Fire as an art form is evolving in the Black Rock Desert of Nevada, where many Burning Man artists explore the creation and manipulation of fire in their installations. Sculptors, engineers, geeks and pyromaniacs experiment with open fires, pressurized gases and pyrotechnics to produce mesmerizing and beautiful works of art.

This compilation presents examples of artistic artifacts that have served as successful visual analogies to aspects of chemistry. The authors have used them in various college-level chemistry classes, outreach programs and chemistry textbooks, as well as in journals and monographs. They include ancient Chinese, Turkish and Thai sculptures, modern sculptures and a medieval fresco. These examples illustrate the chemical concept of chirality, the periodic table of the elements and molecular systems such as buckminsterfullerene, nanotubes and quasicrystals.

Evidence from language, history and form suggest an analogy between the cinema and the genome. The author describes some of the relationships between cinema and the genome and points to opportunities for discovering unmarked categories within the genome and new methods of representation. This is accomplished by evaluating existing metaphors presented for the understanding of genetics and revealing how current scientific understanding and social concerns suggest a cinematic alternative. The formal principles of function, difference and development mediate discussion and serve as heuristics for investigating creative opportunities.

The author introduces an outstanding master of graphic design and photography, Anton Stankowski, as a fractal artist. Stankowski saw his challenge as inventing a visual graphic language capable of depicting natural and technological processes and abstract notions in an aesthetic and comprehensible way. Many of Stankowski's works demonstrate fractal-like characteristics. Analysis of his theory of design provides convincing evidence that this is not accidental. Stankowski used these features consciously. He devised and applied a principle of organizing forms in pictures by means of two components, branching and regeneration, both of which are properties of self-similarity and the underlying bases of fractals.

The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces.