the ranked-choice ballot is designed in a side-by-side column format that lists the names of all candidates in each of the three columns. when marking the ranked-choice ballot, voters select their first-choice candidate in the first column by completing the arrow pointing to their choice. for their second-choice, voters select a different candidate in the second column by completing the arrow pointing to their choice. for their third-choice, voters select a different candidate in the third column by completing the arrow pointing to their choice. voters wishing to vote for a qualified write-in candidate for any of their three choices can write in a candidate's name on the line provided and they must complete the arrow pointing to their choice. keep in mind a voter should select a different candidate for each of the three columns of the ranked-choice ballot card. if a voter selects the same candidate in more than one column, his or her vote for that candidate will count only

once. also, a voter's second choice will be counted only if his or her first-choice candidate has been eliminated and a voter's third choice will be counted only if both his or her first- and second-choice candidates have been eliminated. we have talked about how to mark the ranked-choice ballot. now let's look at how ranked-choice voting works. initially every first-choice vote is counted. any candidate who receives a majority, more than 50% of the first-choice votes, is determined to be the winner. if no candidate receives more than 50% of the first-choice votes, a process of eliminating candidates and transferring votes begins. first, the candidate who received the fewest number of first-choice votes is eliminated from the race.

second, voters who selected the eliminated candidate as their first choice will have their vote transferred to their second choice. third, all the votes are recounted. fourth, if any candidate receives more than 50% of the votes, he or she is declared the winner. if no candidate receives more than 50% of the votes, the process of eliminating candidates and transferring votes is repeated until one candidate has a winning majority. in this example, we have three candidates: candidate a, candidate b and candidate c. in this example, we have three candidates: candidate a, candidate b., and candidate c. after all the first-choice votes are counted, none of the three candidates has received more than 50%, or a majority of the first-choice votes cast. candidate a has received 25% of the votes, candidate b has received 40% of the votes, and candidate c has received 35% of

the votes. . because no candidate received a majority, the candidate who received the fewest number of first-choice votes, candidate a, is eliminated from the race. voters who picked candidate a as their first-choice candidate will have their vote transferred to their second-choice candidate. of the voters who picked candidate a as their first choice candidate, 15% chose candidate b as their second-choice candidate and 10% chose candidate c as their second-choice candidate. these votes are then applied to candidates b and candidate c and the votes are recounted. we see now that candidate b has 55% of the votes and candidate c has 45% of the vote. candidate b now has more than 50% of the votes and is determined to be the winner. thank you for watching. we hope that you have learned more about ranked-choice voting and who is elected using this method.

you have seen the ranked-choice ballot, learned how to correctly mark it, and learned how the ranked-choice voting process works. if you have any further questions about ranked-choice voting, please contact us at: department of elections, city hall, room 48, 1 dr. carlton b. goodlett place, san francisco, california 94102. call us at: 415-554-4375. visit our web site at: wwww >> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been

installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates

that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically lead one to the northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible]

the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible] around 1926 or so by the dahlia society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a little blustery theme. what is this area here? >> this is supposed to be the side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work.

>> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope. >> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you. and thank you for telling us about your beautiful mural. thanks for watching "culturewire." because we have a great waste

water system here in san francisco, we do about 80 million gallons of waste water here in san francisco, which means we basically fill up 120 olympic sized swimming pools each and every day here in the city. we protect public health and safety and environment because we are discharging into the bay and into the ocean. this is essentially the first treatment here at our waste water treatment facility. what we do is slow down the water so that things either settle to the bottom or float to the top. you see we have a nice selection of things floating around there, things from bubble gum wrappers, toilet paper, whatever you dump down the toilet, whatever gets into our storm drains, that's what gets into our waste water treatment and we have to clean. >> see these chains here, this keeps scum from building up. >> on this end in the liquid

end basically we're just trying to produce a good water product that doesn't negatively impact the receiving water so that we have recreation and no bad impact on fish and aquatic life. solids is what's happening. . >> by sludge, what exactly do you mean? is that the actual technical term? . >> it's a technical term and it's used in a lot of different ways, but this is organic sewage sludge. basically what it is is, oh, maybe things that come out of your garbage disposal, things that are fecal in nature. it's sludge left in the water after the primary treatment, then we blend those two over and send them over to digestion. this building is built to

replace tanks here that were so odoriferous they would curl your hair. we built this as an interim process. >> is there a coagulant introduced somewhere in the middle of this? . >> this coagulant brings solids together and lets the water run through. that gives us more time in the digestion process, more time to reduce the amount of solids. these are the biggest ones in the world, like we always like to do in san francisco. they are 4 meter, there's none like it in the world. >> really? wow. >> three meters, usually. we got the biggest, if not the best. so here we are. look at that baby hum. river of sludge. >> one of the things is we use bacteria that's common in our

own guts to create this reduction. it's like an extra digestion. one of the things we have to do to facilitate that is heat that sludge up and keep it at the temperature our body likes, 98.6 degrees. >> so what we have here is the heat exchanger for digester no. 6. these clog up with debris and we're coming in to -- next wet weather season so we always come through here, clean them out, make sure that we get maximum heat exchange during the colder wet weather. sludge season. >> rubber glove. >> right here. >> rubber glove, excellent. all right, guys. >> thank you. >> good luck. >> this is the full on hazmat.

. >> residual liquid. we're taking it time to let it drain. we don't want to get sludge on it necessarily. take your time. stand on the side of it. . >> should we let it release for a while? . >> let it release. >> is that the technical term? . >> this is the most important bolt on the whole thing. this is the locking bolt. it locks this thing right in place. so now. >> take your hammer and what we want to do, we get rag build up right in here. the hot water recirculates right in here, the sludge recirculates in here. the sludge sometimes has rags in it. all we want to do is go around the clean the rags. let me show you how. take the slide hammer, go all

the way through the back, go around. >> got you. >> during the real rainy season, how does that change the way dealing with this job? is it a lot more stuff in there? . >> what we do, charles, we do this quarterly. every four months we go around and clean all the heat exchangers so we don't have a large build up. . >> go around? . >> yeah. (sound of hammering). >> what i'm trying to do, charles, is always pull it out on the low stroke. >> right. so you are not, like, flying

out. now talk about clean up. . >> then where does this stuff get deposited? . >> we're going to dump it in a debris box and it will go back to the plant. >> if you think back, the romans came up with a system of plumbing that allowed us it use water to transport waste away from the hub of civilization, which enabled cities to grow. . >> you have a large bowl, a drive motor and another motor with a planetary gearbox with differential pressure inside there. the large mass up there spinning separating the solids from the liquid. we have to prevent about once a month, we go in there grease

those, change the oil, check the vibration levels. the operators can tell just by the hum of that machine that it's a harmonic noise emitted that it's out of balance and the machine needs to be cleaned. it will start vibrating and we have vibration analysis machines that will come over here and check the levels. so it's kind of an on-going thing that you have to stay on top of on a daily basis. >> handled properly, you take organic residuals, as we call them, that are leftovers of our society and turn them back into some energy. and we have another ability to take that sludge and get a nutrient value for crops there. we actually are running a kind

of composting energy recovery system. >> well, this is a dirty job. we try to do it safely and we try to do it without imposing too much on the public. people want to flush their toilets and have things go away and not be bothersome again. we do a lot to try to accomplish that. i'd like to invite you to come back any time you want. once you got this in your blood, you are not going to be able to stay away. the raging waters are fun and when we do digester cleaning i really hope you can come back. that's quite a sight. >> yeah, that sounds interesting. >> i really appreciate you coming by and it was a >> san francisco is home to a renowned civic art collection that includes a comic works --

iconic works by local and national artists integrated into our public buildings and six basis. the arts commission has struggled to take care of the priceless collection because of limited resources. in an effort to gather more funding for the maintenance of the collection, the art commission has joined forces with the san francisco art dealers association to establish art care, a new initiative that provides a way for the public to get involved. the director of public affairs recently met with the founder and liquor -- local gallery owner to check out the first art care project. ♪ >> many san franciscans are not

aware that there is a civic art collection of numbers almost 4000 works of art. preserving the collection and maintaining it is something being addressed by a new program called art care. it is a way for citizens to participate in the preservation of the civic art collection. with me is the creator of the art care program. welcome. the reason we wanted to interview you is that the artist in question is peter volkas. why is he so important to the history of san francisco art? >> he is a very famous ceramic ist. knowing the limitations of clay, he got involved in bronze in

around 1962. he was teaching at the university of california, berkeley. >> your gallery celebrated the 50th anniversary of continuous operation. you are a pioneer in introducing the work and representing him. >> i have represented him since 1966. i was not in business until 1961. he made a big deal out of working in clay. the things he was doing was something never seen before. >> it is a large scale bronze. it has been sitting here of the hall of justice since 1971. talk about what happens to the work of art out of the elements. >> the arts commission commissioned the piece. they did not set aside money for repair. it has slowly changed color.

it was black. it has been restored. >> it has been restored to the original patina. >> there was no damage done to its. i do not think there were any holes made in it. they have been working on it for six or eight weeks. it is practically ready to go. i am very excited to see it done. >> over the course of the arts in richmond program, we have added almost 800 works of art into the public space. maintaining that is not something that the bond funds allow us to do. this is why you came up with the idea of art care.

>> i hope we get the community going and get people who really like to be involved. we will give them a chance to be involved. if you are interested in art, this is a marvelous way to get involved. there is work all over the city where every year ago. -- there is artwork all over the city wherever you go. my idea was to get people in the neighborhood to take care of the pieces and let the art commission have the money for the bigger pieces. >> i was talking to the former president of the arts commission yesterday. the 2% ordnance is something he helped to champion. >> it is all over california and other states now. we really were the forerunners. it is a wonderful thing to bring the community into this now.

people have seen art being put into the community. this has not been touched by any graffiti. it just faded over time. it is so open here. there is nobody watching this. i think that is a plus to the community. i hope the graffiti people do not go out there now that i am opening of my mouth. >> i want to thank you for the 50 years you have already given to the city as an arts leader. >> i started in to briberon, i's only been 45. >> you have championed his work over these years. >> it has been exciting working with him. it is one of the highlights of my life. >> thank you for being part of "culture wire" today.

>> to learn more about the program and the list of public arts in need of maintenance, visit the website. thank you for

>> we're here right on the embarqadero where there's an iconic view of san francisco bay. and louis have lent us "crouching spider." in a couple of weeks at the end of april, this wonderful sculpture will be going away. and to of commemorate this art is jill manson. so jill, we're getting ready to say good buy. >> i know. it breaks my heart. it's the highlight of my career with the city. what has been the impact of the crouching spider in san francisco? >> i think it's been an incredible coup for the city.

a lot of her work came from her mother. her family repaired tapestry. she thought of mer mother as the spider, someone who protects her young who prepares the nest. and she was very, very de voted to her mother. i think it's gotten the public excited about public art. people pay attention to their environment. they wonder what's going to pop up next. so it's been incredibly positive. >> the public's art program, it's reputation has been spread nationally and internationally. so what do you think has been the affect or the utility of having a temporary arts program for you? >> i think with the temporary art work, everyone is sort of willing to take a chance. it allows us to be a little

more risky. look at risks that are a little more experimental, a little more edgy. and often it represent less of an investment to public funds because we're not acquiring a work. we're often paying for just the transportation and installation of the work. >> so what do you think it has contributed to san francisco, this 40-year-old program? >> well, we've contributed more than 1,000 art works to the city. you can find art work in practically every public facility. i jokingly say from a to z. but from the airport to the zoo you will find the mark of the aren'ts commission. the% aplace to every -- the 2% applies to every city department. it allows us to make art work, a part of the daily fabric of life in the city. >> it's libraries. it's parks. it's chouses. >> that's right. it's 2% of the construction cost. it doesn't come out of any

other initial program. it's not competing with the health department for money if we didn't spend the 2% for art, it would just be part of the architecture budgets. >> of course we're here. but this program touches every neighborhood in the city. so what are other examples? >> right before thanksgiving we made head lines on "chronicles. we have an exciting project at the intersection of columbus and north beach. in conjunction with the reconstruction of the m-line and the beautification of ocean avenue, we had a budget to commission art work. we hired an artist to create three large sun spheres made from beautiful golden-colored ceramic tile. and they bring this beautiful, radiant sunlight to ocean avenue. it's sort of a bright moment in

the fog. >> one of the things that helps to make san francisco a destination is its reputation as an arts center. and how has this department contributed to that? it contributed to the vibrancy of our city. it reflects our culture diversity. it tells the story of our history of the city. it enables us to create a cultural legacy for generations to come. the public art component is a vital part of the city's art scene. and in addition, it really conveys an important message that providing public art, free accessible public art 24/7 is an essential city service.