When the ancient Polynesians invented surfing, they often used a paddle to help them navigate. Fast-forward a few millennia, and Stand-Up Paddleboarding, or SUP, finds itself trendy again. Part of its increasing popularity is that standing upright allows surfers to spot waves more easily and thus catch more of them, multiplying the fun factor. Paddling back to the wave becomes less of a strain as well. The ability to cruise along on flat inland water, surveying the sights, is another advantage. Finally, its a good core workout. If youre sold on the idea, schedule an intro SUP lesson, free with board and paddle rental, and you may find yourself riding the waves like a Polynesian king.More
In the past 30 years, light artists have reimagined an art form that has always had the ability to turn the night sky, or a simple window, into luminescence. Last fall, the Yerba Buena Center for the Arts turned its southern glass wall into a parade of sound-sensing lights, Lightswarm, that changes with the movements of nearby people and things. Future Cities Lab, the San Francisco design company behind Lightswarm, has originated another notable light sculpture. Located by the YBCA's steps at 701 Mission, Murmur Wall will light up in arresting ways as it incorporates local trending search engine results and social media postings. Onlookers can offer their own contributions, which will feed into the Murmur Wall's data stream and light up the sculpture. What's trending in San Francisco? If you're walking by the YBCA, you can see firsthand — at least through light patterns that reflect the city's volatile internet habits.
Murmur Wall debuts Thursday at 6 p.m. and continues through May 31, 2017, at Yerba Buena Center for the Arts, 701 Mission St., S.F. Free; 415-978-2700 or ybca.org. More
You, the Living flips through 50-some single-panel vignettes, many very funny, arranged by Roy Andersson, a Swedish director best known for his commercial work and 2000s Songs From the Second Floor. An (almost always) stationary camera captures a procession of lugubrious Stockholmians; the caption to most of the stills could be I cant go on. Connections between scenes are loose, if any. A heaplike fiftyish biker gal replays teen-angst classics (Nobody understands me!) for her boyfriend in a public park. A man hunched over a walker obliviously drags his pet terrier behind him, tangled in its leash. A prematurely embalmed-looking fellow complains about his pension plans while his stout Brünnhilde of a wife mounts him. Andersson delights particularly in left-outs: the guy who cant squeeze into the busstop during a downpour; the natty little suitor getting his bouquet smashed in a slamming door. The sum total is the reflection of a worldviewsad sack, bordering on Everybody Hurts black-velvet sad-clown bathosrather than any narrative. The title comes from Goethes Roman Elegies, an admonition to appreciate ones measure of life before Lethes ice-cold wave will lick your escaping foot. This I take to be one of Anderssons dry jokes, as his anhedonic characters already seem settled in Hadesa streetcar even lists Lethe as its destination.
Sun., Jan. 3, 2, 4, 7:15 & 9:20 p.m.; Mon., Jan. 4, 7:15 & 9:20 p.m., 2010