try this. i was at usc. i wrote a weekly humor column in a similar style to yours. i ended up writing 100 of these every week, every night. >> and you are homeless now. >> sincerely, it was one of the most rewarding experiences i had done, so thank you for that. >> is that the statement or the question? >> the statement. >> he is so much more a fan of mine and yours. if anybody has any questions about deli, i am here for you. sliced meat? i am here for you. hitler, bin laden, and this kid. i hate him. >> you're right about that head

comment. >> and you are standing pretty far away. [laughter] >> in transitioning from writing your short for humor to yearlong for narrative, what was the biggest challenge? >> being brave enough to try it. i was in my 40 pause before i even tried to write a novel. i said i did not know how to do it. if you read a lot, and you can figure out what you're supposed to do -- the hard part is -- the difference is, in the novel, the long form, you need some sort of plot. when i wrote a humor column, i never a word about any structure. there was no point. it was pretty clear. you read them. >> thank you very much. >> you're welcome.

>> now we have another question. >> i do not have a statement. >> actually, that was a statement. [laughter] >> my question to both of you is -- dave, your books have such a breath of topics. alan, saturday night live is such a huge thing in terms of the topics. where you get these ideas, where do they come from? >> we have no useful skills. i am dead serious. we have talked about this. 3o was t thing, and the code got crinkled, i could not do

anything. >> the mental energy the other people are using to make useful products in the world, things that people need, we have spent our entire lives trying to amuse ourselves. that is all we know how to do. so we are better at it than people who have real jobs the them i think that is absolutely right. if you want to feed your family, let's say, you have to discipline yourself. there is also a way of looking at the world. once again, my friend larry david, he would take a little more salt and make a whole meal out of it. it is about looking at the world with a certain attitude. >> there are a lot of people who are funny and have a sense of humor, but they get sidetracked into productive work. we do not let that happen. [laughter] >> i am afraid we are out of time. as hard as it is to believe.

[applause] >> thank you. >> i do not even think we can ask a final question because it would take us past our time. >> our thanks to dave barry and alan zweibel, authors of "blue knit 6." -- lunatic." we also want to remind everyone here in the room that copies of the book are on sale in the lobby, and our guests will be here to autograph them. >> anyone have a pen? >> we appreciate your allowing them to make their way to the lobby as quickly as possible. this meeting of the commonwealth club of california is adjourned.

[applause] >> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists.

welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you

would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top?

>> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on

june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at

this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books.

that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create

to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out.

everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪