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 >> when r died, he was working on one of the biggest shows of his career, matter and spirit. it is a retrospective look at the many faces and faces of the

life of an innovative artist from the california clay movement. stephen de staebler's developed in an area dominated by abstract expression. even his peers saw his form. >> he was able to find a middle ground in which he balanced the ideas of human figuration and representation with abstraction and found it even more meaningful to negotiate that duality. >> another challenge was to create art from a meeting that was typically viewed as kraft material. his transforming moment was an accident in the studio. an oversized vertical sculpture began to collapse under its own weight and spread onto the floor. he sought a new tradition before

him, landscape sculpture. >> you feel this extended human form underneath the surface of the earth struggling to emerge. eventually, it does. it articulates his idea that the earth is like flesh, and the archaeology and geology in the earth are like the bones, the structure of the earth. this tied in with his idea of mother earth, with the sense that we are all tied to nature and the earth. >> a half dozen bay area museums and private collectors loan the massive sculptures to the museum for its matter and spirit retrospective. but the most unusual contributions came from stephen himself. a wall of autobiographical masks and hence from the early decades of his private study. >> he had one of the most beautiful studios i have ever been in. when you walk in, your first

impression is of these monumental figures that you see in the exhibition, but if you went into the back corner of his studio, there was a series of shells with these diminutive figures. he told me, these are the heart of my studio. these little, and held intimate study is that he referred to as his sketchbook. a painter might make drawings. stephen de staebler made miniature sculptures. >> during the 1970's, he was inspired by the monuments of egypt. he assembled a large rocks of clay into figures that resembled the ancient kings and queens. he credited a weathered appearance by rubbing glazes' into the clay while still wet. the misfires from his killed were brought in his backyard in his berkeley home. he called it his boneyard. in the last year of his life, he dug up the artifacts from his own history, and the bones were

rearranged, in the were slimmer figures with wings. >> even if you knew nothing about his life or career, you sensed there was an artist dealing with this fundamental issue of life and death, the cake, netting back together, and you feel there is an attempt to deal with mortality and immortality. there is a seeking of spiritual meaning in an existential stage. >> during his 50-year career, stephen de staebler worked to form and out of the clay of the ground and give it a breath of life. matter and spirit gathers the many expressions of his meditations. and gives the viewer and insight into the artist's life. learn more about the retrospective on line at >> sanrio famous for the designs

for hello kitty. i thought i would try to make it as cute as possible. that way people might want to read the stories. then people might be open to learn about the deities and the culture. ♪ they reached out to make about five or six years ago because of the book published. they appreciated that my work was clearly driven from my research and investigation. after i contributed my artwork, the museum was really beside themselves. they really took to it. the museum reached out to me to see if i would be interested in my own space inside the museum. i tell them that would be a dream come true.

it is the classical, beautiful indian mythology through the lens of modern design and illustration and storytelling. they're all of these great sketch as i did for the maharajah exhibition. i get a lot of feedback on my artwork and books. they complement. they say how original the work is. i am the first person to say that this is so derived from all of this great artwork and storytelling of the past. the research i put into all of my books and work is a product of how we do things that a-- at pixar. sometimes you will see him depicted monkey-like or as superman. i wanted to honor his monkey coloring.

i decided to paint him white with a darker face. it is nice to breathe new life into it in a way that is reverent and honors the past but also lets them breathe and have fun. it is almost a european notion to bring these symbols and icons from southeast asia. they decorate their deities. it was a god they interacted with every day in a human way. the most important thing has been to create work that is appealing to me. i want to see vishnu to pick did in a modern way. it dawned on me by reinterpreting the deities in a way that is modern and reverent

to the history, i am building a bridge for young and old audiences to make friends with the culture and these icons to learn their stories. ♪