Recognizing how looking at fractals reduces stress means it’s possible to create retinal implants that mimic the mechanism. Recognizing how looking at fractals reduces stress means it’s possible to create retinal implants that mimic the mechanism.

Fractal patterns in nature and art are aesthetically pleasing and stress-reducing

Humans are visual creatures. Objects we call “beautiful” or “aesthetic” are a crucial part of our humanity. Even the oldest known examples of rock and cave art served aesthetic rather than utilitarian roles. Although aesthetics is often regarded as an ill-defined vague quality, research groups like mine are using sophisticated techniques to quantify it – and its impact on the observer.

 

We’re finding that aesthetic images can induce staggering changes to the body, including radical reductions in the observer’s stress levels. Job stress alone is estimated to cost American businesses many billions of dollars annually, so studying aesthetics holds a huge potential benefit to society.

Researchers are untangling just what makes particular works of art or natural scenes visually appealing and stress-relieving – and one crucial factor is the presence of the repetitive patterns called fractals.

Are fractals the key to why Pollock’s work captivates? Are fractals the key to why Pollock’s work captivates?

Pleasing patterns, in art and in nature

When it comes to aesthetics, who better to study than famous artists? They are, after all, the visual experts. My research group took this approach with Jackson Pollock, who rose to the peak of modern art in the late 1940s by pouring paint directly from a can onto horizontal canvases laid across his studio floor. Although battles raged among Pollock scholars regarding the meaning of his splattered patterns, many agreed they had an organic, natural feel to them.

 

 

My scientific curiosity was stirred when I learned that many of nature’s objects are fractal, featuring patterns that repeat at increasingly fine magnifications. For example, think of a tree. First you see the big branches growing out of the trunk. Then you see smaller versions growing out of each big branch. As you keep zooming in, finer and finer branches appear, all the way down to the smallest twigs. Other examples of nature’s fractals include clouds, rivers, coastlines and mountains.

 

In 1999, my group used computer pattern analysis techniques to show that Pollock’s paintings are as fractal as patterns found in natural scenery. Since then, more than 10 different groups have performed various forms of fractal analysis on his paintings. Pollock’s ability to express nature’s fractal aesthetics helps explain the enduring popularity of his work.

The impact of nature’s aesthetics is surprisingly powerful. In the 1980s, architects found that patients recovered more quickly from surgery when given hospital rooms with windows looking out on nature. Other studies since then have demonstrated that just looking at pictures of natural scenes can change the way a person’s autonomic nervous system responds to stress.

Are fractals the secret to some soothing natural scenes? Are fractals the secret to some soothing natural scenes?

For me, this raises the same question I’d asked of Pollock: Are fractals responsible? Collaborating with psychologists and neuroscientists, we measured people’s responses to fractals found in nature (using photos of natural scenes), art (Pollock’s paintings) and mathematics (computer generated images) and discovered a universal effect we labeled “fractal fluency.”

Through exposure to nature’s fractal scenery, people’s visual systems have adapted to efficiently process fractals with ease. We found that this adaptation occurs at many stages of the visual system, from the way our eyes move to which regions of the brain get activated. This fluency puts us in a comfort zone and so we enjoy looking at fractals. Crucially, we used EEG to record the brain’s electrical activity and skin conductance techniques to show that this aesthetic experience is accompanied by stress reduction of 60 percent – a surprisingly large effect for a nonmedicinal treatment. This physiological change even accelerates post-surgical recovery rates.

Artists intuit the appeal of fractals

It’s therefore not surprising to learn that, as visual experts, artists have been embedding fractal patterns in their works through the centuries and across many cultures. Fractals can be found, for example, in Roman, Egyptian, Aztec, Incan and Mayan works. My favorite examples of fractal art from more recent times include da Vinci’s Turbulence (1500), Hokusai’s Great Wave (1830), M.C. Escher’s Circle Series (1950s) and, of course, Pollock’s poured paintings.

Although prevalent in art, the fractal repetition of patterns represents an artistic challenge. For instance, many people have attempted to fake Pollock’s fractals and failed. Indeed, our fractal analysis has helped identify fake Pollocks in high-profile cases. Recent studies by others show that fractal analysis can help distinguish real from fake Pollocks with a 93 percent success rate.

How artists create their fractals fuels the nature-versus-nurture debate in art: To what extent is aesthetics determined by automatic unconscious mechanisms inherent in the artist’s biology, as opposed to their intellectual and cultural concerns? In Pollock’s case, his fractal aesthetics resulted from an intriguing mixture of both. His fractal patterns originated from his body motions (specifically an automatic process related to balance known to be fractal). But he spent 10 years consciously refining his pouring technique to increase the visual complexity of these fractal patterns.

The Rorschach inkblot test relies on what you read in to the image. The Rorschach inkblot test relies on what you read in to the image.

Fractal complexity

Pollock’s motivation for continually increasing the complexity of his fractal patterns became apparent recently when I studied the fractal properties of Rorschach inkblots. These abstract blots are famous because people see imaginary forms (figures and animals) in them. I explained this process in terms of the fractal fluency effect, which enhances people’s pattern recognition processes. The low complexity fractal inkblots made this process trigger-happy, fooling observers into seeing images that aren’t there.

Pollock disliked the idea that viewers of his paintings were distracted by such imaginary figures, which he called “extra cargo.” He intuitively increased the complexity of his works to prevent this phenomenon.

Pollock’s abstract expressionist colleague, Willem De Kooning, also painted fractals. When he was diagnosed with dementia, some art scholars called for his retirement amid concerns that that it would reduce the nurture component of his work. Yet, although they predicted a deterioration in his paintings, his later works conveyed a peacefulness missing from his earlier pieces. Recently, the fractal complexity of his paintings was shown to drop steadily as he slipped into dementia. The study focused on seven artists with different neurological conditions and highlighted the potential of using art works as a new tool for studying these diseases. To me, the most inspiring message is that, when fighting these diseases, artists can still create beautiful artworks.

Recognizing how looking at fractals reduces stress means it’s possible to create retinal implants that mimic the mechanism. Recognizing how looking at fractals reduces stress means it’s possible to create retinal implants that mimic the mechanism.

My main research focuses on developing retinal implants to restore vision to victims of retinal diseases. At first glance, this goal seems a long way from Pollock’s art. Yet, it was his work that gave me the first clue to fractal fluency and the role nature’s fractals can play in keeping people’s stress levels in check. To make sure my bio-inspired implants induce the same stress reduction when looking at nature’s fractals as normal eyes do, they closely mimic the retina’s design.

When I started my Pollock research, I never imagined it would inform artificial eye designs. This, though, is the power of interdisciplinary endeavors – thinking “out of the box” leads to unexpected but potentially revolutionary ideas.

REGISTER NOW

By The Conversation

The Conversation is an independent source of news and views, sourced from the academic and research community and delivered direct to the public.

Our team of professional editors work with university, CSIRO and research institute experts to unlock their knowledge for use by the wider public.

Access to independent, high-quality, authenticated, explanatory journalism underpins a functioning democracy. Our aim is to allow for better understanding of current affairs and complex issues. And hopefully allow for a better quality of public discourse and conversations.

We have introduced new protocols and controls to help rebuild trust in journalism. All authors and editors sign up to our Editorial Charter. And all contributors must abide by our Community Standards policy. We only allow authors to write on a subject on which they have proven expertise, which they must disclose alongside their article. Authors’ funding and potential conflicts of interest must be disclosed. Failure to do so carries a risk of being banned from contributing to the site.

Since our launch in March 2011, we’ve grown to become one of Australia’s largest independent news and commentary sites. Around 35% of our readers are from outside Australia.

The Conversation started in Melbourne, Victoria, and the innovative technology platform and development team is based in the university and research precinct of Carlton.

We believe in open access and the free-flow of information. The Conversation is a free resource: free to read (we’ll never go behind a paywall), and free to share or republish under Creative Commons. All you need to do is follow our simple guidelines. We have also become an indispensable media resource: providing free content, ideas and talent to follow up for press, web, radio or TV.

Sincere thanks go to our Founding Partners who gave initial funding support: CSIROMonash UniversityUniversity of MelbourneUniversity of Technology Sydney and University of Western Australia. Strategic Partners Commonwealth Bank of Australia, Corrs Chambers WestgarthRMIT University and a growing list of member institutions also provide financial support.

Our Newsroom is based in Melbourne, Australia. We also have editors in Sydney, Canberra, Brisbane, Perth and Jakarta. We are wholly owned by The Conversation Media Trust, a not-for-profit company.

(Source: theconversation.com; March 31, 2017; http://tinyurl.com/mh6qyhm)
Back to INF

Loading please wait...