and so on. people doing this extremely well, for example, would be netflix. many of you in this room i'm sure use the netflix. what they did is dynamically throw what is this is as more and more people click on movies that they want to watch. so then what they are doing is as the need scales, they then have the ability -- they pay them, and, of course, it drops off as soon as the need drops off as well. so they end up essentially paying for average demand. the technology is widely deployed around the world. >> as kind of a follow-up, individuals often use cloud services for backing up their computers. are we about to see people using their computers to back up their clout services to guarantee that they hold on to their data? >> you are at the tip of a very interesting iceberg.

go 100,000 miles in space and look down at the earth. we are still driving more wavelength down. there is no problem distributing content out to users. what we have a fundamental problem with is distribution of power. power is dominating in terms of distribution networks q one of the reasons why it does not make sense is because you are at the end of the tree, a long way from distribution, a lot of transmission loss. the data centers move to where power gets generated. what is the next hardest thing to move? big data. did it is still really hard to move, even though we have lots of wavelets. that says that the application moves to the data is. if you think about facebook and google and all those folks, they build data center's right were the power is generated. typically near hydro plants and so on. what you find is that more and more applications will move to where the data is. moving those big chunks of data is very difficult.

in terms of enterprises in the cloud, there is certainly no reason to suspect that the systems used by cloud vendors like amazon are not capable of geographic replication and redundancy. it is absolutely the case that someone like netflix, for example, could survive an outage of two simultaneous amazon did a centers through geographic redundancy and so on. this stuff exists, and the technology exists within the cloud providers to make sure that once your data gets there, it is not going away. it is just not a cloud provider solution. most enterprises will have things called disaster recovery, where they will keep all their critical data completely synchronized so that if one coast gets hit by an earthquake or terrorist attack, you have the other coast where you can get your data. it is completely synchronized, always available, on demand.

geographically diverse disaster recovery solutions have been in place for some time, and they actually do allow for secure data storage. >> i think that for the individual consumer and home user, this storage in the cloud and backing up your personal computer in the cloud has been burgeoning of late because people want to have the ability to store their files securely, but the reason why, to answer your question, is why do they continue to still backed up their clout back of solution onto a usb stick or on to their own pc is people still have to get comfortable with the idea of clout security, that the data truly is secure and they're comfortable with letting go. people still not quite comfortable with that concept yet. as people become more and more confident and more and more

comfortable with the concept of data being safe, we will still have people, and we will still have instances where people want their data next to them, where they feel comfortable, where they feel safe and confident that their data is secure. >> if i were purchasing services from a cloud vendor, i would mandate that all data at risk is encrypted using keys that i own, that i provide when it is processed for me, and there is no excuse for anybody not doing this. the technology exists. so it comes down to the probability that a bad guy could go and guess relocation. in amazon web services, you have more than 3.5 billion objects. they have to know which one to go for it here that have to break your access. then they have to break the description on the of jets. the probability of stealing your data and getting away with an attack is vanishingly small. >> i think you address one of my

concerns, which was the security of my data out on the cloud, but you raised a new question -- who owns my data? what if i do want it to go away? >> there are very challenging concerns. certainly, governed by state boundaries. for example, numerous canadians do not want their data in american dissenters. under a land the vessels, that can be subject to inspection and seizure. all the regulations relate to national boundaries there as well. a cloud providers actually end up having to meet numerous diverse regulatory requirements related to where data may resign and how it may be encrypted. there are different purchase centers for different christian center's and countries -- there are different encryption centers for different regions and countries. i think amazon wishes they could make it go away the same way they imagine the sales tax would

go away sunday. [laughter] >> but is it clear that i own my data? >> it is clear that you own your data, but it is not clear that somebody with the opprobrious search and seizure warrants cannot just make off with it, too. and, of course, you know, here is the scary one. the fbi says there is an attack coming out of those few racks over there, and they walked out with several companies entire computer set up just because some guy in one of those was doing a bad thing. that is scary. >> unfortunately, we have time for only one last question. weber has the microphone, please. then maybe it is a mistake, but i have the microphone. i came to this lecture trying to find a definition of what cloud computing is. maybe i understand a little better, but i still do not have

its in the simple terminology that i understand. my other question is from my point of view as a user of computing services, i have recently had the experience with a couple of banks going through a total change of their website, which caused me no end of aggravation to try to continue my accessing of my data, and i had the feeling, and i think you kind of touched on this, that for maybe financial reasons or because you technology people are so influential in the world you convinced these banks they had to do this, it just really made my life miserable for a couple of weeks trying to figure out how to use their new system. i mean, it seems to me that --

you know, i had the impression that technology people are sort of making work for themselves by influencing institutions that they need to change what they have already in place. i still go by the old model -- if it is not broken, do not fix it. so i am opposing these questions to the senate panel. >> those are great observations. i am in my mid-40's by now, and there are programming languages used regularly that just did not exist five years ago. when you hear these guys talk, it is like gobbledygook to me. you get old with your music. you get old with your skills sets. it is just the way it is. because we are a technology- driven society, and we have completely inverted the traditional way back societies were built when -- where when

you were older, what you learned was survival skill, and you were right. that is the problem. the young guys are right, and the old guys take it in the net. cloud computing -- let me try a simple one for you. used to be in the old days that everybody had their own electricity generating plant. people would generate electricity locally for their own production means for their own factory. that got turned into a utility. the economics and study of that is very interesting. there's a fabulous book called "the big switch" which basically tracks that history. think of what clout is doing to computing is being analogous. instead of having to own and run your own software and hardware and computer systems, these things simply become services that you acquired by some horribly complicated plug. so it becomes viable economically -- the economics

are compelling. you can consume by plugging in. you have to plug, yes, it is still the case that you know too much, but it is really that, that turning computation into a utility that can be consumed as opposed to requiring human to surround previous manifestations of the technology. >> i thank the panel for coming here today. we also thank our audience here for those listening and viewing. now, this meeting of the commonwealth club of california commemorating its 108th year of discussion is adjourned. [applause]

>> when stephen de staebler died, he was working on one of the biggest shows of his career, matter and spirit. it is a retrospective look at the many faces and faces of the life of an innovative artist from the california clay movement. stephen de staebler's developed in an area dominated by abstract expression. even his peers saw his form. >> he was able to find a middle ground in which he balanced the

ideas of human figuration and representation with abstraction and found it even more meaningful to negotiate that duality. >> another challenge was to create art from a meeting that was typically viewed as kraft material. his transforming moment was an accident in the studio. an oversized vertical sculpture began to collapse under its own weight and spread onto the floor. he sought a new tradition before him, landscape sculpture. >> you feel this extended human form underneath the surface of the earth struggling to emerge. eventually, it does. it articulates his idea that the earth is like flesh, and the archaeology and geology in the earth are like the bones, the structure of the earth. this tied in with his idea of mother earth, with the sense that we are all tied to nature

and the earth. >> a half dozen bay area museums and private collectors loan the massive sculptures to the museum for its matter and spirit retrospective. but the most unusual contributions came from stephen himself. a wall of autobiographical masks and hence from the early decades of his private study. >> he had one of the most beautiful studios i have ever been in. when you walk in, your first impression is of these monumental figures that you see in the exhibition, but if you went into the back corner of his studio, there was a series of shells with these diminutive figures. he told me, these are the heart of my studio. these little, and held intimate study is that he referred to as his sketchbook. a painter might make drawings. stephen de staebler made miniature sculptures. >> during the 1970's, he was

inspired by the monuments of egypt. he assembled a large rocks of clay into figures that resembled the ancient kings and queens. he credited a weathered appearance by rubbing glazes' into the clay while still wet. the misfires from his killed were brought in his backyard in his berkeley home. he called it his boneyard. in the last year of his life, he dug up the artifacts from his own history, and the bones were rearranged, in the were slimmer figures with wings. >> even if you knew nothing about his life or career, you sensed there was an artist dealing with this fundamental issue of life and death, the cake, netting back together, and you feel there is an attempt to deal with mortality and immortality. there is a seeking of spiritual meaning in an existential stage. >> during his 50-year career, stephen de staebler worked to

form and out of the clay of the ground and give it a breath of life. matter and spirit gathers the many expressions of his meditations. and gives the viewer and insight into the artist's life. learn more about the retrospective on line at >> you probably think you know all about the exploratorium. but have you ever been after dark? did you know there was a monthly party called after dark? science mixes with culture and

adults mix with other adults. no kids allowed. every week there is a different theme. to tell us about the themes is melissa alexander. tell us about some of the previous themes we have had. >> we have had sex ploration, sugar, red, blue. many things. >> what is the theme tonight? >> rock, paper, scissors. we are having a tournament tonight, but we have also used as a jumping off point to explore lots of different ideas. you can find out about rock, paper, scissors as a game as a reproductive strategy. you can interact with a piece of art created by lucky dragon. you can get your hair cut from a cool place called the public

barber's salon. they use scissors only. you can find out about local geology, too. >> that sounds like fun. let's check it out. >> this is the most common rock on the surface of the earth. interesting thing is, most of this rock is covered over by the ocean. >> error congested a cool presentation on plate tectonics. tell us about what we just saw. >> we wrapped up a section of a lesson on a plate tectonics, here at the exploratory and -- exploritorium. >> are you excited to see people here having fun and learning about science? >> the people that come here are some selected to begin with, they actually enjoy science. i teach teachers to have fun

with their kids. the general public is a great audience, too. they're interested in science. >> we have a blast every time. they have different names. >> they have a bar and a cafe. everything i need. we are excited for the speaker. >> it is nice to be in the exploratorium when there are not a lot of kids around. >> before tonight, i never knew there were major league rules to rock, paper, scissors. i am getting ready to enter into a competition. sarah's here to give me some tips. what do i need to do to win it? >> this is a game of chance, to a degree. one of the best ways to bring it home is a degree of intimidation, maybe some eye contact, maybe some muscle. it is a no contact sport. sheer i contact is a good way

to maybe intimidate to see if you can set them off, see if they throw something they did not mean to. >> i am going to see what happens. >> i got kicked out in the first round. [applause] >> given up for sunni. the rock, paper, scissors champion. >> what are you going to do now? >> i have been having so much fun. i got my tattoo. before we go, i want to thank melissa alexander for having us here tonight. how did you know san francisco needed a night like tonight? >> thank you for coming. everybody loves the exploratorium. we are reluctant to push the kids out of the way in the day, so i knew we needed to create one evening a month just for the rest of us to have a good time,

the adults. >> absolutely. where can we find out what is coming up after dark? >> that is easy, exploratorium .edu/afterdark. >> thank you. thanks for watching >> 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 >> i think a lot of times we look a community and we say, there is this one and this one,

and we all have our own agenda, when our agenda is to create great work. if you're interested in that, you are part of our community. >> it is a pleasure to have you here tonight. >> we are trying to figure out a way to create a space where theater and presentation of live work is something that you think of, the same way that you think of going to the movies. of course, it has been complex in terms of economics, as it is for everyone. artistically, we have done over 35 projects in four seasons from presenting dance, producing theater, presenting music, having a full scale education program, and having more than 50,000 visitors in the building almost every year.