The music clip I liked the most is here.

The set to choose from here. Electronic music, purposefully fractally composed. But what about fractal-innocently composed fractal music?

Apparently, fractal-innocent visual art with fractal patterns happens: see article in Discover Magazine 2001. about “drip painting” by Jackson Pollock (1912 – 1956). It turns out his paintings display certain recursive patterns, at various levels of magnification, with varying degrees of complexity.

This prompts the differentiation between “fractal” (exhibiting unintended fractality) and “fractalized” (exhibiting fractality by design). More on sound fractalization here

Here’s also some photosounding, which according to the uploader/author exhibits fractality. The sound object is therefore fractal, not fractalized, as the fractal pattern itself is not human-generated/designed, although the image-sound translation is. Mediately, of course.

YouTube credit: Uploaded by on Aug 30, 2009

Quoting Photosounder: Various fractals and photographs found around the web turned into sounds using Photosounder. Links to the original image (when it still exists) in the annotations.

On the subject of mathematics in art and vice versa:

Couldn’t resist borrowing wikipedia’s Lissajous curve animation (shapes following  x=A\sin(at+\delta),\quad y=B\sin(bt),  a system of parametric equations for complex harmonic motion).

Lissajous animation.gif

The animation above shows the curve adaptation with continuously increasing \frac{a}{b} fraction from 0 to 1 in steps of 0.01. (δ=0).

Max Ernst (German-born French dadaist/surrealist painter, 1891-1976), who achieved the Lissajous configuration in a couple of paintings by swinging a punctured bucket of paint over a horizontal canvas (the so-called oscillation technique, anticipating the later Pollock’s drip painting).

An article by Mike King, Reader in Computer Art and Animation at London Guildhall University, UK, with a self-explanatory title:

(2002). “From Max Ernst to Ernst Mach: Epistemology in Art and Science.” Working Papers in Art and Design 2 Retrieved <May 19, 2012> from URL ISSN 1466-4917