woe for her husband, woe for her young love, woe for her house, woe for her city. dimusi was taken captive in aruk. he will no longer bathe in aradu. he will no longer treat the mother of anana of his mother. he will no longer perform his sweet task among the maidens of the city. he will no longer raise his sword higher than the kugar of priests. great is the grief of those who mourn for dimusi. anani wept for dimusi. gone is my husband, my sweet husband. gone is my sweet love. my beloved has been taken from the city. oh, you flies of the steppe, my

beloved bride groom has been taken from me before i could wrap him with a proper shroud. the wild bull lives no more. his shepherd, the wild bull, lives no more. dimusi, the wild bull, lives no more. i ask the hills and valleys where is my husband. i say to him, i can no longer bring him food. i can no longer serve him drink. the jackel lies in his bed. you ask me about his reed pipe. the wind must play it for him. you ask me about his sweet songs. the wind must sing them for him. satur, the mother of dimusi, weeps for his song. once my boy wandered so freelly on the steppe, now he is captured.

once dimusi wandered so freely on the steppe, now he is bound. the ewe gives up her lamb, the goat gives up her kid. my heart plays the reed pipe of mourning. in a place where he once said my mother will ask for me, now he cannot move his hands, now he cannot move his feet. i would see my child. the mother walked to the desolate place. she looked at the slain wild bull. she looked into its face. she said, my child, the face is yours. the spirit has fled. there is mourning in the house. there is grief in the inner chambers. the sister wandered about the city, weeping for her brother. gestanana wandered about the city, weeping for dimusi.

oh, my brother, who is your sister? i am your sister. oh, dimusi, who is your mother? i am your mother. the day that dawns for you will also dawn for me. the day that you will see, i will also see. i would find my brother, i would comfort him, i would share his fate. when she saw the sister's grief, when anana saw the grief of gestana, she spoke to him gently. dimusi is no more. i would take you to him, but i do not know the place. then a fly appeared. the holy fly circled the air above anana's head and spoke, if i tell you where dimusi is, what are you give me? anana said, if you tell me, i will let you frequent the beer

houses and taverns. i will let you dwell among the talk of the wise ones. i will let you dwell among the songs of the minstrals. the fly spoke. lift your eyes to the edges of the steppe. lift your eyes to arali. there you will find gestanana's brother. there you will find the shepherd, dimusi. anana and gestanana went to the steppe. they found dimusi weeping. anana took his and and said, you will go to the underworld for half of the year. your sister, since she asked, will go the other half. on the day gestanana is called, that day you will be set free.

anana set dimusi's hand in the and of the holy, great is your renoun, holy aristagal. i sing your praises. thank you.

>> 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." ♪ ♪ oh, my! haa ha ha! ha hha ha! [snortg]

>> here we are at the embarcadero. we are standing at one of locations for the street artists. can you tell me about this particular location, the program? >> this location is very significant. this was the very first and only location granted by the board of supervisors for the street artist when the program began in 1972. how does a person become a street artist? there are two major tenants. you must make the work yourself and you must sell the work yourself. a street artist, the license,

then submitting the work to a committee of artists. this committee actually watches them make the work in front of them so that we can verify that it is all their own work. >> what happened during the holiday to make this an exciting location? >> this would be a magic time of year. you would probably see this place is jammed with street artists. as the no, there is a lottery held at 6 in the morning. that is how sought after the spaces are. you might get as many as 150 street artists to show up for 50 spaces. >> what other areas can a licensed street artist go to? >> they can go to the fisherman's wharf area. they can go in and around union square. we have space is now up in the castro, in fact. >> how many are there?

>> we have about 420. >> are they here all year round? >> out of the 420, i know 150 to sell all year round. i mean like five-seven days a week. >> are they making their living of of this? >> this is their sole source of income for many. >> how long have you been with this program. how much has it changed? >> i have been with the program since it began 37 and a half years ago but i have seen changes in the trend. fashion comes and goes. >> i think that you can still find plenty of titis perhaps. >> this is because the 60's is retro for a lot of people. i have seen that come back, yes. >> people still think of this

city as the birth of that movement. great, thank you for talking about the background of the program. i'm excited to go shopping. >> i would like you to meet two street artists. this is linda and jeremy. >> night said to me to print them -- nice to meet you. >> can you talk to me about a variety of products that use cell? >> we have these lovely constructed platters. we make these wonderful powder bowls. they can have a lot of color. >> york also using your license.

-- you are also using your license. >> this means that i can register with the city. this makes sure that our family participated in making all of these. >> this comes by licensed artists. the person selling it is the person that made it. there is nothing better than the people that made it. >> i would like you to meet michael johnson. he has been in the program for over 8 years. >> nice to me you. what inspired your photography? >> i am inspired everything that i see. the greatest thing about being a photographer is being able to show other people what i see. i have mostly worked in cuba and

work that i shot here in san francisco. >> what is it about being a street artist that you particularly like? >> i liked it to the first day that i did it. i like talking to mentum people. talking about art or anything that comes to our minds. there is more visibility than i would see in any store front. this would cost us relatively very little. >> i am so happy to meet you. i wish you all of the best. >> you are the wonderful artist that makes these color coding. >> nice to me to. >> i have been a street artist since 1976. >> how did you decide to be a

street artist? >> i was working on union square. on lunch hours, i would be there visiting the artist. it was interesting, exciting, and i have a creative streak in me. it ranges from t-shirts, jackets, hats. what is the day of the life of a street artist? >> they have their 2536 in the morning. by the end of the day, the last people to pack the vehicle probably get on their own at 7:30 at night. >> nice to me to condemn the -- nice to meet you. >> it was a pleasure to share this with you. i hope that the bay area will descend upon the plaza and go

through these arts and crafts and by some holiday gifts. >> that would be amazing. thank you so much for the hard work that you do. >> thank you for joining us tonight. i am the government policy director at spur. it is my distinct pleasure to welcome such an amazing panel as well as the mayor of our fine city. this is the innovation mayor,

mayor ed lee. [applause] >> thank you. can everyone here me? welcome to spur. i enjoy being here because every time i come here, some part of my brain wakes up that has not been woken up before. i am here to welcome you. earlier, i had a wonderful opportunity to exchange with our panel members about what they are doing and how they're doing it. . i think these panel members are here as part of their own entrepreneurial spirit. they own companies but love the city. they know the spirit of the city is one of innovation, that invites peoples and views, and smashes them -- meshes them together to see if we can make an even better san francisco.

we have two other supervisors who may be coming later. we're all part of the initial group of policymakers at city hall who want to hear news views and ideas on the new collaborative economy. we're interested in it because it has aspects that have piqued our interest, about hoour environment, how to improve life for more people, how to make an expensive city more affordable to more people, how to utilize the strengths of the city as a great tourist city. how we can get more folks to come and experience the wonders of the city. maybe they will make their stake here. these panel members have decided to make their stake here. they risked reputation, may be

small amounts of money. if they had a lot of money, they may not have had to start this. they have also done it for the right reasons. they want to experience the city in a different way, but one that is in the tradition of san francisco and is reflective of mine, welcoming more people to share in the economy. hopefully the right reasons will create more jobs and get more entrepreneurs involved. i have often said this can be the city for the 100%. everybody can have a chance to fulfill their dreams and make sure they can have a stable income for themselves and their families. i think we are on the verge of discussing things that would invite other members of our city family, department heads, those who work in planning or land

use, to be involved in an ongoing discussion that would potentially invite and open up our economy and modernize it even further. a year ago, david chiu and i did not know what the outcome might be, but we were afraid a company called twitter might leave our city and that thousands of jobs will leave this behind. we took a risk and suggested we might be able to revamp our tax code for the benefit of job creation. little did we know a year later, that invitation has caused over 125 companies to locate in our city, creating thousands of more jobs, creating an environment that will be welcoming of the new economy, technology, and innovation to reinforce what we have been saying. we are the innovation capital of the world. with your help and involvement. we would like to have the rest

of the city picked up and be part of it as well. we think we can have that conversation. we will need your help. we will need you to represent the new industry. these companies are here to keep the dialogue and collaboration at a high-level going with us. it is the ongoing dialogue like the one we are reading about a new tax structure for the city that does not punish the inventiveness we want to have. i would like to open with that introduction, welcome all of you here. i think he will see and hear an exciting introduction of these new companies. they're going to raise questions we do not have the answers to yet, but i do believe we have the spirit in this city to welcome solutions with your involvement. we will have the ability to do this on line as well is in these

forums. i will be part of the ongoing discussion. i want to see all of you interact with the city and make sure it is reflective of what you believe the city can be. one that our policy makers and american in dade in which you on thank you for being here at spur. [applause] >> thank you. i think we will also year from supervisors got -- supervisor scott wiener. >> this turnout's shows how significant this is to the future of the city. we were with a smaller group earlier. i will stress that san francisco is a city with a dichotomy going on. in many ways, we are a cutting edge city in terms of

technology, food, transportation, there are all sorts of things where we are ahead of the curve. we attract a lot of people like you who are forward-thinking and want to do things in a different and more innovative way. we're also a really old school city. the change is challenging. david and i talk about this a lot. we're trying to do things differently. we get a lot of reflexive push back, whether you are talking about cars sharing on streets, or changing zoning to create new housing to make the city more affordable and inclusive. you have those kinds of difficult conversations. so much of this is about educating the city as a whole