ready? are we ready for a count of? >> i think we are rea. we want all of you for joining us. i want to thank the participants once more because once we do the countdown, you may not be able to see them. thank you very much. we are going to start the countdown. are you ready to join us? >> 10 9 8 7 6 5 4 3 2 1 >> like the snowflakes -- light these netflix. >> here we go. [applause] >> happy holidays, everybody. -- light the snowflakes.

>> when there is this a children's theater, it is a good theater. it is a good theater, you would like it, even if it is for children. that is what i think. i feel like it is both a story for kids and for much older people. it is both about being a young child and letting a toy or a friend, and it is also about what it means to get old. ♪ >> in 1986, my son was two, and i decided i would like to go

over the story of the velveteen rabbit, mind you i had never read it myself as a child. i only heard it as a mother. my first-time hearing it was a bedtime story recording. it was through that that i found the theme and determined how it was going to produce this story. it was through listening to it. when a first mated, i really did watch my son, because i took him to live performances as soon as six months old. he loved it when someone was on the stage. he loved it when somebody was reading to him, the language. >> there was once a velveteen rabbit. >> usually when the bunny first comes out ago, ah, the rabbit. i think kids can relate to it.

and they built love nana. nana is the man at all figure in the show, and she represents stern love. the ferry is also played by the same person. -- the fairy is played by the same person. it is like the love you have for your first child. pure love. >> i think nature is a beautiful thing. all the wild rabbits come from nature. i like that. i think nature is mysterious, a beautiful, and not something our kids get very much these days. ♪ >> there is fantastical spectacle these days because of

computers and films. i feel that in a live performance, being pared down, you can be more successful you can ask everybody to buy into the world you're in. if it is a simple world, they will buy into it, as long as the world is consistent that you have onstage. in some ways, i also want that message for kids. the world does not have to be spectacle. the world can be about relationships, how you feel, and having fun and taking them seriously. and not about being blown away. >> what is real, asked the rabbit one day. >> it is a thing that happens to you when a child loves you for a long, long time. >> i think it is a success because, for the most part, if you are 3 or 7 years old, you sit in the sea, and the kids are

engaged. they laugh and ask questions but that is part of the success. i think the fact that we tour and do it here and still have audiences says it is a lasting. i really want to say that it is lasting is because of the story is a gentle story. if it was just ok, it would not have lasted this long. i have had people come up to me and say that was the first dance show i ever saw and that is why i am a choreographer today. i have had people come back after being in the shows and come back to see it when they're 20 and 23 years old. little kids and people in their 50s and 60s tell me how much they love it. and they come back more than once, year after year. ♪

>> the question when i started 11 years ago when i started doing resolution work is can anything be presented on a really low resolution device where it is potentially a digital image? can anything be presented that way? or will it feel cold and electronic? >> the imagery will change. there will be four different sets. it is a two dimensional image. it is stretched out into three dimensions.

the device is part of the experience. you cannot experience the image without the device as being part of what you are seeing. whereas with the tv you end up ignoring it. i make gallery work more self and budget and public art work where i have to drop this of indulgence and think about how people will respond. and one of the things i was interested in the work and also a little fearful of, it is not until you get to the first and second floor were the work is recognizable as an image. it is an exploration and perception is what it is. what are you seeing when you look at this image? one of the things that happens

with really low resolution images like this one is you never get the details, so it is always kind of pulling you in kind of thing. you can keep watching it. i think this work is kind of experience in a more analytical way. in other words, we look at an image and there is an alice going on. -- and there is an analysis going on. >> sanrio famous for the designs

for hello kitty. i thought i would try to make it as cute as possible. that way people might want to read the stories. then people might be open to learn about the deities and the culture. ♪ they reached out to make about five or six years ago because of the book published. they appreciated that my work was clearly driven from my research and investigation. after i contributed my artwork, the museum was really beside themselves. they really took to it. the museum reached out to me to see if i would be interested in my own space inside the museum. i tell them that would be a dream come true. it is the classical, beautiful

indian mythology through the lens of modern design and illustration and storytelling. they're all of these great sketch as i did for the maharajah exhibition. i get a lot of feedback on my artwork and books. they complement. they say how original the work is. i am the first person to say that this is so derived from all of this great artwork and storytelling of the past. the research i put into all of my books and work is a product of how we do things that a-- at pixar. sometimes you will see him depicted monkey-like or as superman. i wanted to honor his monkey coloring. i decided to paint him white

with a darker face. it is nice to breathe new life into it in a way that is reverent and honors the past but also lets them breathe and have fun. it is almost a european notion to bring these symbols and icons from southeast asia. they decorate their deities. it was a god they interacted with every day in a human way. the most important thing has been to create work that is appealing to me. i want to see vishnu to pick did in a modern way. it dawned on me by reinterpreting the deities in a way that is modern and reverent

to the history, i am building a bridge for young and old audiences to make friends with the culture and these icons to learn their stories. ♪ >> 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. ♪

>> i am the director of visual arts programming at intersection for the arts. intersection for the arts is based in san francisco and has always been an organization that looks at larger social political issues through the lens of practice, and we are here today at our exhibition of "chico and chang." the original inspiration was drawn from a restaurant chain in new york city. half of their menu is -- what

struck me was the graphic pictures and a man in a hat on a rig truck carrying take that time is containers and in the black sea to representation of a mexican guy wearing a sombrero and caring a somali horn. it struck me that these two large, very subversive complex cultures could be boiled down to such simple representations. chico and chang primarily looks at four topic areas. one of the man was is whose stories are being told and how. one of the artisans in the show has created an amazing body of work working with young adults calling themselves the dreamers. another piece of the exhibition talks about whose stories of exhibition are actually being told.

one artist created a magnificent sculpture that sits right in the center of the exhibition. >> these pieces are the physical manifestation of a narrative of a child in memory. an important family friend give us a dining table, very important, and we are excited about it. my little brother and i were 11, 14. we were realizing that they were kind of hand prints everywhere on the bottom where no one would really see, and it became this kind of a weakening of what child labor is. it was almost like an exercise to show a stranger that feeling we had at that moment. >> the second thing the exhibition covers is how the

allocation is defined, a great example on the theme, sculpture called mexicali culture. another bay area artist who has done residencies in china and also to what, mexico. where immigrant communities really helped define how businesses look of a business' sign age and interior decoration, her sculptural piece kind of mismatches the two communities together, creating this wonderful, fantastical future look at what the present is today. first topic is where we can see where the two communities are intersecting and where they start colliding. teresa fernandez did a sculptural installation, utilizing the ubiquitous blue, white, and read patterns of a rayon bag that many communities used to transport laundry and laundromats to buy groceries and

such. she created a little installation kind of mucking up the interior of a household, covering up as many objects that are familiar to the i and the fabric. fourth area of investigation that the exhibition looks at is the larger concerns of the asian and latin communities intersecting with popular cultur one best example -- when he's exemplified is what you see when you enter into the culture. >> this piece refers to restaurants in tijuana. when you are driving, to speak chinese and you read chinese characters. you see these signs. i was trying to play with the

idea of what you see and the direction you read. when you start mixing these different groups of people, different cultures, i like the idea. you can comment on somebody else's culture or someone else's understanding about culture. >> one of the hopes we have for visitors is that they go away taking a better understanding with the broadest and the breadth of issues impacting both the asian and latin communities here in california and how they spell out into the larger fabric of the communities we live and work in. >> welcome to culture wire. we will look at the latest and greatest public art project.

recently, the airport unveiled the new state of the art terminal. let's take a look. the new terminal service and american airlines and virgin america was designed by a world- renowned architecture's firm. originally built in 1954, the building underwent massive renovation to become the first registered terminal and one of the must modern and sustainable terminals and the united states. the public art program continues its 30-year legacy of integrating art into the airport environment with the addition of five new commissions that are as bold and dynamic as the new building.

>> this project was completed in record time, and we were able to integrate the artist's early enough in the process that they could work with the architect said that the work that is completed is the work that really helps complement and instill the space as opposed to being tucked away in a corner. >> be experience begins with the glass facades that was designed with over 120 laminated glass panels. it captures the experience of being under or over clouds when flying in a plane. depending on the distance or point of view, it can appear clear for more abstract and atmospheric. the subtle colors change gradually depending on the light and the time of day. >> i wanted to create an art work that looks over time as

well as working on in the first glance. the first time you come here, you may not see a. but you may be able to see one side over the other. it features a couple of suspended sculptures. each was created out of a series of flat plains run parallel to each other and constructed of steel tubing. >> it is made up of these strata. as the light starts to shift, there is a real sense that there is a dynamism. >> it gives the illusion that this cultures might be fragments of a larger, mysterious mass. >> the environmental artwork livens it with color, light, and the movement.

three large woven soldiers are suspended. these are activated by custom air flow program. >> i channeled air flow into each of these forms that makes it move ever so slightly. and it is beating like a heart. if-0 when as of the forces of nature moving around us every second. >> shadow patterns reflect the shapes of the hanging sculptures. the new terminal also features a children's play areas. both of the market the exploratory n.y. -- exploratorium. the offer travelers of all ages

a playful oasis. using high quality plywood, they created henches shaped like a bird wings that double as musical instruments. serving as a backdrop is a mural featuring images of local birds and san francisco's famous skyline. >> in the line between that is so natural, you can see birds and be in complete wilderness. i really like that about this. you could maybe get a little snapshot of what they are expecting. >> it is an interactive, keck sculpture that is interacted with by the visitor. >> they are a lot about and they fall down the belt.

it moves the belt up, and if you turn that faster, the butterflies fall in the move of words. >> the art reflect the commission's commitment to acquiring the best work from the bay area and beyond. in addition to the five new commissions, 20 artworks that were already in the airport collection were reinstalled. some of which were historically cited in the terminal. it includes major sculptures by the international artists. as a collection, these art works tell the story of the vibrant arts scene in the early 1960's through the mid-1980s's. the illustrate san francisco's cultural center and a place of innovation that is recognized and the love throughout the world. one of the highlights is a series of three left tapestries.

they are on view after being in storage for 20 years. these tapestries representing various gardens. from his years of living in san francisco. hydrangeas, chrysanthemums, and whilst dahlias in rich, deep shades as they make their way to the baggage area. they can access behind-the- scenes information and interviews with the artist through an audio to work. it features archival audio as well as interviews with living artists. he can be accessed on site by dialing the telephone numbers located near the artwork or by visiting the commission's web site.

the public art speaks volumes of san francisco as a world-class city with world-class art and culture. for more information, visit >> hi, my name is pete shoemaker and well toll energy center. i'm standing in front of a model of a home. this is one of the tools we use here to assess solar energy. five years ago i was in a position similar to that of many of you. i was a homeowner thinking about solar electricity for my home. i had to answer a bunch of questions. one, does this stuff work? would it work on my home and most importantly, can i afford it?

well, i did the research. i bought a system. now i get to share that knowledge and that experience with you. for the next 30 minutes, we'll have a class in solar basics and we'll go out in the field and see an actual solar system being installed. 30 minutes, solar basics, stay with me. >> let's talk about the technology, what is it and how does it work? there are three types of solar actually when you sauk about solar. i want to avoid the confusion to make sure we're focusing on the right one. two of them involve heating water and they're very viable technologies, can be very coast effective but we're not going to deal with them right now. one is solar pool heating. it pumps the water up there, heats it, runs it through there, the sun heats it and back into the pool. this one is called solar thermal or solar hot water. it