2010

Whilst there are great examples in art and design of the application of fractal tenets, the use of those tenets is usually reserved for critique after the work has been produced. It is proposed that the tenets of fractal form, (self-similarity, recursion and iteration) be explored at the stages of compositiol development as both a proportiol principle, and as strategy for application of random dymics for the explicit purpose of informing compositiol structure based on the psychology of viewer interaction. This paper is informed by prior participant studies that evaluate the psychological response of the viewer to fractal images to build potential methodologies for fractal proportion and dymics in composition. The argued imperatives from an educatiol perspective are for a set of design principles, in terms of the aesthetics of fractals, and their relationships to image and audience, to be informed and supported by current and ongoing studies in the fields of mathematics and neuropsychology. The convergence of fields, including growing interdiscipliry activity that seeks to understand and apply fractals in aesthetic terms leads to the important discussion of fractals in deign education. This research proposes a consideration for the instatement of fractal principles as part of the grammar of design for education.

Presented at Conferences

  • ACUADS 2014 (2015)

    Melbourne, Australia