Chaos Theory and Art
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This paper is a study of the relationship between the relatively recent scientific development of chaos theory and art. Chaos theory recognizes and attempts to analyze the points at which regularity becomes unpredictable, form turns into formlessness, Euclidean geometry yields to pandemonium. This apparent abandonment of established order also describes the dramatic changes that inspired impressionistic art and most of what are now termed modern arts - wild breaks with traditional approaches to the representation of human beings and nature, even to the point of choosing nontraditional subject matter or no apparent subject matter at all. Just as the chaos scientists upset the establishment by ignoring disciplinary boundaries and ways of examining a problem, so too did artists in the late l9th and early 20th century begin to throw out or question most of the accepted wisdom of their field. In addition, as chaos theory became more accepted and examined, it eventually deepened traditional science's understanding of established theories and achievements; in the same way, the apparent chaos of impressionism, cubism, abstract art, and other modern movements later enriched the entire study of art history, rather than bringing the wholesale destruction to the field that initial detractors had predicted.Defining art continues to be an elusive and challenging prospect for writers in every discipline. The word itself derives from the Latin ars meaning skill, but scholars generally agree
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ates - fracture and fraction - seemed appropriate."6 The term describes a geometric shape that is irregular all over and, to the same degree, on all scales. Although they are not true fractals, since at a certain level of magnification this self- similarity breaks down and they no longer look the same, objects such as ferns provide a simple example of natural fractals. The full frond of a fern looks the same as an individual leaf, with identical bifurcations and irregular borders reproduced on a miniature scale.
Among the first artists to realize the visual potential of computer-generated fractals beyond the purpose of scientific illustration were Hollywood filmmakers. Some of the most striking extraterrestrial footage in science fiction films such as Star Trek II: The_ Wrath Of Kahn was created with fractal landscapes generated by computer computations.7 The extraordinarily detailed modeling possible using high-speed computers and high-definition graphics results in a remarkably realistic visual portrait of a nonexistent landscape, at once alien and eerily familiar. As Gleick puts it, "In the mind's eye, a fractal is a way of seeing infinity."8
Mandelbrot also discovered a visual representation of nonlinear fractals that is now
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William Bradley, , Wrath Kahn, Linda Jacobson, Paul Gaughin's, Artists Australian, Yellow Grey, James Gleick, Mitchell Feigenbaum, Head Boy, chaos theory, view world, 20th century, chaos theorists, late l9th, science mathematics, late l9th century, london phaidon, gleick observes, phaidon press, art london, art london phaidon, london phaidon press,
Approximate Word count = 3177
Approximate Pages = 13 (250 words per page)
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