The team that was assembled
to create the original exhibition at the Exploratorium drew on a variety
of people with different perspectives. Artists, staff scientists and museum
professionals worked closely to produce a show that would combine these
different views into one cohesive show. What follows are statements from
key members of the development team:
Jim
Crutchfield
, a visiting physicist;
Kathy McLean
, the director
of the Exploratorium's Center for Public Exhibition;
Peter Richards
,
Curator; and
Melissa Alexander
, Project Manager.
Kathy McLean
"In addition to combining the best of Exploratorium
practice--thoughtful prototyping of each exhibit over long periods of time--we
also experimented with a variety of ways to communicate through environment
and exhibit design, graphics, minimal text, and an audio tour. We tried
a new exhibition development process, with artists, designers, writers,
and planners all working together in a spirit of consensus. And we evaluated
the exhibition during its six months at the Exploratorium, refining and
changing it for this traveling version. Please let us know how your visitors
respond to it."
-Kathy McLean, Director, Exploratorium's
Center for Public Exhibition
Jim Crutchfield
"Turbulent Landscapes celebrates a new view
of nature-a view that, when coupled with recent scientific innovations,
allows us to understand much of nature's inherent complication. We now
ask, How do simple systems produce unpredictable behavior? And, in a complementary
way, How is it that large complicated systems generate order? Most importantly,
we are learning how to answer these questions. It appears that much of
what is intricate and highly structured in nature arises from a delicate
interplay of order and chaos. All of the exhibits illustrate this, not
only in how patterns emerge, but also in our perception of those patterns."
-Jim Crutchfield, research physicist
at University of California Berkeley, and a Research Professor at the Santa
Fe Institute. He was a project advisor and visiting scholar supported by
the Bernard Osher Foundation during this development of the exhibition.
Peter
Richards
"A group of artists working at the Exploratorium
have recently completed a body of work that examines those systems in nature
that are inherently self organizing. At a time when scientists finally
have large enough computers to study these complex systems, these artists,
working here with simple materials, have created works that model these
same systems in ways that not only capture the physical essence of this
phenomenae, but also their essential beauty. Be it the filagree of an a-cellular
slime mold, the sensual flow of water over eroding terrain, or the organic
nature of a video feedback system, it is the beauty of these phenomenae
that lead to questions and deeper observations; observations that have
led to significant learning experiences for those working in this field,
for ourselves and for our visitors.
Historically, artists have always
played an important role in Exploratorium's creative laboratories. Each
artist who works here brings an individual perspective; a viewpoint, when
considered in the context of the Exploratorium, often lends to the discovery
of fresh and creative ways of looking at familiar subjects. The artistic
and scientific research that goes on here is based upon the underlying
conviction that art and science are closely related and that exciting new
insights and discoveries can come from this integration. Through its formally
organized Artists in Residence Program, the Exploratorium has offered residencies
to three to four artists annually for more than twenty years; collaborative
relationships that have resulted in the creation of many of our more popular
and provocative works.
Turbulent Landscapes in many
ways can be thought of as the culmination of this programs work over the
years. It was the creative climate of a place dedicated to unrestricted
exploration that provided a base for staff and for the artists working
here, to create an unpresidented collection of exhibits and artworks. Ned
Kahn, whose work is featured prominently in this exhibition, was given
the luxury of following his own interests for over 10 years - time that
has resulted in an incredible body of work - one that is largely represented
in the Turbulent Landscapes exhibition. Juanita Miller, on the other hand,
is a young artist, just a year or two out of school, who had been working
in our shops as an apprentice. Intrigued with Per Bak's thinking about
self organized criticality, she proposed and then created a disarmingly
simple piece that explores the behavior of a continually regenerating pile
of seeds. The form that the seeds assume (its angle of repose); the dynamics
of the continual erosion and its re-building provided much for the mind
to ponder from a physical and metaphorical standpoint. Her observations
along with Ned's, and the other artists in the show have contributed to
a legacy; one left by the scores of artists who have worked here since
the museum opened almost thirty years ago."
-Peter Richards, Curator Turbulent
Landscapes
Melissa
Alexander
"The unpredictable and the predetermined
unfold together to make everything the way it is. It's how nature creates
itself on every scale, the snowflake and the snowstorm. It makes me so
happy. To be at the beginning again, knowing almost nothing. People were
talking about the end of physics. Relativity and quantum looked as if they
were going to clean out the whole problem between them. A theory of everything.
But they only explained the very big and the very small. The universe,
the elementary particles. The ordinary sized stuff which is our lives,
the things people write poetry about -clouds-daffodils-waterfalls-and what
happens in a cup of coffee when the cream goes in-these things are full
of mystery, as mysterious as the heavens were to the Greeks. We're better
at predicting events at the edge of the galaxy or inside the nucleus of
an atom than whether it'll rain on auntie's garden party three Sunday's
from now. Because the problem turns out to be different. We can't even
predict the next drip from a dripping tap when it gets irregular. Each
drip sets up conditions for the next, the smallest variation blows prediction
apart, and the weather will always be unpredictable."
-from Arcadia by Tom Stoppard
I think this quotation from
Tom Stoppard's play Arcadia sums up the vision of the artists presented
in this show and the dialogue between the artists and scientists that accompanies
the exhibition in the audio tour. The character speaks of the "ordinary
stuff that surrounds us." These are the things that we see every day.
We may tend to take this ordinary stuff for granted: There is a cloud,
that is a tree, the traffic is unusually bad today. They are just everyday
objects and events that we bump into, notice casually, or brush off as
we concern ourselves with the larger issues of working and living.
Yet, at the same time we do
process these things, and when we can't see the pattern, we see chaos.
But in the practice of science, technology is changing our vision. Because
of computers and new forms of scientific visualization, we are now beginning
to see and describe rhythms and patterns and order in places where before
we could perceive only chaos or disorder.
Scientists are beginning to
see an underlying order as they peer into the center of turbulence in a
cloud, or even as they examine such prosaic things as the flow of traffic
or groceries in and out of a community. They are beginning to describe
natural forces in different ways. Some call this phenomenon self-organization,
some call it non-linear dynamics, or complexity. Some scientists say it's
nothing special, nothing new. Others say that we are on the verge of a
new understanding of the universe.
The artists who are presented
in this exhibition have made the illumination of these same patterns and
forces of nature their life's work. That is what this exhibition is really
about-presenting an opportunity for people to consciously and deliberately
notice and enjoy the patterns formed by the ordinary stuff that surrounds
us.
We deliberately left out the
complicated technologies from this exhibition wherever possible, but what
is going on in the sciences is as extraordinary as the forces presented
by these artworks. So we designed the audio tour that accompanies this
exhibition as a way to give visitors a taste of those scientific explorations.
Nature is not a static thing;
it is always in motion. So are the processes of science and art. It is
stunning to me that scientists are developing a language and understanding
of these processes that is so different from how we have described nature
in the past. It is an honor to bring you their ideas, together with the
artworks in this exhibition.
We hope this show provides an
environment, a setting that encourages your visitors to stop and contemplate
some ordinary stuff-slime molds growing across logs, water drops and reflections,
or the simple patterns and forces of magnetism-because when you look at
them closely, they are mysterious and extraordinary.