him, okay. after we arrested mod, broad him in, same thing. sat down and interviewed him for hours. and, man, they cry. you see that? once you start getting into their -- thing that helped me with mine and like i said, i'm not an expert, but if i can use -- if you can use something for me to help make your investigation successful, i don't start off with why did you do this, what did you do -- i start off nice and slow. tell me a little bit about yourself. it's like an interview, okay. and they tell you. you find something like jugs didn't have a dad. he said, i didn't have a dad to kick my ass to keep me right. it's okay, man. you try to hit those things and work them that way. mod, same thing. he was addict today it. could not stop. did not want to stop. just kept going. told me that if we didn't stop him, he'd still be writing. but here, 6-1/2 years in prison. so, we sat on that house.

we arrested him that day. it was a great day, it was a great time. got him put behind bars. did his fingerprints. guess what? fingerprints came back. i got hits all over phoenix. what the hell is going on? guy is just a tagger, right? no, he did six burglaries in phoenix and five burglaries in glendale by his girlfriend's house. 35 guns stolen. went back and interviewed him. where did those guns go? he sold them. to who? bunch of tagger buddies. so, it go and goes and goes. and now he's got 6-1/2 years for the graffiti. he's facing up to 8 years right now for the burglary charges. so, it's not just graffiti. b feet i'm telling you, please don't believe that. * what else did i want to tell you guys? there's something. just be careful with some of these guys, especially when you

deal with them out on the street. there's a couple incidences where we caught people in the act, arrest them, get their hands behind them, sure as crap they have a gun right there. so, either they have guns or they have pellet guns that look like guns. same thing as i'm going home to the family. they pull that on you. you know what you need to do. it's a getting worse. and we're doing a study -- you might be interested in talking to you about it. they're doing all the crimes that are linked to these guys that are taggers to the crimes that they're doing beside. i'm sure you're doing a lot with us. i love the stuff you're doing. i applaud you for that. just remember that it's not just graffiti. anybody have any questions? this is one of my favorites. i saw a female doing graffiti in phoenix on the street and she was helping the painter,

she was doing it. she kind of looks a little bit funny. any questions? again -- go ahead, wait, wait, where's the microphone? thank you. >> [speaker not understood]. everything i've heard today, i'm probably the only person in the world [speaker not understood]. everybody is paranoid, number one. [speaker not understood].

i couldn't believe it. anyway, thank you. >> thank you. >> [speaker not understood]. [laughter] >> yeah. >> [speaker not understood]. >> any other questions? again, my card is over there. the graffiti tracker card is over there. if you want to contact them, that's on you. if you want to just talk to me about them, you can do that as well. but anything i can do to help you combat graffiti, by all means, let's do it. if you guys find something that's more successful than what i've shown you or you have something you want to share with me, i love it. knowledge is power, man, anything to take them down. well, i need the microphone. i feel like oprah.

now you don't have to use it any more. >> i was just wondering if you had done your own [speaker not understood] the commission. but then you've been [speaker not understood]. >> no, i can't even do half the stuff they do. i actually tried in my backyard. i was doing some christmas project and i'm like, i'm going to try this. i'm like, i can't do it. it's all the pressure nozzle and all that stuff. no, i haven't done it on my own. and i wouldn't post anybody else's either. >> but that's why i wondered if you even got someone you knew, an artist. [speaker not understood]. >> we do have a guy. his name is ted walker. he is a published artist and he actually does that for us. so, we use that because then we can legally say we used our own person. >> do you have more than one person who will friend a person, like someone you're looking into so they don't get

suspicion us? >> oh, yeah. >> [speaker not understood] was saying, don't [speaker not understood]. >> you're exactly right. once you start friending about 10 people -- because, again, don't do more than like 10 a day. try to get friends. let their friends request you and you say, accept, accept, accept. accept everybody on there. because that's how it shows you have credibility. and then the other thing is you do have to put some pictures up. so, you know, some thing can be a little more abstract with it, but, again, don't use your own city. don't use a city because they're going to want to meet you, stuff like that. like i said, i use something up in wisconsin. i have a nice pretty little girl on my thing, other pretty girl pictures on there. that's what they like so that's how they get on there. and you just keep adding friends. let them do t. once you get 10 or so, and then 10 of their friends, 50 of their friends, a hundred of their friends, now you'll look like you're a tagger yourself. you're good to go. you get all that intel right

there. you try to stay -- phoenix graffiti. * it's not broken. >> do you write any flickr warrants? >> i don't use flickr. instagram is huge right now. >> they went away from flickr. >> they came and went pretty fast. i'm sure there's some still out there, but our kids in phoenix don't really use it. >> it was good because you can put in multiple tags. if you put in the right key words and put a space in between them you can figure out all kinds of crews, monikers, and where they're tagging to, what cities. >> yeah, i've never had to do flickr yet, but insta gram, facebook, youtube, those i have. any other questions?

i hope something you got from me you can learn. if you didn't hear everything you wanted to hear, call me. like i said, i don't care what time it is. if it's about graffiti, like i said, i'm passionate about it. i'll help you out with anything. if you need to write a search warrant i'll help you write the damn search warrant as long as you take someone off the street. good luck and be safe. (applause)

>> what if you could make a memorial that is more about information and you are never fixed and it can go wherever it wants to go? everyone who has donated to it could use it, host it, share it. >> for quite a great deal of team she was hired in 2005, she struggled with finding the correct and appropriate visual expression. >> it was a bench at one point. it was a darkened room at

another point. but the theme always was a theme of how do we call people's attention to the issue of speci species extinction. >> many exhibits do make long detailed explanations about species decline and biology of birds and that is very useful for lots of purposes. but i think it is also important to try to pull at the strings inside people. >> missing is not just about specific extinct or endangered species. it is about absence and a more fundamental level of not knowing what we are losing and we need to link species loss to habitat loss and really focuses much on the habitat. >> of course the overall mission of the academy has to do with two really fundamental and

important questions. one of which is the nature of life. how did we get here? the second is the challenge of sustainability. if we are here how are we going to find a way to stay? these questions resonated very strongly with maya. >> on average a species disappears every 20 minutes. this is the only media work that i have done. i might never do another one because i'm not a media artist per se but i have used the medium because it seemed to be the one that could allow me to convey the sounds and images here. memorials to me are different from artworks. they are artistic, but memorials have a function. >> it is a beautiful scupltural

objective made with bronze and lined with red wood from water tanks in clear lake. that is the scupltural form that gives expression to maya's project. if you think about a cone or a bull horn, they are used to get the attention of the crowd, often to communicate an important message. this project has a very important message and it is about our earth and what we are losing and what we are missing and what we don't even know is gone. >> so, what is missing is starting with an idea of loss, but in a funny way the shape of this cone is, whether you want to call it like the r.c.a. victor dog, it is listen to the earth and what if we could create a portal that could look at the past, the present and the future? >> you can change what is then missing by changing the software, by changing what is projected and missing. so, missing isn't a static installation. it is an installation that is

going to grow and change over time. and she has worked to bring all of this information together from laboratory after laboratory including, fortunately, our great fwroup of researche e-- g researchers at the california academy. >> this couldn't have been more site specific to this place and we think just visually in terms of its scupltural form it really holds its own against the architectural largest and grandeur of the building. it is an unusual compelling object. we think it will draw people out on the terrace, they will see the big cone and say what is that. then as they approach the cone tell hear these very unusual sounds that were obtained from the cornell orinthology lab. >> we have the largest recording of birds, mammals, frogs and insects and a huge library of videos. so this is an absolutely perfect

opportunity for us to team up with a world renown, very creative inspirational artist and put the sounds and sights of the animals that we study into a brand-new context, a context that really allows people to appreciate an esthetic way of the idea that we might live in the world without these sounds or sites. >> in the scientific realm it is shifting baselines. we get used to less and less, diminished expectations of what it was. >> when i came along lobsters six feet long and oysters 12 inches within they days all the oyster beds in new york, manhattan, the harbor would clean the water. so, just getting people to wake up to what was just literally there 200 years ago, 150 years ago. you see the object and say what is that. you come out and hear these

intriguing sounds, sounds like i have never heard in my life. and then you step closer and you almost have a very intimate experience. >> we could link to different institutions around the globe, maybe one per continent, maybe two or three in this country, then once they are all networked, they begin to communicate with one another and share information. in 2010 the website will launch, but it will be what you would call an informational website and then we are going to try to, by 2011, invite people to add a memory. so in a funny way the member rely grows and there is something organic about how this memorial begins to have legs so to speak. so we don't know quite where it will go but i promise to keep on it 10 years. my goal is to raise awareness and then either protect forests from being cut down or reforest in ways that promote

biodiversity. >> biodiverse city often argued to be important for the world's human populations because all of the medicinal plants and uses that we can put to it and fiber that it gives us and food that it gives us. while these are vital and important and worth literally hundreds of billions of dollars, the part that we also have to be able to communicate is the more spiritual sense of how important it is that we get to live side by side with all of these forms that have three billion years of history behind them and how tragic it would be not commercially and not in a utilitarian way but an emotio l emotional, psychological, spiritual way if we watch them one by one disappear. >> this is sort of a merger between art and science and advocacy in a funny way getting people to wake unand realize what is going on -- wake up and

realize what is going on. so it is a memborial trying to get us to interpret history and look to the past. they have always been about lacking at the past so we proceed forward and maybe don't commit the same mistakes. >> i have been a cable car grip for 21 years. i am a third generation. my grand farther and my dad worked over in green division for 27. i guess you could say it's blood. >> come on in. have a seat.

hold on. i like it because i am standing up. i am outside without a roof over my head and i see all kinds of people. >> you catch up to people you know from the past. you know. went to school with. people that you work with at other jobs. military or something. kind of weird. it's a small word, you be. like i said, what do people do when they come to san francisco? they ride a cable car. >> california line starts in the financial district. people are coming down knobbhill. the cable car picks people up. takes them to work. >> there still is no other device to conquer these hills

better than a cable car. nobody wanted to live up here because you had to climb up here. with the invention of the cable car, these hills became accessible. he watched horses be dragged to death. cable cars were invent in san francisco to solve the problem with it's unique, vertically challenged terrain. we are still using cars a century old >> the old cable car is the most unique thing, it's still going. it was a good design by then and is still now. if we don't do something now.

it's going to be worse later. >> the cable cars are built the same as they were in the late 1800's. we use a modern machinery. we haven't changed a thing. it's just how we get there. >> it's a time consuming job. we go for the quality rather than the production. we take pride in our work and it shows in the end product. >> the california line is mostly locals. the commuters in the morning, i see a lot of the same people. we don't have as tourists.

we are coming up to street to chinatown. since 1957, we are the only city in the world that runs cable cars. these cars right here are part of national parks system. in the early 1960's, they became the first roles monument. the way city spread changed with the invention of the cable car. >> people know in san francisco, first thing they

think about is, let's go >> 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 with local architectural firms ked to build one of the greatest office buildings in america. that's more than a building. that's a living system. ♪ ♪