ed—reorganized or recoded—digital landscape. The final code of translation here is the binary computer code, which visualizes mathematical equations producing the fractal shapes which are the tools of Fontcuberta’s orogenetic software programs—the algorithms dictate surface folding that mimics mountain formation. Fractals are the visualization of equations involving chance combined with patterns which produce selfsimilarity regardless of scale, meaning that “the degree of their irregularity and/or fragmentation is identical at all scales” from the large to the infinitely small (Mandelbrot 1). Here, the language of the fractal is the conceptual-mathematical step between the painted and digital landscapes; it is a hidden level of remove, bringing the digital landscape even further from a four-dimensional origin. But there is more to the abstraction of fractals than just a computational tool, as illustrated in the following example. Artist Arlene Stamp produced a fractal image analogous to the fractal branching pattern of a tree simply by plotting out consecutive binary numbers on a grid, black squares for zero, white for one. As the structure of the binary code formed a fractal on its own, she “could see the inextricable link between pictures of fractals generated by computers and simple binary numbers, which underlie