Translated material
Fractal researcher
Fractal is a geometric boutist with a fractional dimension, has the property of recursing: each part of it is a reduced copy of the whole. [...] Mandelbrot showed that many natural objects and phenomena are fractals: real trees, plants, like colored cabbage, river systems and a coronary vessel system.
Dictionary ABBYY LINGVO
If something manifests itself in one thing, then it manifests itself in everything else.
Life observation
I heard about the fractals for a long time, but I was indifferent to them until I tried to play with them myself using the FRACTAL Explorer program, which came across on the Internet, looking for, as it usually happens, something else. For several days in a row I could not tear myself away from the computer, applying one formula to the other, and to it the third, sorting out the color schemes, reducing, increasing and moving the image, observing endless metamorphoses of the hopeless something. The most interesting here is the process; The results that record his moments can be beautiful or strange, but give only an indirect and partial idea of the experiences that you experience during fractiling .
From the description of the program, I learned that its authors - Arthur Sirotinsky and Olga Fedorenko - live in Kyiv. I wrote Arthur to express my admiration for the program and at the same time boast of my first (as I understand now, quite banal) fractals. He answered, correspondence ensued, an interview turned out.
AS : ... I love fractals, where infinity and repeatability are visible. Actually, my favorite works can be seen in the gallery on the site.
EG : And in any case, now, now, more interested in the product of life -like (in the broad sense of the word) forms and how they are transformed into each other. That is, not so much endless repeatability as what it is composed of.
AS : In-in! How many people are so many opinions and tastes. How can we talk about any review or criticism?
EG : Now about the interview. Let's start the process?
AS: Opanka ... Honestly, I got a little awesome! Such questions that I thought for a week (as far as possible, of course) from what side to approach them! Strongly! I really have little time, so I will answer briefly.
EG : Please tell me a little about yourself, it’s always interesting to know about a person when you are interested in his work (a computer program is also a creative product).
AS : I am a programmer: Delphi, Windows, databases. Olga - too. Other hobbies: computers, books (science fiction, mainly), computers ...
EG : How did it happen that you became interested in fractals? What exactly attracted you/attracts you?
AS : It began, perhaps, with another article in the journal "Technique-Younger", in the mid-80s. A small article about fractals. Cra-a-Avo. I remember. I dreamed of doing something similar for a long time. Then the Internet appeared. I pulled several programs ( FRACTINT, ULTRA FRACTAL , FLARIUM). I really wanted to write something of my own, because Each program had interesting features, but there are a lot of specific inconveniences (each has its own). Flarium seemed to be the most ideal, but it was terribly brake and uncomfortable. Then came a small program with sources that showed me the basic principle of calculation. Well, it began ...
EG : What is the story of FRACTAL Explorer? How many people participated in the development of the program and how was it coordinated? What is the role of Olga in this process?
AS : History - above. We write together: I and Olga. There are no problems with coordination: the tables are nearby at work. At home all the time together. Wife-s ... Olga until recently was an alpha tester. In addition, in mathematics, she wars better than me. So usually I give an idea, initial implementation, and it brings the algorithm/formula. I already knock on the keys myself ...
EG : Are there other similar programs for working with fractals and how does Fe differ from them?
AS : Programs exist . I called the most famous above. And there is Flight for FRACTALS (FFF), a bunch of Steven Ferguson programs ... Programs - to the devils. How is it? I don’t know, I don’t need to judge. Perhaps Fe at its power (a little inferior to Ultra FRACTAL) seems easier to master ... No, it is not for me to judge.
EG : Why do both the program and the FE website use only English? Is there a conscious orientation to the West and turning away from Russia? Or does English seem to you neutral international language? Or did it happen by accident without any ideology?
AS : About a hundred "British" accounts for one Russian -speaking user. We have no time to engage in fractals - money must be earned. And those unique ones who are still interested in such abstractions and have no problems with English (usually). At least in the interface they will figure it out. And about the neutral language, I completely agree. Yes, and I don’t turn away from Russia - I am Kiev.
EG : How do you think that it gives a person to work with fractals? Does he begin to understand the world/himself through her better through her? Or is it pure aesthetics and the joy of contemplation of colors and shapes?
AS : Perhaps the last ... although it is very individual. I can’t say, everyone will decide for himself. For me, this is a vacation and the opportunity to abstract for a few minutes from problems.
Sometimes teachers write to me. They use Fe in the process of teaching students and schoolchildren. One is an atmospheric physicist. Another was an architect, a professor! Cool :)))
EG : Is it possible to consider fractals created by those or other people as works of art? If so, what are the criteria for their assessment?
AS : For me, fractals are one of the types of digital art. First of all. Mysterious, almost mystical, akin to a number of mirrors ... On the other hand, the fractals close with my other hobby - astrophysics and cosmology: at the other end of the infinity ring, close.
Application.
About music, states and formulas
In some states of consciousness, the phenomena are perceived not total, but aggregate - as consisting of layers, parts and elements.
For example, in music - you see separately a batch of instruments and how they intertwine and interact. The same - on the other hand. This can be compared with looking at the anatomical manual, where the body is represented by layers, so that it can be simultaneously observed both its surface and its layer -in -aous insides, bones, organs, blood vessels, etc. The manual, however, gives only a hint and sets the algorithm, the vision is completed by the imagination. In addition, the anatomical doll is static, the life of a thing is in processes, physiology.
The dynamics of perception is as follows: 1) You hear music as something integral and separate (“normal” consciousness), 2) you see that it consists of silence and sounds (“changed” consciousness), 3) you understand that silence and sounds are one (“mystical” consciousness).
Read more about these stages:
(1) The music is given as 1) a musical work, which 2) has an independent existence, i.e. 3) is a separate entity that is different from other entities, and 4) acts as integrity (Aidos, Gestalt), 5) localized in space and 6) lasting in time.
(2) 1) The music consists of silence and sounds (two principles), which form various sequences (combinatorics), 3) periodically repeated (rhythm), 4) interacting with each other (conflict and adaptation), and 5) in this interaction, modified (metamorphosis). The musical work is not a separate integrity, but one of the possible manifestations of music as such, which, in turn, is an expression of universal abstract laws (relationships). The basis of existence is absence (emptiness, silence), forms of existence - discrete constructions that configurate absence, i.e. setting the shape of the unformed.
(3) Silence and sounds do not exist as different substances. Their nature is the same. There is no musical work, no music; There is a change - the transition of one to another, and contrast - the ratio between this one, other, third, etc.
The dynamics, perceived as static, gives a variety of individual forms. Statics, perceived as dynamics, gives space and time. Time, space and individuality (personality) are absolutely real in (1), relatively real in (2) and unreal in (3).
The art of holey constructions: sounds and silence, care (duty) and carelessness (freedom).
Three aspects of creativity: 1) adding a new one to what is already there, 2) decrease - cut off excess, 3) re -compinations of existing elements.
Good musicians play easily - without tension (no one will even sweat, and if it sweat, because it is hot, then a spontaneous smile on the face). The voltage is created by the lack of integrity - duality, it is a consequence of the gap between one and the other (the power field between the poles + the frequency of oscillations = tension strength). In general, this is a consequence of the gap between thought and reality (more precisely, with the thought of it). Those. The gap between the two thoughts (as it is and how it should be, how it should be and how this is not).
Example: dissatisfaction with life because "there is not enough money for life." Imagine that they appeared. And - immediately you want something else - buy a house, fly around the world in a balloon, modify the body, do plastic surgery of the brain, and so on. New desires - new concerns - dissatisfaction and tension are the same.
Thus, the point is not what is not, but the thought that something is not. The content of this "something" can be, in essence, any. This is like an equation - put anything in the variable place, the ratio (pattern) will not change.
This means that the states (localization of the psyche relative to itself) are reproduced regardless of the object (or cause) of these conditions. What do they depend on?
Each state is based on a thought. Thought is thought here not as a thought of something, but as a great-thought, an abstract formula that sets the relationship between the variables (objects of thought), in the place of which specific "something" can be substituted. Conditional examples: a> b, x = y/z, n = c (f) d, etc.
The set of these basic formulas is limited. Analogs: Dharmas in Buddhism (several dozen; e.g., fifty -one variety of secondary mind in Gelugp), laws of logic (about a dozen), Yungsk archetypes (about a dozen), Proppa functions (thirty -one).
Priests can be perceived as formulas, phrases or eidos.
States, manifesting thought formulas, the essence of fractals. They have self -likeness and are similar to the reflection of the mirror in the mirror.
The individual reproduces his states in what he does (or, negatively - in what does not): in the rhythm of movements, facial expressions, intonacible voice, actions of life, mental automatisms, the structure of a creative act, etc. He also experiences attraction to phenomena expressing his own states: people, ideas, situations, etc.
When music or other structure is seen as a clean design, no emotions (except abstract, for example, purely aesthetic) are impossible. This is because emotion is a specific one, referring to another (i.e., the sign), and the design is a form or formula, the only content of which it itself is (i.e. the structure of consciousness).
Understanding is a direct perception of the structure or formula of something. So, to "see a person" means to see the states of consciousness in which its psyche is located (or can potentially be), and the thought formulas with which they are set.
Magic or manipulation is the ability to build structures that produce the desired effect in the world and people.
Freedom is the art of transforming formulas.
Links
FRACTAL Explorer
FRACTAL Explorer (program website)
http://www.eclectasy.com/fractal-explorer/
The leadership of Vladimir (McClaud) Vasnev to the FRACTAL Explorer program
http://vasnyov.narod.ru/fe.htm
About fractals:
FRACTAL (Wikipedia, Eng)
http://en.wikipedia.org/wiki/fractal
Universe Fractal (Rus)
http://fractals.chat.ru/
Google catalogs:
Programs for working with fractals
http://directory.google.com/top/science/math/chaos_and_fractals/software/
Fractal art
http://directory.google.com/top/science/math/chaos_and_fractals/fractal_art/