how are you feeling? >> i feel good. i spent the $20 and have a few pennies less. i am going to go home and cook. i will text message u.n. is done. >> excellent and really looking forward to it. >> today we're going to make the san francisco classic dish invented by italian and portuguese fishermen. it'll be like a nice spaghetti sauce. then we will put in the fish soup. the last thing is the dungeon as crab, let it all blend together. it will be delicious. when i could, i will try to make healthy meals with fresh ingredients, whatever is in season and local. those juicy, fresh tomatoes will take about an hour to cook down into a nice sauce. this is a good time to make our fish stock. we will take a step that seems like trash and boil it up in water and make a delicious and they speed up my parents were great clerics, and we had

wonderful food. family dinners are very important. any chance you can sit down together and have a meal together, it is great communal atmosphere. one of the things i like the most is the opportunity to be creative. hello. anybody with sets their mind to it can cut. always nice to start chopping some vegetables and x and the delicious. all this double in view is this broth with great flavor. but your heart into it. make something that you, family, and friends will really enjoy. >> i am here with a manager at the heart of the city farmer's market in san francisco. thank you for joining us. tell us a little bit about the organization. >> we're 30 years old now. we started with 14 farmers, and it has grown out to over 80. >> what is the mission of the organization? >> this area has no grocery store spiller it is all mom-and-

pop stores. we have this because it is needed. we knew it was needed. and the plaza needed somebody. it was empty. beautiful with city hall in the background. >> thank you for speaking with us. are you on the web? >> yes, hocfarmersmarket.org. >> check them out. thank you. >> welcome. the dish is ready. >> it looks and smells amazing. >> thank you. it was not easy to meet the $20 budget. i checked everybody out and found some great produce. really lovely seafood. i think that you are going to love it. >> do not be shy. cyou know this can run you $35 to $45 for a bowl, so it is great you did this for $20. >> this will feed four to six

people. >> not if you invite me over for dinner. i am ready to dig in. >> i hope you'll love it. >> mmm. >> what do you think? >> i think i am going to need more. perhaps you can have all you want. >> i am produce the that you have crushed this farmer's market challenge by a landslide. the first, we're going to have to tally of your shopping list and see what you actually spend that the farmer's market. >> and go for it. >> incredible. you have shown us how to make super healthy, refresh chapino from the farmers market on the budget, that for the whole family. that is outstanding. >> thank you peter i am glad that you like it. i think anybody can do it. >> if you like the recipe for

this dish, you can e-mail us at sfgtv@sfgov.org or reach out to us on facebook or twitter and we >> 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 [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 down the street. >> a lot of composers say they feel like they are not really creating the music. they're channeling it. roseanne cash talks about holding up her catcher's mitt and catching one as it goes by. someone else talks about how the music is everywhere for anyone to take, that you just have to tune into it. >> driving down here today, there was a rough patch of road because there was construction. you are feeling the road. it makes you aware that no matter where you are or what you are doing, you could be some ki, and you hear something may be rise out of that rhythm. for me, personally, a lot of times the idea for writing a piece of music or making arrangement comes from some sort

of rhythm. a lot of people would say, do you get the melody first or the rhythm? i always say i get the rhythm first and the melody comes out of it. >> could you play us an example of may be something where the rhythm came first? and maybe just play the rhythm. >> i will try. this is a piece called "cumulus rising." this is from a piece that i did in 1998, on the theme of water. this is sort of the theme of water rising through a team less clout. it does not have to be, but that is the sensation that gave me the idea. -- cumulus cloud. >> if you could play the rhythm

first. >> i will tap it. [tapping] pretty simple. then i will play a little bit of it. ♪

>> i will leave it there. [applause] >> one of the things that people often ask is what is happening in our brains when we hear a piece of music. it is extraordinarily complicated. a sound enters the years and there is a cascade of their rick complicated processes that turn the changes in air pressure to an electrical signal which gets transmitted from the year to the brain. once it hits the brain, it gets even more complicated. it turns out there are distinct regions of the brain that

process different aspects of the sound. one part of the brain, you can think of it as a special purpose circuit, attending to and processing their read them. then there is a separate part processing the pitch, a separate part combining the pitches and duration into melodies, a part separate from that attending to how loud or soft it is, and it all comes together later and get this seamless impression of this beautiful melody and harmony, yet, it is processed piecemeal. one of the sources of information of this is we have patients who are damaged in one focal portion of the brain and they lose one of those elements while retaining the others. they may lose rhythm or they will have to pitch and harmony. >> is it processed in real time? simultaneously?

>> yes, but quickly. when i say later, later in brain time means maybe 1/30 of a second later. any second, it can be disrupted , and you to organic brain injury or trauma, it can be disrupted. it is remarkable. the player, at some level, perhaps unconsciously, are having to think about the elements unconsciously. >> i teach a lot of workshops and a lot of people come to play our master classes, they come with their own performance, arrangement. they are looking for feedback. one of the things that i always say, because, as a musician, we try to get everything at once. all of the elements. we tried to simultaneously get the rhythm, melody, the

subtleties, dynamics, accent, all those things that make music interesting. but a lot of times, it is good practice to tear them apart. solo guitar playing, for example, polyphonic music, you have a melody and a baseline, maybe an accompaniment, 3rd voice or harmonic accompaniment. i always suggest people to tear them apart, work on the melody, just work on the base, rhythm, accompaniment. that provides an important process to understanding how these elements have to happen simultaneously. >> when you are writing, as a fan of yours, for decades now -- i think your first record came out in the 1970's.

>> 1978. >> that is right. as a fan, one of the things that struck me is you did not sound like anyone else i had heard, and you still do not. when i listen to any other guitarist,, composer, you can hear their influence, who they took this idea or technique from. your music just sounds fresh and novel. i wonder if you might be willing to disclose to us some of your influences and how they gave rise to your compositional playing style, and maybe demonstrate them. >> i like to joke, i did not learn how to play anything else really well, so i had to come up with my own. it is true, i found this out later when i was teaching. can you show me that solo to

that song? do you know how it goes? i am useless at that. i am not very good at cataloging other people's music. i certainly had my influence is growing up. i started playing the guitar when i was 12th. i was a big fan of the pope, blue, british isles scene, mississippi john hurt me, sonny terry brown mcgee, i played some blues harmonica. >> did you learn that open tuning style, slide style? >> i have not picked up a slide in a long time, so i do not want to embarrass myself, but yes. it was a lot of folk music, blues and early on. i fell in love with the sound of the steel string guitar.

there are a lot of idiomatic thing that it does well. i studied classic guitar a bit, but the steel string, for example, we do something called a hammer on and pull off, which is -- >> you get three note for the price of one. >> you plug the string but you get four notes. i always think of that town at the the prototypical steel string guitar sound. british isles, a caltech music. i learned all the paul simon songs. as i got older -- >> he is a hell of a guitarist. people do not realize. he is not flashy, but if you try to learn his tunes, they are really hard. >> he is a brilliant guitar player.

i eventually got interested in jazz, world music, everything. maybe that is one of the reasons. i enjoyed so many kinds of music, i did not have a preference. i did not want to be anything in particular. i just wanted to play guitar and get that sound that i was hearing in my head. >> is there a particular song of yours that you can trace back to and influence, sound that you were trying to get that you heard somebody else use and you wanted to use it? >> i will play you a few bars from a piece that i wrote in the 1970's, very much influenced by the british isles style. this one is called "inverness."

♪ >> i am cutting it short, but, to me, that is the quintessential british isles style. >> although, in your hand, it is more harmonically complex. >> it could be. >> one of the things i was trying to do -- i became a big fan of keith jarrett when i was young. i thought, wow, if i can do something like that with a guitar -- and i remember, i was a student at uc-berkeley, considering going to graduate school in economic geography and working as an intern coming here at the san francisco planning department. i was also a record in my first

album. i wrote this piece called " turning, turning back." it began the recording but it also began a new direction for me. they say every musician that starts recording for writing, arranging music, they have to find their own voice. i think i may be found my own voice in that one. >> are you going to play some of it? ♪ >> just playing an excerpt from the middle, -- time part.

-- double-time part. the main theme -- ♪ [applause] >> that is the main theme. >> often, when i listen to guitar players, because i'm a guitarist myself, i'm trying to figure out what they are doing and how they do it. i cannot do that when i listen to you. the music for " washes over me. for me, it is so immediately engaging and hypnotize him. to be fair, the other part of it

is, in 1000 years, i could never do that. there is a technical component to would you do, and i am reminded, one of your albums was reviewed by "coo guitar plar magazine." i am prepared praising he said something to the effect of, listening to alex thrusts fellow pickers to the brink of decision. do i give up everything else in my life and practice like a madman or throw my guitar down the chasm? >> that became a staple in my press packed with back then. today, to be honest, there are a lot of talented young players out there. the whole scene has developed so much, the technique has really much, the technique has really moved forward a lot.