One way that fractals are different from finite geometric figures is how they scale. Doubling the edge lengths of a polygon multiplies its area by four, which is two (the ratio of the new to the old side length) raised to the power of two (the dimension of the space the polygon resides in). Likewise, if the radius of a sphere is doubled, its volume scales by eight, which is two (the ratio of the new to the old radius) to the power of three (the dimension that the sphere resides in). However, if a fractal's one-dimensional lengths are all doubled, the spatial content of the fractal scales by a power that is not necessarily an integer. This power is called the fractal dimension of the fractal, and it usually exceeds the fractal's topological dimension.
There is some disagreement among mathematicians about how the concept of a fractal should be formally defined. Mandelbrot himself summarized it as "beautiful, damn hard, increasingly useful. That's fractals." More formally, in 1982 Mandelbrot defined fractal as follows: "A fractal is by definition a set for which the Hausdorff–Besicovitch dimension strictly exceeds the topological dimension." Later, seeing this as too restrictive, he simplified and expanded the definition to this: "A fractal is a shape made of parts similar to the whole in some way." Still later, Mandelbrot proposed "to use fractal without a pedantic definition, to use fractal dimension as a generic term applicable to all the variants".
The consensus among mathematicians is that theoretical fractals are infinitely self-similar, iterated, and detailed mathematical constructs having fractal dimensions, of which many examples have been formulated and studied. Fractals are not limited to geometric patterns, but can also describe processes in time. Fractal patterns with various degrees of self-similarity have been rendered or studied in visual, physical, and aural media and found in nature,technology,art, architecture and law. Fractals are of particular relevance in the field of chaos theory because the graphs of most chaotic processes are fractals. Many real and model networks have been found to have fractal features such as self similarity.
The word "fractal" often has different connotations for the lay public as opposed to mathematicians, where the public is more likely to be familiar with fractal art than the mathematical concept. The mathematical concept is difficult to define formally, even for mathematicians, but key features can be understood with a little mathematical background.
The feature of "self-similarity", for instance, is easily understood by analogy to zooming in with a lens or other device that zooms in on digital images to uncover finer, previously invisible, new structure. If this is done on fractals, however, no new detail appears; nothing changes and the same pattern repeats over and over, or for some fractals, nearly the same pattern reappears over and over. Self-similarity itself is not necessarily counter-intuitive (e.g., people have pondered self-similarity informally such as in the infinite regress in parallel mirrors or the homunculus, the little man inside the head of the little man inside the head ...). The difference for fractals is that the pattern reproduced must be detailed.:166; 18
This idea of being detailed relates to another feature that can be understood without much mathematical background: Having a fractal dimension greater than its topological dimension, for instance, refers to how a fractal scales compared to how geometric shapes are usually perceived. A straight line, for instance, is conventionally understood to be one-dimensional; if such a figure is rep-tiled into pieces each 1/3 the length of the original, then there are always three equal pieces. A solid square is understood to be two-dimensional; if such a figure is rep-tiled into pieces each scaled down by a factor of 1/3 in both dimensions, there are a total of 32 = 9 pieces.
We see that for ordinary self-similar objects, being n-dimensional means that when it is rep-tiled into pieces each scaled down by a scale-factor of 1/r, there are a total of rn pieces. Now, consider the Koch curve. It can be rep-tiled into four sub-copies, each scaled down by a scale-factor of 1/3. So, strictly by analogy, we can consider the "dimension" of the Koch curve as being the unique real number D that satisfies 3D = 4. This number is what mathematicians call the fractal dimension of the Koch curve; it is certainly not what is conventionally perceived as the dimension of a curve (this number is not even an integer!). The fact that the Koch curve has a fractal dimension differing from its conventionally understood dimension (that is, its topological dimension) is what makes it a fractal.
This also leads to understanding a third feature, that fractals as mathematical equations are "nowhere differentiable". In a concrete sense, this means fractals cannot be measured in traditional ways. To elaborate, in trying to find the length of a wavy non-fractal curve, one could find straight segments of some measuring tool small enough to lay end to end over the waves, where the pieces could get small enough to be considered to conform to the curve in the normal manner of measuring with a tape measure. But in measuring an infinitely "wiggly" fractal curve such as the Koch snowflake, one would never find a small enough straight segment to conform to the curve, because the jagged pattern would always re-appear, at arbitrarily small scales, essentially pulling a little more of the tape measure into the total length measured each time one attempted to fit it tighter and tighter to the curve. The result is that one must need infinite tape to perfectly cover the entire curve, i.e. the snowflake has an infinite perimeter.
The history of fractals traces a path from chiefly theoretical studies to modern applications in computer graphics, with several notable people contributing canonical fractal forms along the way. A common theme in ancient traditionalAfrican architecture is the use of fractal scaling, whereby small parts of the structure tend to look similar to larger parts, such as a circular village made of circular houses. According to Pickover, the mathematics behind fractals began to take shape in the 17th century when the mathematician and philosopher Gottfried Leibniz pondered recursiveself-similarity (although he made the mistake of thinking that only the straight line was self-similar in this sense).
In his writings, Leibniz used the term "fractional exponents", but lamented that "Geometry" did not yet know of them.:405 Indeed, according to various historical accounts, after that point few mathematicians tackled the issues and the work of those who did remained obscured largely because of resistance to such unfamiliar emerging concepts, which were sometimes referred to as mathematical "monsters". Thus, it was not until two centuries had passed that on July 18, 1872 Karl Weierstrass presented the first definition of a function with a graph that would today be considered a fractal, having the non-intuitive property of being everywhere continuous but nowhere differentiable at the Royal Prussian Academy of Sciences.:7
In addition, the quotient difference becomes arbitrarily large as the summation index increases. Not long after that, in 1883, Georg Cantor, who attended lectures by Weierstrass, published examples of subsets of the real line known as Cantor sets, which had unusual properties and are now recognized as fractals.:11–24 Also in the last part of that century, Felix Klein and Henri Poincaré introduced a category of fractal that has come to be called "self-inverse" fractals.:166
One of the next milestones came in 1904, when Helge von Koch, extending ideas of Poincaré and dissatisfied with Weierstrass's abstract and analytic definition, gave a more geometric definition including hand-drawn images of a similar function, which is now called the Koch snowflake.:25 Another milestone came a decade later in 1915, when Wacław Sierpiński constructed his famous triangle then, one year later, his carpet. By 1918, two French mathematicians, Pierre Fatou and Gaston Julia, though working independently, arrived essentially simultaneously at results describing what is now seen as fractal behaviour associated with mapping complex numbers and iterative functions and leading to further ideas about attractors and repellors (i.e., points that attract or repel other points), which have become very important in the study of fractals.
Very shortly after that work was submitted, by March 1918, Felix Hausdorff expanded the definition of "dimension", significantly for the evolution of the definition of fractals, to allow for sets to have non-integer dimensions. The idea of self-similar curves was taken further by Paul Lévy, who, in his 1938 paper Plane or Space Curves and Surfaces Consisting of Parts Similar to the Whole, described a new fractal curve, the Lévy C curve.[notes 1]
In 1975 Mandelbrot solidified hundreds of years of thought and mathematical development in coining the word "fractal" and illustrated his mathematical definition with striking computer-constructed visualizations. These images, such as of his canonical Mandelbrot set, captured the popular imagination; many of them were based on recursion, leading to the popular meaning of the term "fractal".
In 1980, Loren Carpenter gave a presentation at the SIGGRAPH where he introduced his software for generating and rendering fractally generated landscapes.
Definition and characteristics
One often cited description that Mandelbrot published to describe geometric fractals is "a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole"; this is generally helpful but limited. Authors disagree on the exact definition of fractal, but most usually elaborate on the basic ideas of self-similarity and the unusual relationship fractals have with the space they are embedded in.
Because of the trouble involved in finding one definition for fractals, some argue that fractals should not be strictly defined at all. According to Falconer, fractals should, in addition to being nowhere differentiable and able to have a fractal dimension, be only generally characterized by a gestalt of the following features;
Self-similarity, which may include:
Exact self-similarity: identical at all scales, such as the Koch snowflake
Quasi self-similarity: approximates the same pattern at different scales; may contain small copies of the entire fractal in distorted and degenerate forms; e.g., the Mandelbrot set's satellites are approximations of the entire set, but not exact copies.
Statistical self-similarity: repeats a pattern stochastically so numerical or statistical measures are preserved across scales; e.g., randomly generated fractals like the well-known example of the coastline of Britain for which one would not expect to find a segment scaled and repeated as neatly as the repeated unit that defines fractals like the Koch snowflake.
Qualitative self-similarity: as in a time series
Multifractal scaling: characterized by more than one fractal dimension or scaling rule
Fine or detailed structure at arbitrarily small scales. A consequence of this structure is fractals may have emergent properties (related to the next criterion in this list).
Irregularity locally and globally that is not easily described in traditional Euclidean geometric language. For images of fractal patterns, this has been expressed by phrases such as "smoothly piling up surfaces" and "swirls upon swirls".
As a group, these criteria form guidelines for excluding certain cases, such as those that may be self-similar without having other typically fractal features. A straight line, for instance, is self-similar but not fractal because it lacks detail, is easily described in Euclidean language, has the same Hausdorff dimension as topological dimension, and is fully defined without a need for recursion.. It has been shown that both sets of fractals and non-fractals have the cardinality of aleph-two .
L-systems – use string rewriting; may resemble branching patterns, such as in plants, biological cells (e.g., neurons and immune system cells), blood vessels, pulmonary structure, etc. or turtle graphics patterns such as space-filling curves and tilings
Fractal patterns have been modeled extensively, albeit within a range of scales rather than infinitely, owing to the practical limits of physical time and space. Models may simulate theoretical fractals or natural phenomena with fractal features. The outputs of the modelling process may be highly artistic renderings, outputs for investigation, or benchmarks for fractal analysis. Some specific applications of fractals to technology are listed elsewhere. Images and other outputs of modelling are normally referred to as being "fractals" even if they do not have strictly fractal characteristics, such as when it is possible to zoom into a region of the fractal image that does not exhibit any fractal properties. Also, these may include calculation or display artifacts which are not characteristics of true fractals.
The recursive nature of some patterns is obvious in certain examples—a branch from a tree or a frond from a fern is a miniature replica of the whole: not identical, but similar in nature. Similarly, random fractals have been used to describe/create many highly irregular real-world objects. A limitation of modeling fractals is that resemblance of a fractal model to a natural phenomenon does not prove that the phenomenon being modeled is formed by a process similar to the modeling algorithms.
Approximate fractals found in nature display self-similarity over extended, but finite, scale ranges. The connection between fractals and leaves, for instance, is currently being used to determine how much carbon is contained in trees. Phenomena known to have fractal features include:
Fractals often appear in the realm of living organisms where they arise through branching processes and other complex pattern formation. Ian Wong and co-workers have shown that migrating cells can form fractals by clustering and branching. Nerve cells function through processes at the cell surface, with phenomena that are enhanced by largely increasing the surface to volume ratio. As a consequence nerve cells often are found to form into fractal patterns. These processes are crucial in cell physiology and different pathologies.
Multiple subcellular structures also are found to assemble into fractals. Diego Krapf has shown that through branching processes the actin filaments in human cells assemble into fractals patterns. Similarly Matthias Weiss showed that the endoplasmic reticulum displays fractal features. The current understanding is that fractals are ubiquitous in cell biology, from proteins, to organelles, to whole cells.
Since 1999, more than 10 scientific groups have performed fractal analysis on over 50 of Jackson Pollock's (1912–1956) paintings which were created by pouring paint directly onto his horizontal canvasses[excessive citations] Recently, fractal analysis has been used to achieve a 93% success rate in distinguishing real from imitation Pollocks. Cognitive neuroscientists have shown that Pollock's fractals induce the same stress-reduction in observers as computer-generated fractals and Nature's fractals.
Decalcomania, a technique used by artists such as Max Ernst, can produce fractal-like patterns. It involves pressing paint between two surfaces and pulling them apart.
Cyberneticist Ron Eglash has suggested that fractal geometry and mathematics are prevalent in African art, games, divination, trade, and architecture. Circular houses appear in circles of circles, rectangular houses in rectangles of rectangles, and so on. Such scaling patterns can also be found in African textiles, sculpture, and even cornrow hairstyles.Hokky Situngkir also suggested the similar properties in Indonesian traditional art, batik, and ornaments found in traditional houses.
Ethnomathematician Ron Eglash has discussed the planned layout of Benin city using fractals as the basis, not only in the city itself and the villages but even in the rooms of houses. He commented that "When Europeans first came to Africa, they considered the architecture very disorganised and thus primitive. It never occurred to them that the Africans might have been using a form of mathematics that they hadn’t even discovered yet."
Some works by the Dutch artist M. C. Escher, such as Circle Limit III, contain shapes repeated to infinity that become smaller and smaller as they get near to the edges, in a pattern that would always look the same if zoomed in.
A fractal that models the surface of a mountain (animation)
Humans appear to be especially well-adapted to processing fractal patterns with D values between 1.3 and 1.5. When humans view fractal patterns with D values between 1.3 and 1.5, this tends to reduce physiological stress.
When two-dimensional fractals are iterated many times, the perimeter of the fractal increases up to infinity, but the area may never exceed a certain value. A fractal in three-dimensional space is similar; such a fractal may have an infinite surface area, but never exceed a certain volume. This can be utilized to maximize the efficiency of ion propulsion when choosing electron emitter construction and material. If done correctly, the efficiency of the emission process can be maximized.
↑ The original paper, Lévy, Paul (1938). "Les Courbes planes ou gauches et les surfaces composées de parties semblables au tout". Journal de l'École Polytechnique: 227–247, 249–291., is translated in Edgar, pages 181–239.
↑ The Hilbert curve map is not a homeomorphism, so it does not preserve topological dimension. The topological dimension and Hausdorff dimension of the image of the Hilbert map in R2 are both 2. Note, however, that the topological dimension of the graph of the Hilbert map (a set in R3) is 1.
Related Research Articles
Benoit B.Mandelbrot was a Polish-born French-American mathematician and polymath with broad interests in the practical sciences, especially regarding what he labeled as "the art of roughness" of physical phenomena and "the uncontrolled element in life". He referred to himself as a "fractalist" and is recognized for his contribution to the field of fractal geometry, which included coining the word "fractal", as well as developing a theory of "roughness and self-similarity" in nature.
Chaos theory is a branch of mathematics focusing on the study of chaos — dynamical systems whose apparently random states of disorder and irregularities are actually governed by underlying patterns and deterministic laws that are highly sensitive to initial conditions. Chaos theory is an interdisciplinary theory stating that, within the apparent randomness of chaotic complex systems, there are underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals, and self-organization. The butterfly effect, an underlying principle of chaos, describes how a small change in one state of a deterministic nonlinear system can result in large differences in a later state. A metaphor for this behavior is that a butterfly flapping its wings in Texas can cause a hurricane in China.
In physics and mathematics, the dimension of a mathematical space is informally defined as the minimum number of coordinates needed to specify any point within it. Thus a line has a dimension of one (1D) because only one coordinate is needed to specify a point on it – for example, the point at 5 on a number line. A surface such as a plane or the surface of a cylinder or sphere has a dimension of two (2D) because two coordinates are needed to specify a point on it – for example, both a latitude and longitude are required to locate a point on the surface of a sphere. The inside of a cube, a cylinder or a sphere is three-dimensional (3D) because three coordinates are needed to locate a point within these spaces.
In mathematics, Hausdorff dimension is a measure of roughness, or more specifically, fractal dimension, that was first introduced in 1918 by mathematician Felix Hausdorff. For instance, the Hausdorff dimension of a single point is zero, of a line segment is 1, of a square is 2, and of a cube is 3. That is, for sets of points that define a smooth shape or a shape that has a small number of corners—the shapes of traditional geometry and science—the Hausdorff dimension is an integer agreeing with the usual sense of dimension, also known as the topological dimension. However, formulas have also been developed that allow calculation of the dimension of other less simple objects, where, solely on the basis of their properties of scaling and self-similarity, one is led to the conclusion that particular objects—including fractals—have non-integer Hausdorff dimensions. Because of the significant technical advances made by Abram Samoilovitch Besicovitch allowing computation of dimensions for highly irregular or "rough" sets, this dimension is also commonly referred to as the Hausdorff–Besicovitch dimension.
The Mandelbrot set is the set of complex numbers for which the function does not diverge when iterated from , i.e., for which the sequence , , etc., remains bounded in absolute value. Its definition is credited to Adrien Douady who named it in tribute to the mathematician Benoit Mandelbrot, a pioneer of fractal geometry.
In mathematics, a self-similar object is exactly or approximately similar to a part of itself. Many objects in the real world, such as coastlines, are statistically self-similar: parts of them show the same statistical properties at many scales. Self-similarity is a typical property of fractals. Scale invariance is an exact form of self-similarity where at any magnification there is a smaller piece of the object that is similar to the whole. For instance, a side of the Koch snowflake is both symmetrical and scale-invariant; it can be continually magnified 3x without changing shape. The non-trivial similarity evident in fractals is distinguished by their fine structure, or detail on arbitrarily small scales. As a counterexample, whereas any portion of a straight line may resemble the whole, further detail is not revealed.
The Sierpiński triangle, also called the Sierpiński gasket or Sierpiński sieve, is a fractal attractive fixed set with the overall shape of an equilateral triangle, subdivided recursively into smaller equilateral triangles. Originally constructed as a curve, this is one of the basic examples of self-similar sets—that is, it is a mathematically generated pattern that is reproducible at any magnification or reduction. It is named after the Polish mathematician Wacław Sierpiński, but appeared as a decorative pattern many centuries before the work of Sierpiński.
Pink noise or 1⁄f noise is a signal or process with a frequency spectrum such that the power spectral density is inversely proportional to the frequency of the signal. In pink noise, each octave interval carries an equal amount of noise energy.
Fractal art is a form of algorithmic art created by calculating fractal objects and representing the calculation results as still digital images, animations, and media. Fractal art developed from the mid-1980s onwards. It is a genre of computer art and digital art which are part of new media art. The mathematical beauty of fractals lies at the intersection of generative art and computer art. They combine to produce a type of abstract art.
A fractal landscape is a surface generated using a stochastic algorithm designed to produce fractal behavior that mimics the appearance of natural terrain. In other words, the result of the procedure is not a deterministic fractal surface, but rather a random surface that exhibits fractal behavior.
In mathematics, more specifically in fractal geometry, a fractal dimension is a ratio providing a statistical index of complexity comparing how detail in a pattern changes with the scale at which it is measured. It has also been characterized as a measure of the space-filling capacity of a pattern that tells how a fractal scales differently from the space it is embedded in; a fractal dimension does not have to be an integer.
A Lévy flight is a random walk in which the step-lengths have a Lévy distribution, a probability distribution that is heavy-tailed. When defined as a walk in a space of dimension greater than one, the steps made are in isotropic random directions. Later researchers have extended the use of the term "Lévy flight" to also include cases where the random walk takes place on a discrete grid rather than on a continuous space.
"How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension" is a paper by mathematician Benoît Mandelbrot, first published in Science in 5 May 1967. In this paper, Mandelbrot discusses self-similar curves that have Hausdorff dimension between 1 and 2. These curves are examples of fractals, although Mandelbrot does not use this term in the paper, as he did not coin it until 1975. The paper is one of Mandelbrot's first publications on the topic of fractals.
In the context of network theory, a complex network is a graph (network) with non-trivial topological features—features that do not occur in simple networks such as lattices or random graphs but often occur in networks representing real systems. The study of complex networks is a young and active area of scientific research inspired largely by empirical findings of real-world networks such as computer networks, biological networks, technological networks, brain networks, climate networks and social networks.
A fractal curve is, loosely, a mathematical curve whose shape retains the same general pattern of irregularity, regardless of how high it is magnified, that is, its graph takes the form of a fractal. In general, fractal curves are nowhere rectifiable curves — that is, they do not have finite length — and every subarc longer than a single point has infinite length.
The coastline paradox is the counterintuitive observation that the coastline of a landmass does not have a well-defined length. This results from the fractal curve-like properties of coastlines, i.e., the fact that a coastline typically has a fractal dimension. The first recorded observation of this phenomenon was by Lewis Fry Richardson and it was expanded upon by Benoit Mandelbrot.
A multifractal system is a generalization of a fractal system in which a single exponent is not enough to describe its dynamics; instead, a continuous spectrum of exponents is needed.
In mathematics, a self-avoiding walk (SAW) is a sequence of moves on a lattice that does not visit the same point more than once. This is a special case of the graph theoretical notion of a path. A self-avoiding polygon (SAP) is a closed self-avoiding walk on a lattice. Very little is known rigorously about the self-avoiding walk from a mathematical perspective, although physicists have provided numerous conjectures that are believed to be true and are strongly supported by numerical simulations.
Fractal analysis is assessing fractal characteristics of data. It consists of several methods to assign a fractal dimension and other fractal characteristics to a dataset which may be a theoretical dataset, or a pattern or signal extracted from phenomena including natural geometric objects, ecology and aquatic sciences, sound, market fluctuations, heart rates, frequency domain in electroencephalography signals, digital images, molecular motion, and data science. Fractal analysis is now widely used in all areas of science. An important limitation of fractal analysis is that arriving at an empirically determined fractal dimension does not necessarily prove that a pattern is fractal; rather, other essential characteristics have to be considered. Fractal analysis is valuable in expanding our knowledge of the structure and function of various systems, and as a potential tool to mathematically assess novel areas of study.
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Jones, Jesse; Fractals for the Macintosh, Waite Group Press, Corte Madera, CA, 1993. ISBN1-878739-46-8.
Lauwerier, Hans; Fractals: Endlessly Repeated Geometrical Figures, Translated by Sophia Gill-Hoffstadt, Princeton University Press, Princeton NJ, 1991. ISBN0-691-08551-X, cloth. ISBN0-691-02445-6 paperback. "This book has been written for a wide audience..." Includes sample BASIC programs in an appendix.
Sprott, Julien Clinton (2003). Chaos and Time-Series Analysis. Oxford University Press. ISBN978-0-19-850839-7.
Lesmoir-Gordon, Nigel; The Colours of Infinity: The Beauty, The Power and the Sense of Fractals. 2004. ISBN1-904555-05-5 (The book comes with a related DVD of the Arthur C. Clarke documentary introduction to the fractal concept and the Mandelbrot set.)