TAILIEUCHUNG - Chaos and graphics Universal aesthetic of fractals

The Japanese, looking as they do for essences in landscapes, enjoy the transi- ence of nature; how the cherry blossoms are here today, gone tomorrow, and will return again next year, and the next after that. Everyone who constitutes a landscape must also cope on that landscape, and in that struggle everyone who beholds landscapes can become sensitive to what is going on as the world continues on, even though they may not know its deep history in geological and evolutionary time. They know context, if not origins. They know their environment, in the lower case; but they also know dimensions. | PERGAMON Computers Graphics 27 2003 813-820 Chaos and graphics COMPUTERS G R A p HI c s locate cag Universal aesthetic of fractals Branka Spehara Colin . Cliffordb Ben R. Newellc Richard P. Taylord a School of Psychology University of New South Wales Sydney New South Wales 2052 Australia b Visual Perception Unit School of Psychology University of Sydney Sydney 2006 Australia c Department of Psychology University College London London UK dPhysics Department University of Oregon Eugene 97403 USA Abstract Since their discovery by Mandelbrot The Fractal Geometry of Nature Freeman New York 1977 fractals have experienced considerable success in quantifying the complex structure exhibited by many natural patterns and have captured the imaginations of scientists and artists alike. With ever-widening appeal they have been referred to both as fingerprints of nature Nature 399 1999 422 and the new aesthetics J. Hum. Psychol. 41 2001 59 . Here we show that humans display a consistent aesthetic preference across fractal images regardless of whether these images are generated by nature s processes by mathematics or by the human hand. 2003 Elsevier Ltd. All rights reserved. Keywords Fractals Aesthetics Aesthetic preferences 1. Introduction In contrast to the smoothness of many human-made objects the boundaries of natural forms are often best characterised by irregularity and roughness. Their unique complexity necessitates the use of descriptive elements that are radically different from those of traditional Euclidian geometry. Whereas Euclidian shapes are composed of smooth lines many natural forms exhibit self-similarity across different spatial scales a property described by Mandelbrot in the framework of fractal geometry 1 . One such natural fractal object consisting of similar patterns recurring on finer and finer magnifications is the tree shown in Fig. 1. The patterns observed at different magnifications although not identical are described by the same .

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