzes around
a room. If indeed this complex shape had been made by a fly, however, it would be a
strange fly because it held its flight path to only a certain neatly carved-out
portion of the room. The fly would
seem to have been irresistibly attracted to that region, though within that region
its path was chaotic. Put in other terms, Pickover's feedback sculpture is what
scientists call a "strange attractor," which means, Pickover says, "It has some
structure even though it's very irregular." All strange attractors are fractal.
FEEDBACK

HUMAN
BODY
CREATION
If you like fractals, it is
because you are made of
them. If you can't stand
fractals, it's because you can't
stand yourself. It happens. �XHomer Smith,
computer engineer, of
Art Matrix
Ohetraditional medical model of the human body portrays it as an organic machine.
Clocklike rhythms such as the beat of the heart tick away
until the machinery wears out. Like an understructure of ball joints and hinges,
parts of the skeleton can be repaired, even replaced. The mechanical model
shows the nervous system as a telephone exchange or, in more recent high- tech
metaphors, a "wetware" computer circuit board. This image of the body sharply
contrasts with the one being crafted by a new
generation of scientists who have begun portraying our physiology as a holistic
activity laced with fractals and chaos. Fractal geometry describes structures
full of spaces and surfaces that wrinkle, branch, and fold into self-similar detail
at many scales. These kinds of structures and surfaces are found everywhere
in our bodies. Consider the classical picture drawn by Andreas Vesalius, the
father of modern anatomy:
Medical textbooks are chock full of pictures
like this one�Xdrawings depicting everything from the cascade of ever smaller blood
vessels feeding the heart, to the densely packed, mul#tiple-scale branching of the
entire circulatory sys- tem. The lymph system, the small intestine, the
lungs, muscle tissue, connective tissue, the fold- ing patterns on the surface of
the brain, the calyx
filters in the kidney, and the design of the bile ducts�Xall show irregular self-
similar scaling. This fractal design vastly increases the surface area available
for the distribution, collection, ab#sorption, and excretion of a host of vital
fluids and dangerous toxins that regularly course through the body. The intricate
fractal pattern
of neurons constitutes an incredibly sensitive and
efficient network for information processing. Be- cause each of the body's fractal-
shaped struc- tures is redundant and irregular, parts of fractal
systems can be injured or lost with relatively minor conse
quences. Fractals make the body flexible and robust.
A malignant fractal. This breast cancer
cell is a wrinkled, branching space-fill- ing shape that can multiply in the human
body by feeding off the body's healthy fractal structures. The shapes
of other pathogens are also fractal; for example, the electrical charges in the
"coat" of a polio virus show a fractal design.
The dendritic (fractal) structure of cells in the
brain is beautifully caught in this photograph
by a team from the Fidia Research Laboratory
in Padua, Italy. The fractal geometry of the
brain allows the three-pound ball of cells in our
skulls to pack an enormous, variable surface area into a small space. As a separate
structure, each brain cell is free to render a unique re- sponse to stimuli, yet
through the cell's branches it is compelled to participate in a net- work that
unites it through feedback with the
entire brain. In the spaces between brain cells, other fractal networks deliver the
oxygen,
nourishment, and hormones necessary to keep
neurons firing. In all, the fractal geometry of the brain gives it a flexibility
and complexity
no microchip technology has begun to approach.
FRACTAL BODY �E 125
Inside these layers upon layers of our bodies' fractal structures, chaotic
processes reign. The conventional picture of the regular, periodic beat of the
heart only holds true if physicians ignore the subtleties of their patients' elec-
trocardiograms. In fact, when the ECG of a normal heart rhythm is plotted over
time, it shows considerable small
variability in the intervals between beats. When a
special kind of plot, known as a phase-space plot,
is made of these intervals, instead of mapping out
the neatly circular patterns characteristic of a
regular, periodic rhythm, the pattern that emerges shows the spiderlike shape
characteristic
of a strange attractor. Here are phase-space plots
of two normal heartbeats: Strange attractors are fractal patterns made by
a dynamical system exhibiting chaos. Recent
research has suggested that chaos is normal
in the heartbeat, and contrary to expectations,
it is the sickest hearts whose beat often looks most periodic when plotted. Here's
one of a patient who died of a heart attack only eight
days after these cardiac measurements were taken. The rhythm of this heartbeat has
lost variability, its background chaos, ac- cording to Harvard Medical School
cardiologist Ary Goldberger. Goldberger
thinks that spotting a reduction of the heart's background chaos will help
diagnose heart pathologies. Researchers are becoming increasingly aware that
pathology is related to loss of "natural" background chaos in the body. While an
epileptic seizure may look from the outside like an attack of chaos, from inside
the brain it is an attack
of abnormally periodic order, according to Agnes Babyloyantz at the Free
Uni#versity of Brussels. The seizure destroys the brain's natural chaos and
replaces
it with the spasm of a "limit cycle." Similarly, levels of white blood cells
fluctuate chaotically in healthy people but oscillate cyclically in certain
patients with
leukemia. Research also indicates the immune system's method for making
The fractal geometry of the circulatory system allows delivery of blood to every
cell in the body.
Typical of fractals, the branching shape of the blood vessels appears the same when
you examine
its detail at smaller scales.
antibodies may involve chaotic activity, and Goldberger thinks that the tremors
of Parkinson's disease may arise from a loss of normal chaos in the neurological
system. Even aging itself may be the result of a "loss of variability," he says, "a
decrease [in] the dimensionality or degree of chaos." Chaos in the body is caused,
in part, by the constant feedback occurring as the different "parts" of these
highly complex systems interact with each other. The feedback involves time delays.
These build up as the feedback goes on so that the movement of any system is always
undergoing a subtle shift. The
variability that results from this nonlinear feedback also gives the organic system
a "plasticity essential for coping with the exigencies of an unpredictable and
FRACTAL BODY
What goes on in populations of brain cells is a highly sensitive, controlled chaos,
according to re- searcher Walter Freeman and his colleague, Christine Skarda. Shown
here are the results of a com#puter model of the activity inside the human
olfactory bulb, the processing site in the brain of our
sense of smell. The model is based on actual experiments done with rabbits.
According to the two scientists, the cells in the brain's olfactory bulb are
continuously firing in a
chaotic pattern. A plot of their group activity is shown in the frame at the left.
The curious shape of
this plot reveals that though the firing pattern of each individual cell is
completely unpredictable,
the cells' group activity falls within a certain range. This overall chaotic shape
of the activity is called a "strange attractor." Paradoxically, the chaos taking
place within the strange attractor enfolds a hidden order that becomes apparent the
moment we get a whiff of something. When receptors in the nose are stimulated by a
scent, they relay their excitation to the olfactory
bulb. The moment that information is introduced into the bulb, it is amplified by
the underlying
chaos, which suddenly changes shape and self-organizes, as is shown in the frame on
the right. This wiry coil picture of bulb activity is also a strange attractor, but
one with more order. Freeman and
his colleagues have found that the olfactory bulb exhibits a distinct self-
organized strange attractor
for each scent. These attractors suggest that our "memory" for the scent of roses
is an implicit order embedded in the moment-to-moment chaos of our brain's
electrical activity�Xjust waiting to be called
forth by a stroll past a florist. By making use of chaos, the body's systems
achieve a diversity of response that no mechanical, cyclical order could give them.
Strange attractors like these are a fractal record of chaotic activity and the
powerful order in chaos. Scientists are beginning to discover that the brain is
interwoven with strange attractors. To
see another pair, turn to the Introduction.
changing environment," says Goldberger. In a Scientific American article, he and
two colleagues argue that while "the conventional wisdom in medicine holds
that disease and aging arise from stress on an otherwise orderly and machine
like system�Xthat the stress decreases order by provoking erratic responses or by
upsetting the body's normal periodic rhythms" �Xit turns out that in fact
"irregularity and unpredictability . . . are important features of health." Our
fractal body also defines us as individuals: Notice how the two "normal"
heartbeat strange attractors you just looked at are quite distinct. Now consider
the idiosyncratic speech patterns made by each of three speakers saying the sound
of "oo" in "boot." Clifford Pickover of IBM mapped each of these patterns on a kind
of kaleidoscopic mirror in order to make it easier to detect the
similarities and differences between them.
Pickover envisions a time in the near future when we can enjoy pictures of our
internal chaos he calls "biometric art." Here is an example of that art from
parameters characterizing blood vessel patterns in Pickover's right and left eyes.
He plugged the parameters into a mathematical equation used to model chaos, and it
generated on his computer screen patterns that suggest the irregularity and
regularity that is our nature.
Each of our bodies is a unique signature of chaos. Even in the folds and
wrinkles of our faces when we enter the world and when we leave it, we are
fractals.
FRACTAL BODY

ORDER
OP
What from the magnitude of the shock might have
been a column of water running upright in the dark
butted against the ship, broke short and fell on her
bridge crushingly, from on high, with a dead burying
weight. A flying fragment of that collapse, a mere
splash, enveloped them in one swirl from their feet
over their heads, filling violently their ears, mouths, and nostrils with salt
water. It knocked out their legs,
wrenched in haste at their arms, seethed away swiftly
under their chins; and opening their eyes they sow the
piled-up masses of foam dashing to and fro amongst
what looked like the fragments of a ship. �XJoseph Conrad, Typhoon.
Shimmers and coils of heat rising from hot pavement, thunderheads
boiling over the horizon, an oil slick, the spreading cloud of cigarette
smoke at the next table, soup bubbling in a pot on the back of the stove:
Turbulence is everywhere around us. Painters and poets have long admired its
subtlety and power: a brook crashing
down a mountainside, leaves swept around in the wind, clouds in a sunset. In
everyday life we count on turbulence to bring rain to the garden and the sound
from a flute. But we also fear its wrath in an airplane or on the open sea.
Turbulence is the quintessential symbol of chaos. When ancient Chinese painters
depicted creation, they showed dragons emerging out of a turbulent whirlwind.
Astrophysicist Michael Norman who computed this image of turbulence on the
supercomputer at the
University of Illinois, Urbana-Champaign, calls this a "galactic garden hose."
Though the nonlinear
equations used for such computations are relatively simple, when they are
calculated, their behavior becomes so ferociously complex that it takes
considerable computing power to handle them. The
result in this case is a model of the turbulence found in intense streams of
particles emitted from
the interior of galaxies. Some of the galactic jet streams are a million light
years long. The jet depicted here streams from the galaxy and then flails
chaotically as it hits denser matter, as if a garden hose had been sprayed into a
tank of Jell-O. Modeling gives scientists the opportunity to see how well they
understand the jets by comparing the behavior of their models with astronomic
ob#servations.
B U I E N C E
Oil leaking from the grounded tanker Argo Merchant in December 1976 unravels into
the ocean. The ship was spilling about 40,000 gallons per hour at this point. The
constant turbulent action of the ocean dis- perses oil spills so quickly that
containing them entirely is impossible.
For over a century, however, scientific analysis of turbulence�Xthat is, know#ing
the precise conditions that cause it and the process by which it develops
�X
has been one of the most intractable problems in classical physics. Scientists want
to analyze turbulence so they can predict and control it. Understanding
turbulence would help them to design bridge pilings to resist wave action,
pipelines that flow smoothly, and artificial hearts that don't inadvertently swirl
blood into clots. In 1932 an eminent British scientist told a meeting of the
British Association for the Advancement of Science: "I am an old man now, and when
I die and go to Heaven there are two matters on which I hope for enlightenment. One
is quantum electrodynamics, and the other is the turbulent motion of fluids. About
the former I am really rather optimistic."
Major problems of quantum electrodynamics have indeed been solved, but
the classical equations developed over a century ago to describe the growth of
turbulence in a gas or fluid defy even today's most powerful computers. These
equations have terms for the ratio of a fluid's mass and velocity to its thickness,
but because the formulas also contain nonlinear terms, the equations keep
feeding into each other. Values twist and tangle and small errors in the cal-
culations multiply so rapidly that the results become useless. The chaologists have
gained some headway in the study of turbulence, however, by plunging
headlong into the chasms of its unpredictability.
The unpredictability of turbulence exists because dynamical systems made
of liquid or gas are hypersensitive. A fluid system is easily folded back on
itself, and its folds can grow quickly�Xwith patterns that are as unexpected as the
folds of a piece of paper suddenly balled in your hand. A few grains of ice on
the wing of a jet liner, for example, can cause a wrinkle in the air current that
feeds back upon itself, multiplies, and spirals to create turbulence that may be
great enough to cause a plane crash.
TURBULENCE �E 133
Another reason turbulence is so hard to analyze is that
it takes place on many scales. Magnify a small-scale por#tion of a picture of a
babbling brook and it looks similar
to the larger-scale image; there are folds within folds within folds. At the same
time, turbulence, like other forms of chaos, is paradoxical: in the midst of its
disorderly
motion, vortexes may appear and remain stable while the
disorderly current boils on around them.
Applying the ideas of chaos theory to turbulence, sci- entists have discovered
rules governing transitional points
Turbulence arises from a holistic folding process which makes the flow
of a liquid or gas increasingly complex�Xas demonstrated in these wind
tunnel pictures made by the Office National d'Etudes de Recherches Aeros#patiales
in France. The wrinkling and crinkling of the strands of gas or
fluid as it folds is fractal.
The dance of turbulence in these four frames depicts one of the paradoxes of chaos.
To get a handle
on turbulence, labs across the world devise methods for studying it under
controlled conditions. Here
scientists at the Institute of Meteorology and Oceanography at the University of
Utrecht in the Netherlands squirted turbulent bursts of colored liquid into a tank
of salt water and watched as the
bursts collided and organized themselves into a two-headed vortex. Disorder has
danced momentarily
into order�Xbut order of an essentially unpredictable kind.
from smooth flow to rough flow and are beginning to understand in principle
how the feedback folding process takes place. Using nonlinear equations that are
simpler than the classical equations developed in the last century, chaol#ogists
have even been able to craft realistic computer images of turbulent flows. The
images will get more detailed as computers get more powerful, but because
of the nature of chaos it is unlikely that the riddle of turbulence will ever be
solved enough to make detailed predictions possible.
TURBULENCE 135
#�E0
Perhaps one of the reasons turbulence has fascinated artists is that its subtleties
mirror the subtle
shifts in our own psychologies and moods. Here Lawrence Hudetz captures several
moods of turbu#lence in his photograph of McCord Creek in Oregon. Leonardo da Vinci
was one of many artists across the centuries inspired by the mysteries of
turbulence. For da Vinci turbulence was apoca#lyptical; he believed the world would
end in a cataclysmic deluge.
VISUALIZING
CHAOS
AS A
STRANGE
/ have not spoken of the
aesthetic appeal of strange
artractors. These systems of
curves, these clouds of points
suggest sometimes fireworks
of galaxies, sometimes
strange and disquieting
vegetal proliferations. A realm
lies here to be explored and
harmonies to be discovered. �XDavid Ruelle, one of
the world's foremost
authorities on chaos and dynamical
systems.
Scientists have a passion for plotting things. Perhaps it started with
the great French scientist Rene Descartes and his British successor,
Isaac Newton. Descartes and Newton laid a grid over the universe and proved
that everything that moves can be measured and specified by sets of coordinates.
Scientists have been carefully plotting things ever since. When scientists took to
plotting the movement of classical dynamical sys- tems�Xsystems chugging around at
a measured pace�Xthey often filled their plotting space with a neat, smooth-looking
shape called a torus. A torus in its three-dimensional form (toruses can exist in
many dimensions) looks like a well-formed bagel or an American doughnut with a hole
in it. Scientists plotting well-behaved dynamical systems such as planets in their
orbits, or oscillating
electrical devices, learned they could wind imaginary wires around the surface
of an imaginary torus to indicate the orderly functioning of these well-behaved
systems. For example, the orderly movement of a planet in orbit can be depicted
as a line that winds around the surface of a torus, repeating the same path but
shifted slightly with each circuit. Then the chaologists came along. The
chaologists wanted to study dynamical systems in a wilder state: the
chaologists wanted to measure systems as they broke down, disintegrated, came
apart, or fluctuated unpredictably and transformed themselves. When the
cha#ologists plotted toruses for these systems, the results were strange�Xdoughnuts
riddled with twists, folds, and curious internal shapes. Let's look at an example:
One of the chaotic dynamical systems studied involved some peculiarly empty
orbits in the belt of asteroids between Jupiter and Mars. A Soviet scientist,
Andrei Kolmogorov, proved a theorem that showed there was chaos occurring
in these orbits as a result of the friction and resonance set up by the combined
effects of the motions of Jupiter, the Sun, and Mars. Imagine the choppy wash
that occurs when large ships and powerboats pass each other and their waves
collide. If you were sitting in a rowboat caught in one of those places where
the waves met, you'd feel the chaos. The mathematics of the Kolmogorov theorem
can be plotted out as a torus; cut it open, and it provides a visual picture of the
choppy mess that occurs when you take into account several contending
planetary motions.
CHAOS
Technically this torus is called the Vague At- tracted of Kolmogorov or YAK, for
short. The ac- ronym is apt, since Yak is the name of the goddess
of vibration in India's ancient holy text, the Rig
Veda. The VAK torus shows that the chaotic as teroid orbits exhibit some regular
motion�Xin- dicated, for instance, by the red arrows winding around�Xand otherwise
a lot of wobbling and
weaving. Any chunk of matter that had the mis- fortune to wander into such an
enchanted, hellish zone would oscillate drunkenly until it was even#tually
expelled. The Vague Attractor of Kolmo#gorov is the first in our gallery of strange
attractors. The phrase "strange attractor" was
coined as a kind of attempt at scientific humor.
Classical, "regular" systems such as the orbits of Mars or Jupiter can be plotted
as smooth and
regular-looking shapes like the torus. Scientists say the movements of these
classical systems are
"attracted" to those orderly-looking shapes, which are abstract portraits of their
orderly be#havior. But the movements of chaotic systems seem attracted to strange
shapes like the mes#siness inside the Kolmogorov attractor. One of the really
strange things about strange attractors is that they do have a pre- dictable
overall form, but it's a form made of unpredictable details. By using equations to
follow one or more of the variables of a chaotic system
as it changes and moves, scientists can plot out a strange attractor that portrays
the system's activity. To create these pictures of strange attractors, the
cha#ologists' equations are calculated to an output and then the output becomes
an input as the equation is calculated again. This mimics the kind of
accel#erating, amplifying feedback that goes on in real chaotic systems�Xthe factor
VISUALIZING CHAOS
that makes these systems constantly transform themselves. Think of the weather
or a mountain stream. The system's holism (the fact that every movement in the
system in some way affects every other movement) is responsible for its chaos
(unpredictability). At the same time the weather is constantly changing,
it also stays within the boundaries of what we call the climate, just as a
turbulent stream stays within the boundaries of its banks. But even strange
attractors can convulse and change their basic shape if the system is perturbed
enough,
just as a heavy rainstorm can make a stream burst its banks and take a new
course. Climatologists worry these days that the weather's strange attractor (the
climate) may one day change its shape as a result of the industrial perturbations
caused by human beings. But barring such earth-shattering metamorphoses, with each
iteration of feedback the chaotic system folds into (or explores) a new region of
the space
inside the tangled outline of its strange attractor. In fact, the boundary of the
attractor itself is constantly being redrawn and complexified, as the iterations
loop their way into new dimensions. Here's another picture of a strange attractor.
It's called a "cobweb diagram." You don't have to know how to read it to see
this as a picture of chaos.
)NG CHAOS
Volcanic eruptions like this one in the Phil- ippines are accompanied by tremors
which, when plotted, reveal an underly#ing strange attractor. This particular one
is called a Rbsseler strange attractor. Cu#riously, the Rosseler has been found to
apply to quite a different kind of dynam#ical system from volcanic tremors. It also
shows up when scientists plot the Belou- sov-Zhabotinskii chemical reaction. Here
the chaotic bonding of the chemical re- agents self-organizes to create highly
structured spiral-like forms. (See Sell- Organization.) In other words, the
Ros#seler attractor plots the transition from
order to chaos, but it also plots the tran#sition from chaos to order.
A view of the Rosseler strange attractor.
VISUALIZING CHAOS -14 1
This fanciful torus, computed by Cliff Pickover at IBM, might be used to de#scribe
a smooth-running, "classical" dynamical system, or it might be a
holiday wreath.
This is a slice through a section of a chaotic torus called a Ueda strange
attractor. The section shows the torus continuously
folding in on itself, like a pastry chef stirring colored dyes into cake batter.
The Ueda attractor shows up when scientists plot equations that model dynamical
systems such as the oscillation of an electromagnetic field within a ring-shaped
cavity
or the rise and fall of certain types of predator and prey populations. The gold-
colored region indicates a type of behavior more frequently exhibited by the
system. The crimson region denotes less fre- quently exhibited behavior. Magnifying
a
small-scale portion inside a strange at- tractor reveals shapes similar to those
seen on the larger scale. Because of the
self-similar way they fill space, strange
attractors are fractal. They are finger#prints of the chaotic dynamical systems
they plot. It is said that the resemblance
of Ueda attractor to the ancient Chinese
yin/yang symbol for change is purely ac#cidental.
ING CHAOS
This is one face of chaos, the butterfly mask of unpredictability discovered in the
early 1960s by one of the first chaologists, Edward Lorenz. When Lorenz plotted
several variables de#scribing the movement of a weather system, he discovered
that very small differences in the initial daily weather data
that he input into his model would make a very large differ- ence in a long-range
forecast. That meant that a meteorologist
calculating two weather projections where he started with
similar but not identical data would end up with two entirely different long-range
forecasts. By
iterating the equations of his model to make a plot, Lorenz produced this strange
attractor, which
is a fractal portrait of the essential unpredictability he had found in the
weather. The repeated folding of the system onto itself (in other words, the
continuous interaction of var#iables such as temperatures and pressures) is
represented by the fold between the two "eyes" of the
attractor. The recurring shapes that circle around the eyeholes indicate that the
weather is unpre#dictable but self-similar: high- and low-pressure gradients,
temperature variations, and other factors
exist on every scale, from global weather patterns to local variations between the
front and back
yards of your house. Strange attractors like this one depict a system whose
behavior never repeats itself and is always
unpredictable and yet, paradoxically, always resembles itself and is infinitely
recognizable.
The chaologists have discovered all kinds of wonderful strange attractors:
portraits of the order in chaos. IBM scientists found a new one when they
plotted the activity of two barium ions caught in an electronic "trap." By varying
the strength of the energy they were using to trap the ions, the researchers could
watch this relatively "simple" system display a veritable carousel of be#havior. At
one frequency, the system would freeze or "crystallize" the ions so that they would
hover next to each other catatonically. Higher frequencies set them bouncing
randomly off the energy walls of the trap. In the midst of this chaos a slight
change in frequency could set them oscillating or dancing in an
VISUALIZING CHAOS
This gossamer piece of abstract art is called a period doubling plot or logistic
map. It's another kind
of strange attractor. The dynamical system modeled here might be commodity prices
or populations
of gypsy moths. Reading from left to right, we can watch the system going to
pieces. As some variable is increased, for example, the number of trees gypsy moth
caterpillars like to
eat, the population jumps and more eggs are left behind to hatch the next year.
That year, however,
there are too many moths, and they outrun the food supply, so the following year
there is a die-off. The population oscillates between two values�Xone year it's
high, the next year it falls off. Increase the starting food supply still further
and the population goes into a four-year cycle; make another
increase and the cycle goes to eight years; and so on. Set the food supply high
enough, and the population rate cascades into chaos, making it impossible to
determine what the numbers will be
in any year. Scientists have discovered laws (in the form of ratios) governing when
the transition from two cycles to four to eight and up to chaos will occur in these
sensitive systems. The period doubling plots shows that as more energy is injected
into chaotic dynamical systems they fold into themselves and wrinkle up, becoming
increasingly intricate. The wrinkling and folding reveals their
fractal nature.
Notice the two black lines in the plot. These are windows or clear spaces smack in
the midst of advancing chaos where for a short time�Xa few years�Xthe population of
moths might rise and fall
in an apparently cyclical way. But then the pattern dissolves into chaos again.
Notice the miniature
plots inside these windows:
ING CHAOS
These are indicators of the chaotic system's self-similarity. A small-scale period
doubling toward
chaos broods in the middle of the narrow window of order. In terms of the gypsy
moth example, the
effects of this small-scale self-similarity would be too subtle to be detected. The
period doubling plot shown here in color represents an incomplete portion of the
period dou#bling cascade and was selected for its aesthetic appeal. Klaus Ottmann,
an art curator who in 1989
organized the first exhibition of paintings, sculpture, and computer graphics on
chaos in North
America, said it was a color period doubling plot that made him realize the deep
artistic possibilities
of fractals and chaos.
orderly pattern, "phase locking" as scientists put it. The strange attractor the
researchers plotted here is a cross section through a chaotic torus. The hexagonal
region near the black center plots the area near the frequency where the ions self-
organize into a phase-locking order. The spiral arms plot frequencies where the ion
activity is spiraling off into chaos.
More and more, scientists are spending time in a strange space that Newton
and Descartes would have never imagined.
VISUALIZING CHAOS �E 145

MATH
Dragons fight in the meadow.
Their blood is block and yellow. �XImage from the I
Ching, the Chinese
Book of Changes,
depicting dragons,
which represent order,
faced in a conflict that
leads to chaos.
n 1918, the great mathematician, philosopher, and logician Bertrand
Russell remarked that "mathematics, rightly viewed, possesses not only
truth, but supreme beauty�Xa beauty cold and austere, like that of sculpture." One
wonders what Russell would say about the sculpturelike shapes of computer#generated
fractals. The art made from fractal equations is beautiful but hardly
"cold and austere." Its patterns crackle with color and detail, like an excited
nervous system or a fireworks display. In Russell's day one had to be a
math#ematician to "see" math's sculpture. Nowadays, thanks to fractal geometry,
even
people with severe math phobia can experience in tangible form what Russell meant
when he insisted that mathematics possesses "supreme beauty." The eerie, carnival-
like creatures of mathematical fractals have sprung up
on the covers of science books around the world. These images are in fact computer-
made portraits of sets of equations that have in common the char#acteristic of
iteration, a mathematical form of feedback. When a value is put
into one side of a fractal equation and the equation is computed to a result, the
result is then inserted back into the equation and the equation is computed
again. The new result is then reinserted and the equation is iterated (rerun) once
more. Some starting values, when they are plugged into an iterative equa#tion
cycle, explode toward infinity, others fluctuate, some don't change very much.
Equations that undergo sudden unpredictable behavior when iterated are nonlinear.
Nonlinear equations are extremely sensitive in some regions of values, and
those values mark the borderland between mathematical order and chaos. When
these borderland values are plotted on the computer screen using color, presto, the
equation's dynamical activity reveals a region that is brilliantly fractal. Some
fractal equations have been invented to model real chaotic systems, others to pixbe
the chaos that lies hidden in mathematics itself. As they plot their fractal
equations, many scientists are finding themselves drawn toward the ancient
aesthetics of art. One reason may be this: Complex
dynamical systems�Xthat is, systems undergoing constant change because they have
many "parts" feeding back into each other�Xare holistic in the sense that
everything in these systems affects everything else. Both dynamical systems and
mathematical fractals exhibit self-similarity in that their very different-sized
"parts" subtly reflect each other. Self-similarity and an implied holism are two
vital perceptions in the age old aesthetic artists haw employed to make tonus
that mirror, mimic, or metaphorically invoke the cosmic mystery. Science's drift
toward art peppers the reflections of three researchers who,
in different ways, create portraits of fractal equations en their computers.
Scott Burns, an associate professor o{ engineering design at the University of
Illinois, Urbana-Champaign. studies a curious piece of fractal mathematics called
Newton's method. The method �Xnamed after its inventor, Isaac Newton�Xis a shortcut
for finding the roots of a polynomial equation (an equation with several terms).
Starting with a guess at a root's value, the mathematician plugs the guess into the
method's formula and iterates, watching as each iterative loop
of the method changes the guess so that it gets closer and closer, "converging"
toward some fixed number which is one of the polynomial's roots. However, if the
starting guess happens to be a value that lies on the boundary
regions between roots, then Newton's method turns into chaos. By plotting the
different starting "guesses" and coloring them according to whether iterating
them makes the result converge toward one of the roots, fly off into infinity, or
lie in the boundary area, Burns obtains a fractal picture. Newton's method is used
by engineering designers to solve problems such as finding the best size timber for
a structure composed of two columns holding up a supporting beam. An optimal
engineering design is one that makes the most efficient use of materials and is
safe. To locate the possible optimal designs
using Newton's method, the engineer shapes an equation that expresses such
factors as the levels of stress, strengths of timber, and how much different-size
timbers bend. The engineer then takes a guess ("columns 2 inches square, beam
4 inches square," for example), and iterates the guess using Newton's method.
In most instances the engineer finds a solution. In some cases he finds the
fractal shape of a mathematical chaos. Burns, who works on Macintosh personal
computers, shows some of the
fractals he creates using Newton's method at craft fairs and galleries. "I do that
so I can get in there and talk to people about math and art. I find that people
are fascinated by this stuff." Burns says his mission is to convey the beauty of
mathematics because it's
ATH ART
also the beauty of nature: "These images represent a personal expression of the
hidden beauty. You may question, is it art? In some ways these images may be
thought of as paint by numbers on a grand scale. I don't presume to take artistic
credit for the many shapes and patterns. They occur naturally in the mathe#matics."
But he does make choices: the color palette, when to shut off the
iterations. "I can focus the picture, but I don't really have control over what it
is that's being seen." The first image here is an example of Newton's method
applied to an equation
that has three roots. The equation's roots are the tips of the "umbrellas" in the
picture. "The chaotic region is where the forms get smaller and smaller and seem to
come together. My wife calls this one 'a pregnant woman.'
"
The second image is a close-up of a boundary region of an equation with ten
solutions. The pinkish areas to the left and right are locations of two of the
ten solutions. The black hole represents a region of points (starting guesses)
that hadn't begun converging toward any of the ten solutions by the time Burns
stopped iterating them. "Everywhere you see a black hole, it obscures a region
of chaos. The boundary everywhere is covered by black holes."
Mario Markus is a physicist at the Planck Institute in Dortmund, Germany.
Using his computer screen as electronic graph paper, he plots the twisted chewing-
gum complexity of a series of equations that describe the transition zones from
order to chaos. These equations can be used to model real systems which have
complicated interactions (so-called dynamical systems) such as the
flow of energy in electrical circuits, and turbulence in fast-flowing water.
Markus's plots are looming, surreal, perhaps troubling evocations of the in-
finities that lie everywhere concealed inside nature's movement. The deep blue
background in each plot describes the dark domain of total chaos. The infinitely
intricate shape in the foreground is a forbidding fractal creature that breeds and
lives in the region of transition. These are borderland creatures of order. The
shadowy organs and veins inside the creatures represent "superstable" areas which
resist change. Notice the complex self-similar copies of the large form
that appear on smaller and smaller scales�Xthe characteristic sign of a fractal. In
the blue sea of chaos these shapes represent small islands of order that lie
between larger mainlands of order. Markus says, "This implies a never-ending
appearance of such regions, separated by chaos, upon successive picture
mag#nifications. It is thus not always possible to say: 'The system is chaotic in
the parameter-interval so and so,' because any interval of chaos may contain
intervals
of order at higher levels of resolution. This means for me that the question, 'Is
God playing dice or not?' [in other words, is the universe ruled by chance or by
predictability] cannot be answered without performing the impossible task
of thoroughly exploring the filigreed maze of these fractals." Markus confides that
making his plots has "brought me a new form of art and has made me feel like an
artist. Surely, one could make the objection: these pictures were produced by the
computer and I just had to press a few
buttons. However, this objection could also be made about photography. It can
be said that one only needs to look through the camera and press a button. The
reason photography is considered an art is that a good photographer does
a lot more than push a button: He chooses an object, an angle, a lens opening and
time to shoot out of millions of possibilities. Furthermore, he can manipulate
darkness and contrast in his lab. A photographer thus has many degrees of freedom
with which to express an emotional state within a high-dimensional space of control
parameters.
MATH ART �E 15 1
"Much like a photographer, I have found myself moving in such a huge space when
producing my fractal images. The parameters I control are degree of zooming,
window, horizontal and vertical scales, colors, and sometimes a third dimension
according to some intensity level. An even greater diversity is possible
when one starts to change and choose the coefficients of a formula. Truly one
can say that equations can be considered here as new types of painting brushes."
One interesting wrinkle to contemplate about Markus's pictures. Turn the page
ninety degrees to the right and examine the image. Though what you
have just done would make a scientist cringe, isn't the image somehow more
"aesthetically significant"?
ATH ART �E 15 3
Cliff Pickover is a member of the Visualization Systems Group at IBM's Thomas
J. Watson Research Center in Yorktown Heights, New York, and author of Com#puters,
Pattern, Chaos and Beauty and Computers and the Imagination. The
small room where he often works is jammed with computer screens and consoles. He
types in some numbers and jumps to another screen which sparks into life with a
gray, filigreed structure called a Julia set, a mathematical object related
to the famous Mandelbrot set which adorns so many book covers. The Julia set is
actually a mathematical construct located in a thicket of numbers called the
complex number plane. To "find" the fractal outlines of the
Julia set, Pickover's computer screen becomes a piece of ultrafine electronic graph
paper. All the pixels, or points, on the screen�Xand there are over a
million pixels at high resolution�Xare like points marked at the intersections
of the lines on a graph paper. Pickover's powerful computer "tests" each point
(number) in an area of the complex plane by applying an iterative equation to
it and recording how fast the value expands. If the value remains stable, he
assigns it one of 255 possible colors (usually black); if the value soars quickly
to infinity he assigns another color; if it lifts upward at slower rates, he
assigns
a color for each rate. This morning in order to demonstrate his technique, Pickover
begins with
the Julia set in a gray scale (the first frame in the sequence above). Each shade
in the picture represents a collection of points expanding at approximately the
same rate. The black areas mark the best-behaved numbers, the most stable
points�Xpoints that lie within the Julia set itself. Pickover also performs some
plotting "tricks" to get special effects like the hairlines arcing down into the
set's boundary.
His first color application is what he calls a "default" palette. He pecks on
the computer keyboard, and the gray scale Julia is washed with colors advancing
across the screen in waves covering the beaches of the nested coastlines of numbers
that lie around the edge of the set. "This one is a palette I like working
from because you know that green is next to blue, and red is far from blue. So
it has some meaning to your eye." Ho stops on one color pattern he likes and
decides to print it on a slide (second frame in the sequence here). Then he
comments, "It doesn't highlight the fractal edge. In this image, the bright hot
colors are the fast ones, and the greens and blues are the slowest." To make the
third frame, Pickover pecks keys and switches to his favorite color palette. "We'll
highlight the structures to make something aesthetically
pleasing. The aesthetic appeal of the fractal is probably created by the sharp
contrast your eye sees; contrast is also useful scientifically. I'm going to start
shifting the color table. There, that could be good. What do you think?" To paint
the last frame Pickover applies a "random" color table to the set. "We'll try some
violets or some strange color. Now we're experiencing colors
that we didn't have before. The previous one had no magenta." He pecks
rhythm#ically at a key on the computer, and colors splash across the nested fractal
shores. "That's nice." he says enthusiastically. "I like that. See, we just brought
randomness into our life. You can probably make some philosophical statement
about that �Xabout the role of randomness in art." Pickover began his scientific
career in molecular biophysics and biochemistry, but he now spends all his time
working with computer graphics in an effort to employ "the aesthetic side of the
computer to represent biological structures and other complicated data." He says,
"Many things in nature are fractals for
a variety of reasons, whether it's to increase surface area or because it's easy
genetically to have a fractal rule to repeat repeat repeat. These equations, even
though they're purely mathematical, have that same approach, repetition leading
to similar features on different-size scales." He agrees that the patterns human
beings generally find aesthetically pleasing
are a dynamic balance. "Too much order and it will be like the test bars on a TV
screen. Too much noise is like static. You want something in between." As he works
on the fractal forms he generates, Pickover asks everybody who
ATH ART
walks into the lab what he can do to improve the images. He is eager to make
changes and try something new. "The computer is a tool that lets artists,
math#ematicians and scientists see unexpected and strange new worlds that they
couldn't have appreciated before. It also lets nonartists participate in what we
might call art. Art critics might not call it art, but the works I do are, to me,
in the realm of art."
GEOMETRY OP
IRREGULARITY
Clouds are not spheres,
mountains are not cones,
coastlines are not circles, and
bark is not smooth, nor does
lightning travel in a straight
line. �XBenoit Mandelbrot,
inventor of fractal
geometry.
Quclidian geometry idealizes forms. Triangles and squares are made with
straight lines; the shapes of circles and curves are smooth and regular. Euclid's
geometry defines space in terms of discrete dimensions�Xthe zero- dimensional
point, the one-dimensional line, the two-dimensional plane, the three-dimensional
solid. We build our houses and cities to Euclidian specifi- cations, and the
measurements of this geometry are certainly useful for that purpose. Applied to the
shapes and motions of nature, however, Euclid provides
a less satisfactory grasp of the touseled, craggy, crinkly continuum of the non-
human world.
Fractal geometry is idealized, too, as all mathematics must be, but vastly less so
than its predecessor. It is a geometry that focuses on dynamic movement,
ragged lines, and space so crumpled that it is neither line nor plane nor solid.
Artists love it. For artists, irregularity has always been a sine qua non. Even the
obsessively
rectilinear modern Dutch painter Pieter Mondrian left drips and faint wavers
in his straight lines to indicate the presence of the human creator behind the
abstract mathematical shapes. Michelangelo hewed his sculpture by following the
grain in the marble. Nature, of course, never makes perfectly straight lines or
perfectly symmetrical curves. Even the elliptical orbits of the planets wobble.
Artists know that the subtle irregularity of a line, its variable thickness,
embodies
its energy, its significant life. Indeed, it might be argued that irregularity is
an
important feature of art and an integral part of what makes an artwork beautiful
and true. Fractal geometry moves away from quantitative measurement, which values
quantifiable features like distances and degrees of angles, and embraces the
qualities of things�Xtheir texture, complexity, and holistic patterning (that is,
their patterning at various scales). The aesthetic�Xthe idea of order�Xin fractal
geometry is therefore closer to the ancient aesthetic of the artist than the
aesthetic of Euclidian geometry has been. While most artists don't apply fractal
geometry in any formal way to their work, most grasp fractal principles im-
mediately when introduced to them. The two artists whose pictures are portrayed in
this section have, in different ways, taken inspiration from this new math for
measuring the world.

�G*? ^
: ?
Photographer Lawrence Hudetz's first career was as an electrical engineer. Years
after he became a professional photographer, he read about chaos theory and
it transformed his art. He recalls: "I understood the Euclidian concept of the
circle, triangle and
square, particularly since I was using a square format. But 1 had always sensed
there was something beyond it. 1 didn't quite know what or how to deal with
it." Hudetz felt that chaos and fractals gave him the answer. "What thinking in
fractal shapes does for me is give me another dimension. With the old geometry,
I'd go into the forest and I'd be looking to line up the trees or get a certain
rhythm going while the background chaos of the branches became just that, a
background. But when 1 take the background as the real subject, then the fact that
the trees are straight or not straight becomes accidental. The new geometry
is a more open way of looking. This creates a subtle shift. It allows me to accept
images that I might have rejected in the past because my brain was saying, That's
not organized right: Still, if I'm not careful, when I take the camera out, the
first thing I start to do is to go back to the old Euclidian mode because it's so
comfortable. We've all gotten used to seeing in that old way." Hudetz describes
himself as an artist in search of images that match what
he calls his "inner fractal." by which he means his search for a texture, an inner
pattern of roughness and tangledness that constitutes his sense of being in the
world. He says it is a "quality of being that needs to show up" in the situation he
wants to photograph. "I can't really say anything about it. It's there or it's not.
If I try to analyze it, then the thing falls apart." He claims that if the
photograph comes out right, it will portray the exact
transition point, the intersection of order and chaos. "What I want is that when
you look at the photograph, there will be no way to say which direction this thing
is going. Am I photographing this thicket of alders as order arising from
chaos, or is it order just going into chaos?" The first photograph here Hudetz
calls his "Euclidian woods." The compo#sitional emphasis is on the straight line.
The picture has a comfortable, classic beauty. The second photograph is more
disturbing. The sun-shot entwining of limbs reaches out beyond the frame of the
picture so there is no clearly defined
top, bottom, or sides to the composition; foreground and background are mingled.
NEW GEOMETRY �E 161

rriBp-^o^s^
-/...Mi
Landscape painter Margaret Grimes discovered fractal geometry only after her
painting had already undergone a major transformation. But fractals and chaos
quickly helped confirm for her the importance of her new perspective. She says, "I
went through a very traumatic period where what I found exciting
visually didn't fit any of the traditional forms of how to look at landscape. For
example, I have a view from my house down to the water with all the underbrush,
all the vines on the trees, which are killing the trees�Xit is overwhelming. We've
got all these anesthetized ways of looking to keep us from really looking at
nature. Of course, not looking is what can really kill us as a species. So I
realized Things are very generalized in the traditional landscape; lines are
cleaned up. There is a parklike quality." Grimes describes painting landscapes with
the new geometry as "a focus on
the complexity of natural forms, the relationships�Xthe spatial and shape re-
lationships, and the life relationships. The formal thing is held together with
patterns that are set up across the composition. Once you have that formal
structure you can become very detailed in your observations without destroying your
composition. So you have a shallower space, a sense of each thing in it being of
almost equal significance, and that has philosophical implications: one
life-form isn't necessarily more valuable than another. "Many of the paintings take
months to finish, but I attempt to retain the
freshness and immediacy of the original vision�Xto make even a huge, complex
painting look as if it happened all at once." She reports viewers sometimes get
upset looking at her paintings because "they don't look as if they have any
boundaries." She says that her concern over the accelerating human destruction of
the
natural environment gives an urgency to her work. "In art school we were told
to paint as if you were looking at something for the first time. I try to paint as
if I'm looking at nature for the last time." She believes the artist should be a
"shaman," uniting the viewer with the sacredness and mystery of nature, helping
viewers rediscover a deep immersion in the natural world. Like Hudetz's photograph
of alders, Grime's forsythia painting dismisses com#fortable triangular vanishing
points of perspective, enmeshing the viewer in the
riot of life.
GREAT
ART'S
SECRETS
Computers can make errors, of
course, and do so all the time
in small, irritating ways, but
the mistakes can be fixed and
nearly always are. In this
respect, they are
fundamentally inhuman, and
here is the relaxing thought:
computers will not take over
the world, they cannot replace
us, because they are not
designed, as we are, for
ambiguity. �XLewis Thomas, Late
Night Thoughts on
Listening to Mahler's
Ninth Symphony.
laus Ottmann, a museum curator who in 1989 organized an exhibition
entitled "Strange Attractors: The Spectacle of Chaos" thinks there
is a fractal revolution taking place in art. Careful not to call what's happening
a style or a movement, he calls it an "activity": "We might speak of a fractalist
activity as we once spoke of a surrealist or a structuralist activity," Ottmann
says. "Fractalist artists are both a mirror of the psychological and social state
of society, and an interface. They no longer concern themselves with the mere
manufacturing of objects but with the ex- perience of fractalization." He advises,
"Watch for the presence of any one of the three attributes of fractals (scaling,
self-similarity, and randomness) to determine whether the fractalist vision is at
work."
Indeed, contemporary artists in the United States, Europe, and Asia are
rallying to a kind of fractalist's vision. One reviewer of Ottmann's show enthused:
"The very simultaneity of order and disorder in the images included in this
exhibition is something new Not since Stonehenge have the natural world's
mysterious workings seemed so full of portent for both art and architecture." The
contemporary artists whose "activity" is fractalist claim a heritage ex- tending
back through the history of art. Indeed, the list of artists who have employed what
are now recognized as fractal images would be very long: Think
of Vincent Van Gogh's dense swirls of energy around objects; the recursive
geometries of Maritus Escher (who said, "Since a long time I am interested in
patterns with 'motives' getting smaller and smaller till they reach the limit of
infinite smallness"); the drip-paint, tangled abstractions of Jackson Pollock; the
detailed baroque design of the Paris Opera House; the scales of recurring arches
in Gothic cathedrals; and the mountains in ancient Chinese landscapes that have the
turbulent look of frozen clouds. But now, at the end of the twentieth century,
there is conscious fractalization. Art has become "a self-referential and self-
reproducing system," says Ottmann.
Today's artists are excited by the recognition that fractalization, in some deep
sense, is art. However, the rise of fractals has also democratized art and posed
a serious question for contemporary artists. In a symposium that followed his
art exhibit on chaos, Ottmann brought together fractal imagists from science,
computer graphics, and the fine arts. There, IBM's Clifford Pickover put the
RETS
Carlos Ginzburg, a Parisian artist and member of a coterie of "fractalistes" in
Europe, calls this piece "Chaos Fractal 1985-
86." Seen on a large scale, at a distance, its surface appears randomly abstract
with jagged islands and edges of colors. Viewed at small scale, the piece reveals a
wealth of surprising new detail of cut-out objects and patterns whose
psycho#logical, social, and relative size scales are mixed. Ginzburg admits
playfully that "understanding fractals and chaos made me more than change my
perceptual experience
of the world. My 'Homo Sapiens'�X'Homo Faber'�X 'Homo Demons'�X'Homo Ludens'
dimensions changed definitively into a 'Homo Fractalus' one. I'm a fractal subject-
fractalman." He adds, "Fractals are the scheme, the main scheme of our culture. We
are now at the 'fractal state of value' and fractals show the viral proliferation
of society and individuals." Asked what
he thinks about the relationship between order and chaos in na#ture, Ginzburg
replies, "I'm
really far away from 'nature,' based inside the electronic mode
of information, playing the game
of simulated order and chaos."
New York artist Edward
Berko says that he uses the
ideas of fractals and chaos
"to explore the manifesta#tion of structure in nature" and that he became inter-
ested in the theories from
the viewpoint of aesthetics.
"I paint in order to explore
the potential of fractal ge- ometry, to express a rein- terpreted aesthetic of
nature." In an essay called "On the Nature of Fractali- zation," Berko describes
his �X ^ _ ,_. . _. ._ _ ? ___ m ^^^_ aesthetic:
F \ ^ ^X-^^^. \. I \. ^V^l/ ^^^^B I ^^^P "We find strange, unnat#I "^^ ^ ^^^V^^ '^W
A^^^f ^^^^B ^ ural connections between mm J^T^^L. ^^ ^^S ^V ^^ -. *J\. ^M f ""
1. ^^. "^^ ideas. In this circulating ^J W^ ^^ ^ V^ 1 ^L ^^. V^.\ i f ^^^R 1 rush,
we postulate against
- - - �X ~ --- -
originality. We posit the
question: Are we in a con#dition of infinite repetition?
Infinite self-similarity? Infi- nite magnification of differ- ences which is
actually the sameness we thought of as
difference? We contemplate
the search for order within sameness, order opposing
sameness, order within random behavior. . . . "Just as the creation of a fractal
structure involves the process of iteration, so the production of artistic works
involves
ion. The creative process is a system wherein the output eventually becomes part of
the input. In this way, the process
:q art becomes self-similar, self-referential and an iteration of itself."
r>iece "Fractal Web."
The computer graphics/chaos revolution has generated new kinds of artists.
Britisher William Latham has become a sculptor who uses the computer screen instead
of marble or clay. Itsuo Sakane, a Japanese "science-art critic," describes
Latham's work as eliciting "some kind of shock on being confronted with a strange
and weird form that seems to have come into existence on a planet in some other
galaxy and to have gone
through an evolutionary process completely different from that followed on planet
Earth. These forms seem to have been
born of something both organic and inorganic . . . Yet there is also a sense of
nostalgia, a sense of having before you the prototype of some form of life which
you have seen somewhere long ago." Latham uses fractal geometry as well as other
computer graphics techniques in his work. He says, "In the past, artists such as
Van Gogh, Cezanne, Monet have been concerned with
representing the natural world,
for example. Van Gogh's sunflow#ers or Monet's water lilies. What
I am trying to do is produce my
own version of the natural world. . . . The viewer is looking
at a distorted synthetic nature, as though in a dream."
In this sculpture, which he calls "Inside Form," Latham covered
the scaled spiral shape with a
fractally patterned skin.
question of democratized
art pointedly. Referring to the ability of people with
simple algorithms and
small computers to gen#erate strange attractors and ornate designs of the
Mandelbrot set, Pickover mused, "I'm wondering if
it is disturbing to artists that a high school stu- dent can now produce
these types of pictures which most of the people would call beautiful while they
wouldn't necessarily care about 'true art.'
"
Thus the question is, what is true art? Is it what is pretty, intriguing, made
of forms that are both orderly and chaotic? If so, the Mandelbrot set images
have these qualities. Are we approaching an era in which the fractal computer
will replace the artist's intuition? While the answer is, "Probably not," the
fractal qualities of self-similarity and simultaneous chaos and order do seem to be
helping illuminate something important about the nature of art. Consider the self-
similarity of random fractals (like the fractal imitations of trees and mountains)
and computer-generated nonlinear fractals (like the Man#delbrot set), where
patterns at different sizes recur. Picture the warty ginger- bread man of the
Mandelbrot set who keeps reappearing like a magician's rabbit amidst permutations
of the swirls, folds, and fireworks that stud the sky over
the set's infinite coastline. Without a doubt the set is beautiful and variable,
but perhaps after a while a little too predictable�Xof course, not literally pre-
dictable (it isn't literally predictable), but psychologically predictable. Perhaps
it seems almost, after a time, a little boring. Now compare Mandelbrot art to
universally acknowledged examples of "true art"�Xa Picasso or Brueghel or
Shakespeare�Xthose enduring works of any period, style, or culture that retain
their vitality even after our repeated encounters with them. The great poem or
painting is always new, always a mild surprise. Mona Lisa's smile, for example,
photographer Marie Benedicte Hautem has captured the fine layering of self-similar
detail that constitutes the
Paris Opera Building. Mandelbrot himself cited the structure as an example of the
scaling feature of the fractal geometry
he invented. "One of my conclusions," wrote Mandelbrot, "is that it is fruitful to
call Mies van der Robe's buildings scalebound�Xa term a physicist would use to
describe a flawless crystal and the solar system�Xand to call the Paris Opera
House a scaling building�Xthe term scaling also being applicable to typical views
of the Alps and to the visual characteristics of many other objects in nature." As
one walks down Rue de I'Opera, the closer one gets, the more
of the building's self-similar detail comes into view. Mandelbrot's seemingly odd
comparison of this baroque Beaux Arts building to objects in nature
highlights the fact that though works of art may often look very different from
"realistic" objects, the deep intent of many artists is to create forms
that exhibit something of the inner structure and life to be found in nature's
forms.
remains an enduring enigma.
The chaologists who study the inner workings of the brain have come up with results
that, by extrapolation, may
suggest why we perceive great
art as we do. Brain scientists like Walter Freeman and Paul Rapp say
that a healthy brain main#tains a low level of chaos which from time to time self-
organizes into a simpler order when presented with a famil#iar stimulus. In
experiments done by Freeman and col- leagues, a rabbit was given a
familiar scent to sniff, and
graphs of the pattern of elec#trical activity in the rabbit's olfactory bulb became
sim#pler: The graph shifted from
a strange attractor to a less- strange attractor. When the
rabbit was given an unfamil#iar scent, however, the nor- mal strange attractor
became
even stranger. But this effect
Fascinated by the ideas of chaos and
fractals, architect Peter Anders de- signed the interior of his loft apart- ment in
the shape of a "strange
attractor." Like the strange attractors plotted on computer screens by chaol-
continued from previous page
ogists, the visual lines wind through
the space, creating a paradoxical
sense of both infinitude and repeti#tion, fragmentation and unity. This is the
essence of the fractalist's aes#thetic.
lasted only a while. Soon the unfamiliar scent became fa- miliar, the rabbit's
brain "ha- bituated" to it, and the
creature's brain graphs grew
simpler. Since scientists be#lieve that in a human brain
similar processes occur, we
might speculate that the form
of an enduring work of art somehow resists the brain's tendency toward habituation.
A great work seems to evoke
a new, wild strange attractor every time the human brain encounters it. No matter
how
many times we read some
great poem, listen to some
great symphony, or gaze at some great painting, no mat#ter how familiar we are with
that work, it remains, at some
important level of our percep#tion, unfamiliar. The key is ambiguity created by
artistic self-similarity.
This woodcut, "Waterfall in Yosh#ino," by the Japanese painter Hok#usai
(1760�X1849), uses a scaling of reflectaphors traditional among
Asiatic artists. The central reflecta- phor here is subtle, but perva#sive�Xa form
that recurs in variations, providing a sense of unity, diversity, and wholeness to
the work. This reflectaphoric form might be roughly described as a
crab's claw. The claw shape ap- pears at various scales and in nu- merous
trans- forma#tions in the veg#etation,
in the water, in the rocks (notice the claw
at the root of the red rock at the bottom of the woodcut). The ochre
horse forms the base of the claw of rock running along the river to the
right. The horse also forms its own
subtler claw-form with the arch of
its neck. The two straining men make another subtle claw.
ART SECRETS
When painters juxtapose multiple self-similar forms and colors on canvas, or
composers transform a sequence of notes into multiple self-similar forms by
varying the rhythm and projecting the sequence of notes into different sections
of the orchestra, they create a tension that gives birth to lucid ambiguities. Such
artistic juxtapositions might be called "reflectaphors" because the self- similar
forms reflect each other yet contain, like metaphors, a tension composed
of similarities and differences between the terms. This reflectaphoric tension
is so dynamic that it jars the brain into wonder, awe, perplexity, and a sense
of unexpected truth or beauty. To make great artworks, artists must find just the
right distance between the terms of their reflectaphors, just the right balance of
harmony and dissonance
to create tension and the illuminating ambiguities that can flow from it. That
proper balance is the one that catches the brain's processing by surprise and
subverts habituation. It's the balance that forces our brains to experience the
words or forms or melodies as if for the first time, every time, no matter how
many times we have encounted them before. Artists find reflectaphoric harmony
by testing the distance between the self-similar terms in their own brains first. A
poet revising a poem may read over a line literally hundreds of times. Does
the metaphor still have a jolt of surprise after all those readings? If so, it is a
reflectaphor: a juxtaposition of terms that are both self-similar and different and
as a result help open the mind. So the fractals of the Mandelbrot set are almost
art, but not quite. The parts are too similar, or in some cases too different from
each other, to produce the kind of ambiguity-filled reflectaphoric webwork
characteristic of a great work
of art. Art is much more than a permutation of similar forms. It is creative in a
way that is analogous to the creativity in nature: each form and gesture in an
artwork has autonomy and yet its self-similarity draws it into an interaction with
other forms and gestures in the piece to generate an environment that
forces us to continuously realize the artwork is alive and dynamically in motion.
Moreover, just as each single beetle or killer whale implies the whole of nature,
Beethoven's symphony in its moods and rhythms implies the whole of everything,
including ourselves.
In this classic landscape, "The Harvesters," by sixteenth-century Flemish painter
Pieter Brueghel,
the Elder, the artist creates reflectaphors by visually comparing, contrasting, and
interweaving Eu- clidian forms. Note, for example, how many variations and how many
scales there are of the tri- angular form of the haystack. It can be seen in the
posture of the man lying under the tree, in the sharp perspective of the corridor
of hay the man with the red jug is emerging from, in the house
roofs. Note the circles: One is formed by the haystack and the two harvesters on
the right. Another
is formed by the line of mown hay joining the road on the left, joining the arc of
green leading out
to the water, and then curving around. A third circle is formed by the group of
people eating in the
right foreground. All these circles are incomplete and ragged; the triangles are
peaked with a blobby
circular form. Note the rectangular shapes; these are interwoven with the circles
and the triangles. For example, the road on the left forms part of a rough
rectangle as well as being part of the large rough circle that dominates the center
of the painting. Note there is a vertex in the road that runs
horizontally in the painting which suggests the peak of a triangle, and there are
vertices all over
the line of cut hay: These create more triangles. Notice how the road the haywagon
is traveling on
mirrors the line of mown hay in the foreground: it's both similar and different.
Overall, Brueghel
has found a way to interweave and "fractalize" Euclidian forms, creating a sense of
simultaneous symmetry and asymmetry.
ART SECRETS �E 175
Could some formula or algorithm, some powerful but subtle feedback equation, one
day enable us to churn out reflectaphors with the right distance, the right harmony
of similarity and difference? Two Swiss scientists have devised a fractal algorithm
where, as The New York Times put it, "mathematical extracts of the music of J. S.
Bach could serve as matrices upon which new compositions of Bach-like music could
be constructed, 'comparable in quality' to those of the composer himself." The
premise of this approach is questionable, for if Bach's music is more than self-
similar�Xif it is composed of reflectaphors�Xthen it is highly doubtful that fully
creative juxtapositions could be manufactured even
by the richness of a fractal algorithm. Creating a network of musical reflectaphors
(creating a great work of art) requires constant attention to the functioning of
the human brain as it is listening to the composition, in order to find the harmony
and dissonance between terms that will allow the strange attractors in the
brains of artist and audience to resist habituation. It seems self-contradictory
to think that a mechanical, if unpredictable, algorithm could accomplish this
immensely subtle task. More likely the result will be a merely interesting, but
ultimately lifeless, Bach imitation.
Artists are artists for their ability to make reflectaphors that capture their
vision�Xthat is, for their ability to project into a concrete form (painting, poem,
music) their unique perspective on the whole (and each of us has a unique
perspective on the whole, though we don't all make reflectaphors to express
it). Each great work of art is a kind of microcosm or mirror of the universe. That
means that each great artist's personal vision must also reflect the whole, which
means reflecting the mysterious chaos and order of life itself. The self-similarity
of reflectaphors is much richer than the self-similarity in mathematical fractals,
and allows each artist in each generation in each culture
to develop a unique approach. The Flemish painter Brueghel created reflec- taphors
out of self-similar Euclidian forms repeated at different scales, trans-
Eve Laromee uses copper, salt, and water to create her sculptures on site. She
says, "My work has
to do with the correspondence between nature, humankind, and self. It has to do
with natural
processes unfolding over time. I'm interested in removing the hand of the artist to
a certain degree and just taking my chances. I set up the framework for a
collaboration with nature. . . . Embodied
within a sculptural form, my work creates environmental situations which isolate
and record the change of matter from one state to another. My work brings forth the
residue or traces left by the processes of evaporation, sedimentation, chemical
reaction, and crystalization. It is always in a state
of change"�Xthat is, a state of evolving fractal patterns. Laramee adds, "I see
order and chaos as moments in a larger continuum. They are where you look
for them; in art, they are what you choose to isolate or frame. I don't see order
and chaos as separate
entities, but as different types of sameness." She does not consider herself a
"fractalist" or "frac#talier," she says, "or do I consider my work 'fractal art.' I
do not believe that such a movement or
style exists. I believe my work dovetails or cross-references with, or is a
'reflectaphor' of, chaos and
fractals. ... I am skeptical of artists who try to create their own movement or
label or terminology.
I find it pretentious."
forming them into landscapes that are both rugged and regular, symmetrical and
asymmetrical, active and frozen. Picasso and Braque created reflectaphors
by breaking down objects into facets and then visually comparing these broken
facets. The suprematist school of Russian painters, active about the time of the
Communist Revolution, laid down large blocks of color on canvas, searching for a
shape, size, and hue for the block so as to make it appear both simultaneously
static and about to fly off the painting; the idea was that the same form should
project diametrically opposing states. Each generation of artists explores new ways
to make reflectaphors. In some
cultures the changes in reflectaphoric technique from one generation to the next
amount to only nuances, as was the case with the subtle changes over
ART SECRETS �E 177
hundreds of years of Chinese landscape painters. In other cultures, such as our
own, emphasis on the value of "originality" and the individuality of the artist
spawns startling shifts in the way reflectaphors are made from one generation
to the next. Consider, for example, the shift in methods from the impressionists
to the cubists. The fractalist artists are no different (except, of course, that
they are very different). Listen to fractalist painter Carlos Ginzburg talk about
his aesthetic. He is responding to the Mandelbrot set images of German
math#ematician Heinz-Otto Peitgen, whose book The Beauty of Fractals has been
widely praised for its gorgeous "artistic" images. Ginzburg insists that he and
his fellow artists are looking for something different. "We want," he explains,
"to present the beauty of 'kitsch' fractals against the 'Beauty of Fractals' of Dr.
Peitgen. If we cannot go beyond Dr. Peitgen's positions, fractal art will be only
a kind of 'scientific ready-made,' with really very little interest. The structural
beauty of Peitgen's fractals is their 'good gestalt,' their inner harmony, their
magnificent instability, the fact that they are new forms, a pure invention of
Mandelbrot's genius. These kinds of fractal belong to the Renaissance; they
offer the most traditional conception of beauty, maybe a modernist conception
of beauty. What is certain today is the evidence that visual art got rid of this
conception since the beginning of the twentieth century, or at least since 1960."
In making his manifesto for "kitsch" fractals, Ginzburg is being more than merely
outrageous; he is doing what artists have always done in order to keep
us alive to the mystery of life. He's making new reflectaphors and a new content
for old reflectaphors. Thus art does not progress but tries in each generation
to connect the unique spirit of a time with a primordial mysterious insight that
lies deeper than chaos.
CODAs
LIVING
WITH
UNPREDICTABILITY'S
SHAPES
It is a constant idea of mine,
that behind the cotton wool [of
daily reality] is hidden a
pattern, that we�X/ mean all human beings�Xore connected
with this; that the whole
world is a work of art; that we
are parts of the work of art. �XVirginia Woolf in A
Sketch of the Past.
rtists understand the ideas of fractals and chaos intuitively, and in their
aesthetic response to the new science may lie its true impor#tance. Whatever the
study of fractals and chaos may bring in terms of practical
applications, the deepest gift may be the opportunity these ideas offer for
radically changing the way we look at nature. Fractals have the power to help
us change our values in areas that may ultimately involve our survival on the
planet. Aesthetics, which is about our sense of harmony in nature, has become
a deadly serious activity. The question is, shall we inhabit a world shaped (as we
have long believed)
by lifeless mechanically interacting fragments driven by mechanical laws and
awaiting our reassembly and control? Or shall we inhabit a world�Xthe one
suggested by fractals and chaos�Xthat is alive, creative, and diversified because
its parts are unified, inseparable, and born of an unpredictability ultimately
beyond our control? The difference between these two world-views could not be more
stark. As
one commentator puts it, the thrall of the old mechanistic aesthetic has today
led to a growing suspicion that order, at least as practiced by humankind, actually
leads to disorder. From politics to science, humankind seems to be its own
greatest threat. Every solution seems to generate its own problem. Planting
orderly, genetically tailored trees to replace forests clear-cut by lumber
com#panies leads to devastation of the new growth by pests and disease and the
extinction of species. Damming up the Nile River to control floods and provide
electric power depletes the soil downstream and increases water salinity. Jungian
psychoanalyst John R. Van Eenwyk says, "So where chaos was once
seen to undermine order, now order itself is also the culprit. Has science somehow
slipped through the looking glass?" Many scientists are immensely attracted to the
new (and perhaps primordial)
aesthetic described in this book. Art critic Klaus Ottmann speculates that the
attraction results from the fact that scientists have long been starved of the
joy that comes with focusing in an unfettered way on the visual dimensions of
their work with nature. All of the scientists whose images are displayed here have
clearly discovered that joy in their research with chaos and fractals. Several
scientists, like neuroscientist Paul Rapp and Gottfried Mayer-Kress, have even been
inspired to engage in collaborations with artists as a result of their research.
In 1990 Mandelbrot teamed up with Pulitzer Prize-winning composer Charles
Wuorinen to create a multimedia performance at New York's Lincoln Center.
In his book The Reenchantment of the World, Morris Berman calls for an
aesthetic that could turn our science (our knowledge of the world) into art. The
aesthetic of fractals and chaos holds out that promise. But taking on such
a challenge requires a sense of adventure and a certain courage. It means giving up
absolute faith in our ability to control our environment ("science will save
us"), and instead making our life out of unpredictability's shapes. It means
attaining a certain humility about our place in the cosmos. But there is also a
serious danger that the concept of fractals and chaos will be transformed into a
more sophisticated�Xeven more totalitarian �Xversion of our old mechanical view of
life. Chaologists' ability to use simple formulas to generate complexity on the
computer may soon convince them that humankind
can in fact control complexity and master the dynamical forces of nature. In the
past it was just this hubris that led us to a 500-year orgy of cutting nature down
to fit our preconceived ideas�Xvirtually simplifying our world out of ex- istence.
Social anthropologists say that in an earlier shift from oral to written
cultures we learned to simplify reality in order to record it. Now, with the rise
of the computer, we have an instrument (ironically, the very instrument that
discovered fractals and chaos) that can digest such immense complexity we
may be deluded into thinking we have recorded in its circuits the keys to creation.
This danger is real. In an October 1991 Science Times article describing an
experiment that demonstrated that ecosystems are naturally subject to chaos, one
researcher noted that the discovery of chaos upset the old idea that nature
is "balanced." He concluded, "It really cuts the legs out from underneath this
position that all we really have to do is leave these [ecological] systems alone
and everything's going to be ducky. What we have to do is understand how these
systems behave and then we as people can decide what we want, how to manage
them appropriately" (emphasis added). At a vital level this scientist seems to have
missed the point about chaos�Xat least the philosophical point. Fractals and chaos
tell us about the inherent value of living in a world that springs
beyond our control. Such a world enriches and invigorates our curiosity and
awe, and that is why artists have responded intuitively to these ideas. Perhaps at
some level we will all need to become artists and chaologists in order to save it.
CODA
CREATING FRACTALS ON HOME COMPUTERS
The graphic capabilities of computers have forever changed the ways mathematicians
and scientists do math
and science. The once dry abstractions of nineteenth-century formulas can now be
rendered into brilliant patterns and colors that tell the story of complex
relationships and intricate feedback dynamics at a single glance.
Paradoxically, complex fractal graphics derive from relatively simple arithmetic.
To make these pretty pictures
in any detail, however, requires millions of tedious iterative operations�Xthe
perfect job for a microprocessor
rather than a human being. Although sophisticated machines can do the job faster,
home personal computers
can create elegant fractal images as well. Listed below are a number of off-the-
shelf fractal imaging programs�Xorganized by the kinds of machines on which they
can be run. Also listed for serious do-it-yourselfers are a number of sources for
generalized algorithms. Be forewarned: The arithmetic may be simple for a computer,
but calculation and graphic display time for zooming in on complex fractal objects
like the Mandelbrot and Julia sets can progress extremely slowly on low- end
machines. It helps to have a math coprocessor on board, and a newer generation of
central microprocessor. Some programs are intended for monochrome display, some for
8-, 16-, or 32-bit color. Be sure to check to see
that the software matches your hardware configuration. Into the infinite depths,
explore! �XDoug Smith, May 1992 FRACTAL SOFTWARE FOR IBM
SHAREWARE
The following modestly priced programs, available from Public Brand Software (P.O.
Box 51315, Indianapolis, IN 46251, 800-426-3475), allow exploration of Julia and
Mandelbrot sets and creation of your own iterative graphic
patterns: Mandelbrot 1-MA40.0; Mandelbrot 2-MA42.1; Mandelbrot for Windows-MA45.0.
COMMERCIAL PROGRAMS
The following are all available from Media Magic (P.O. Box 507, Nicasio, CA 94946,
800-882-8284).
Fractal Grahcs, Cedar Software. A fractal geometry drawing program for creating
naturalistic objects and abstract geometries via mouse and keyboard for IBM PC
compatibles. The Desktop Fractal Design System, Barnsley, Academic Press. Together
with Barnsley's Fractals Everywhere
text, this instructional software is a powerful primer for engineers, scientists,
and other students of fractal geometry. On 5.25-inch disks only and requires EGA or
VGA card, 640K RAM, DOS 2.0. (Available directly from Academic Press, 800-321-
5068.) Chaos, the Software, AutoDesk, Inc. A software package to accompany James
Gleick's best-selling Chaos, Making
a New Science (Viking). Includes a manual to explain the mathematics of a variety
of strange attractors. Requires IBM PC/XT/AT.PS/2 or compatible with 640K RAM.
Fractal Creations, by Timothy Wegner and Mark Peterson. Bundled with a book of the
same title this program
(available on 5.25-inch disc only) allows the user to create fractals simulating
natural objects�Xferns, clowds, mountains�Xas well as to iterate any pattern of the
user's own creation. It also generates stereoscopic fractals, which can be viewed
with the 3-D glasses included in the package.
'Ctools, Bourbaki, Inc. A sophisticated graphic program for the creation of
beautiful fractal-art images. Many
ng and "slide show" recording features. Comes on both 3.5-inch and 5.25-inch disks,
thus requiring hard PC/XT/AT/PS2 or compatible with 512K RAM, DOS 2.0 and EGA or
VGA.
)urbaki, Inc. Turns the computer into a high-speed fractal microscope for probing
the recesses of
if functions including Lotka Volterra equations, trig functions, Newton's Method,
Pickover's as FRACTALS ON HOME COMPUTERS
well as Mandelbrot and Julia sets and ether attractors. The requirements are t ho
same as for Fl u Pickover Sampler Software, Bourbaki, Inc. k hands on amplification
of Cliff Pickover's spectacular book Computers,
Pattern. Chaos, and Beauty (St. Martin's Press), which allows the user to enter
values in order to modify and experiment with various equations. FRACTAL SOFTWARE
FOR MACINTOSH
SHAREWARE
The following disks are available at modest member and nonmember prices through Mac
Group, Boston Computer Society, 48 Grove Street, West Somerville, MA 02144, (617)
625 7080. Members may download individual programs via bulletin-board services.
SuperMandelzoom is a black and white, very fast program with an elegant "microscope
stage'' front end allowing easy maneuvering in I he fractal world. Target areas are
displayed in a
series of ever higher resolution displays, allowing repeated zooming or change of
view without long waiting periods. Color B: AniMandel: Color C: Fractal,
MandelColor; Color E: Mac II Fractal; Color I: Mandella; Education B: Fractal
Contours, Mandelbrot, SuperMandelzoom; Education C: Fractals; Education G:
Lifemaker; Education E: Cellular Automata: Graphics E: Mandelzot; Graphics E:
Fractal Magic, More Chaos'. COMMERCIAL PROGRAMS
The following are available from Media Magic, P.O. Box 507, Nicasio, CA 94946, 800-
882-8284. The Beauty of Fractals Lab. Eberhardt and Parmet, Springer Verlag. A
versatile and powerful software package
that accompanies Pietgen and Richter's elegant books The Beauty of Fractals, The
Science of Fractal Images, and Fractals for the Classroom. Sequential increases of
resolution accelerate results. Includes intriguing 3-D
topographic renderings of the fractal universe and color-editing features. Runs in
256 colors on all Mac IPs. Mandelmovie. Dynamic Software. Runs on all Macs and
supports color on Mac IPs, with panning and zooming
features to probe Mandelbrot, Julia sets, and other attractors. Includes animation
utility in order to create movie
zooms, and a HyperCard tutorial. Can export and print as PICT files. Fraetasketch.
Dynamic Software. A graphic arts and teaching program that will create iterative
images from basic user-created shapes (library of images is included with the
program). Includes file compression features. Fractal Attraction, Lee and Cohen,
Academic Press. A "draw it yourself" fractal program: Enter a freehand design
in one window and its fractal transformation is rendered in another. Runs on Mac
Plus and above, and in color on IPs. The Desktop Fractal Design System. Barnsley,
Academic Press. Runs on Mac Plus or higher. See IBM version. MISCELLANEOUS
PUBLICATIONS
Amygdala. Box 219, San Cristobal, NM 87564. A newsletter devoted to fractal arcana
and strange attractors. Art Matrix. P.O. Box 880, Ithaca, NY 14851. A catalog of
books, videos, posters, slides and, yes, T shirts. Discovering Apple Logo: An
Introduction to the Art and Pattern of Nature by David Thornbury (Reading, Mass.:
Addison-Wesley, 1983). For owners of Apple He's and Commodore 64s running LOGO,
this book describes numerous
recursive graphics that can be used to create fractals found in the natural world
using simple "turtle" commands.
Leonardo: Journal of the International Society for Arts, Sciences, and Technology,
672 South Van Ness, San
Francisco, CA 94110. A quarterly publication that deals with matters at the
boundary between the sciences and
the arts, including chaos, fractals, and their relationship to visual arts and
music. PSEUDO CODE
Dewdney. A. K., "Computer Recreations," Scientific American 253; July 1987;
February 1989. Swaine. Michael, "Fooling Mother Nature with Fractal Flora,"
MacUser, March 1989, pp. 213-25. CREATING FRACTALS ON HOME COMPUTERS �E 183
CONTRIBUTERS' BIOGRAPHIES
Juan Acosta-Urquidi is a member of the Department of Ophthalmology at the
University of Washington, Seattle, Washington. American Museum of Natural History
is located on Central Park West at 79th Street in New York City. Peter Anders is an
architect with Kiss Cathcart Anders in New York City. Jenifer Bacon, a graphic
artist in Irvine, California, has collaborated with Gottfried Mayer-Kress on
computer
images of chaos. Otto Baitz is a photographer of architecture and interior design
with offices in Red Bank, New Jersey. Per Bak is a senior scientist with the
Brookhaven National Laboratory, Department of Physics, Upton, New York. Michael
Barnsley is a physicist at the Georgia Institute of Technology and has founded his
own company, Iterated Systems, Inc., in Norcross, Georgia. Michael Batty is
professor of geography at the State University of New York at Buffalo. Edward Berko
is a visual artist residing in New York City. Pieter Brueghel, The Elder, was a
Flemish painter, 1520?�X 1569. Christopher Burke is a photographer with
Quesada/Burke in New York City. Scott Bums is an associate professor of general
engineering at the University of Illinois at Urbana-Champaign.
Joe Cantrell teaches photography at the Pacific Northwest College of Art in
Portland, Oregon.
Loren Carpenter is an animation scientist with Pixar in Richmond, California. The
Collection of Historical Scientific Instruments is located at the Science Center at
Harvard University, Cam#bridge, Massachusetts.
Lilia Ibay de Guzman is a graduate student at the USDA/ARS, Honey-Bee Breeding,
Genetics & Physiology Research
in Baton Rouge, Louisiana.
Earth Observation Satellite Company, located in Lanham, Maryland, is responsible
for operating US LANDSAT
Remote Sensing Satellite and for marketing and selling LANDSAT data worldwide.
Fidia Research Laboratories is located in Abano Terme, Italy. Mike Field is a
professor of mathematics at Sydney University, Australia. Deborah R. Fowler is a
Ph.D. student at the University of Regina in Canada. Walter J. Freeman is a member
of the Department of Physiology-Anatomy at the University of California, Berkeley.
Norma Fuller is a Ph.D. student at the University of Regina in Canada.
Carlos Ginzburg is a fractalist painter residing in Paris. Tiana Glenn is the video
production specialist at the Boise Inter-Agency Fire Center. Goddard Space Center
is in Greenbelt, Maryland. Ary Goldberger, M.D., is an associate professor of
medicine at Harvard Medical School and director of electro- cardiography, co-
director of the Arrhythmia Laboratory, Cardiovascular Division, at Beth Israel
Hospital in Boston, Massachusetts.
: oseph H. Golden is senior meteorologist with the Office of the Chief Scientist at
the National Oceanic and
\dministration in Washington, D.C.
ORS' BIOGRAPHIES
Martin Golubitski is i professor m the Department of Mathematics at the University
of Houston. CelsoGrebogi is a professor at the Laboratorj for Plasma Research at
the University of Maryland at Ci i [e Park, and a member of the University of
Maryland Chaos Group. Owen Griffin is a reseaivher at the Naval Research Laboratory
in Washington, D.C. Margaret Grimes is a professor in the Art Department at Western
Connecticut State University. She exhibits her
paintings at the Blue Mountain Gallery in New York City. David B. Grobecker is the
scientific director of the GA1A Marine Institute in Kailua Kona, Hawaii. James
Hanan is a doctoral student at the University of Regina in Canada. M. B. Hautem is
a photographer and painter residing in Paris. Daryl Hepting is a master's student
at the University of Regina in Canada. John A. Hoffnagle is a physicist with IBM
Research in San Jose, California. Katsushika Hokusai ( 1760-1849) was a Japanese
painter and print maker. He is considered one of the six great Ukiyoe masters and
the founder of the school of landscape artists that dominated this form during its
last phase. Lawrence Hudetz is a photographer residing in Portland, Oregon.
Dr. Eugenia Kalnay is the chief, Development Division of the National Oceanic and
Atmospheric Administration
at the National Meteorological Center in Washington, D.C. Nancy Knight is a
researcher with the National Center for Atmospheric Research/National Science
Foundation
in Boulder, Colorado.
E. L. Koschmieder is on the faculty of the University of Texas at Austin's College
of Engineering and Center for Statistics and Thermodynamics. Kamala Krithivasan is
a professor at the Indian Institute of Technology in Madras, India. Robert
Langridge is with the Computer Graphics Laboratory at the University of California.
Eve A. Laramee is an artist residing in New York. William Latham is an artist
sponsored by IBM at the UK Scientific Center in Winchester, Hampshire. John Lewis
is a computer graphics researcher with the NEC Research Institute in Princeton, New
Jersey. Aristide Lindenmayer was a professor and head of theoretical biology at the
University of Utrecht in The Neth#erlands at the time of his death in 1989. Edward
Lorenz is a meteorologist at the Center for Meteorology and Physical Oceanography
at the Massachusetts
Institute of Technology. David Mai in is with the Anglo-Australian Observatory,
Epping Laboratory, in Epping, Australia. Mario Markus is a physicist with the Max
Planck Institute in Dortmund, Germany.
Gottfried Mayer-Kress is researching nonlinear dynamics at the Sante Fe Institute.
William A. McWorter, Jr., is a professor in the Mathematics Department at Ohio
State University. Paul Meakin is a researcher with the Central Research &
Development Department Experimental Station at E.
I. DuPont de Nemours & Company, Inc., Wilmington, Delaware. Mark Meier is with the
Institute of Arctic and Alpine Research at the University of Colorado at Boulder.
Nachumae Miller is a painter residing in New York City. Mark Moore is with the
Northwest Avalanche Center in Seattle, Washington.
Steven D. Myers is with the Mesoscale Air-Sea Interaction Group at Florida State
University in Tallahassee. National Aeronautics and Space Administration launched
Voyager 1 which encountered Jupiter and Saturn in 1979 and 1980. Voyager 2 which
encountered Jupiter in 1979, Saturn in 1981, and Uranus in 1986.
CONTRIBUTORS' BIOGRAPHIES �E 185
National Cancer Institute is located in Bethesda, Maryland.
National Optical Astronomy Observatories IS located in Tucson, Arizona. National
Severe Storms Laboratory is located in Norman, Oklahoma.
Michael Norman is an astrophysicist at Los Alamos National Laboratory. He has used
the supercomputer at the
University of Illinois at Urbana-Champaign to model the behavior of interstellar
jets. Office National D'Etudes et de Recherches Aerospatiales is located in
Chatillon, France.
Peter Oppenheimer is with the New York Institute of Technology, Computer Graphics
Lab.
Clifford A. Pickover is a staff member at the IBM Thomas J. Watson Research Center
in Yorktown Heights, New
York. David Plummer is with the National Meteorological Center in Washington, D.C.
Przemyslaw Prusinkiewicz is a professor in the Department of Computer Science at
the University of Calgary in Alberta, Canada.
Bill Ouinell is a member of the Art Department at Western Connecticut State
University.
P. E. Rapp is a professor in the Department of Physiology at The Medical College of
Pennsylvania.
Rollo Silver publishes a newsletter, Amygdala (devoted to fractals and the
Mandelbrot set), from San Cristobal, New Mexico.
Peter Siver is a member of the Department of Botany at Connecticut College. Doug
Smith develops interactive science exhibits, using multimedia technology, for
science museums across the
country. He lives in Boston. Homer Smith is co-founder of Art Matrix, located in
Ithaca, New York. Allan Snider is a master's student at the University of Regina in
Canada.
Joel Sommeria is a research physicist at Ecole Normale Superiure de Lyon in France.
Harry Swinney is a professor of physics at the University of Texas's Center for
Non-Linear Dynamics in Austin. Lucinda Tavernise is a freelance illustrator living
in Granville, Massachusetts. G. J. F. van Heijst is a professor at the Institute of
Meteorology and Oceanography, University of Utrecht, The
Netherlands. Manuel G. Velarde is a professor of physics at the Autonomous
University of Madrid. Andreas Vesalias (1514-1564) was a Belgian anatomist,
considered the founder of modern anatomy. His major work was "De humani corporis
fabrica libri septem."
Britony Wells is a photography student at Western Connecticut State University.
Edward Weston (1886-1957) was an American photographer who gave more than seventy-
five one-man shows
and was the author of several photography books. His work is archived at the Center
for Creative Photography
in Tuscon, Arizona. Arthur Winfree is a member of the Department of Ecology &
Evolutionary Biology at the University of Arizona. Jack Wisdom is a professor of
physics at the Massachusetts Institute of Technology.
Lewis R. Wolberg, M.D., was a well-known psychiatrist practicing in New York City,
and author of Micro-Art: Art Images in a Hidden World. He died in 1988. Jerome J.
Wolken is a professor in the Department of Biological Sciences at Carnegie Mellon
University.
NT U TORS' BIOGRAPHIES
SUGGESTED READING
Books on Fractals, Chaos, and the Aesthetics of Self-Similarity for Readers with a
Nonscientific Background
John, and F. David Peat. Turbulent Mirror: An Illustrated Guide to Chaos Theory and
the Science of Wholeness. Now York: Harper Collins, 1989.
Garcia, Linda. The Fractal Explorer. Santa Cruz, Calif.: Dynamic Press, 1991.
Gleick, James. Chaos: Making a New Science. New York: Viking, 1987.
McGuire, Michael. .4/! Eye for Fractals: A Graphic & Photographic Essay. Redwood
City, Calif.: Addison-Wesley, 1991.
Peitgen. H.O., and P. H. Richter. The Beauty of Fractals: Images of Complex
Dynamical
Systems. Berlin: Springer-Verlag, 1986.
Pickover. Clifford A. Computers, Pattern, Chaos and Beauty: Graphics from an Unseen
World. New York: St. Martin's Press, 1990.
Prigogine, Ilya, and Isabelle Stengers. Order Out of Chaos: Man's New Dialogue with
Nature. New York: Bantam, 1984.
Stewart, Ian. Does God Play Dice: The Mathematics of Chaos. Cambridge, Mass.: Basil
Black#well. 1990.
SUGGESTED READING' 187
Image Credits
Page 13: Photo by Joe Cantrell. Page 14: Peter A. Siver, The Biology of Mallomonas:
Morphology, Tax- onon\v and Ecology (Kluwer Academic Publishers). Page 17 National
Optical Astronomy Observatories. Page 20: Paul Meakin.
Pages 22-23: John Briggs. Page 26: National Aeronautics Space Administration,
Goddard Space
Center. Page 29: Nachumae Miller. Page 31: P. E. Rapp. Page 33: Reproduced by
permission of Earth Observation Satellite Company, Lanham, Maryland, U.S.A. Page
36: Copyright R 1992 Lawrence Hudetz. All rights reserved. Page 37, top: Photo by
Lewis R. Wolberg, M.D., Micro Art (New York: Harry N. Abrams, Inc.). Page 37,
bottom: Juan Acosta-Urquidi. Page 38: David B. Grobecker, GAIA Marine Institute,
Kona, Hawaii. Page 39, top: Photo by Bill Quinell and Brittony Wells. Page 39,
bottom left: Photo by Lewis R. Wolberg, M.D., Micro Art (New York: Harry N. Abrams,
Inc.). Page 39, bottom right: Michael Barnsley, Fractals Everywhere (San
Diego: Academic Press, 1988). Page 40: Copyright c 1992 Lawrence Hudetz. All rights
reserved. Page 41: Lilia Ibay de Guzman, USDS/ARS, Honey Bee Breeding Ge#netics and
Physiology Lab. 1157 Ben Hur Rd, Baton Rouge, LA
70820. Page 44: Jennifer Bacon, from map by Gottfried Meyer-Kress. Page 46: Per
Bak. Page 47, left: Photo by U.S. Geological Survey (Mark Meier). Page 47, right:
Mark Moore, Northwest Avalanche Center. Page 50: Photo by David Malin, copyright c
Ango-Australian Telescope Board/ROE.
Page 51, top: Courtesy of the Collection of Historical Scientific Instru- ments.
Page 51, bottom: National Aeronautics Space Administration. Page 52: Jack Wisdom.
Page 53: National Aeronautics Space Administration. Page 54: National Aeronautics
Space Administration. Page 56, left: National Aeronautics Space Administration.
Page 56. right: Photo by the National Severe Storms Laboratory, Na#tional Oceanic
and Atmospheric Administration. Page 57, top: Photo by the National Severe Storms
Laboratory, Na#tional Oceanic and Atmospheric Administration. Page 57, bottom:
Curves produced by Edward N. Lorenz. Page 59: Nancy Knight, National Center for
Atmospheric Research,
National Science Foundation. Page 60: David Plummer and Eugenia Kalnay, National
Meteorological
Center, Development Division. Page 62: Reproduced by permission of Earth
Observation Satellite Company, Lanham, Maryland, U.S.A. Page 63: Copyright c 1992
Lawrence Hudetz. All rights reserved.
< 04 and page 65, top: William McWorter.
torn: Przemvslaw Prusinkiewicz and Kamala Krithivasan,
: McWorter.
Page 67, bottom: Photo by Joe Cantrell. Page 68, bottom: Daryl Hepting and Allan
Snider, 1990. Page 69: Tiana Glenn, Boise Interagency Fire Center. Page 70: Photos
by Bill Quinell. Page 74: C. Pickover, Computers and the Imagination (New York: St.
Martin's Press, 1991); and Pickover, Computers, Pattern, Chaos, and Beauty (New
York: St. Martin's Press, 1990). All rights re- served. Page 76: Homer Smith, Art
Matrix. Pages 77-80, bottom: Homer Smith, Art Matrix. Page 79, top: Rollo Silver,
Amygdala, Box 219, San Cristobal, NM,
87564. Page 81: Homer Smith, Art Matrix. Page 84: Loren Carpenter. Page 85: Photos
from Michael Batty, "Fractals: Geometry between di- mensions," New Scientist, vol.
105, no. 1,450 (April 4, 1985): 31-35
(photos on pages 34 and 35); and Michael Batty, Microcomputer
Graphics: Art Design and Creative Modelling, (London: Chapman &
Hall, Co., 1987). Page 86, top: Przemyslaw Prusinkiewicz and Aristid Lindenmayer,
1987. Page 86, bottom: Michael Barnsley, Fractals Everywhere (San Diego: Academic
Press, 1988). Page 87: Przemyslaw Prusinkiewicz, 1986. Page 88, right:
Prusinkiewicz and Norma Fuller, 1990. Page 88, left: Daryl Hepting and Przemyslaw
Prusinkiewicz, 1990. Page 91: Peter Oppenheimer, New York Institute of Technology,
Com#puter Graphics Lab; based on Raspberry symmetry model by Haresh
Lalvani. Page 92: John Lewis. Page 94: Reproduced with permission of Mike Field
(Sydney, Aus#tralia) and Martin Golubitsky (Houston, Texas). These pictures arose
out of a study of the effects of symmetry on chaotic dynamics. Page 95, left: Peter
Oppenheimer, New York Institute of Technology, Computer Graphics Lab. Page 95,
right: Neg. no. 2A 5144; courtesy Department of Library Ser#vices, American Museum
of Natural History. Page 96, top: E. L. Koschmieder, Advances in Chemical Physics
(New
York: John Wiley & Sons, 1974). Page 96, bottom: Pictures made and supplied by
Professor M. G. Ve#larde (Spain). The pictures appeared in Milton Van Dyke, An
Album of Fluid Motion (Stanford: Parabolic Press, 1982); and in M.
G. Velarde and Christiane Normand, "Convection," Scientific Ameri#can, July 1980.
Page 97: Robert Langridge, Computer Graphics Laboratory, University
of California, San Francisco, California. Page 100: Copyright c 1992 Lawrence
Hudetz. All rights reserved. Page 101, top: Reproduced by permission of Earth
Observation Satel#lite Company, Lanham, Maryland, U.S.A. Page 101, bottom:
Reproduced by permission of Earth Observation
Satellite Company, Lanham, Maryland, U.S.A. Page 102, top: Copyright c 1992
Lawrence Hudetz. All rights reserved. Page 102, bottom: Copyright c 1992 Lawrence
Hudetz. All rights re- served.
EDITS
Page 103: Photo by Joe Cantrell Page 104. top: Copyright ? 1992 Lawrence Hudeti ah
rights reserved Pages 104-105. bottom: Copyright '" 1992 Lawrence Hudetx. All
rights reserved. Page 106, top: 'Tracks in Sand. North Coast. 1937"; photograph by
Ed
ward Weston, copyright B 1981 Center for Creative Photography. Ar
izona Board of Regents Page 106: Copyright c 1992 Lawrence Hudetz All rights
reserved Page 108: 1978 photograph from the laboratory of A. T. Winfree. Page 109:
Jerome J Wolken
Page 110: National Optical Astronomy Observatories. Page 111. top: Mario Markus.
Max Planck Institute, Dortmund, Ger- many.
Page 111, bottom: Dr. Joseph H. Golden, National Oceanic and Atmos#pheric
Administration Page 1H. top: John Briggs. Page 113, bottom: National Aeronautics
Space Administration. Page 114: J. Sommeria. S. Myers, and H. L. Swinney,
University of
Pages 116-117: John Briggs, from video by Hugh McCarney.
Page 118: National Aeronautics Space Administration. Page 119: Photo by Joe
Cantrell. Page 120: C. Piekover, Computers and the Imagination (New York: St.
Martin's Press, 1991); and C. Piekover, Computers, Pattern, Chaos, and Beaun (.New
York: St. Martin's Press, 1990). All rights re- served. Page 121: C. Piekover.
Computers and the Imagination (New York: St. Martin's Press. 1991); and C.
Piekover, Computers, Pattern, Chaos, and Beaun (New York: St. Martin's Press,
1990). All rights re served. Page 124: A. Yesalias (1514-1564).
Page 125, top: National Cancer Institute. Page 125. bottom: Fidia Research
Laboratories. Page 126: Dr. Ary L. Goldberger. Page 127: Christopher Burke,
Quesada/Burke, New York. Page 128: With permission from Walter Freeman and
Scientific Ameri#can. Page 129. top: C. Piekover. Computers and the Imagination
(New
York: St. Martin's Press, 1991); and C. Piekover, Computers, Pat#tern. Chaos, and
Beaut}- (New York: St. Martin's Press, 1990). All rights reserved. Page 129,
bottom: C. Piekover. Computers and the Imagination (New
York: St. Martin's Press. 1991); and C. Piekover, Computers, Pat#tern. Chaos, and
Beauty (New York: St. Martin's Press, 1990). All rights reserved. Page 132: Michael
Norman. University of Illinois. Page 133: NASA photo courtesy of Owen M. Griffin,
Naval Research
Laboratory. Washington. D.C.
Pages 134 136, top Photo made by G. J. F. van 1 ! < j (Universitg of Utrecht, The
Netherlands)
Pages 134 136, bottom Office National D'Btudes el do Recherches
terospatiales. Page 1 3d Copyrigl I nee Hudetz Ml rights reserved Page 139 Jerrold
E Marsden, Foundation of Mechanics (Reading, Mass Iddison-Wesley, 1978),
Illustration was redrawn bj Lucinda Tavemise.
Page 140; Michael Barnsley, Fractals Everywhere (San Diego Acs demic Press, 1988)
Page 111, top: Photo by Joe Cantrell. Page 141, bottom: Homer Smith, Art Matrix.
Page 142, top: C. Piekover, Computers and the Imagination (New
York Si Marlins Press. 1991); and ('. Piekover, Computers, Pat#tern. Chaos, and
Beauty (New York: St. Martin's Press, 1990). All rights reserved. Page 142, bottom:
Celso Grebogi, University of Maryland Chaos Group. Page 143: Homer Smith, Art
Matrix. Page 144, left: Homer Smith, Art Matrix. Page 144, right: C. Piekover,
Computers and the Imagination (New
York: St. Martin's Press, 1991); and C. Piekover, Computers, Pat#tern, Chaos, and
Beauty (New York: St. Martin's Press, 1990). All rights reserved. Page 145: John A.
Hoffnagle. Page 149; Scott A. Burns. Pages 150-151: C. Piekover, Computers and the
Imagination (New
York: St. Martin's Press, 1991); and C. Piekover, Computers, Pat#tern, Chaos, and
Beauty (New York: St. Martin's Press, 1990). All rights reserved. Page 153: Mario
Markus, Max-Planck Institute, Dortmund, Germany.
Page 154: Mario Markus, Max-Planck Institute, Dortmund, Germany.
Page 155: Mario Markus, Max-Planck Institute, Dortmund, Germany.
Page 159: Copyright c 1992 Lawrence Hudetz. All rights reserved. Page 160:
Copyright c 1992 Lawrence Hudetz. All rights reserved. Page 163: Margaret Grimes.
Page 167: Carlos Ginzberg. Page 168: Edward Berko, oil on wood, 48" x 36" (122cm x
91 cm),
copyright c 1991. Courtesy: private collection, New York City. Page 169: A still
from The Conquest of Form, created by William La- tham. Produced at the IBM UK
Scientific Centre, Winchester, UK. Page 170: M. B. Hautem.
Pages 171-172: Architecture: Peter Anders. Photos: Otto Baitz. Page 173: Hokusai,
courtesy of John Briggs. Page 175: Pieter Breughel, The Elder; "The Harvesters,"
Metropolitan Museum of Art, New York. Pages 176-177: Eve A. Laramee.
MAGE CREDITS �E 1 89
Page numbers in italics refer to illustrations.
Africa. 33, 101
Ala River. 33
algae. 14
Aliens. 92
Anders, Peter. 171-72
animals, 36-41. 37, 38. 40. 41
birds, 115, 119-20
evolution of, 37-41, 117, 120 feedback in, 89
fish, 37, 40, 119
sense of smell of, 171-72
see also insects animal tracks, 105
antimatter and matter, 88
Apollo, 16 Apollo II, 118
architecture, 65, 170, 171-72
Argo Merchant, 133
art, 27-31, 158-64, 166-78, 180
biometric, 129 democratization of, 156, 169-70
from fractal equations, 44, 148�X
156, 169, 170, 174, 178 holism in, 148-49
irregularity in, 158
painting, 27-28, 29, 158, 164, 167,
168, 173, 174, 175, 176-77
reflectaphors in, 173, 174, 175,
176, 177-78
science and, 32-33, 44, 80, 180-
181 sculpture, 32-33, 158, 169, 177
self-similarity in, 30, 88-89, 148-
149, 168, 172, 174 strange attractors and, 166, 172 symmetry-chaos hybrids in, 94
turbulence in, 136
see also photography
Art Matrix, 80, 81, 123
asteroid belt, 52, 54, 138 astronomy, 49-54
beyond our solar system, 17, 50, 110, 132
of our solar system, 47, 49-54,
51, 53, 54, 138-39
autocatalytic processes, 109-12, 109, 110 see also feedback
avalanches, 47
in mythology, 16
'/.. Agnes, 126-27
rd, Gaston, 73
Bak, Per, 46
Bangladesh, 101 barium ions, 143 "Barn Owls" (Siver), 14
Barnsley, Michael, 39, 86-87
Beauty of Fractal, The (Peitgen),
178, 183
bees, 41
beetles, 37
Belousov, Boris, 110 Belousov-Zhabotinskii (BZ) chemi#cal reaction, 108, 109-10,
109,
111, 141 Berko, Edward, 168 Berman, Morris, 181 Between the Acts (Woolf), 10
bifurcation points, 112 biomorphs, 120
birds, 115
flight patterns of, 119-20
Blind Watchmaker, The (Dawkins),
115, 117 Book of Changes, 147 Boston Globe, 36
brain, 125, 128, 171-72 EEG images of, 31-32, 31 Braque, Georges, 177
British Association for the Advance- ment of Science, 133
British Columbia, 47
Brookhaven National Laboratory, 46
Brueghel, Pieter, the Elder, 175, 176-77
Brussels, Free University of, 126 Burns, Scott, 32, 149-50
butterfly mask of unpredictability, 143
Calgary, University of, 86, 87
Cameroon, 33
cancer cells, 125
Cantor, Georg, 67 Cantor dust, 67 Cantor set, 66
Cantrell, Joseph, 13, 28, 102-3, 103
carp, 119
Carpenter, Loren, 84
cauliflower, 70 Center for Non-Linear Dynamics,
University of Texas, 114 Cezanne, Paul, 169
Chad, Lake, 101 chaos: coinage of term, 12 debate over definition of, 21
see also specific topics "Chaos Fractal 1985-86" (Ginz#burg), 167
chemical reactions, 108, 109-10,
109, 111, 141 Chemung River, 62
Chen, Kan, 46
Chinese painting, 166, 178 Chinese philosophy, 16, 142
Christianity, 16
circulatory system, 127
climate, see weather
clouds, 118
strange attractor of, 104-5
coastlines, infinite, 62-63, 63, 70 Columbia Gorge, 36 Computer Graphics Lab, New
York
Institute of Technology, 90
computers, home, creating fractals
on, 182-83
Computers, Pattern, Chaos and
Beauty (Pickover), 154, 183 Computers and the Imagination
(Pickover), 154 Conrad, Joseph, 131 Cornell University, 80
creative process, 28, 37-38
Creutz, Michael, 46 cucumbers, 39
cyclones, 112
Darwin, Charles, 35, 37-38, 39, 108, 115 Dawkins, Richard, 115, 117, 120
Descartes, Rene, 138
Dionysius, 16
disease, 69, 125, 127 DNA, 19, 97
Does God Play Dice: The Mathemat#ics of Chaos (Stewart), 43
Dorn, Alfred, 93
Earth Observation Satellite Com#pany (EOSAT), 62, 101 earthquakes, 112
electrocardiograms (ECGs), 126 electroencephalograms (EEGs), 31- 32,37
electromagnetic fields, 142 Emerson, Ralph Waldo, 37
entropy, 17, 108
epileptic seizures, 110, 126-27
Escher, Maritus, 166 Euclidian geometry, 24-25, 57, 62, 64, 90
art and, 175, 176-77
idealization in, 158 photography and, 161 Europa, 51 European Centre for Medium
Range
Weather, 59
Eustis, Mark, 62, 101
evolution, 37-41, 117, 120
feedback, 89, 109-12, 109, 110, 112, 176
of chemical processes, 109-10
in human body, 125, 127-28
in mathematics, see iterated and
nonlinear equations
negative vs. positive, 116-21, 117,
118, 119, 121
sensitivity and, 19-20
in snowflakes, 95
of sound, 107 strange attractors and, 139-40
video, 116, 117
Fidia Research Laboratory, 125
Field, Mike, 95
fireflies, 109
fish, 37, 40, 119
Flash Art, 73
flies, flight of, 121
folding processes, 133, 134, 142
in weather, 60, 143
food supplies, 144-45
Ford, Joseph, 10
forest fires, 69
fractal equations, see iterated and
nonlinear equations
Fractal Geometry of Nature, The
(Mandelbrot), 71
fractals: coinage of term, 22, 61, 66
definition of, 22-23, 71 see also specific topics "Fractal Web" (Berko), 168
Freeman, Walter, 128, 171-72
frogfish, 38
16-17
Ganges, 101
geology, 67, 100, 112, 141 see also landscapes, fractal Georgia Institute of
Technology, Georgia Tech University, 10 ginger roots, 39
Ginzburg, Carlos, 167, 178
glaciers, 47
Godel's theorem, 27
Goldberger. An. I Golubitsky. Martin, 95
Gothic cathedrals. 166
?;ra\it>. 51 Greek mythology, 16 Grimes, Merger
Gruber, Howard
Hardy. G H . 147 Heraid Medical School. 126 Harvesters. The" (Brueghel), ITS
Hautetn. Mario Benedicte. 170
heart, human. 110. 126, 129 Herach* HUbert curve, 64 I Hokusai. f73
holism. 21
in art. 148-49
definition of. 24 turbulence and. 134
in weather. 140 Houston. Universit. Hubbard. John, mi Hudetz. Lawrence. 101-2. 104-
5.
186, 161, 164 human bodv. 71 12 IX
background chaos of. 110-12.
126-27. 171-72
scaling in. 120 strange attractors of. 31-32, 31, 120. 128
traditional image of. 124 hybrids of svmmetrv and chaos, 93-
98, 95. 97
Hyperion. 52 IBM. 22. 46. 74. S4. 121. 129. 142. 143. 154 IBM compatible computers,
creating
fractals on. 182 icebergs. 47
1 Ching. 147
Illinois. University of, at I'rbana Champaign. ".32. 132. 149 imitations of nature,
fractal, 84-92,
84, 87-89, 90-91, 92. 95. 97 immune system. 126-27
India, 16, 65. 139
insects. 37. 41. 109
flight of. 121 populations of. 144-45
"Inside Form" (Latham). 169
Institute of Meteorology and Ocean#ography. University- of Utrecht.
/�EJo- International Satellite Cloud Clima
tology Project. NASA. 59
ions, motion of. 14:;-45
Ireland. 113
Iroquois mythology. 16 iterated and nonlinear equations:
art from. 44. 65. 148-56. 169, 170,
174. 17-5
celestial mechanics an.' chemical reactions and. 108, 111 computers in solution of.
25 27.
47. 136
history of. i"> 17. 02 72 modeling of nature wiih. 26 27.
11 120 21. 121. 182, 133 135
sensitivity of, 1 is turbulence and, 133-35
in visual imitations Of nature. 85 90
sec also Mandelbrot set
jellyfish, 37
jet streams, galactic, 182
Julia set. 154-56
creating on home computers, 182, 183
Jupiter, 51. 138
giant eye of, 50, 53. 54, 112. 114
Keats, John. 27 Knight, Nancy, 59
Koch, llelge von, 64 Koch island, 66-67, 68, 70 Kolam, 65
Kolmogorov, Andrei, 138 Kolmogorov theorom, 138
lakes, 101 landscapes, classical, 175
landscapes, fractal, 13-14, 36, 37,
47. 53, 99-106, 100, 101, 102, 103, 104, 105, 106
in art. 29. 164
infinite coastlines, 62-63, 63, 70 on Jupiter's moon, 51 photography of, 36, 37,
47, 100, 101-6, 101, 102, 103, 104, 105,
106, 164
satellite images of, 33, 101
scaling in, 104 Laramee, Eve, 32-33, 177
Large Magellanic Cloud, 17
Late Night Thoughts on Listening to Mahler's Night Symphony
(Thomas), 165 Latham. William, 169
leaves, 13. 37
fractal imitations of, 86-87
Lewis, John, 92
lightning. 57
light solitons, 112
linearity, 19. 45-47 51 see also iterated and nonlinear equations
Lorenz, Edward, 15-17. 18,56-59,
143 Lorenz strange attractor, 59
Macintosh computers, creating frac
tals on, 183
Madrid. ^UtonOmOUS I niU'iMh of, 97
Mandelbrot, Benoit, 25, 68, 70, 71.
. 170, isn 81 "fractal" coined by, 61 68 Mandelbri 10, 68
0-71, 1, 74 Bl, 77. 70. SI. 154 as ail. 169, 170, 171, 178 creating on home
computers, 182, 183 naming of, B0
popularity of, BO Bl weathei and, ifl "Mandelbrot Stalks" (Pickover), 74 maple
leaves, 86 S7 Marduk, 10 Markus, Mario, 32, 151-52
Mars, 138 Martin. Benjamin H Maryland. University "I, 10 Massachusetts Institute of
Technol
ogy, 15, 19, 52 mathematics, see iterated and non#linear equations; Mandelbrot
set matter and antimatter, 88
Mayer- Kress, Gottfried, 44, 180 Media Lab, Massachusetts Institute of Technology,
92
Medical College of Pennsylvania, 31 Meyers, Steven, 114
Michelangelo, 158 MicoArt, Art Images in a Hidden
World (Wolberg), 37
Miller, Nachume, 28, 29, 30
mold, slime, 110 Mondrian, Pieter, 158 Monet, Claude, 16!) Moscow State University,
110 moss, 106
moths, gypsy, populations of, 144-45
mountains, 47
fractal imitations of, 84, 85
Mt. Hood, 104-5
Mt, Rainier, 102
Mt. St. Helens, 100
movies, fractal techniques in, 84-85, 84,92 Museum of Modern Art, 29
music, 65, 176, 180-81
Mycelis muralis, 86
mythology, chaos in, 16-17, 18
National Aeronautics and Space
Administration (NASA). 26, 59 Nature (Emerson), 37 New Scientist. 107 Newton,
Isaac. 39, 15, 51. 138 Newton's method, 81, 138, 1 19 50, 182 New York. 62
New r*ort Instituti 00
Sen York rimes
nonlineai equations, see iterated and nonlinear equations Norman, Michael, 132
oceans
oil spills in, 183
satellite image of, 113 waves in, 112, 118
office National d'Etudes da Re cherches Alrospatiales, 184
oil spills, 133
olfactory bulb, 128, 171-72
"On Hie Nature of Fractalization" (Berko), 168 Oppenheimer, Peter, 90-91
"Orchid, The" (Smith), si Oregon, 36. 103, 101. 186
Origin of Species (Darwin), 38 Orion Nebula, 17, 50
orreries, 51, 51 Ottmann, Klaus, 73, 145. 166, 180 outer space, see astronomy
painting, 27-28, 29, 158, 164, 167, 168, 173, 174, 175, 176-77
paper, crumpled, 71 Paris Opera House, 166, 170
Parkinson's disease, 127 peacocks, 115 Peano, Giuseppe, 64
Peitgen, 76
Peitgen, Heinz-Otto, 76, 80, 178, 183 Pennsylvania, 62
Pensees (Woolf), 99
photography, 13, 28, 136, 161, 164 computer images compared with, 151-52
of fractal landscapes, 36, 37, 47, 100, 101-6, 101, 102, 103, 104,
105, 106, 164
of organic fractals, 23, 37, 38, 40,
41, 70
Picasso, Pablo, 177 Pickover, Clifford, 74, 120, 121, 129,
142, 154-56, 166-70, 182-83 Max Planck Institute, 32, 151 planetary motion, 47, 49-
54, 138-39
plants, 23, 39-40, 39, 70, 106
fractal imitations of, 85-87, 87-
89
trees, 69, 85, 10:1 Pluto, 49 53
Poetics or Space, The (Bachelard),
73
poelry. 174
Poincare", Henri, 17, 51 52, 55
polio virus. 125
Pollock. .Jackson, 166
polystyrene, 20 INDEX �E 191
"Portrait of a 'Strange Attractor"
1 (Hudetz), 104-5
Prigogine, llya, 108 Princeton University, 90 Pmsinkiewicz, Przemyslaw, 65, 86,
quantum mechanics, 27
rabbits, 171-72
Rapp, Paul, 31-32, 31, 171-72, 180 "Raspberry, Garden at Kyoto" (Op- penheimer), 91
Raymo, Chet, 36-37 Reenchantment of the World, The
(Berman), 181
reflectaphors, 173, 174, 175, 176, 177-78
Regina, University of, 68
Rig Veda, 139
rivers, 33, 101 Rosseler strange attractor, 108, 141
Ruelle, David, 137 Bertrand, 148
1, John Scott, 112-13
Sakane, Itsuo, 169
sandpiles, 46
sandstone, 67
Santa Fe Institute, 44
satellite images, 33, 101
of oceans, 113
Saturn, 52
rings of, 54
scaling (worlds within worlds), 14, 20, 23-25, 41, 68, 134
in architecture, 170
in art, 28, 173, 176-77
in electromagnetic fields, 142
in fractal imitations of nature, 85
in fractal landscapes, 104
in Julia set, 156 Mandelbrot set and, 26, 77-78
in organisms, 23, 23, 106, 120
in weather, 23-24, 59-60
science, 27
art and, 32-33, 44, 80, 180-81 chaos recognized by, 15
logic of nature sought by, 14-17,
27
objectivity sought in, 30 Science Times, 181
Scientific American, 80, 129
scroll-like structures, 110, 111
sculpture, 32-33, 158, 169, 177
Selfish Gene, The (Dawkins), 117
self-organizing chaos, 25-26, 26, 108-14, 109, 110, HI, 113, 114 chemical reactions
and, 141 weather and, 56
self-similarity, 13, 25-26, 26, 68, 144-45, 169
in art, 30, 88-89, 148-49, 168,
172, 174
of fractal landscapes, 53
in organisms, 70
in physics, 88
see also scaling; symmetry
sensitivity of dynamical systems, 18-
19, 21, 90
avalanches, 47
feedback and, 19-20, 116 weather, 15-17, 56-60, 56, 57, 58, 143
Sierpinski arrowhead, 68
Sierpinski curve, 70
Sierpinski gasket, 68
silicone, 14, 97
Silver, Rollo, 79
Siva, 16
Siver, Peter, 14
Skarda, Christine, 128 Sketch of the Past, A (Woolf), 179
Sligo, Ireland, 113
smell, sense of, 128, 171-72
Smith, Homer, 76, 80-81, 81, 123 "Snowflake" (Dorn), 93
snowflakes, 14, 59, 94, 95
software, for creating fractals, 182-
183
solar system, 47, 49-54, 51, 53, 54, 138-39
solitons, 112-14, 113 Sommeria, Joel, 114
Soviet Ministry of Health, 110 speech patterns, 129
spiral nebulae, 110
spiral structures:
in chemical reactions, 111, 141
in ion activity, 145
in organisms, 97, 109, 110
in Stone Age structures, 113
Staller, Jane, 80
starfish, 40
Star Trek II: The Wrath of Khan, $4,84
Star Wars, 84, 84 steam engines, 116
Stewart, Ian, 43 Stone Age structures, 113
strange attractors, 121, 137-45, 141,
142, 143, 144-45, 169, 171-72
in architecture, 171-72
art and, 166, 172 chemical reactions and, 108
coinage of term, 139 creating on home computers, 183
of geology, 141
of human body, 31-32, 31, 126, 128 Mandelbrot set and, 78
of planetary motion, 139-40 weather and, 59-60, 104-5, 140 "Strange Attractors: The
Spectacle
of Chaos," 166 Sun, 138 suprematist painters, 177
Swift, Jonathan, 41 Swinney, Harry, 114 Sydney University, 95
symmetry: and chaos hybrids, 93-98, 95, 97
in organisms, 97
in physics, 88
in snowflakes, 95
television, fractal techniques in, 84
television camera, 116, 117
Texas, University of, 114 thermodynamic chaos, 17 Thomas, Lewis, 165 Tiamat, 16
tigers, Bengal, 101
tornados, 112
toruses, 138-39, 142
transition areas, 21
trees, 69, 103
fractal imitations of, 85
trickster characters, 17 turbulence, 112, 113, 131-36, 132,
133, 134, 135, 136
twins, identical, 19 Typhoon (Conrad), 131 Ueda strange attractor, 142
Utrecht, University of, 135 Vague Attractor of Kolmogorov
(VAK), 139 Vak, 139 van der Rohe, Mies, 170 Van Eenwyk, John R? 180
Van Gogh, Vincent, 166, 169
Velarde, Manuel, 97
Vesalius, Andreas, 124 video feedback, 116, 117
Vinci, Leonardo da, 27-28, 136
vines, 23
Visualization Systems Group, Thomas J. Watson Research
Center, 154 volcanos, 100, 141 Voyager 1, 53, 53
Voyager 2, 53
Wallace, Alfred Russel, 108 Washington, 100, 102
water: cloud system and, 118
fractal landscapes and, 102
fractal motion of, 18-19, 20
soliton waves in, 112-14, 113
turbulence in, 131, 134, 135
"Waterfall in Yoshino" (Hokusai), 173
waterspouts, 111 Thomas J. Watson Research Center,
154 Watt, Thomas, 116 waves, 110, 112-14, 113
weather, 13-15, 111, 112 feedback in, 117-18, 118
long-range forecasting of, 15-17, 56-60, 56, 57, 58, 143
scaling in, 23-24, 59-60
strange attractors and, 59-60,
104-5, 140
Weierstrass, Karl, 64 Weston, Edward, 105
Wiin-Nelson, Aksel, 59 wind tunnels, 134
Winfree, Arthur, 109 Wisdom, Jack, 49, 52-53
Wolberg, Lewis, 37
woodcuts, 173
woods, 103
Woolf, Virginia, 10, 99, 179 worlds within worlds, see scaling Wuorinen, Charles,
180-81
Yellowstone Falls, 102
yin/yang concept, 16, 142
Yorke, Jim, 12
Zhabotinskii, Anatol, 110

Science Art
"With great charm and verve, John
Briggs has captured the surprising universe of fractals. It would be hard
to imagine a more comprehensive
and beguiling introduction.'' �X Philip Friedman, author of Reasonable Doubt
"John Briggs takes us on a magical
journey into the world of fractals and
to the limits of the human imagination. A marvelous marriage of science,
mathematics, nature, and art." �X F. David Peat, physicist and
author of The Philosophers' Stone
Fractals are unique patterns left behind by
the unpredictable movements�Xthe chaos �Xof the world at work. The branching
patterns of trees, the veins in a hand,
water twisting out of a running tap�Xall of these are fractals. Learn to recognize
them
and you will never again see things in quite the same way.
Fractals permeate our lives, appearing in places as
tiny as the surface of a virus and as majestic as the Grand Canyon. From ancient
tribal peoples to modern painters to the animators of Star Wars,
artists have been captivated by fractals and have
utilized them in their work. Computer buffs are wild about fractals as well, for
they can be generated on
ordinary home computers.
In Fractals: The Patterns of Chaos, science writer John Briggs uses over 170
illustrations to clearly explain the significance�Xand more importantly, the
beauty�Xof fractals. He describes how fractals were
1 n !| iii
J '80671*7421 Vr ISBN D-b7i-7ME17-S
discovered, how they are formed, and the unique
properties different fractals share. Fractals is a
breathtaking guided tour of a brand new aesthetic of
art, science, and nature. It will revolutionize the way
you see the world and your place within it. �E Contains a special bibliography
listing fractal generating software for desktop computers
"With insight and simplicity, John Briggs blends
together chaos theory, fractal geometry, and art
in order to bring us to a greater perception of the
reality unfolding and enfolding around us. . . . Exceptionally clear about the
science.'' �X David Bohm, physicist and author of Wholeness and the Implicate Order
John Briggs is a science writer with a Ph.D. in Aesthetics and Psychology. His work
has appeared in Omni, and he is the author of Fire in the Crucible and
coauthor of Turbulent Mirror. He is currently at work
on his next book, The Universe as a Work of Art.
SfllJR.ti��..: .., THE PATTER WHEkiFW-gg'
$20.00
Cover design by Mary Bess Engel
Front cover art by Cliff Pickover "--'"?"? tin photograph c 1992 by Lawrence
Hudetz,
lotograph by Christopher Burke,
iting by Margaret Grimes pica 35-2992
ihstone Book
led by Simon & Schuster
brk
<4J�G-W. vs vs IITEEDDD

Вам также может понравиться