very fleeting. the other thing, musicians who played the guitar, something with your fingers, they feel as if they are remembering in their fingers. oftentimes, you play a passage and you cannot think your way through it. your fingers have to play the way through it. muscle memory. from a scientific standpoint, if i were to scoop your brain out of your head, your fingers would not remember, but there is a motor cortex that remembers the sequence. there is a whole field that studies the sequence, how one movement is remembered in a succession of a sequence. >> the process of creating, trying to start creating music is not that different for me that it is remembering music. it is revoking some kind of image or movement. -- evoking some kind of image or

movement. >> can i ask, i am a musician, do you have any advice -- often have trouble losing -- moving away from my everyday and getting into music. do you have any recommendations on how to speed up that context switching? >> i am assuming that as a professional musician, he doesn't have to do with complicated problems. >> you would not want me doing that. believe me. >> still, you have the context switch of being creative, non creative. >> that is true. sometimes you need something to wipe the slate clean. it could be taking a walk. these days, disconnecting. i have a studio.

when i go there, is a place to work, i did not need to take my cell phone out there. having a physical location you can go to -- this is where i do this -- even just a quarter of your room. >> from a cognitive neuroscience standpoint, if you dedicate a place, if you are religious about it -- or clock 30 i am going to spend an hour -- 4:30 i'm going to spend an hour here or there. that contextual aspect helps. inform is now wrapping up all of our events by asking our speakers, ourselves included, the following question. alex, what is your 60-second the idea to change the world?

>> i think everybody should listen to music from other cultures. even daniel has said that, you know, we need to have that in printing when we are young to understand balinese monkey chants or something to put it into context. i travel a lot. i just came back from asia. i was given a lot of career in music, a lot of ethnic music -- a lot of korean music. even though you may not have a cultural context, if you give it a little bit of a chance, it is an opportunity to open up your mind a little bit. when you do that, it may on sub -- some subconscious level give you a better understanding of why people are the way they are in different parts of the world and who they are. i think we should all be listening to each other's music and all try to play a little bit of music or sing.

i think it is -- yeah. 60 seconds there? [applause] >> and you, daniel, what is your 60-second idea? >> as an educator and teacher, i think my 60-second idea to change the world is better education. if we could teach the next generation of kids to be critical thinkers, just not accept what they are told but to decide for themselves, to give them the tools to make informed decisions about what is right and what is not, about what has been established and what is just here say, what really has a grounding in fact versus rumor, i think the world would be a much safer, more peaceful, and more prosperous place. [applause] >> let's get a big, final round of applause for this nice,

informed foray into neuroscience and music with myself, daniel levinson, and the great guitarist and composer, alex degrassi. now, this meeting of in forum and the commonwealth club is adjourned. [applause] >> i'm your host of "culturewire," and today, here

at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store.

in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that

work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare.

>> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging

artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but

they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only

one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print

shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful

things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team. "culturewire" team. impossible. announcer: when you open a book, you can explore new lands... [bird screeches] meet new friends, and discover new adventures. there are amazing possibilities when you open your mind to reading. [roar] you can log onto he library of congress website

and let the journey begin. i would like to start with an opening prayer. please stand if you are able. remove your hats. creator grandfather, we come this day and we are humble two- leggeds. we give thanks to you on this wonderful day. give thanks to be able to gather and honor our own, remember our veterans, those that have passed on, those that are still serving abroad, our men and women in uniform.

a moment of silence for corporal ware, my cousin. we know that no war is a good war. as native people, we have always supported our troops, creator. we know that to be true. bring them home safely and we pray for their families. their loved ones. we pray for everyone here in attendance, safe travel. we asked for blessings upon the food, the hand that created the food which we are about to partake. remember our young ones, our young ones not yet born.

we give thanks and praise to their families. we remember our four-legged, the fish. we remember our elders, our young ones this day, and i believe we say these things in your name. [singing]

thank you. >> once again, thank you for coming up to the seventh annual american indian heritage celebration at city hall. this event is hosted by native american aids project, a french ship house association of native americans, neighborhood office of services, san francisco native american health center, east bay native american health center, it indian health center of santa clarita valley, and kqed. at this time, i would like to introduce the president of kqed, john boland. [applause] >> thank you. kqed is pleased to join with the wonderful organization that are all just listed in sponsoring

tonight's celebration of american indian heritage month. as you know, kqed celebrates throughout the year all of the heritage months that we mark, here in the united states, but since i am the great grandson of thomas patton, a member of the law bay tribe in new jersey and pennsylvania, which is where i grew up, american heritage in the amount is particularly special to me and i am happy to be with you tonight. as part of kqed's celebration during the month of november, we sponsor the american indian film festival, and we have also scheduled over 60 television programs about the native american community and of special interest to the community. these programs you can find out about, listings on kqed.org/heritage. there are three programs that i

wanted to mention that are coming up quickly. the first is "we still live here." that is airing tonight at 11:00 on kqed +, channel 54 or 10 on comcast. it is the story of the wamp and not nation of southeastern massachusetts and how they ensure the survival of the pilgrims and lived to regret it. this tells the story of their language. the first time that a language that has had no native speakers for generations has been revived in this country. the bill is part of the pbs series "independent lens.' the second program i wanted to mention is the journey of sacajawea. this program looks at the woman

who is behind the icon, and shows how cultures and events that have shaped her. the special goes beyond the sparse comments found an expedition journals and goes into the rich oral history of the laney shawnee, and others. it includes dramatic reenactments and seeds of wild areas of montana, north dakota, wyoming, and oregon, that the youthful sacajawea new. the last program is "gallery, the national museum of native americans." this charts the unveiling of the first smithsonian museum exclusively devoted to american indians. the grand unveiling on the national mall coincided with a six-day outdoor first american festival and native nations

festival and the colorful opening day ceremony that is captured in the film began with a native nation's recession, which was the largest gathering of native people in modern history. both gallery and a journey of sacajawea will be airing on sunday, november 20. i know we want to get to our heroes, and i want to congratulate all the heroes while i am up here. thank you for being here and thank you for giving kqed an opportunity to co-sponsor the event. [applause] >> how many native americans and do we have out there, by a show of hands? how about a big round of applause for yourselves. [applause] good to see all of you. pow wow on sunday, independence

high school. we better see you there, singing and dancing. a whole lot of fun. indian tacos. be ready. i am looking for mark. is the mayor close by? once again, all of you native americans, go ahead and raise your hand. you have all been drafted. [laughter] i have not seen this many native americans in one place since we were out at ifh, picking up our settlement checks. you did not get yours? [laughter] president obama said they are in the mail. all right. we're going to go right into

this next introduction of our dancers. are our dancers ready? get ready for our dancers. just one minute. let's go over to our napsters. how about an intertribal? make them dance.

you are listening to one of our intertribals. depending on which the tribe, which area of the indian country you are from, a lot of these songs, we were not able to sing these songs publicly. we were not able to dance. when that happens, when we cannot speak our language, sing our song or dance our style of dance, we lose a little bit of ourselves, our indian identity. a lot of these dances and songs were ceremonial, prior to powwows.

they are religious in content. the words that were being some. the style of dance or ceremonial and religious over the years, the federal government' sent the u.s. cavalry out to stop the singing, dancing. this forced a lot of our tribal members that loved to sing and dance, to go underground. to share these songs, style of dance with their young ones underground. in oklahoma, the kiowa tribe did not have a reservation. there are one of those land less

tribes, but we were a lot of 160 acres per family. we would go out and sing, dance. we would set up patrols, guardians, to make sure that non-indians would not come out and make us stop, arrest us, so this is just part of who we are. when you see these dancers, years of dance styles combined, because of our ancestors who said they wanted to remember for their young ones to be able to sing and dance.

once again, calling our dancers, or rocaurora, we are ready to g. maybe not. how about our veterans? many veterans out there? stand up. [applause] calling all of our veterans forward. come on up, right in front. veterans, lineup, just like you are going to the chow hall. we are going to honor our veterans at ts