Putting Order To Randomness
Around 1990 Artist and Designer John Arabolos began his research into Chaos Theory, the theory that represents a systemic temporal and physical expression, codification and construct of random occurrences, physiological manifestations within the environment and the theory’s ability to make predictions based upon the self similarity and complexity of the random attributes and relativity of any system.
Prior to this time John’s work aesthetically explored and investigated static and kinetic morphological representations of space and systemic structure, time and occurrence, the act and function of human perceptions and the combined parallel unified influences of all of these actions joined together and in specific relationships to each other, by creating art forms and installations that best represented or implied an under lying universality and connectivity of all things.
Chaos theory added the missing elements further defining the causalities and the fuzzy random manifestations of occurrences within the “actuality and the knowing” of nature itself.
In order to now explore these different yet inextricably intertwined and co dependent components; that of, the mechanics of straight line Newtonian, Euclidian fixed or static manmade and conceived representations of space and time, and that of the continuously in motion, through time, non straight line functional, kinetic representations of Einstein’s relativity, with that of chaotic random occurrences, somehow, there had to be a way to unify all of their individual investigative approaches and their individual expletive expressions.
On or about the year 1999 - 2000, the resulting “Chaotic Symmetries” morphological research, studies and experiments did just that. By photographing and capturing the graphic representations of chaotic patterns found in nature and containing these self-similar random non repetitive patterns within the fixed perimeter of hard line two dimensional symmetrically constructed and over laid geometry that defined a static representation of geometrically regular surface space, the random distribution of the image’s graphic components revealed a systemic underlying algorithm of form, structure, symmetry and connectivity.
The “Chaotic Symmetries” process has since been adapted to a web application for “Image Terrain’s” sole use in order to provide their users the ability to create an infinite number of patterns from any one reference image. Additionally this process will also enable predictability and control in the construction of a plethora of new complicated self-similar yet distinctly different patterns. Specific ramifications within this system have been revealed that will, in the near future, allow the “Chaotic Symmetries” process to be utilized in applications extending beyond the visual arts.