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Benoit Mandelbrot

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The next thing which surprised us very much, is that both for Julia sets and even more so for the Mandelbrot set, the complication was not, how to say, arbitrary, and almost everybody found the impression that these shapes were hauntingly beautiful. These shapes resulted from the most ridiculous transformation, z2+c, taken seriously, respectfully and visually. And people thought at first that they were totally wild, totally extraterrestrial, but then after a very short time, they came back and said, "You know, I think they remind me of something. I think they're natural. I think they are like perhaps nightmares or dreams, but they're natural." And this combination of being so new, because literally when we saw them nobody had seen them before, and being the next day so familiar, is still to me extraordinarily baffling.
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Segment 85

 
Benoit Mandelbrot

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Smooth shapes are very rare in the wild but extremely important in the ivory tower and the factory, and besides were my love when I was a young man. Cauliflowers exemplify a second area of great simplicity, that of shapes which appear more or less the same as you look at them up close or from far away, as you zoom in and zoom out.
Before my work, those shapes had no use, hence no word was needed to denote them. My work created such a need and I coined "fractals."

 
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I know every numbskull will babble on about "black man," "maneater," "chance," and "retrospective interpretation," in order to banish something terribly inconvenient that might sully the familiar picture of childhood innocence. Ah, these good, efficient, healthy-minded people, they always remind me of those optimistic tadpoles who bask in a puddle in the sun, in the shallowest of waters, crowding together and amiably wriggling their tails, totally unaware that the next morning the puddle will have dried up and left them stranded.

 
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