I just wanted to point out the great crowds in downtown Salt Lake City lately:

This was the scene outside the Capital Theater on 200 South last week. It's been great to have crowds roaming the downtown streets for "Wicked" -- we hope it keeps up after the production leaves town. (A thriving downtown will ultimately make for a healthy Leonardo!)

If you haven't made it to Utah County yet for the BYU Museum of Art Dan Steinhilber exhibition, make it a priority before it closes on June 6! This excellent contemporary art display has a great use of everyday materials "to examine the wonder that can be found all around us," as the BYU MOA website points out.

And it is wondrous: dry cleaning hangers naturally twist in elegant spirals from the ceiling to unintentionally mimic a double helix, a bulk of inflated trash bags assault gallery circulation space and a heat lamp warms and lights the air below it.

Contemporary art curator Jeff Lambson ran across Steinhilber's work when Lambson was with the Hirshhorn Museum (part of the Smithsonian group) in Washington, D.C. The two worked together (along with a small army of assistants) to create the undulating "Untitled (2003/2008): Duck sauce" and "Untitled (2003/2008): Laytex balloons" -- unique pieces made of decidedly non-natural materials that still echo organic forms. The balloon piece began fully inflated, but had already shrunk and tightened a few weeks into the exhibition. Part of the sculpture's wonder is its life cycle -- what will it become as the balloons naturally deflate through the course of the exhibition?

Steinhilber's ingenuity appeals to our DIY side, too. Jeff Lambson explained recently that "Untitled (2008): Trash bags and greenhouse plastic" arrived folded into Steinhilber's suitcase, rather than via a costly gallery shipping service!

Amy Caron's "Waves of Mu" is a great example of what The Leonardo loves -- Caron perfectly translated the science of mirror neurons to a theater performance and art installation at her show here in Salt Lake City a couple of weeks ago.

The show is named for the EEG oscillations that reflect mirror neuron activity, but that doesn't even begin to cover a description. Participants hand over their shoes and crowd together in a small ante room, swilling champagne and chatting before moving into a brain room -- the thalamus is a 1960s-era secretary, enormous chandeliers represent the prefrontal cortex, and snarling, sculpted cats (jaguars? imaginary creations?) are the amygdalas. On my walk through, the thalamus frantically asked me to get the amygdala a gentle pet because a "wave of fear is coming on."

After passing through the brain room, visitors step into a "laboratory" for the rest of the performance. I've likely already given too much away, but it's safe to say that everything -- the projections, the football game, the neuroscientist's lecture, and the outburst -- tie back to the idea that mirror neurons allow us to relate to each other.

Caron uses art and performance to translate complex neuroscientific points for those of us not, ahem, fluent in that language. If you missed Caron's show this time around, you can catch her in Seattle this fall.

"InterPlay: AnARTomy" features two dancers, poetry, a host of sketch artists, and digital animators, and requires nearly a dozen computer systems to compile live video feeds from four other universities. The video feed of the sketchers and performers in other locations --Indianapolis, Indiana; Fairbanks, Alaska; Long Island, New York; and Cardiff, Wales -- are projected and "mixed" on a large screen behind the dancers. InterPlay is the work of Jimmy and Beth Miklavcic.




During the year-long development process, the Miklavcics meet with participants via open-source video conferencing software. Then, the "telematic" performance is woven into a multi-leveled, live performance and cinematic work that incorporates feeds from artists, musicians and technicians at Indiana University-Purdue University Indianpolis (IUPUI),University of Alaska-Fairbanks, Long Island University in New York, and Cardiff University in Wales (full bios of the cast and crew can be found here). The performance is designed specifically for viewing at the University of Utah Intermountain Network and Scientific Computation Center (INSCC), giving Utah audiences the best seats in the country.


An operator during the performance arranges the screens dependent on what the dancers, animators and artists are doing. Digital MC Jimmy Miklavcic manipulates the relationships between the various performances by combining the video streams into the center digital mix of the display -- all to create a dynamic, collaborative performance. "This thing is so intertwined that calling it art and technology isn't correct because they're so symbiotic in a way," Beth and Jimmy Miklavcic tell us.




Beth and Jimmy will be giving a presentation about their previous InterPlay project -- Nel Tempo Di Sogno (2007) -- Thursday, April 16, at 1 p.m. at the University of Utah's Center for High Performance Computing. They'll talk about the scene-by-scene tech requirements to pull off an InterPlay performance.