usually been 72 to 108 hours, so relatively short-term, but also somewhat higher heat exposure than what we probably get most of the time in san francisco, so conditions are really variable and then it's usually controlled rather than kind of normal. yeah? >> so, in general where possible, staying away from plastic water bottles is not only making your life a little bit healthier, it's decreasing our dependence on plastic which is more important as a broader environmental issue, but even water bottles, even if you leave them in a cold environment, you don't know where they've come from or they've been in ship holds which is really hot, just as a number one rule, if you smell

something plastic don't drink out of it. >> that's good advice. >> i have two questions, they're a little bit unrelated but the first one goes on the scheme of plastic, so plastic wrap, plastic bags, you know, it's great to say we should all use glass but we know what's used out there is plastic, and it's reusable, you can come up with all these ways to avoid it but there's plastic everywhere and it's accessible and cheap, so plastic wrap gets used a lot, there aren't that many alternatives that can do what plastic wrap does, i don't use a lot of it and it's harder to store things long-term and same question applies for the freezer, it's easier to put things in a freezer bag. >> so, a little tip for that is i do admit to using plastic bags, i reuse them and if something is not -- i don't use

them for liquids and if something isn't somehow already kind of like a solid or whatever, parchment paper around that and then use the plastic just as the thing that keeps it from leak-proof or if i'm taking soup to work, i have my soup in a glass jar but i will throw it in plastic because i don't want it all over my backpack and there's also more stainless steel options which are a little more expensive but that's a one-time investment, just don't lose it, so a box of plastic bags, it lasts me like three year, parchment paper, it's the layer that touches your food and then aluminum foil isn't really bad, but parchment paper is a good thing. >> plastics in kids toys and

kids products, they're not really labeled, i don't find the same symbol on them and i do a lot of the reuse and recycle, but mostly reusing things so we have hand-me-downs and all kinds of toys that have been through many generations and i sometimes think about it, i can only worry so much about what my son puts in his mouth, but when you talk about chemicals, where do you start, besides i know wooden toys are best and that was the plan originally, only wood in our house and glass and ceramics, that's all lovely in theory, it's not what happens unless you're a waldorf parent and you're strict and it's really your principle, so good will has a lot of plastic, so you know, anymore words on that, i realize it's a matter of what

you can do, but -- >> i have not encountered some of those challenges because i'm not a parent but i have been around a lot of kids, important note is that in 2008, a law was passed that mra*s sites could not longer be used in kids toys , for right now, if you're buying new toys off the shelf, they're not going to have that particular compound, plus skish shi ones, they're not going to have that, i know you have a small child, is when they're at that mouthing stage of putting everything in their mouth, that maybe be the time to be most concerned about the specifics when they get to the older stage where, you know, there's some pretty nifty plastic toys out there, let's get real, and

i like that i had legos as a kid and those were plastic, you know, maybe that's when you loosen it up a little bit and make, you know, judicious decisions, but when they're putting everything in their mouths, you want to be the most careful about what that is, parents may have other added tips. >> [inaudible] because most of the toys for kids, we don't really check sometimes where they're made. >> it's for toys sold in the united states, so regardless of where the manufacturer is, if they're sold in the u.s., they have to comply with those standards, other countries could well have different laws on their shelves and my guess would be vary from laws that would be more health protective to less he fighters to join us. >> i have two questions, i'll

keep them brief. we can't control where our fire houses are and our fire house is a block off the freeway, we do replace our h fact filters every five mother and is they're jet black when we replace them every three months, it is a big concern, how do we reduce our exposure when we're a block right off the freeway, we're bumper to bump traffic, and there are some fire houses that are literally underneath the freeway so how do we reduce that exposure, air filters, if so, what kind of air filters? >> you're getting beyond our technical knowledge of our filtration, but you know, it might be somebody to consult with somebody with expertise in air filtration for indoor air of course, maybe replacing those filters more often, you know, some very basic things

and again, i'm not an engineer, but wiping down surfaces with moistures rather than a rag captures that better, otherwise you're containing it better, thinking about some of the basic things you do in the home, i would consult someone who has experience in air filters. >> [inaudible]. >> [inaudible] and my husband tells me they mop the apparatus floors every day because it's a diesel dust, i'm not sure if it's a common practice in fire houses, i was told someone in the fire department had developed cancer and they

thought it was partly due to the diesel dust so they mop down every day, i know they probably sweep it but i don't know if mopping down is what 9 does, i don't know if this is company policy because i haven't been there. it is? okay. >> i have a question. my question is unrelated, talking about -- going back to the radiation and how bad it is for your body, so why do they recommend it as a treatment if someone has had cancer of various sorts? >> kind of because it can be toxic to cells and -- so, if you target it, right, and then you're directing it to those very cancer cells that are growing very rapidly and are in a very focal area, then you are, you know, -- and it's at a

higher dose than you're exposed to when you're screening, you're killing those cells and you're stopping their growth, so they're leveraging that particular feature of the radiation just as they do with chemotherapy which is drugs that we won't have to take unless we're needing to kill those cancer cells. >> [inaudible] radiation? >> it is very focused >> even though the [inaudible] i was talking about, if it's focused, why does everybody leave the room? >> they're spending their 8 hour work day, and even if it's focused and there's a little bit of spread, radiation, as i understand, i'm not a physicist either, does reduce in its power the further away you get from it, right, that there's still, you know, if you're

spending 8, 9 hours a day, you don't want that little bit added, they're getting better and better at in medical radiation when they're using it as a treatment, directing that ray to a more specific and localized area, but, you know, we do see in kids who are treated with radiation early -- for earlier childhood cancers that they can develop later life cancers as a result, now what's your trade-off there, the 20, 30 years of life they may have and maybe it's a treatable cancer they might get later, but if you're an adult and getting na, you're weighing the costs and benefits. >> i just wanted to say one thing about the -- a couple of things about the diesel fuel, christine brings a great thing about where your fire house is located but what are our practices in the fire house,

and are your extractors plugged in when the rigs are on or they're plugged in and blowing into the apparatus floor and with some of our standing orders with the ambulances, i know for sure they're supposed to stay on all the time at a scene, you're at a house in an hour and your rig is supposed to be on outside, that's addressing some of those policies within our department, it's like, well, we're told you have to leave the rig running to keep the power up or something, well, come on now, you know, can't that not be changed a little bit, so i think that that is, you know, it's the diesel fuel we know is something cancer-causing, the other thing that came up with me is not a question but a comment with fire houses that i know and just starting to look and there's been some talk in our department, why do we have cell towers on our fire houses

and there are some fire houses that have them and they're in places where it's exposing right where we sleep, why do -- why do we have that and is it a cost benefit thing, and just to start to ask some of those questions of our administration really, so that was it. >> so, i think that we are out of time, but this was wonderful, thank you for the rich questions and your attention and for bringing so many of you in here. >> i would like to thank bonnie and the breast cancer fund for coming and all of the local co-op that uses local ingredients, we practice what we preach.

>> i'm your host of "culturewire," and today, here

at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store.

in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different

media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare.

>> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists.

is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails.

>> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only

one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print

shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things.

anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.

>> san francisco is home to some of the most innovative companies of the 21st century. this pioneering and forward looking spirit is alive in san francisco government as well. the new headquarters of the san francisco public utilities commission at a5 25 golden gate avenue is more than just a 13-story building and office ablation. instead, city leaders, departments and project managers join forces