Name! That! Comment! OT “Biggest Fans” Edition!

Welcome back, readers, once again to the home edition of the Fractalbook Network’s much idolized game show: Name! That! Comment!

Tonight, due to the panic of sweeps week and the fear of ratings slippage, we’ve cobbled together a most prodigious presentation.

Our crackhead team of scientologists has scoured cyberspace (and beyond!) to seek out only the purest and surest OT buffs — only the truly obsessed OT devotees — only the utterly braindead OT rooters.

And, for one night only, we’ve gathered all these obstructionistic opposers together on the same staged page for your enjoyment at their expense. Please welcome OT’s fave haters in Name! That! Comment!: OT "Biggest Fans" Edition!

Remember how we play? A questionably artistic, allegedly fractal-type image is first displayed and subjected to your critical scrutiny. Then, you are provided with four comments. Three are imposters. To score, you must correctly select the one comment that was actually posted to the purported art object.

Round One features work and chat from this anti-OT foul nest on deviantART. Here, the hating is raw, the minds are numb, and the facts are beside the point. Ad hominem is not kept to a minimum. Each correct answer is worth 200 points.

[Click on images to view at higher resolution on source sites.]

 Coral Rift by lyc

Coral Rift by lyc

1.
The correct comment is:
(a)_____ Remember, kids, if yr art looks like this then please delete it ASAP.
(b)_____ Remember, kids, if yr poop looks like this go to the docter ASAP.
(c)_____ Remember, kids, you’ll catch more flies with honey than with yr own poop.
(d)_____ Remember, kids, yr should always find excretion metaphors befitting for this artist. :poo:

 Endless dreams of deep by IDeviant

Endless dreams of deep by IDeviant

2.
The correct comment is:
(a)_____ Reminds me of microphotography of gastrointestinal bile.
(b)_____ Reminds me of metastasized photosynthesis in poison oak.
(c)_____ Reminds me of the inside of the cathedral in Albi.
(d)_____ Will construction on the new cloverleaf interchange ever be finished?

 The Wall by Esintu

The Wall by esintu

3.
The correct comment is:
(a)_____ Looks to me like a weird broken view of high-rise offices. I swear I can see people in some of the windows. :D
(b)_____ Looks to me like a refracted eclipse of a parking garage. I swear I can see oil stains on the cement floors. :clap:
(c)_____ Looks to me like a flashback glimpse of Aztec ruins. I swear I can see the bloody human hearts still beating. :thumbsup:
(d)_____ I find these new traffic cones to be somewhat distracting. :)

 Red Winds by Platinus

Red Winds by platinus

4.
The correct comment is:
(a)_____ The drift of a fish hook floating languidly in liquid mercury. One of my outré first impressions!
(b)_____ The sensuality of an innocent "J" resisting halfheartedly its bed restraints. One of my freaky first impressions!
(c)_____ The flourish of an ear listening closely to beloved skin. One of my off-the-wall first impressions!
(d)_____ Mommy, why does the man with all the face tattoos have his mustache pierced through his earlobe?

 Smile by Milleniumsentry

Smile by milleniumsentry

5.
The correct comment is:
(a)_____ I still think that smiley faces in a fractal is a "masterpiece," especially if a person has a sense of humor.
(b)_____ I will assert that smiley faces in a fractal is an "abomination to artists everywhere," especially if a person has a scrap of culture and taste.
(c)_____ If there ever was an archetype for a negative example of a fractal art masterpiece, this would decidedly be it.
(d)_____ [OT reader now viewing image above and then suddenly forced into the POV of the young cocooned boy in the film Aliens]: "Kill me. Please. Kill me."

Okay, players. Please mark your ballots and don’t touch that dial. We’ll be right back after this important message.

Public Service Announcement
*************************
Hello again, kids. I’m David X. Machina, former Compliment-O pitchman and empty suit who plays a blogger on this blog. I’d like to speak with you today about a creeping and pervasive public mental health contagion. Fractalbook Derangement Syndrome (FDS).

Although your host, Mr. Animal, relies upon "low" comic devices like satire and sarcasm to lampoon the foibles of online art community confabbing, the long term effects of Fractalbook exposure can indeed lead to real life maladies like delusions of grandeur and in-a-bubble cognitive dissonance. In advanced stages, the worst manifestation of FDS can lead to the psychotic belief that one is actually an artist who is actually making art.

And what is the root of this perfidious illness? It’s caused by the lack of something rarely ever found on Fractalbook: honest and critical feedback.

In fact, Fractalbook actively discourages reliable art criticism. This construct is self-evident if one references what many consider to be the equivalent of a Fractalbook Bible: The "Play Nice Policy". This Big Brotherish document is housed on Redbubble, an online enclave that describes itself "as a respectful, supportive and encouraging community of people who are passionate about art and creativity." Here’s a snip of their policy:

We ask that you are mature, respectful and considerate in your interactions with others. If you disagree with something you see on Redbubble, please be mindful that it’s not ok to target other artists, write personal or hurtful comments about them or use them as negative examples. Such actions are considered a breach of our community guidelines on acceptable behavior and can result in account closure.

Since when did having an honest reaction to a work of art become immature? No doubt, a response like this is much more indicative of adulthood:

Hugz xoxoxo 

I think WOW someone should give you a misspelled award for this superb cutting edge mind-blowingly amazing superb fave of faves!!!!!! Have a great weekend!!!!!!

And isn’t any response other than a sycophantic compliment potentially "hurtful"? And can’t artists learn something about both their art and their craft from so-called "negative examples"?

Let’s take a hypothetical situation. You’ve enrolled in a creative writing workshop. Every time your poem or story or play comes up to be critiqued by your peers, each workshop member gives you a variation of this response:

 Awesome!!!!!!

Another Masterpiece!!!!!! I could read it allll day!!!!!!

What do you think is your potential to grow as an artist in such an environment? And would you begin to suspect that your peers were being less than dependable in their assessment of your work? Might you start to speculate that their responses were complete bullshit and designed only to have you reciprocate to their work with similar saccharine backslaps?

If you think the compliments you receive daily on sites like Redbubble and devianART are on the level and come with no ulterior motives, I suggest you never leave your Fractalbook bubble, and I would not recommend you send your "art" out to a juried gallery, exhibition, or art magazine. You could be in for a severe reality check.

Working professionals in the fine arts face the possibility of rejection as a constant fact of life. Over time, such professionals are forced to develop thick skins. They also undergo frequent critical reappraisals of their own work.

Can you be circumspect about your art if everything you produce is exuberantly praised? No. Your artistic growth will be stifled if you never leave your sealed Fractalbook biodome. In fact, you’ll stagnate — surrounded by daily doses of mediocrity and the illusion that what you create is widely and unremittingly beloved.

But, truth be known, you don’t want a cure for FDS, do you? You like being told everyday that "you are really great." Besides, being cured of FDS would require an epiphany that your online art community really has absolutely nothing to do with art. It’s just another online social club modeled after a high school clique. You might indeed be the most popular kid in the cafeteria, the chosen one with the most faves and hugs and smileys exuding floating hearts and popping kisses, but it’s questionable that you’re ever going to be a working professional artist.

So, I wonder, why do you bother coming to this blog in the first place? Is it, in spite of what you perceive as its many faults and cheeky tone, an oasis — a kind of refuge — the one place in the fractal art community where you are treated like an adult and will not be pro forma falsely flattered coupled with the unavoidable expectation that you must repay the favor in kind?

Thanks for listening. Oh, and have a nice weekend!!!!!!

*************************
Public Service Announcement

Welcome back to the show that never dies but wants to: Name! That! Comment! Round Two features work and chat selected by random lottery to represent the "biggest fans" of OT. Here the hating is pretentious, the minds are scrambled, and the facts are wholly unconsidered. Fallacies frolic like animated gifs of sickeningly cutesy unicorns. Each correct answer is worth 400 points.

 Bug Monster Wearing Robe by Hal Tenny

Bug Monster Wearing Robe by HalTenny

6.
The correct comment is:
(a)_____ Whoa! I’m taking a potent antacid!
(b)_____ Damn! I’m having a salvia flashback!
(c)_____ Yo! I’m awaiting some artistic prowess!
(d)_____ Those Shaolin monks are sure getting more worldly.

 121010-B by Pasternek

121010-B by pasternek

7.
The correct comment is:
(a)_____ This is your brain on bad art.
(b)_____ [Serious doctor voice]: "I’m very sorry, Mr. Pasternek. It appears that your kidneys are having an affair."
(c)_____ Honey, are these reishi mushrooms in the crisper still good?
(d)_____ No comments have been added yet.

 Pokeballs by Jimpan1973

Pokeballs by jimpan1973

8.
The correct comment is:
(a)_____ With that many Pokeballs, you’ll catch them all for sure.
(b)_____ Note to self about this guy’s work: Gotta avoid it all.
(c)_____ Meanwhile, inside the Fukushima Daiichi Nuclear Power Plant…
(d)_____ This looks familiar. Is this a still from a Lifetime movie about an explosion at the North Pole? I seem to recall that Santa Claus was playing chess with Rybka when suddenly a dirty gel bomb filled with steel ball bearings blew up, and oodles of perfectly replicated spherical bits of Santa covered several continents. The lead investigator, Officer Jenny, speculated that a sleeper cell of disgruntled elves was likely behind the attack. But, of course, that was a false trail. What actually happened was that Cindy Lou Who had gone rogue. I have a still from that film, too. See:

Cindy Lou Who Goes Rogue 

Don’t forget the Grinch Santa. I know he’s mean and hairy and smelly.

 Big Heart by Fiery-Fire

big heART by fiery-fire

9.
The correct comment is:
(a)_____ I is soooooooooooo happy!!! Whenever I see your pieces I want to just stare at them alllll day!!!
(b)_____ I is soooooooooooo crazy!!! Whenever I see your pieces I want to just jam a power drill into my eye sockets alllll day!!!:chainsaw:
(c)_____ I is soooooooooooo stoned!!! Whenever I see your pieces I want to just blot out the resulting unbearable pain with medical marijuana alllll day!!!
(d)_____ Honey, why did you DVR Apocalypto again?

 Klimt Crowns the Cliteri by LMarkoya

Klimt Crowns the Cliteri by LMarkoya

10.
The correct comment is:
(a)_____ It looks like an abstract lady bits.
(b)_____ If you vajazzle your fractals, does that count as post-processing?
(c)_____ Although this piece is worth little as art, perhaps you can still get something for it on the scrap gold market.
(d)_____ Meanwhile, inside the Large Hadron Collider

Thank you for playing the home edition of Name! That! Comment! Once you have marked your examination sheet, you can then self-check your scores and status using the grids below.

Moreover, the management here at OT urges our readers to make liberal use of the comments section below in order to add their own creative comment options. Feel free to use the designator (e) for any of the images featured in today’s special edition game show spoof post. Here would be an example:

5. (e)_____ Perhaps my Oxycontin dosage needs to be cut in half.

Until next time…

Scoring Grid:
500 points: Obviously Truckle Challenged
1000 points: Better Hire an Ass-Kissing Tutor
1500 points: Passing from Fawning to Kowtowing
2000 points: Servile to an Extraordinary Extent
2500 points: Cringing with True Submissiveness
3000 points: Bubbly Babs Lifetime Achievement Award

Answer Grid:
1. here
2. here
3. here
4. here
5. here
6. here
7. here
8. here
9. here
10. here

The Epiphytic Art of Comments

Like the elegant orchids and other surface-dwelling plant species called epiphytes, image comments can have a richness and uniqueness that is surprising when one considers their tiny size and extremely casual origin.

And also like the epiphytes of tropical forests, comments can become almost as great, collectively, as the underlying tree they’ve attached themselves to, to the point of obscuring or upstaging the creature that gave them their dwelling place and opportunity to be.

But it’s a safe bet that comments are never going to die out as long as the synergy and mutually beneficial effects of leaving compliments and leaving personal hyperlinks endures.

But then, who would want them to?  They are the graffiti of our times which, like graffiti, started out as merely idle mischief and casual (senseless) expression but subsequently became the subject of art exhibitions.

Photograph by Dirk van der Made (user:DirkvdM). Epiphytes near Santa Elena, Costa Rica, January 2004. {{cc-by}}

In my journeys through the internet I found one particular “tree” on Redbubble.com whose prolific collection of epiphytes was arresting.  Like their exotic counterparts of the tropical forest, I found some of them to be quite collectible and consequently have arranged them with digital pins below in a virtual specimen gallery.

Just to make one thing clear: I make no judgment as to the “beauty” or “value” of these comments –positive or negative– or even the image they were attached to.  Who needs to judge or point out natural beauty if it truly exists?

But I do add some comments of my own.  Even I can’t stop the natural growth of these things.

The Epiphytic Art of Comments

Artist bio excerpt:

From the sidebar of the image page:

The image:

The History of the Bioluminoidal Fractalization Process, by Rhonda Strickland, on Redbubble.com. Click image to visit original page.

And now an assortment of comments starting with some of the oldest and moving down to (some of) the more recent:

(comments were posted over a period of 2 years)

(-something beneath the sea?  Like something dark and murky?)

(nice and to the point.  Does the “~” mean something?)

(-a picture says a thousand words;  this one –a thousand and one)

(-that’s 3 encores)

      

(all day long…)

 

(–is she saying the image and music is great, or that she herself is blind and deaf?)

 

(–look at those two links.  Who’s being featured here?  The artist or the group?)

(–could there be another Fiery-Fire out there?  One on every art portal?)

(–yes, that’s what I was thinking when I started to read these comments)

 

(–another short, concise, Hemingway-esque comment, “She photoshopped.  She was good.”)

(–hey, this looks big!  Top Ten?  In the whole Fractal Universe!)

(–hmmmn… not all Top Tens are the same, I’m thinking)

(–2nd runner-up?  I guess you need to know Redbubble to know whether this is something to get excited about.  Looks like Rhonda knows Redbubble pretty good.  Me?  I would have said, “Beat it, Ushna!  It hurts just looking at that graphic!”)

(–didn’t he leave a comment before?  Or did he forget?  To err is human, to forget is “superb”.)

(–I just can’t bring myself to use more than two exclamation marks in a row.  I guess I need more practice.)

(–nothing impresses me more than awards with big, fancy, metallic spelling mistakes in them.  But then, who knows how to spell parallel properly these days?  I’m going to go look it up again.)

 

    (–the mysterious caps; the repetition; very stylish.  The artsy avatar suggests they might have something just as interesting on their site –and all you have to do is click…)

(–am I making fun of these people?  You get favved 50 times and then the Most Favorites Group favs you with the “fav of favs”.  I wonder what their idea of “success” is?  On the other hand; no spelling mistakes in this one)

(–finally, some intentional humour.  Deviants on Redbubble?  That’s comments to the exponent 2)  

(–“You are really great”  No matter how false or shallow, we all love to hear that, again and again…)

 

(–check out the moronic face in the volkswagen and how neither of the two vehicles seem to follow the obvious curve in the road that they’ve been cut and pasted onto.  Scary photoshop.  More like crashing edge than cutting edge.  Worse than a spelling mistake, in my mind.)

(–three minutes… but that really is a compliment if you think about it –in the online environment where there’s always something else to click on –like the commentator’s linked avatar and name)  

  (–grammar aside, where exactly are these people coming from if their blacklist is made up of: churches; political events; graveyards; or people?  On the other hand, if they’re that picky then being “approved” by them is really something!)

(–Yeah!  The avatar looks like he really means it.)

(–if this one didn’t crack you up good then you’ve either been reading too many comments like these or you’re the kind of person who posts comments like this.  She’d like to recommend this as Digital Art as soon as she can find out if it is Digital Art?  That’s far out.)

(–was it an animated gif and I took the screenshot before all the frames could load?  Or is it just another example of award images that are a parody of themselves?)

(–best of the bunch, my favourite of all of them.  “Absolutely stunning… have a great weekend”.  In the (post-processed) words of T.S. Eliot… “In the room the women come and go;  Saying “Rhonda, way to go!”)

Oh, do not ask, “What is it?”

Let us go and make our visit.

–TS Eliot, here

Well, I hope you enjoyed this lush example of art comments.  If you’re curious about the artist, Rhonda Strickland, you can see more of her work on her Redbubble page.  This particular image to which all these comments were made is apparently presented with music, although I wasn’t able to hear it myself.  She works in a number of genres in addition to fractal art, including that of poetry.

Don’t forget to leave a comment…

Blocked Drones and Shocked Flowers

Dronestagram Trinity

Death from Above

[Click on images to view at higher resolution on source sites.]

 

"New aesthetic" visionary James Bridle‘s latest project is Dronestagram –an Instagram feed that posts satellite images tied to U.S. drone strikes in the Middle East and Asia. The feed, according to Bridle, shares a similar purpose with Josh Begley’s Drones+, an app banned by Apple that sends alerts when drone strikes are reported. Dronestagram, says Bridle, makes "these locations just a little bit more versatile, a little closer. A little more real."

According to The Verge, Bridle’s Instagram feed

finds and filters images of drone strike locations using satellite data from Google Maps, adding contextual information from a variety of news sources, including the Bureau of Investigative Journalism.

Each feed comes accompanied with data like date, location, and causalities (including civilians). Bridle points out that we daily use military technology, like GPS and Kinect, for business and pleasure, but maintains that same technology can also be used, with little visibility and from ever greater distances, to kill and maim human targets. Bridle notes that Dronestagram

does allow us to see these landscapes, should we choose to go there. These technologies are not just for “organising” information, they are also for revealing it, for telling us something new about the world around us, rendering it more clearly.

 Target Acquired

Buhland Khil, Pakistan. October 11, 2012. 16-26 reported killed. Possible civilian casualties.

and Bridle, insisting on being able to use, for his own purposes, the same space that Apple denied to Begley, goes on to say

History, like space, is coproduced by us and our technologies: those technologies include satellite mapping, social photo sharing from handheld devices, and fleets of flying death robots. We should engage with them at every level. These are just images of foreign landscapes, still; yet we have got better at immediacy and intimacy online: perhaps we can be better at empathy too.

 Target Destroyed

Tappi Village, Pakistan. October 24, 2012. 3-5 reported killed. 1 civilian reported killed.

The obvious fractalness of the images is the reason I’m sharing them and their feed on OT. I observed in a recent post that "the repeating fractal patterns of city blocks and rural fields" are easily seen during airplane flights. In both images above, the recursive rectangular forms clash in their angular sharpness with both the rounded forms of fields and rivers, as well as the depth produced by the height fields of the mountains.

Begley’s Drones+ was rejected by Apple because it "contains content that many audiences would find objectionable." How sadly ironic. I find weaponized drone strikes and their "content" to be objectionable — and immoral — and abhorrent.

And here’s more unsettling news from rallblog to shock the conscience:

The Pentagon has ordered $531 million in new drones. Also, the FAA has greenlit 10,000 police drones over the U.S. over the next five years.

It certainly sounds like the number of posts on Dronestagram will soon be rising, but, regrettably, not as quickly or steeply as flying robot death stats.

~/~

Composite Photograph by Robert Buelteman 

A composite of photographs by Robert Buelteman

The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.

Dylan Thomas

And speaking of shocking…

The latest Somewhat recent work from Robert Buelteman, an artist from San Francisco, is a series of electrocuted flower/plant photographs. Each one is created without using either a camera or computer manipulation but produced by annexing a method of photography known as Kirlian — and by inflaming his subjects with 80,000 volts.

Designboom explains Buetleman’s technique as

a high-voltage photogram process which gained popularity in the 1930s — is considered highly dangerous and painstaking to the point where very few people will attempt it. Buelteman will begin the arduous process by meticulously whittling down foliage such as flowers, twigs and plants with a scalpel until they are almost transparent. He then lays each sample on color transparency film and covers it with a diffusion screen which is positioned on a piece of sheet metal sandwiched between plexiglas, floating in liquid silicone. Buelteman zaps everything with an electric pulse and the electrons jump from the sheet metal, through the silicone and the flower while leaving the jumper cables. The result is hand-painted with white light shining through an optical fiber the width of a human hair — a process so tricky each image can take up to 150 attempts.

I’m sure OT’s readers realize that flower and plant forms are inherently fractal, but Buetleman’s shock treatments really let us see these self-similar forms literally in a new light.

Maidenhair Fern by Robert Buetleman 

Maidenhair Fern by Robert Buetleman

Stalks and bubbles formulae got nothing on the fern above. The fractal connection to arterial and circulatory systems is disclosed. The radiating fronds seem like individual cells and begin to resemble grape clusters. But Buetleman’s flower shots are among the most astounding

Mule's Ear by Robert Buetleman 

Mule’s Ear by Robert Buetleman

because the petal and stem forms appear hyper-saturated as if shellacked by a metallic/acrylic film. Buetleman’s flowers sometimes seem like a hybrid cross-pollination of water lilies and enameled molars and

Buckeye Leaves by Robery Buelteman 

Buckeye Leaves by Robert Buelteman

his leaves glow eerily as if astrally projected from a spirit realm or alternate universe. The fractal forms appear spectrally like an apparition and jump off individual leaves like zebra stripes or woven crosshatch. Different leaves in Buetleman’s photos even seem to display idiosyncratic coloring gradient adjustments

Rainbox Chard by Robert Buetleman 

Rainbox Chard by Robert Buetleman

as if they’d received a good digital tweaking in Ultra Fractal. The image above looks silk-screened as it undergoes a Warhol-like replication with fine-tuned color variations. It morphs into iterations of a river’s mouth. Or maybe gradations of summer trees on fire near Malibu. Or maybe questionably digestible spinach grown near Chernobyl. Or maybe the entire physiology of the subject collapses into a flame fractal

Fallen Lichen by Robert Buetleman 

Fallen Lichen by Robert Buetleman

after falling prey to an insidious Apo hack or being irradiated by a dozen algorithmic Photoshop filters. Or do like your fractal art more masked and layered and impressionistic? Didn’t I read somewhere that Jackson Pollack’s drip paintings might display fractal properties? Well,

Indian Mustard by Robert Buelteman 

Indian Mustard by Robert Buelteman

no one can action paint quite like Mother Nature. Squint, and the image above could pass for a de Kooning painting. Or a random color adjustment for an image rendered in fractal software like Vchira.

I suppose these electroshocked flowers fascinate me because I imagine them all being supercharged with fractal lightning. I wonder why I have such a crazy notion?

 

Hiya, kids. Reddy Kilowatt here. Remember. Never stick a fork in the toaster.

Oh. Right. My earliest, ill-formed memory of electrical current was this guy, and I suspect he’s been on a serious Kirlian workout regimen. How else could he have developed that finely toned fractal physique?

~/~

UPDATE: Correction. Buetleman’s series of shockable flowers, Through the Green Fuse, was made in 2001.

The Physical Clouds

Photograph by Rüdiger Nehmzow 

Such perfect fractal clouds are too perfect to be real.

Photograph by Rüdiger Nehmzow

[Click on images to view at higher resolution on source sites.]

 

I wrote recently about Google opening their data centers to writers and photographers and thus revealing how fractal the digital cloud looks. Let’s not forget, though, that physical clouds are equally impressive as natural fractals. Lamentably, our ground-level view of clouds feels restricted to 2D appreciation. We can only see one side as we peer up. The dark side of the clouds eludes us, shrouded behind a scrim. We need to be cloud-level in order to glimpse those water droplet and ice crystal forms with 3D glasses. If we could settle into just the right position and perspective, then the 3D panorama of cloud fractalness might align and blossom out.

Fortunately, German photographer Rüdiger Nehmzow figured out a way for all of us to see more eye to eye with clouds. According to My Modern Met:

This must be what heaven looks like. Photojournalist Rüdiger Nehmzow took to the skies in his Cloud Collection series to photograph some beautiful cloud formations. After being strapped in, the committed photographer, equipped with two cameras and an oxygen mask, went 6,000 meters (approximately 4 miles) high in an airplane with the doors wide open to snap his shots.

The result? Nehmzow’s cloud shots reveal astonishing dimensions in fully realized fractalscapes.

Is a front moving in?

I decided to collide clouds myself by captioning these photographs of physical clouds with digital snips of text found in search strings of a Google search of "fractal clouds." The original source, in every instance, is linked to the specific search phrase.

Is a storm flaring up?

Buckle in. Enjoy the flight. I hope you don’t mind if we leave the doors open.

Photograph by Rüdiger Nehmzow 

There are those who do not see these standard Fourier clouds as fractal clouds as the algorithm is not iterative.

Photograph by Rüdiger Nehmzow

Photograph by Rüdiger Nehmzow 

Realistic images are generated by interpolating the extremely coarse weather simulation data grid and enhancing the result using fractal clouds.

Photograph by Rüdiger Nehmzow

Photograph by Rüdiger Nehmzow 

Draw a large white rectangle and give it a fractal clouds fill. Now, yes, you are still looking at a large white rectangle.

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

A fraction of dark matter may be in the form of cold, primordial fractal clouds

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

Fractal clouds are generally less reflective than plane-parallel clouds that have the same total cloud liquid water…

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

Download royalty free fractal clouds forming heart shape, isolated over white, just copy and paste it over your favourite background ;-)

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

Discrete angle radiative transfer: 2. Renormalization approach for homogeneous and fractal clouds

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

The Fractal Clouds is similar to the fire and brimstone effects, except that is almost solely used to create different types of clouds…

Photograph by Rüdiger Nehmzow

 Photograph by Rüdiger Nehmzow

Title: Collisional H I versus Annihilating Cold Fractal Clouds.

Photograph by Rüdiger Nehmzow

~/~

Nehmzow, who really does have his head in the clouds, also has a video of the artist at work:

 

Arvinder Bawa’s Fractal Exhibition in Spain

Arvinder Bawa recently had a showing of his fractal artworks in Laredo, Cantabria, Spain at the Sala Ruas gallery.  The poster explains it best:

~Click on images to view full-size on original site~

Advertisement for Arvinder Bawa’s fractal art exhibition in northern Spain

Arvinder has written an interesting explanation to accompany the exhibit.  I like his simple language and layman’s terms:

…For the exhibition it is necessary to write a short explanation of what these images represent and it is hard to find the words to explain the process without drowning the reader in complex mathematics and iterative equation manipulation programming techniques. In an attempt to make a start in assembling this write-up, here is what I have come up with…The geometry of nature – Fractals – Order and Chaos

The images which makeup this exhibition have been generated by a computer program which follows the behavior of some mathematical equations that represent complex dynamics using complex variables. The behavior of these equations is represented by the images where the black regions are zones of stability and order and the brightly coloured areas are zones of chaos.

…it is only in the last thirty years with the invention of computers and high resolution plotters that we are able to enjoy the chaotic behavior in glorious and beautiful images…

…When we view the images it is as if we are in the presence of something cosmic and familiar, and this is because many of the structures in nature and in our surroundings behave in a similar way. The coastline, the structures in biology and botany, the behavior of populations and economies, the meteorology, cosmology and the study of turbulence in air and fluids all have elements of chaos which is essentially what we can see in the images in this exhibition.

~From Arvinder Bawa’s blog, Arvinder, Aug. 27th, 2012

“Behave in a similar way” –I like that.  What we expect from a branching tree or a crack in the road is what we expect in fractal imagery because they’re following the same kind of rules and “behavior”.  We are at home in both places because they are so much alike.

Arvinder’s work is admittedly a little “retro” as he states in the same blog posting:  “Images such as these were popular in the 80s and the 90s, and many books with wonderful images were published.”

Here’s a handful of thumbnails of the exhibition taken from Marisol Cavia’s Flickr page:

Fractals – The Geometry of Nature – an exhibition by Arvinder Bawa at the Sala Ruas, Laredo, Spain, Oct. 2012

Fractals – The Geometry of Nature – an exhibition by Arvinder Bawa at the Sala Ruas, Laredo, Spain

Thumbnails of some of the exhibited images found on Marisol Cavia’s Flickr page

Arvinder Bawa and colleague, at the Sala Ruas gallery, Laredo, Spain.

Arvinder Bawa, Cork Street, London, England, 2012

Well, what about it?  Why an exhibition of images that are so out of style in today’s fractal art world?  I don’t think the Sala Ruas gallery sticks just anything up on their walls for visitors to look at.  What did the curator of Sala Ruas see in these fractals that most of us, “up to date” fractal folks wouldn’t? (key word: most of us).

There’s been a lot of talk in the fractal world about “Takin’ it to the streets” and introducing the rest of the world to fractal art.  That’s supposed to be the whole idea around the BMFACs and yet Arvinder’s work is precisely the kind of “garish, 70s-style imagery” that the BMFACs hope to erase from the world’s memory.

One thing I’ve realized from a decade of watching the fractal world is this:  I think the fractal world understands the art world to the same degree that the art world understands the fractal world.  That is to say, very little.

We can laugh it up all we want about work like this but someone thought this was worth exhibiting in an art gallery.  I wonder what they’d think about our fractal artwork?

The fractal art world as a whole is as eccentric as the math and programming that goes into creating the imagery.  Arvinder Bawa is one of us because he’s found something in fractals worth looking at and drawing other people’s attention to.  I can’t think of a better definition of “artist” than that.

…Plenty of room at the Hotel Fractalfornia

~Click on images to view full-size on original site~

bilding by ZZZ_spb

Just a neon sign, cloudy sky and moon, but what a transformation.  A number of 3d fractalists refer to having an “architectural style” and here you can really see what’s meant by that term and why it is such a natural one in the world of 3d fractals.  Nice and subtle addition to an otherwise average mandelbox.  ZZZ_spb really shines at this sort of thing.

Encapsulation by MarkJayBee

Another example of subtle but powerful.  This is not a terribly exciting mandelbox but the clear box Mark put around it and especially the way he’s colored and textured it’s surface has transformed the simple image into something fascinating.  I don’t think Mark was really trying to make something noteworthy here, just experiment with this inclusion feature of the program. But the final result is great.

Handshaking Buds by Kali

Made in Fragmentarium, a bold new program by Syntopia for making weird, terrifying things like this.  Although, like Mark’s image above, I believe this image is something of a technical experiment rather than an attempt to create art in the strict sense of the word (and what does that mean?), the result is something quite unique and almost humorous as well.  Humour in fractal art?

The power of fractal recursion to repeat things on smaller and smaller scales works quite an artistic effect here in the little shaking hands in the mid-foreground (bottom, center).  You might need to view the hi-res version to really appreciate it.  Next they’re all going to buy the world a Coke…

Growing Phantasma by lxh

Is this what ZZZ_spb’s hotel looks like in the morning?  Well, it’s by lxh, another screen name I’ve been unable to decipher.  Maybe’s that the idea behind these screen names.  Someone ought to compile a list so we can at least decode them from time to time.

Lxh says this about the image on the Fractalforums.com gallery page:

Description: This might be what we see – a foreign city or complex – but in fact it’s the virtual manifestation of thoughts, ideas and efforts of the fractalforums scene and at least stage of my personal fractal journey.

Greetings to all you fractal travelers and explorers out there. May the shape be with you. And many thanks to all the gurus who made my journey possible: Daniel White, Jesse, Tglad, Kali, DarkBeam and all the other genius behind. You are my heroes …

 

DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country ; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher.

(excerpt, The Fall of the House of Usher, by Edgar Allan Poe)

 

On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night

~lyrics, Hotel California, by the Eagles

 

Menger on the beach by SaMMY

Made in Structure Synth by SaMMy.  He says this:

Description: I tried to build the mengerbox in a chaotic style – i hope you ENJOY  embarrass

Created in Structure Synth ( ~96000 Objects),
rendered in Vue Xstream ( ~9,5 Mill. Polygons, global radiosity),
little corrections in Photoshop.

HEITER WEITER,
—————-
SaMMY

Nice, California look.  The sunlight reflects off the water and off the ceiling of the middle cavity; nice touch.  It resembles those 3d Bryce images that incorporate obviously artificial elements and yet have been seamlessly wrapped in the environment around them as if they grew out of it –right there.  In fact, this menger sponge structure looks like a ruined or dilapidated tropical building.

Crumbleton by FractalJam

“Her mind is tiffany-twisted…”  I see this as an extremely unusual coffee table and of course, the sort of thing that would only reside in a rather wealthy, luxurious kind of place.  It’s an interesting “thing”.  Made of glass; too delicate to be used and thus… tiffany-twisted.

Her mind is Tiffany-twisted, she got the Mercedes bends
She got a lot of pretty, pretty boys she calls friends

~Hotel California

ExoExhibit by MarkJayBee

Mirrors on the ceiling,
The pink champagne on ice
And she said “We are all just prisoners here, of our own device”

~Hotel California

You know, if they had 3d fractals back in 76 when Hotel California came out, then they would have used them for the album cover.  I’m assuming you know what an album cover is.

Mark’s image here uses reflection very well and creates images within the image –of itself!  “Prisoners… of our own device”  As always, if you want to get all the thrills this image has to offer, you need to click on it and see it full-size.  Or check out the mammoth version in Mark’s Deviant Art gallery.

Xenotransplantation by “aka FLUX” (on Flickr)

If you look closely you will see the rough, bud-like points of the mandelbulb.  However, this is not really a 3d image as you might have guessed and has been creatively layered and other things to produce this beastly looking creature.  (Pressed mandelbulb?)  As the title suggests, it’s a combination of various animal tissues –transplants.

From the Flickr gallery page:

Xenotransplantation (xenos- from the Greek meaning “foreign”), is the transplantation of living cells, tissues or organs from one species to another.

[…]

A continuing concern is that many animals, such as pigs, have shorter lifespans than humans, meaning that their tissues age at a quicker rate…

I like the symmetry.  Symmetry can give a surreal feeling implying this macabre concoction has morphed into a coat-of-arms symbolizing authority and pride instead of revulsion and fear.

And in the master’s chambers,
They gathered for the feast
They stab it with their steely knives,
But they just can’t kill the beast

~Hotel California

Autumn colors1 by Pauldelbrot

Nice coloring, interesting “zipper of the infinite” content, as well as the old “fractalscape” endlessness that is always eye-catching and reminds us that fractal art is playing with power –graphical power.  Which recursion to follow?  Paul’s next image in the series zooms into the green area, which looks small in this view but expands into the infinite in the next.  So many places to go…

Last thing I remember, I was
Running for the door
I had to find the passage parameters back
To the place I was before
“Relax, ” said the night man,
We You are programmed to receive.
You can check-out log-out any time you like,
But you can never leave! ”

~Hotel California

Album cover, Hotel California, by the Eagles, released in 1976 just a year after the term, “fractal” was coined by Mandelbrot (and playing ever since in endless recursion and perfect self-similarity).  Click to view back cover, inside, record sleeves, etc…

Simple album cover; just a neon sign, hazy sunset and some colonial architecture.  Computers have changed a whole lot since then, but art is still the same.

Plenty of room at the Hotel California
Any time of year (Any time of year)
You can find it here

~Hotel California

Listen to the Original song on YouTube

“Some dance to remember, some dance to forget”

Iterations of Hurricane Sandy

HS Formula 1

Hurricane Sandy’s Fractalscape Renders

 

But as if a magic lantern threw the nerves in patterns on a screen:
T. S. Eliot, "The Love Song of J. Alfred Prufrock"

A pervasive side effect of working with fractal art is that one begins to develop a heightened sense of fractal pattern recognition. Self-similar forms and recursive elements seem to oftentimes loiter around the margins of one’s visual experience. Without warning, recursive replications of oneself emerge suddenly in the three-fold mirror at a clothing store. Or a glimpse out the window, after opening the shade on a cold winter’s morning, discloses a grove of frost-encrusted trees. Or a metal bicycle rack glinting with sunlight in peripheral vision. Or those half-circles of filtered light unabashedly dancing under a tree during an eclipse.

You can’t take a airplane flight and not notice the repeating fractal patterns of city blocks and rural fields — of rippling light pools in parking lots at night. In my last post, examining a post-processed photo of Mars, I noticed the fern shapes gouged out of a crater by antediluvian flowing water. This week, I saw plenty of coursing water in the deluge of photos soaking the Internet as Hurricane Sandy made landfall on the eastern coast of the United States. I felt the familiar nagging jolts of fractal pattern recognition as I scanned wave after wave of photographic evidence of the storm’s destructive power. The more I deep zoomed by seeking out newer photos — photos swamping the Web from numerous cell phones or news feeds and photo floodgates opened from the digital immediacy of Facebook and Twitter — the more I found fractal designs in the storm pics became unmistakable, almost algorithmic.

Fractal forms are no surprise in nature; they are instead an everyday experience. Trees. Clouds. Lightning. Mountains. Even our own nervous system, as Prufrock notes. But I was really surprised by how many fractals embedded in photos I witnessed in the aftermath of this particular force of nature. For all her bluster and cruelty, Hurricane Sandy was a gifted fractal artist. You can see an astonishing attention to fractal-like detail in many of her annihilative iterations.

Just a posting note before we start our flyover of the fractalized damage. I found all of these images on Google Image searches of "hurricane sandy photos." Some of the photos were not of an appreciably higher resolution than what you see here on OT. Quite a few others washed in for a few brief hours, then receded from listings as the surging digital tide went back out. I have linked some images to sources when, while surfing in my private rescue boat, I was able to re-locate them. Many, however, have been swept away in cyberspace ether. If overly curious, I guess you will have to go on a hunting and gathering expedition on your own time.

"Let us go then, you and I..".

~/~

The photo above of a fleet of taxi cabs in a flooded parking lot is one of the most striking, most breathtaking shots. Here it is again from another angle

HS Formula 2 

and the fractal tropes really sally out. The self-similarity of the yellow cabs is hard to miss. Recursion occurs not only in the lines of cabs, but also because of the depth at which they are submerged in water. Indeed, this combination of repeated forms integrated with the varied level of flood waters creates a detectable fractal tension in many of these photos. Another noticeable trait in physical world fractals is the relative mix of straight (hard) and rounded (soft) lines. Arguably, hard lines tend to be predominating in much computer-generated fractal imagery, although (increasingly) there are exceptions. Quaternion and Mandelbulb renders, for example, can indeed produce softer rounded and curved shapes. Here, in the cab shots, the soft lines are evident in the car bodies, the hoods and windshields, and are also discernible in the water currents — especially where the oily film is washing in like tired breakers. In contrast, the hard lines are most detectable at the car-door sides of the taxis — particularly in the spaces or aisles between the parked queues of cabs. Here is another variation of the same theme

HS Formula 3 

but, in this shot from New York, the aisles are far wider and both recursive queues move away from our POV. Hard fractal forms/lines fill both the foreground (buildings) and the background (skyline). Note the many self-similar replications of light in this photo — the exterior building lights at the upper left, the twin mini-novas of streetlamps, the blurred checkerboard of lit windows in distant skyscrapers, and even the dark taillights of the stranded cabs. Softer forms are more indistinct: the curve of a lone streetlight pole or the reflected light from the lamp squiggling in the swift current. Here is yet another variation

HS Formula 4 

only using buses. There’s less tension and more loneliness suggested in this shot, perhaps because the water is calmer and the chassis of the buses are leaner and longer. To make matters spookier, the spectral, self-similar reflectivity of the buses suggest an afterimage residue or a ghostly phantasm. And if you found the reflected light at night from the previous NYC cab photo stirring, you’ll likely dig this photo

HS Formula 5 

where the foreground lights diffuse into a glob of soft mist nearly blotting out the hard square starlight twinkling in skyscrapers. The reflected light is more acute since the rushing water gives the illusion of recursive rapids. Straight line borders clearly frame the lit proscenium. Like the structures holding the street signs moving recursively to the left out of the frame. Like the twin wooden boardwalks until recently bookending the flooded street until the water’s rage uprooted the right boardwalk turning it into a makeshift retaining wall. In the end, though, maybe the most beguiling photo of half submerged fractally suggestible waterlogged cars was this one

HS Formula 6 

where differences in the degree of the vehicles’ immersion suggest recursion at increasing smaller scales. The SUV "bodies" are more visibly rounded than the earlier cars and buses and the iceberg effect of underwater tincture of the SUV at the far right adds substantial depth. Depth is further enhanced by the primarily hard lines of the rectangular floating (mostly wooden ) debris, including the odd recursive forms aligning like vertebrae in the shot’s lower right. What are they? Reflective oddities? Lens flare glints? Digitally funky pixel break-ups? Fog spots on the camera lens? Or, chillingly, dabs of Sandy’s artistically placed debris. Note how a few hard long lines slash through the photo — especially the sunlit area in the lower left and the wall/dock and railing/gate structures in the upper background. To up the fractility, here’s another twisted, M. C. Esherish alluvial snapshot

HS Formula 7 

of a flooded NYC subway station where the hard lines of the railing (left) and the rectangular mirrored wall/windows (right) recede from our POV. Conversely, to utterly skew perception and depth, the twin escalator/stair shapes seem to move towards us only to be deflected and elongated at the waterline by the duel distorting properties of water and light. And let’s not overlook the multiple reflections of that magnificent fractal tree dominating one-third of the image. The tree forms also bend at the waterline as well as around a background curve in the back wall.

Then again, some of Hurricane Sandy’s iterations were more idiosyncratic and unparalleled. Like this one

HS Formula 8 

where, weirdly, the rounder and softer forms are found in the furiously slamming sand. The straighter and harder lines are seen in the twin piers (or stairwells). Both soft and hard forms evidently display self-similarity and draw back recursively into the vanishing point of the beach house. Then there’s this

HS Formula 9 

showing even more retreating recursion than the previous pic with hard lines visible in its walkway, its railings (if that’s what they are), and its string of light posts (so incredibly self-similar). But it’s the snow, with its repetitive soft/round forms, that dominates the image to the point of near obliteration. The only other round forms are the string of three lights in the background. Oh. Yes. And the oddly intrusive human form — which kind of "ruins" the fractalness of the shot for me. Maybe I should have manipulated Mother Nature and Photoshopped the encroacher out of the pic. But would that be unsporting or even unnatural? Is it my place to post-process Sandy’s iterative handiwork?

I was exceedingly struck by how many torii (torus?) forms appear in photos of the storm’s devastation. Usually, Hurricane Sandy sculpted these gateway tatters from the blasted remnants of elevated highways or piers. Here

HS Formula 10 

the gateways, despite a furious assault, are still holding the line and carrying the weight of the pier on their sturdy shoulders. But other torii forms

 HS Formula 11

are battered and bruised and leave the battlefield with shoulders slumped in defeat, while others

HS Formula 12 

stand surefooted and remain defiant even as they continue to come under bombardment at the beachhead, while still others

HS Formula 13 

are spotted marching in a Trail of Tears formation along the clobbered coastline.

Finally, there was one particularly surreal and dramatic shot

HS Formula 14 

that definitively captured the adrenaline-charged, hold-on-for-dear-life, fractally meandering roller coaster ride rendered by the iterations of Hurricane Sandy.

~/~

These photos show much more than nature’s penchant for rendering fractalscapes using an Act of God for tools. The toll in lost lives and property from the storm is astronomic. By some estimates, the hurricane has left 17 million people in FEMA disaster areas and repair costs are predicted to be as much as 50 billion dollars. Here, if so inclined, are some ways you can help.