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Abracadabra: the magic space of supple geometry.

IT HAS BEEN TWO years now since Benoit Mandelbrot’s ideas of “fractal geometry” swept Japan’s computer-graphics circle. Interest in the field, a geometry of geometrically irregular shapes, has decreased recently, not because it has failed to perform in computer-graphics work, but because of its converts’ lack of insight into the connection that must be made between the image to be presented and the meaning of Mandelbrot’s concept. One of fractal geometry’s main weapons is the notion of “infinite self-embeddedness,” the analysis of the infinite number of structures that can be created through geometric repetition of a single form. Consequently, the idea as applied to computer graphics involves a risk of producing no more than a monotonous multiplying pattern. At least in Japan, many computer-graphics designs rendered through fractal geometry are trapped in such patterns; they are completely

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