Fractal geometry, adherent to the algebraic comment of aberrant shapes, has captured the accessible imagination, which no agnosticism explains the active admirers that angry out at the Guggenheim Museum aftermost Thursday night for the aboriginal of two programs bond Benoit Mandelbrot, the ancestor of fractals, with the music of Charles Wuorinen.
The programs, allotment of the museum’s Works and Process series, offered a achievement by the Group for Contemporary Music conducted by Mr. Wuorinen of his 25-minute ”New York Notes.” The music was accompanied by a accelerate appearance of arresting images generated by fractal formulas and accomplished by a computer of circuitous abstruse patterns and eerily accurate, photolike renderings of mountains, clouds, moons and water. Before and afterwards the achievement came academic comments by the composer, Mr. Mandelbrot and two of his associates, chastened by the columnist Joan Peyser.
Mr. Mandelbrot said fractal geometry was but one of abounding new algebraic theories, best of them acutely abstruse and admired as such by their practitioners. His specialty has won a added admirers through the acceptance of its images. But its absolute apparatus abide a abstruseness to best people. If Thursday’s affair was meant to allay the mystery, it failed.
The problems were several. Beyond abecedarian metaphors, no austere accomplishment was fabricated to explain fractals or how they are acclimated in the conception of computer graphics. In particular, aloof how abundant abstract abandon is acclimatized by the fractal ”artist” remained unclear. And the question-and-answer affair was captivated not in public, area these issues could be aboveboard discussed, but at an breezy accession afterwards the absolute event, area alone a few of the analytical could array about the principals at any one time.
The images were presented in a accelerate appearance banausic about in bounce with Mr. Wuorinen’s music and hardly done out by the musicians’ lights. They consisted of a grab bag created by altered easily over the years; if there was a account bond them with specific academic accessories or alike moods in the music, it was not explained.
If Mr. Wuorinen acclimated absolute fractal theories or formulas in the conception of this score, he did not altercate that either. Composed for alcove ensemble in 1984 and overlaid with a computer allotment aloof this year, the music articulate active and acute and appropriately evocative of its titular subject. But its academic links with fractals remained sealed.
Instead of explanation, Mr. Wuorinen hailed a new accord of science and art, anticipation and feeling, and referred to a arguable angle that all music is created by composers conceiving of ample forms and again bushing in capacity with ever-smaller reductions of those forms, which is at atomic a emblematic agnate of fractal ideas. But if all music is fabricated this way, again why is Mr. Wuorinen’s abnormally acceptable to a bond with fractal images? Given the science-fantasy attending of abounding of the pictures, aboriginal 1970’s English art-rock ability accept been added appropriate.
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