a group of patriotic millionaires. it is the belief that you owe backe to a country that has helped to make you what you are. steve jobs -- we had a tough column in the last issue. it was tough not about apple labor practices in china. here you had a man of great wealth was talking about cutting taxes and never really gave of his philanthropic wealth. poor bill gates, he gets nailed for being so square. you can disagree with some things. but he is out there. >> all of them out there now came a little late to the party. they got very rich, very young. i wanted to leave some time for audience questions.

i have not read more questions from the audience because they are also good. usually it is the guy with the aluminum hat on getting cia messages. [laughter] not really. if you want to line up, we have a few more minutes at the microphones. we will take a few questions. please make sure that you make them questions. >> i have been interested in americorps and other related programs. from what i can tell, you do not support it or talk about it very much. the tea party is advocating limiting national service. president obama campaigned to expand to 250,000. senator kennedy helped to pass the expansion. i was wondering what role "the nation" can play in helping to

support the program. >> we've done a lot of work around expanding doctors into rural community centers. americorps is a good program. all of those should be supported. we have not done as much. there has been controversy at the magazine. i am more of a supporter of teach for america than my colleagues. they are good programs. >> what could we do collectively as the next up for occupy wall street? -- next step for occupy wall street? >> what is your main interest in the issues raised by occupy wall

street? if it is money and politics, you should join with those who are occupying the supreme court, fighting in states for clean money reform, and fighting for an amendment strategy to overturn the citizens united decision, and fighting in elections to change the supreme court. >> what would you think of having a national general assembly modeled on the original continental congress in philadelphia beginning on july 4 of 2012? coming up with a list of grievances that this assembly debated. >> lawrence blessing has talked

about a new constitutional convention. i think it is early. i think it is tricky. i do not mean to sound too conservative. when you say to make a list of grievances, we could sit in this room and come up with a list of six ideas or grievances that need to be made real and lead to change. you need to find your issue, work in your community. work in the organizing around the issue. link up with groups doing work. if it is student debt, find ways to take on the banks, local legislators, and congress in the short term. is not very revolutionary.

at the event we did on 9/11, i said i felt this country was in a pre-revolutionary moment. it was about a week before occupy was street launched. i believe in evolution, not revolution. >> katrina, did you read the foreign affairs article that backs up the occupy movement? there was a recent article about the new progressive movement. there is more coming out about the occupy agenda and what they want. you have articulated some of the agenda. geoffrey sax talked about three- regulating the market -- regulating the market. it is all there. why is it not been articulated by the media? >> i think it is. it is not up to -- different

occupy's have different demands. it is up to people like "the nation" and other groups like rebuild the dream, national people's action, the progressive caucus. occupy wall street is a spirit. they're committed at the moment to not having concrete demands. we have six ideas. one would be the robin hood tax. the other would be to change the way our tax structure is organized, how to get money out of politics, hold corporations responsible, support attorney general's fighting for for closure relief. there are six of 10.

>> have you ever been wrong? [laughter] >> occupy wall street is a moral compass. they are articulating what they think it should be. the lead essay is a shift. i am wrong all the time. >> give me one example. [laughter] >> i said on national television the night -- election night of 2000 as florida was coming in that the election would be decided that night. people may remember that election was decided by the supreme court. it went on for two or three months. it ended up being decided by the governors, bush's brother, a

supreme court judge chosen by his father. george bush was asked if he had ever been wrong and said he could not think of a time. he is still saying that. [laughter] humble man. we are about out of time. do you have a short question? >> what is the circulation of "the nation"? >> 1.5 million readers online and 160,000 paper circulation. paul newman was a great and loyal friend and supporter. his partner in crime, robert redford, has been a supporter. we have a circle of 100 people who give each year.

30,000 associates give little each month above the subscription price in the belief it is not just a media institution but a community. there are 40 discussion groups around the country. [applause] >> these people obviously support it for what it espouses and believes in. do they all know that you have dirty martinis and marvin gaye? >> you have to keep perspectives. everyone's work is demanding. it is trying to make sense of these times and keep some hope. if we were meeting this time last year, it was a bully -- bleak time. we were coming off an election

with the tea party claimed it had a mandate. i try to read history, drink dirty martinis, listen to marvin gaye, watch "true blood." vampires, everything. >> this has been fabulous. our thanks to katrina vanden h euvel, publisher of "the nation." [applause] we want to remind everybody that copies of her book are on sale in the lobby. she would be pleased to sign them. we aappreciate your allowing her to make her wait the lobby as quickly as possible. this meeting 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." ♪ (music) >> herb theatre,open rehearsal. listen to the rehearsal.

i think it is fun for them, they see our work process, our discussions, the decisions we make. it is good for us. we kind of behavior little bit when we have people in the audience. msk (music) >> we are rehearsing for our most expensive tour; plus two concerts here. we are proud that the growth of the orchestra, and how it is expanded and it is being accepted. my ambition when i came on as music director here -- it was evident we needed absolutely excellent work. also evident to me that i thought everyone should know that. this was my purpose. and after we opened, which was

a spectacular opening concert about five weeks after that the economy completely crashed. my plan -- and i'm absolutely dogmatic about my plans --were delayed slightly. i would say that in this very difficult timefor the arts and everyone, especially the arts, it's phenomenal how new century has grown where many unfortunate organizations have stopped. during this period we got ourselves on national radio presence; we started touring, releasing cds, a dvd. we continue to tour. reputation grows and grows and grows and it has never stopped going forward. msk(music)

>> the bay area knows the orchestra. you maybe take things for granted a little bit. that is simply not the case will go on the road. the audiences go crazy. they don't see vitality like this on stage. we are capable of conveying joy when we play. msk(music) >> any performance that we do, that a program, that will be something on the program that you haven't heard before. string orchestra repertoire is pretty small. i used to be boxed into small repertoire. i kept constantly looking for new repertoire and commissioning new arrangements. if you look at the first of the program you have very early, young vibrant mendelson;

fabulous opener and then you have this fabulous concerto written for us in the orchestra. is our gift. msk(music) >> and then you have strauss, extraordinary piece. the most challenging of all. string orchestra work. 23 solo instrument, no violin section, now viola section; everybody is responsible for their part in this piece. the challenge is something that i felt not only that we could do , absolutely could do, but i wanted to show off.

i can't tell you how aware i am of the audience. not only what i hear but their vibes, so strong. i have been doing this for a long time. i kind of make them feel what i want them to feel. there is nobody in that audience or anywhere that is not going to know that particular song by the fourth note. and that is our encore on tour. by the way. i am proud to play it, we are from san francisco. we are going to play that piece no matter where we are.

>> bonnie banks. bonnie banks. my definition of noise is uncontrolled music. without format. pretty simple affair. pancakes, and you're -- people get up on sundays around noon, weekends or whatever. should not be too hard to walk into place. have your audio alarm clock go off for two hours waking your up while you are eating breakfast with many interesting visuals once in a while. improvisation. listening or not to the person

you're playing up against or people or machines. trying to get as many different people in as possible. different genres, experimental noise, electronics, dissonance some drums.a tiny bit of ambient -- the first noise pancake shows, 1999, the first waffle noise, 2001. god-waffle noise, noise pancake came out of cubist art, place on mission street, brutallo, where the church -- opened up

his house and saturday morning cartoons. a big space. you can have everybody set up and barely move equipment around; small room for an audience to move around, walkover and get pancakes without getting burned up in the kitchen. there's like people in their hard-core gabber; people into really fast death metal; black metal. people who don't listen to music at all. guy like larnie bock (sounds like) set up huge, motor

driven harp. i don't know how to explain it. 40 foot of motors that he had running over strings and wires. and then played each string individually with the mixer. there is a feeling of euphoria when somebody's really good at what they do. experiencing a buffer, pushing your bowels out your rear. different. a lot of noise. you don't play clubs with a cleaning schedule, a guy coming in the morning emptying the beer bottles. you play the warehouse. if you travel around you will see the exact same kind of weirdos doing their own thing.

it is like in the bay area it's even more absurd. there seems to be more people that in a place like new york or tokyo. we did a show in new york, i didn't think that anyone was at hardly, and people come up and said i saw the show. i wish they had some kind of breakfast noise going on over there. i think a lot of people were being, walking out of the shows. that was incredible. i can't believe it's over already, after two hours. if you are reluctant to enjoy something like this it will probably take a mass of peers to sell you on it.