women campaign. coca-cola's five by 20 campaign aims to post -- claims to support 5 million women entrepreneurs worldwide by 2020. just this week, walmart announced that it will use its purchasing power to support women entrepreneurs by doubling the amount of goods it will buy from women-owned businesses globally to $20 billion by 2016. [applause] in an addition, wal-mart will invest $100 million to help women develop their job skills, including women who work on their farms and factories overseas that are walmart suppliers. now, these programs are just the start of the type of permanent shift we need to see in how businesses worldwide invest in

women. now, i do not underestimate the difficulty of measuring in what i call the participation age. legal changes require political will. cultural and behavioral changes require social well. all of this requires leadership by governments, civil society, and the private sector. and even when countries pursue an aggressive structural reforms to get more women into their economy and enhance their productivity, they do not always produce the results that we would like to see. so we have to stay with this. persistence is part of our long- term plan. and while economic orders may be hard to change, and policy strategies -- no matter how good, can only get us so far, we all have to make a choice, not simply to remove barriers but to really fill this field with an active investment and involvement from all of us. those of you who are here today are leaders from across the >>

aye. >> region, and it is your choice to come here, it is your choice to focus on women and the economy that will send a message rippling across >> aye. >> -- rippling across apec. the callous decision that will be taken by leaders and citizens to encourage young girls to stay in school, to acquire skills, to talk to that banker, to understand what it means to give a loan to a woman who will work her heart out to produce a result for herself and her children. and when we do that, we're going to really make a big difference in helping to elevate the age of participation for women. and there are many other areas we have to be attended to. our medical research dollars need to be sure that we are equally investing in when men as men. our tax systems have to ensure

that we do not either deliberately or inadvertently discriminate against women. and women should be given the same opportunities to be productive and contributing members of society. but big and bold ideas, i think are called for in our world today, because a lot of what we are doing is not in achieving the outcomes that we are seeking. there is a stimulative and rebel affect that kicks in when women have greater access to jobs and the economic fortunes of their families, their communities, and their countries. many people say that there are all kinds of benefits that will flow from this, but i want to be somewhat modest in our goals. yes, i do think it will produce more food and more educational opportunity and more financial stability for more families around the world, and that will have a dividend across the full

spectrum of society. but our declaration will be meaningless if we do not put our will and effort behind it. i think this summit just might make the history books that people look back in years to come and say, that meeting in san francisco with all of those important people from across the asia-pacific region said something that had never been said before. they did not just as there that involving women was a good thing to do or the right thing to do. they put their heads together and came up with a declaration committing themselves to really tackle the obstacles, because it will benefit the people we all represent. and then we need to measure our progress to be sure that we are tracking what we care about. we obviously do that in our own lives, but it is important we do it across our countries and our regions. and i am sure that if we leave this summit and go back to our

governments and our businesses and focus on how we are going to improve employment, bring down national debts, create greater trade between us, tackling all of that, and always in the back up our mind keep in focus what more can we do to make sure women contribute to those results, we will see progress, and we will be in the lead and not only serving -- not only asserting what we think should be done, but in measuring and tracking how well we are doing. so i thank you for gathering here in san francisco, mindful that we're on a long journey together. i look out and i see friends from across the region, representing countries that have been so amazing in the progress that you have made in the last 50 years, even in the last 30 years. it will take time. it will take our concerted effort. but i am convinced that if we

come into pursuing the promise of this participation age and unleashing and harnessing the economic potential of women, we will see a new and better future. that is why i am honored to be here representing the people of the united states, bearing witness to what begins right here in san francisco, on september 16, 2011. this is the beginning of a very promising future for us all. thank you very much. [applause] >> thank you. [cheers and applause]

[applause] >> thank you, all. i think we're going right into the high level ministerial meeting. is that right, ambassador? and i have got two of my most esteemed colleagues here, the foreign minister from indonesia and the foreign minister from australia. and we're going to have a discussion about a lot of these issues and what we all can do. are we going to begin right away? ok, so we're going to have everybody on the panel come join us. we will welcome audience participation and involvement as well, because we want as many good ideas as we can get. just a minute. we will be right there. [applause]

>> i came out to san francisco about seven years ago. i was trained as a carpenter. i got sick of the cold weather and the hot weather. i wanted to pursue art. i thought i really be here for about three years. here i am, 7 years later. ♪ i have problems sleepwalking at night. i wanted to create a show about sleep. a mostly due painting kind of story telling. these are isolated subject matters, smaller studies for the larger paintings. i fell in love with it and

wanted to create more of them. it is all charcoal on mylar. it is plastic. i was experimenting and discovered the charcoal moves smoothly. it is like painting, building up layers of charcoal. it is very unforgiving. you have to be very precise with the mark-making. a mark dents the paper and leaves the material embedded. you have to go slowly. the drawings are really fragile. one wipe and they are gone completely. it is kind of like they're locked inside. all of the animals i am showing

are dead. i wanted them to be taking -- taken as though they are sleeping, eternal sleep. i like to exaggerate the features of the animals. it gives it more of a surreal element. it is a release subtle element. -- it is a really is subtle elements. the range of reactions people get is that normally they get what i am trying to achieve, the sense of calmness, it's really gentle state of mind -- a really gentle state of mind, i guess. ♪ >> what if you could make a memorial that is more about

information and you are never fixed and it can go wherever it wants to go? everyone who has donated to it could use it, host it, share it. >> for quite a great deal of team she was hired in 2005, she struggled with finding the correct and appropriate visual expression. >> it was a bench at one point. it was a darkened room at another point. but the theme always was a theme of how do we call people's attention to the issue of speci species extinction. >> many exhibits do make long detailed explanations about species decline and biology of birds and that is very useful for lots of purposes. but i think it is also important to try to pull at the strings inside people. >> missing is not just about specific extinct or endangered

species. it is about absence and a more fundamental level of not knowing what we are losing and we need to link species loss to habitat loss and really focuses much on the habitat. >> of course the overall mission of the academy has to do with two really fundamental and important questions. one of which is the nature of life. how did we get here? the second is the challenge of sustainability. if we are here how are we going to find a way to stay? these questions resonated very strongly with maya. >> on average a species disappears every 20 minutes. this is the only media work that i have done. i might never do another one because i'm not a media artist per se but i have used the medium because it seemed to be the one that could allow me to

convey the sounds and images here. memorials to me are different from artworks. they are artistic, but memorials have a function. >> it is a beautiful scupltural objective made with bronze and lined with red wood from water tanks in clear lake. that is the scupltural form that gives expression to maya's project. if you think about a cone or a bull horn, they are used to get the attention of the crowd, often to communicate an important message. this project has a very important message and it is about our earth and what we are losing and what we are missing and what we don't even know is gone. >> so, what is missing is starting with an idea of loss, but in a funny way the shape of

this cone is, whether you want to call it like the r.c.a. victor dog, it is listen to the earth and what if we could create a portal that could look at the past, the present and the future? >> you can change what is then missing by changing the software, by changing what is projected and missing. so, missing isn't a static installation. it is an installation that is going to grow and change over time. and she has worked to bring all of this information together from laboratory after laboratory including, fortunately, our great fwroup of researche e-- g researchers at the california academy. >> this couldn't have been more site specific to this place and we think just visually in terms of its scupltural form it really holds its own against the architectural largest and grandeur of the building. it is an unusual compelling object. we think it will draw people out

on the terrace, they will see the big cone and say what is that. then as they approach the cone tell hear these very unusual sounds that were obtained from the cornell orinthology lab. >> we have the largest recording of birds, mammals, frogs and insects and a huge library of videos. so this is an absolutely perfect opportunity for us to team up with a world renown, very creative inspirational artist and put the sounds and sights of the animals that we study into a brand-new context, a context that really allows people to appreciate an esthetic way of the idea that we might live in the world without these sounds or sites. >> in the scientific realm it is shifting baselines. we get used to less and less, diminished expectations of what it was.

>> when i came along lobsters six feet long and oysters 12 inches within they days all the oyster beds in new york, manhattan, the harbor would clean the water. so, just getting people to wake up to what was just literally there 200 years ago, 150 years ago. you see the object and say what is that. you come out and hear these intriguing sounds, sounds like i have never heard in my life. and then you step closer and you almost have a very intimate experience. >> we could link to different institutions around the globe, maybe one per continent, maybe two or three in this country, then once they are all networked, they begin to communicate with one another and share information. in 2010 the website will launch, but it will be what you would call an informational website and then we are going to try to, by 2011, invite people to add a memory.

so in a funny way the member rely grows and there is something organic about how this memorial begins to have legs so to speak. so we don't know quite where it will go but i promise to keep on it 10 years. my goal is to raise awareness and then either protect forests from being cut down or reforest in ways that promote biodiversity. >> biodiverse city often argued to be important for the world's human populations because all of the medicinal plants and uses that we can put to it and fiber that it gives us and food that it gives us. while these are vital and important and worth literally hundreds of billions of dollars, the part that we also have to be able to communicate is the more spiritual sense of how important it is that we get to live side by side with all of these forms that have three billion years of

history behind them and how tragic it would be not commercially and not in a utilitarian way but an emotio l emotional, psychological, spiritual way if we watch them one by one disappear. >> this is sort of a merger between art and science and advocacy in a funny way getting people to wake unand realize what is going on -- wake up and realize what is going on. so it is a memborial trying to get us to interpret history and look to the past. they have always been about lacking at the past so we proceed forward and maybe don't commit the same mistakes. >> here we are at the

embarcadero. we are standing at one of locations for the street artists. can you tell me about this particular location, the program? >> this location is very significant. this was the very first and only location granted by the board of supervisors for the street artist when the program began in 1972. how does a person become a street artist? there are two major tenants. you must make the work yourself and you must sell the work yourself. a street artist, the license, then submitting the work to a committee of artists. this committee actually watches them make the work in front of them so that we can verify that it is all their own work. >> what happened during the holiday to make this an

exciting location? >> this would be a magic time of year. you would probably see this place is jammed with street artists. as the no, there is a lottery held at 6 in the morning. that is how sought after the spaces are. you might get as many as 150 street artists to show up for 50 spaces. >> what other areas can a licensed street artist go to? >> they can go to the fisherman's wharf area. they can go in and around union square. we have space is now up in the castro, in fact. >> how many are there? >> we have about 420. >> are they here all year round? >> out of the 420, i know 150 to sell all year round. i mean like five-seven days a week. >> are they making their living

of of this? >> this is their sole source of income for many. >> how long have you been with this program. how much has it changed? >> i have been with the program since it began 37 and a half years ago but i have seen changes in the trend. fashion comes and goes. >> i think that you can still find plenty of titis perhaps. >> this is because the 60's is retro for a lot of people. i have seen that come back, yes. >> people still think of this city as the birth of that movement. great, thank you for talking about the background of the program. i'm excited to go shopping.

>> i would like you to meet two street artists. this is linda and jeremy. >> night said to me to print them -- nice to meet you. >> can you talk to me about a variety of products that use cell? >> we have these lovely constructed platters. we make these wonderful powder bowls. they can have a lot of color. >> york also using your license. -- you are also using your license. >> this means that i can register with the city. this makes sure that our family participated in making all of these. >> this comes by licensed

artists. the person selling it is the person that made it. there is nothing better than the people that made it. >> i would like you to meet michael johnson. he has been in the program for over 8 years. >> nice to me you. what inspired your photography? >> i am inspired everything that i see. the greatest thing about being a photographer is being able to show other people what i see. i have mostly worked in cuba and work that i shot here in san francisco. >> what is it about being a street artist that you particularly like? >> i liked it to the first day

that i did it. i like talking to mentum people. talking about art or anything that comes to our minds. there is more visibility than i would see in any store front. this would cost us relatively very little. >> i am so happy to meet you. i wish you all of the best. >> you are the wonderful artist that makes these color coding. >> nice to me to. >> i have been a street artist since 1976. >> how did you decide to be a street artist? >> i was working on union square. on lunch hours, i would be there visiting the artist. it was interesting, exciting, and i have a creative streak in me.

it ranges from t-shirts, jackets, hats. what is the day of the life of a street artist? >> they have their 2536 in the morning. by the end of the day, the last people to pack the vehicle probably get on their own at 7:30 at night. >> nice to me to condemn the -- nice to meet you. >> it was a pleasure to share this with you. i hope that the bay area will descend upon the plaza and go through these arts and crafts and by some holiday gifts. >> that would be amazing. thank you so much for the hard work that you do.

[applause] >> good evening. welcome to the meeting of the commonwealth club and forum, connect your intellect. you can find us online. you can follow the best of our conversations on twitter. i am the author of the "this is your brain on music. " i am a professor of psychology and behavioral neuroscience.

i am delighted to introduce you to my friend, one of my famous -- favorite guitarists and musicians. he discovered the guitar at a young age. he has played at notable vilnius such as the -- notable venues such as montrose and carnegie hall. >> i would like to start by saying that in the last 15 or 20 years of my research, one thing i found most surprising as a musician myself in exploring music and the brain is how -- discovering where it is that music is. i always imagined as a player that the music was in my fingers. now i know is in the brain. it is a neuro-representation of

the figures. music is in every part of the brain that we have mapped. there is no part of the brain that does not have something to do with music. i found that very surprising. i wondered if you find that surprising as a player and what your own intuitions were coming into it. >> i think my intuition is that music is something that gets received in some sense or another, like radio, like something you pick up. it is a vibration. when i have written my own music for the guitar, a lot of times it is the result of having experienced something and having to absorb it like you might absorb a vibration or light our experience something rhythmic like walking downe