the type of businesses in the 9 counties that are registered for that type of work and then you just do the proportions. >> this is a similar methodology to the fte? >> we used the same just on the broader set of contracts. >> how does that compare with our existing empirical performance. >> 7 and a half percent is much lower, since it is just the participation, it is at 20 percent for the life of the program. and 21 percent right now for these past three years and so i think that 7 and a half percent is a good target to keep in mind for dbes but i would expect it to be much higher when you consider sbes. do we not have data? it is hard to apply the same methodology to run the sbe numbers because the data bases don't use the same types of classifications. the codes are not in it. >> i understand.

i don't mean to belabor this. i think that we were surprised when the fda said that this is how we want you to do the calculation because it seemed a narrow and technical way as opposed to looking at the past performance and so we have to do that for their purposes but for the other program, i think that it is great that you guys are doing, we don't have to use their, some what limited methodology, we can just look at our own past performance and we can look at other projects in the region and i would want us to be inadvertently setting a low target, even though it is, again, it is just a target and it is not for the reporting purposes, i think that it is still important. >> sure, we can take a look at that and what we will do when we come back to you in june, we will look at the sbe percentage distinctly from the dbe percentage from the program wide contract. >> that will be great, thank you. >> anyone else?

>> thank you. >> okay. >> so, no members of the public want to address you on that item so you are looking for a motion. >> so moved. >> second. >> first and a second, director harper aye. >> lloyd, aye. >> metcalf. >> aye. >> reiskin. >> aye. >> item nine is approved and go ahead and move into item ten. >> which is approving the recommended applicants to the transbay joint pores authority. >> bev will report on this item. >> thank you, maria and directors and members of the board. we put out this, we had the cac going for six years now, and i want to acknowledge jim lacerous who has been a member has termed out it has been a member and served as at chair

for the entire six years to date. so his participation is appreciated. we had a great response to our interest for applicants this year and we had a total of 19 applications and virtually without exception, the candidates brought a wealth of experience in multiple areas of which we are looking for on our cac. if you are not familiar our cac is 15 members, and each of these 15 seats is designated to have a specific area of interest or representation including a bicycle advocate and a disabled advocate and a representative from labor, a resident of district six and almost without exception, people brought a breadth of experience to the applications.

we have a total of 7 recommendations brought to you today. and including three returning members and four new members to the cac. and two of the new applicants are here today, and they would be available to speak if you would like to. and if you have any other questions, i would be happy to answer them. >> i have no questions, on the recommendation and i am happy to support it. i know at least two of the folks and they are great and would be great additions. just a question on the functioning of the cac, aside from the appointments, we don't ever kind of see or hear anything from the cac or if we do i have forgotten. are there, do they make recommendations to the tjpa? is there any... do they issue reports? is there anything that comes out that would be relevant or of interest to the board? >> well a lot of the cac has

been to serve as a public forum for discussion of the design of the transit center and elements we have had as an example. s better market streets program come and speak to the cac so that they can understand how our ro ject is relating to that project and the bicycle improvements and the cac has upon occasion made recommendations, but, we don't typically agendaize specific actions for the cac. >> and co-founder from cal train. cac chair or appointee make a full report to the full board of director. i would like to see to do the same, so that we can become better acquainted. >> okay. and we have offered that in the

past and not recently, but jim laserous did come a few times to make certain statements. but, we could consider that. we will look at that change. >> i have a question about the ac transit rider. the appointee marla wilson. do you know whether or not she is a member of the transbay riders group that meets monthly? >> i don't believe that she is, no. >> that bothers me, that is group that comes to the ac transit about anything on this project and they are important to me politically, 20 to 30 people and i don't care who they want to serve on this committee. but it will be somebody from that group. because i don't know marley wilson and i called up a couple of people that i knew from the transbay riders and they don't know her and i don't want us picking, and i don't not want

to disparage this woman she could be great. if i can't talk to her and have her, you know, at least promise me that she is going to become a member of that group, i don't want her on this body. those are the people that the ac transit board listens to when it comes to the problems with the transbay terminal and the problems with anything to do with this and they really should be the people to say, this is someone that we... because that way you are getting 20 riders, 20 or 30 that are active in that group as opposed to one. so i would oppose to her appointment, because you did not have a phone number for us so i could not call her. so i could at least talk to her or find out what is going on. i just, we have got a very active group, around the terminal. and we just need to now, they need to be the ones to say, here is our person that we want to listen to about that. >> well, we could do is if you

would like chair person harper is just take out marla pending further investigation on that issue and we could appoint the others and then we could bring you... i believe that we... i believe that bob has put out on calls for applicants to apply everywhere and also with the group. >> we have done it with the ac transit. and i don't know, we have not specifically gone to the ridership. >> you have spoken to the rider ship group. >> a couple of times. >> yeah, why don't we do this, why don't we take mar la out for now and go and reach out to the bus riders group and if she is a member of that and if she will become a member of that, if not let's see if they can provide a candidate, will that work? >> yeah. >> okay. >> so we will take a motion to amend the resolution to remove

mar la for now. and approve the other six recommended applicants. >> so moved. >> second. >> first and second and then members of the public wishing to address you on that item? >> i would like to make a comment. >> patrick, and patrick and company. i attend many of these board meetings but you are right, i believe that the cac, is a joke. i am sorry to say that. there is fine people there, but this board takes no notice of their activity in a minimum you should at least have their minutes so that you can see what is going on, what has come to their. i know that there is one issue about the artwork for the transbay terminal and they wrote the board a letter and no response. i don't think that they are effective and you need to make that order effective. thank you. >> thank you. >> and members of the public that want to address you on that item? >> so with a first and a second? >> harper? >> aye. >> lloyd.

>> aye. >> metcalf. >> aye. >> reiskin. >> aye. >> that is four ayes item ten is approved. item eleven. >> approval. >> second. >> no members of the public wishing to address you on that. and believe that harper harper will be abstaining? >> lloyd? >>ite aye. >> reiskin >> aye. >> and that does conclude it for today. >> we are adjourned. >> we are adjourned. >> thank you.

[horns honking] announcer: big dreams and good grades aren't enough to get into college. there are actual steps you need to take. finding someone who can help is the first and most important. for the next steps, go to knowhow2go.org. >> 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." ♪

[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