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From YouTube: November 9, 2022 Visual Arts Committee
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B
Evening,
everyone
calling
our
meeting
to
order
November
9th
2022
at
604
pm
agenda.
Item
number
two
roll
call
John.
Would
you
run
us
through
roll
call?
Please.
C
Absolutely
my
pleasure
Committee
Member
Cliff
Bryant
here.
D
D
E
F
C
Thank
you
and
Vice
chair
shu.
G
A
Cup
is
currently
not
here
well
good,
now
that
your
next
item.
A
J
B
Then
oh
yeah
sure
agenda
item
three
minutes:
approval
minutes
for
the
October
12th
2022
meeting
have
been
delivered
to
committee
members
and
posted
on
the
city
hall
bulletin
board.
Does
anyone
have
any
corrections
or
additions.
C
Did
want
to
know,
we
do
have
two
members
of
the
public
on
the
call,
so
we
should
pause
for
public
comment
before
taking
any
action.
Assuming
there's
no
questions.
B
Okay,
sorry,
but
were
there
any
corrections
or
additions
on
the
minutes,
nope
any
comments
or
questions
from
the
public.
C
The
public,
if
you
wish
to
speak
on
this
item,
please
raise
your
hand
or
hit
star
six.
A
I
do
have
someone
wishing
to
speak
Maya,
I'm
gonna,
allow
you
to
speak.
K
Hello,
I
I'm,
not
I've,
never
been
to
one
of
these
meetings
before
but
I'm
a
Los
Altos
resident,
but
I
lived,
have
lived
in,
Mountain
View
went
to
school
there
too.
I
don't
know
if
this
is
the
right
moment
to
ask
this,
but
I
just
wanted
to
like
introduce
myself
as
a
local
artist
and
get
a
future
project
on
your
radar.
C
Thinking
about
so,
can
we
I'll
unmute
you
when
we
go
to
oral
Communications
from
the
public?
This
is
right
now
on
the
minutes.
Okay,.
A
A
Okay,
let's
see
Committee
Member
Bryant,
yes,
I.
A
Yes,
Committee
Member
Thompson.
E
B
I
Well,
I
can
take
over
now.
Thank
you,
Tony
and
looks
like
we're
going
into
item
four
oral
Communications
from
the
public.
This
portion
of
the
meeting
is
reserved
for
persons
wishing
to
adjust
the
committee
on
any
matter
not
on
the
agenda.
Speakers
are
limited
to
three
minutes.
State
law
prohibits
the
committee
from
acting
on
non-agenda
items
so
as
a
chance
and
anybody
else
who
has
something
they
want
to
say
to
the
committee.
K
Okay
sure
so
again,
I'm
not
exactly
sure
how
public
art
committee
works
and
things
like
that,
but
part
of
I'm
interested
and
learning
more
about
about
how
the
committee
works
and
about
how
public
art
gets
happens
in
Mountain
View.
But
so
I
mentioned
I'm
from
Mountain
View
Los
Altos
area
I
graduated
from
Mountain
View,
High
School
in
2019
so
three
four
years
ago,
or
something
like
that
at
that
point.
K
At
this
point
and
I'm
a
current
student
in
Rhode
Island
studying
art
as
well
as
history,
so
yeah,
but
interested
in
public
art,
learning
about
public
art
and
making
public
art
at
some
point.
So
I
guess
I
just
wanted
to
get
on
your
radar
that
somewhere
down
the
line.
I
do
have
an
idea
for
a
project
that
I'm
working
on
currently
working
on
making
a
model
for
that
project
and
what
the
project
is
at
its
stage.
K
Right
now
is
it's
kind
of
a
response
to
the
El
Camino
bells
that
are
arranged
throughout
California
and
how
you
know
there
hasn't
been
that
much
talk
about
the
Bells,
but
because
they're
kind
of
innocuous,
but
they
I
feel
like
fit
into
kind
of
this
broader
conversation
that
people
have
been
having
about
monuments
and
what
are
we
honoring
and
the
bells
obviously
kind
of
commemorate
the
Journey
of
the
Spanish
missionaries
as
they
colonize
California
and
built
missions
where
indigenous
people
were
forced
to
labor
and
and
he
died
and
had
their
ways
of
life
destroyed.
K
So
not
a
very
pretty
history,
but
the
bells
kind
of
commemorate
that.
So
my
idea,
kind
of
with
this
project
is
to
make
a
piece
which
I
have
photos
and
things
of
which
I
could
send
to
the
committee
later.
That
takes
on
like
these
kind
of
plays
with
the
idea
of
a
toppled
monument,
but
without
actually
toppling
the
monument.
K
So
a
piece
that
would
go
in
this
case
near
perhaps
like
the
bell
in
downtown
on
Castro
and
kind
of
have
make
a
dialogue
in
the
space
between
those
pieces.
So
yeah
just
wanted
to.
K
Let
you
know
I'm
thinking
of
a
piece
somewhere
down
the
line,
whether
that's
many
many
years
from
now-
or
you
know
a
couple
years
from
now,
and
also
just
wanted
to
introduce
myself
because
I
do
hope
to
learn
more
about
public
art
and
how
public
art
happens
in
the
city.
So
yeah
I
think
that's
about
all
I
got
for
now.
C
Just
real
quickly,
so
the
committee
can't
respond
to
your
public
comment
at
this
point
in
time,
but
I
would
say:
I'm
gonna
read
out
my
email
to
you.
Please
email
me
and
I'll
give
you
some
background
on
this
and
I'm
happy
to
answer
your
questions.
So
it
is
my
first
name:
John
j,
o
h,
n
dot,
Lang,
that's
l-a-n-g
at
Mountain,
View,
dot,
gov,
so
john.lang
at
mountainview.gov
feel
free
to
email.
Me
I'm,
happy
to
answer
your
questions.
C
H
L
Yeah
and
I,
you
might
be
interested
in
hanging
around
to
hear
the
upcoming
agenda
items
I'm
going
to
talk
about
something
there
that
might
be
intriguing
to
you
and
I
also
have
some
thoughts
about
your
your
project.
I
won't
take
time
now
to
talk
about
it,
but
if
you'd
like
to
have
a
conversation,
I'd
love
to
talk
with
you
about
it
and
either
John
or
Jesse
can
help.
Put
you
in
touch
if
you're
interested
in
doing
that.
So
that's
that
and
then
on
the.
L
What
I
wanted
to
tell
you
is
on
the
PDF
and
the
PDF
for
the
meeting.
It
I
found
it
difficult
to
use
the
code.
The
code's
not
embedded
in
the
zoom
like
now
I
think
this
might
be
something
more
for
Heather,
but
there
are
whether
there's
a
template
for
the
agenda
files.
I
don't
know,
but
if
they're
they're
not
consistent
across
the
body,
sometimes
you
can
click
on
the
link
and
it
takes
you
directly
to
the
meeting
and
sometimes
you
have
to
manually
type
in
the
code.
L
So
I
know
you
can't
answer
questions
but
I'm
going
to
assume
that
I
should
take
that
up
with
Heather
and
see
where
maybe
we
can
go
with
that.
C
I've
raised
it
with
document
processing,
Bruce
and
I'll
work
on
getting
it
resolved.
So
thank
you.
Okay,.
L
I
I
see
someone
new
from
the
public
has
joined,
how
you
let
a
kill
on
so
do
you
want
to
speak
on
any
non-agendized
items
now
would
be
the
time
to
do
it?
I
C
Wanted
to
go
a
little
more
in
depth
if
you
get
iron
touch
here,
so
these
are
items,
obviously
the
Committees
identified,
as
well
as
staff.
So
as
far
as
upcoming
items,
one
key
item
that
was
brought
up
and
I'm
working
with
our
Public
Work
teammates
on
trying
to
bring
forward
a
more
comprehensive
approach,
is
all
the
elements
associated
with
downtown
and
as
it
relates
to
public
Improvement.
C
So
there's
the
great
separation
there
is
The
Pedestrian
Mall,
there's
some
other
CIP
projects
of
how
to
come
about
that
approach,
that
in
a
more
holistic
way.
So
that
is
a
future
agenda
topic.
One
of
the
reoccurring
topics
is
public
art
strategy.
We're
not
talking
specifically
about
it.
This
evening,
I
will
be
bringing
back
more
information
in
December
on
this
next
iteration
for
you,
but
don't
have
it
for
you
this
evening,
wanted
to
just
briefly
touch
on
this
since
Bruce
is
on
the
call.
I
did
have
an
opportunity.
C
Bruce
had
flagged
us
for
the
committee
to
committee
days
ago.
I
had
a
conversation
with
him
regarding
our
placement,
Landscaping
integration
and
how
to
further
explore
that
I
am
looking
into
the
biodiversity
plan.
That
is
being
made
and
there's
an
there's,
a
tie
in
there
after
talking
with
Bruce,
so
looking
to
work
with
Bruce,
to
bring
this
back
as
a
more
deeper
conversation
to
the
committee
K5
augmentation.
C
This
will
be
impacted
or
will
be
addressed
through
some
of
the
public
art
strategy,
elements
that
are
being
vetted
and
then
wanted
to
draw
your
attention
to
two
other
items.
One
is
the
interest
in
doing
a
joint
committee
meeting
with
the
downtown
committee
again
and
then
the
last
one
which
is
not
on
your
list,
is
the
the
great
separation
project
for
downtown
that
will
be
possibly
come
into
as
early
as
December.
C
If
not,
it
will
be
at
your
February
meeting,
so
that
project
is
starting
to
move
a
little
bit
faster
and
we'll
be
needing
to
do
a
call
for
artists
sooner
versus
later
so
either
at
the
December
or
February
meeting.
We
will
be
bringing
that
topic
to
the
committee's
consideration.
C
F
So
this
clip
one
topic,
I'd
like
to
that
I
mentioned
last
meeting,
was
kind
of
re-looking
at
our
process
for
selecting
public
art
that
goes
into
a
public
park
and
how
that
ties
in
with
the
art
can
we
tie
it
more
closely
with
the
selection
of
the.
C
That
will
be
actually
discussed
under
6.2
Cliff.
Sorry.
A
F
D
I,
don't
have
any
new
items,
but
I
just
want
to
make
a
remark.
I'm
very
happy
to
hear
John
that
we're
gonna
work
on
a
comprehensive
approach
towards
The
Pedestrian
Mall
I.
Looked
at
that
functional
plan
and
I
saw
that,
like
the
common
areas
that
they
identified,
that
they
do
identify,
art,
exhibits
or
art.
D
Yeah
have
have
art
placement
there.
So
I
I'm.
D
I
I
I
wonder
if,
as
part
of
the
discuss,
how
art
placement
and
Landscaping
integration
can
be
further
explored,
maybe
we
could
also
talk
about
public
art,
integrating
with
bike
Lanes
bike
paths,
pedestrian
or
protected
bike.
Lanes
things
like
that.
But
I
don't
know
if
that
would
be
a
separate
bullet
point
or
could
possibly
be
merged
with
something
else.
C
I
believe
that's
I've
got
that
more
flagged
under
the
K5
augmentation,
because
currently
K5
limits
the
types
of
CIP
projects,
and
this
is
you're
talking
about
a
different
type
of
CIP
project.
That's
not
currently
addressed
as
a
public
art
opportunity
under
the
K5
great.
I
Yeah
because
I
know
that
yeah,
it's
not
currently
covered
by
K5,
but
I
spoke
to
city
council
and
they've
made
an
exception
and
they're
piloting
it
for
the
bike.
Lane
I
believe
they
voted
and
proved
that
there's
going
to
be
some
public
art
in
the
protected
bike
lane.
That's
going
down
California!
So
we're
going
to
have
an
opportunity
to
work
on
that
in
the
future
and
hopefully
do
a
good
integration
and
impress
them
in
the
citizens
of
Mountain
View.
So.
I
Yeah
I,
don't
really
have
anything
else
to
add
I
think
we're
in
really
really
good
hands
with
John,
even
though
Tiffany's
not
here
anymore,
I,
think
we've
got
a
great
staff
member
who
we
can
trust
to
keep
things
going
in
the
right
direction.
So
thanks
Jeff.
C
Thank
you
for
the
comments.
If
there
are
no
other,
if
there's
no
other
feedback
from
the
committee,
I
would
suggest
maybe
open
up
for
public
comments.
I
Last
last
chance,
committee
members:
you
have
any
comments:
okay,
we'll
go
on
to
item
six
unfinished
business,
6.1,
Capital
program,
CIP,
public
art,
project
updates
stuff
will
provide
updates
on
rain,
surf
Park
Aquatic
Center,
see
Prairie
project
1838,
Fayette,
Park,
cfp
product
2048
and
ring
surf
Park
maintenance
and
Tennis
building
CIP
project
2148.
C
Not
a
lot
has
changed
since
the
last
meeting,
so
this
will
be
a
very
quick
update
for
the
committee
on
the
Aquatic
Center.
Once
again,
the
project
is
still
very
much
on
track
to
open
fall.
2023,
it's
a
little
over
25
complete.
The
one
thing
we
are
still
continuing
to
work
through
is
insurance
requirements
on
a
contract,
so
two
of
the
three
contracts
have
been
executed.
C
C
There
is
no
other
immediate
update
at
this
point
in
time
and
on
the
ranksdorf
park.
Maintenance
and
Tennis
buildings
design
is
near
completion
now
and
we
do
anticipate
bid
construction
bit
going
out
here
at
the
end
of
the
year,
and
we
can
I
continue
to
work
with
artists
once
again
working
through
insurance
requirements
on
contracts
and
hopefully
getting
those
executed.
So
both
of
our
mural
artists
are
able
to
paint
the
murals
as
in
Vision
as
envisioned,
and
then
to
that
point.
C
Once
those
Agreements
are
in
place,
we
will
be
able
to
bring
back
to
this
committee
The
Design
Concepts.
After
both
artists
had
spent
some
time
with
the
senior
and
youth
advisory
committees
and
have
that
come
back
to
this
committee
to
review
before
moving
forward
with
that
project,
those
are
the
three
CIP
project
updates
at
this
point
in
time,.
I
So
looks
like
we'll
go
on
to
the
next
agenda
item
item:
seven
new
business,
7.1,
AB,
361
resolution
to
continue
remote
public
meetings
during
state
of
emergency,
adopt
a
resolution
of
the
visual
arts
committee
to
the
city
of
Mountain
View,
authorizing
virtual
meetings
pursuant
to
AB
361
and
making
required
findings
to
be
red
title
only
for
the
reading
waves
attachment
one
to
the
committee
memorandum
look.
So
would
anyone
like
to
comment
on
that
before
we
do
another
vote.
C
I
would
like
to
just
provide
a
very
quick
update
to
committee
members,
so
this
will
be
the
last
time
we'll
do
this
I
minutes
before
this
meeting
started
and
for
the
good
of
the
public
it
appears.
The
court
has
given
Direction
to
all
the
advisor
committees
that
effective
February,
1,
2023,
The,
Advisory
committees
and
city
council
will
be
going
back
in
person.
I
have
distributed
to
the
committee
a
letter
from
the
clerk's
office
stating
that
so
there
are
some
instructions,
if
any
of
The
Advisory
board.
C
Members
wish
to
review
that
and
have
concerns
or
comments.
Please
follow
directions
in
the
letter,
but
given
Council
will
be
continuing
to
extend
these
30-day
emergency
orders,
at
least
through
February,
and
this
will
be
the
last
time
the
committee
will
do
this
because
we'll
just
fall
under
city
council
and
then
effective
February
1,
all
advisor
committees
will
go
back
to
in
person
along
with
City
Council.
C
Right
now
the
the
plan
is:
if
there
are
not,
if
they're,
not
other
meeting
conflicts,
there
may
be
the
ability
to
host
in
a
different
room,
but
as
it
stands
right
now,
it
would
be
going
back
to
the
smaller
look.
It's
the
atrium
room.
If
I
remember
the
name
of
the
conference
room
correctly,
it
would
be
to
be
held
in
that
room.
Okay,.
I
I
thought
we
were
going
to
get
rainstorm
Park
I
mean
minister
of
community
center
access
and
have
meetings
there
right.
C
There
are
some
technical
challenges
with
that
meeting
room
The
Atrium
is
actually
a
hybrid
room
would
allow
for
hybrid
meetings.
Unfortunately,
the
ranksdorf
center
does
not
allow
for
hybrid
right.
I
I
Well,
it
sounds
like
that
that's
going
to
be
happening
in
in
February
regardless,
but
we
can
go
on
extending
our
own
remote
meetings
if
we
want
to
so
you
have
any
thoughts
on
that
I.
Just
I'm
inclined
to
just
continue.
As
we've
been
doing
it.
J
F
Yeah,
but
if
we're
going
to
be
now,
the
state
of
emergency
is
ending.
Basically,
our
coverage
was
is
going
to
be
we're,
gonna
have
to
meet
in
person
and
I
I
glanced
at
John's
message
and
having
mass
and
whatnot
will
soon
to
be
a
requirement
for,
for
especially
in
a
small
meeting
room
and
everything,
so
things
have
changed.
Yeah
what's
up
what's
been.
Nice,
though,
is
that
it's
been
able
people
with
the
families
and
whatnot
to
participate
in
the
need
these
meetings.
Then
it's
going
to
be
more
difficult.
E
C
So
that
we're
just
let's,
let's
kind
of
separate
two
things,
so
one
is
the
action
to
so
had
this
email
not
come
about
the
action
before
you
would
have
been,
do
you
want
to
meet
virtually
for
December,
because
it
wasn't
clear
whether
Council
was
going
to
extend
that
or
not
because
their
their
delegation
ends
at
the
end
of
this
month.
So
we
have
this
on
the
agenda
as
a
way
to
extend
that
new
Direction
came
out
minutes
before
this
meeting,
which
I
provided,
which
basically
says,
come
February.
C
All
of
this
is
going
to
change
and
go
back
to
in
person.
Now
what
that
tells
me
is
that
the
council
is
going
to
extend
through
December
through
January,
and
it
will
end
in
February.
So
this
committee
can
take
action
on
this
item
tonight
and
it
really
doesn't
mean
anything
because
it
will
be
covered
by
councils
decision
in
December
to
me
virtually
so
you're
guaranteed
to
meet
virtually
in
December.
C
We
don't
have
a
meeting
in
January,
so
it
means
in
February
the
the
first
meeting
back
would
be
in
person,
but
you're
covered
through
December.
So
this
this
now
is
kind
of
a
moot
point.
A
I
I
didn't
have
time
to
read
that
email
before
I
just
glanced
at
it,
but
so
voting
on
this
would
basically
be
a
waste
of
time.
But.
H
I
E
If
I
understand
John
correctly
after
February,
it's
mandatory
correct
to
go
back
in
person.
I
A
little
surprised
that
it's
the
US
committee
members
are
required
to
be
there
in
person,
but
then
the
public
still
gets
the
safety
and
convenience
of
having
a
virtual
option.
So
hopefully
we
can
petition
for
an
air
purifier
or
something
at
least
yeah.
A
I
C
There
is
no
no
raised
hands
on
this
item,
so
you
could
take
action
on
this
item
or
choose
not
to
take
action
on
on
this
item
because
it
Essences.
I
Of
a
good
point-
yeah,
it's
just
gonna
like
take.
You
know
a
minute
of
our
time
to
do
a
rule.
Column
not
accomplishing
anything.
So
we're
going
to
7.2.
I
A
C
Committee
Member
Bryant
mentioned
in
upcoming
agenda
topics.
This
was
a
topic
that
came
up
last
committee
meeting
on
really
trying
to
understand
after
seen,
Pyramid
Park
and
the
the
deployment
of
the
art
recognizing.
C
Maybe
there
are
some
things
need
to
change
so
I
had
the
chance
to
talk
with
my
Public
Works
teammates
on
some
of
these
Concepts
and
wanted
to
report
back
on
some
of
these
issues
that
were
raised
based
upon
the
committee's
members
and
just
experience
with
the
art
now
that
it's
in
place
and
really
understanding
the
scale
and
proximity.
C
So
this
is
a
verbal
update
for
all
of
you,
but
would
like
some
Direction,
but
also
how
we
think
about
implementing
K5
projects
going
forward
and
understanding
what
would
be
helpful
in
that
in
evaluating
art
placement
of
art
for
for
future
consideration.
So
this
is,
you
know
what
I
consider
a
lesson
learned
and
how
do
we
kind
of
move
forward
with
a
new
process
or
an
augmentation
to
the
process
going
forward?
So
with
that
said,
I
wanted
to
throw
out
a
couple
things
for
the
committee.
C
So
one
of
the
concepts
that
was
raised
by
committee
members,
when
we
had
this
discussion
or
as
a
kind
of
informal
discussion
on
This
was
you
know,
could
3D
modeling
be
used
to
understand
the
placement
of
the
art
relative
to
other
elements
of
a
park?
C
That
is
a
possibility,
depending
on
the
scope
and
size
of
the
project.
So
typically,
larger
projects,
just
out
of
size
will
typically
have
3D
modeling
associated
with
that,
and
that
is
something
that
can
be
brought
Incorporated
when
reviewing
larger
projects.
Much
smaller
scale,
projects.
That
is
an
additional
burden
on
the
project
and
most
likely
would
not
be
able
to
accommodate
any
type
of
3D,
modeling
or
simulation,
but
for
larger
projects
it
could.
C
It
has
been
done
and
can
be
done
and
that's
typically
part
of
a
public
works
scope
depending
on
the
size
of
the
project,
so
that
may
be
a
tool
that
can
be
used
by
the
VAC
when
evaluating
context.
The
other
thing
that
was
mentioned
by
Public
Work
teammates
is
really
trying
to
understand,
understand
scale.
C
So
in
the
future,
when
we
talk
about,
say
sculptures
or
elements
of
public
art
really
trying
to
do.
Some
comparison
so
there's
a
true
understanding
of
scale
when
you
say
six
feet.
What
does
that
really
mean?
Look
like
we
all
have
I
think
different
visions
of
what
six
feet
is
and
sometimes
when
you're
standing
there.
It's
like.
Oh
that's,
six
feet,
I
thought
that
was
smaller
or
I
thought
it
was
taller.
So
as
part
of
talking
about.
C
C
All
committee
members
are
certainly
invited
and
encouraged
to
visit
the
site,
but
maybe
as
a
process
going
forward
for
evaluating
art
that
the
committee
goes
out
together,
finding
some
mutual
time
and
actually
walk
the
site
with
the
public
works
team
and
understand
the
location
or
potential
locations
and
spend
some
time
out
there,
understanding
the
site
and
where
the
art
may
live
in
the
future.
So
we
can
do
that
as
a
voluntary
thing,
or
we
can
do
that
as
a
group.
C
I
certainly
invite
the
committee
to
provide
feedback
on
that
and
then
the
last
piece
really
had
to
do
with
some
other
other
equipment
and
using
the
park
example
the
playground
equipment.
So
one
of
the
lessons
learned
from
this
last
project
was
most
of
the
playground.
Equipment
had
already
been
sourced
and
procured
so
making
sure
that
that
information
is
also
conveyed
from
a
color
palette,
from
a
look
and
feel
so
as
these
projects
go
forward.
C
Typically,
playground
structures
are
actually
already
it's
not
either
completely
designed
or
already
in
the
process
of
procurement
and
so
bringing
those
elements
into
the
conversation
as
it
relates
to
Art.
So
the
the
typical
construction
process
doesn't
have
to
re-jigger.
We
just
need
to
make
sure
we're
capturing
that
information.
So
when
art
comes
up
as
it
relates
to
a
particular
project,
we
have
those
elements
where
the
BAC
has
those
elements.
I
should
say
as
part
of
consideration
on
art
pieces.
C
The
last
comment
I
wanted
to
provide
the
VAC
was
it
had
to
do
with,
in
essence,
the
the
placement
of
Art
and
one
of
the
pieces
on
the
art
piece,
and
this
can
certainly
be
open
for
discussion.
But
what
I
heard
from
committee
members
is
one
of
the
art
pieces.
C
It
was
either
a
a
butterfly
or
a
bee
seemed
to
be
placed
very
low
on
the
art
piece
and
was
not
seen
was
not
strategically
seen
now.
The
feedback
received
on
that
comment
was
sometimes
that's
the
artist's
decision
and
recognizing,
where
is
it
kind
of
the
artist's
decision
versus
the
bac's
desire
and
understanding
that
so
I
think
having
a
conversation
with
an
artist
on?
Can
on-site
modifications
be
done?
C
Did
the
artist
really
intend
to
have
it
be
strategically
on
that
placed
in
that
specific
location,
say
on
a
scale
of
between
one
and
five
feet,
instead
of
being
at
the
two
foot
level,
could
it
be
moved
up
to
the
four
foot
level,
something
to
that
degree?
C
That
typically,
is
an
artist's
representation,
but
it
there
are
things.
Maybe
the
VAC
wants
to
consider
as
part
of
the
approval,
art
really
understanding
the
orientation
of
the
art
and
once
again,
kind
of
the
scale
Public
Works
did
share
with
me
that
you
know
artists
do
artists,
do
have
some
ability
to
augment,
so
if
they
get
on
site
and
they
choose
to
augment
the
piece
up
a
little
bit
or
down
if
it's
an
added
element,
they
generally
can
do
that
without
without
a
lot
of
to
do.
C
If
you
will
some
other
pieces
are
a
little
more
difficult
to
modify
on
site.
So
that
is
something
to
think
about
of
when
an
art
piece
is
picked
or
reviewed,
understanding
how
it's
cited
on
that
site
and
whether
something
should
be
at
the
two
foot
level
versus
maybe
the
four
foot
level
for
greater
visibility.
But
once
again,
I
think
that
is
a
conversation.
C
So
when
a
decision
is
being
made
about
a
particular
piece
that
it's
clearer,
the
orientation
of
it
and
how
it
will
be
facing
and
having
some
clarity
around
that
so
I
think
those
are
all
things
that
was
part
of
the
call
for
artists
and
that
discussion
and
review
that
the
VAC
does
around
art.
Those
are
conversations,
I
think
are
worthy
of
having
and
can
be
augmented.
So
there
is
a
better
sense
that
the
scale
the
massing
and
the
feel
of
the
piece
makes
sense
or
is
complementary
to
the
other
elements
of
the
project.
C
C
F
You
said
I
understood
that
when
it
comes
to
to
our
committee
to
start
the
selection
process
for
a
piece
to
go
into
the
to
a
park
that
the
the
staff
Public
Works
has
already
selected,
the
play
equipment-
that's
known
so
that
could
be
presented
to
us
as
part
of
this
is
the
park
environment
that
the
piece
will
go
into
which
we
can
also
then
share
with
the
artists
when
we
do
a
call
so
that
they
they
can
see
that
as
well
and.
C
What
was
shared
with
me
in
many
cases,
that
is,
that
is
the
case-
that
the
actual
the
play,
equipment
or
Park
equipment
is
either
already
been
decided
upon,
or
is
in
the
process
being
procured.
So
there
should
be
some
details
about
the
look.
The
feel
the
size
of
that
piece
that
could
help
inform
the
VAC.
F
And
then
I
just
want
to
build
on.
That's
that's
wonderful,
to
hear,
because
I
think
that
will
that
would
help
me
and
I
think
it
would
help.
I
would
think
would
help
the
visual
artists,
whose
piece
are
going
to
go
into
that
environment
to
know
how
their
Piece
Will
interact
with
the
wonderful
play,
equipment
that
that's
been
being
put
into
the
parks,
but
I
just
want
to
build
off
a
little
bit.
One
little
bit
of
that
is
I
recall
from
the
city
processes
with
designing
Park
equipment
or
or
selecting
Park
equipment.
F
That's
done
with
the
participation
of
the
residents
in
that
Park,
assuming
like
in
like
in
Pyramid
Park
residents.
So
can
we
also,
then
so?
The
city
has
made
contact
with
those
residents.
They've
talked
to
them,
they've
gotten
their
feedback
Etc
in
order
to
select
play
equipment.
Can
we
then
build
on
that
in
and
incorporate
those
public
members
into
the
selection
of
the
public
art
piece
that'll
go
into
their
Park?
F
In
other
words,
invite
them
to
see
the
pieces
that
are
being
discussed
and
get
invite
them
to
give
comments
to
us,
because
we
have
had
links
already
established
with
them
that
way
they
can
participate.
We
can.
They
can
get
a
sense
of
we're,
selecting
a
piece
for
the
park
that
they're
helping
to
to
design
and
it's
kind
of
a
win-win
for
everybody
is.
C
Happy
to
explore
it,
I
I
need
to
kind
of
understand
the
parks
process
a
little
bit
better,
but
how
the
VAC
can
engage
with
that
already
identified
group
happy
to
look
into
it
and
explore
that
as
a
next
step
in
understanding
how
the
VSA
May
augment
their
process
going
forward
with
public
art
so
happy
to
look
into
it.
H
I
think
traditionally,
our
our
purpose
has
always
been
to
you
know,
represent
the
public,
represent
the
neighborhood
just
just
to
streamline
the
process.
So
we
don't
have
you
know
25
Cooks,
and
so
it
might
even
be
simpler
to
just
meet
ahead
of
time.
H
With
some
of
these
people
who
are
already
connected
in
the
neighborhood
and
say
hey
what
you
got
anything
in
mind,
you
know
when
we're
selecting,
because
otherwise
God
I
don't
know
how
we
I
don't
know
how
we'd
do
it
it's
a
great
idea,
but
the
mechanics
of
it
sound,
complicated
and
time
consuming.
C
So
once
again
not
fully
understanding
the
the
parks
review
process,
but
let
me
start
with
that
and
and
look
into
how
that's
done
is
maybe
part
of
identifying
those
pieces.
There's
another
question
that
could
be
asked.
So
it's
a
twofer.
So
it's
not
having
to
to
your
point
Don
recreate
it.
But
how
do
we
capture
it
at
that
point
in
time
that
may
help
inform
the
call
for
artists
right.
So
it
looks
like
members
of
the
the
community
want
this
kind
of
play
equipment.
C
What
have
you
and
maybe
there's
a
type
of
a
question
about
what
would
you
envision
an
art
in
this
community
as
part
of
that
process
and
that
gets
funneled
over?
Maybe
this
side
and
used
as
a
as
used
in
the
call
for
artist
process
and
kind
of
do
a
twofer
at
that
point
in
time,
but
I
need
to
better
understand
and
not
understand
the
process.
So
I
think
I
understand
your
sentiment.
H
Yeah
I
mean
we
can
just
do
it
all
at
one
time.
That'd
be
that'd,
be
great
to
get
some
input
like
that.
H
Oh,
and
as
far
as
the
you
know,
learning
what
kind
of
playground
equipment
I
mean
I
mean
more
information
is
always
better
and
then
whatever's
appropriate,
I'm.
Sure
more
information
going
out
to
the
artist
is
always
better.
So
all
of
this
is
is
good
news.
I
H
I
Yeah
I
think
so
too
I
think
it's
going
to
help
help
get
better
quality
art,
so
I
think
it
was
Cliff
who
led
the
charge
on
that
one
said
we
should
get
some
more
information
that
turns
out.
They
had
it
all
along,
so
that's
great,
and
as
for
going
off
and
visiting
the
the
site
and
walking
it
physically
I
think
that's
a
great
idea
too.
I
I
would
like
to
do
it
as
a
group
and
and
understand
that
everyone
will
be
able
to
make
it
at
whatever
time
you
know
maybe
work
for
the
majority,
and
hopefully
people
who
can't
make
it
will
just
be
able
to
go
on
their
own
time
and
and
voluntarily
take
a
stroll,
but
I
can
see
how
that
would
help
too
just
getting
a
sense
of
the
perk,
even
if
it's
you
know
not
constructed
yet,
if
it's
a
patch
of
dirt,
you
can
still
see
what's
directly
adjacent,
you
can
see
the
roads
and
the
trees,
oh
just
outside
the
Border
or
if
there's
housing
there
or
what
and
that
can
help
influence
the
decisions.
J
A
C
Integratable
time
or
you
know,
we
just
need
to
notice
it
as
such
and
state
exactly
what
is
happening.
So
if
we
were
to
say
we're
going
to
visit
Mora
Park
on
Tuesday
at
11
A.M
to
discuss
public
Art
in
the
Park
placement,
location,
Etc
or
review
site
location.
But
we
can
certainly
notice
it
as
a
meeting
and.
I
C
I'm,
okay,
with
the
feedback,
if
there's
nothing
else,
I
certainly
welcome
I.
E
They
build
a
like
a
standard
checklist
like
when
we
approve
the
art.
Let
me
communicate
art
just
have
us
there
and
check
this
item.
A
color,
Item,
B,
size,
item,
C,
material,
item
d
rotation.
You
know
like
have
a
standard
checklist,
I
mean
it
doesn't
mean
we
have
to
give
the
direction
to
the
artist.
D
I
was
wondering
actually,
if
that,
probably
if
we
all
do
all
this,
have
checklists
and
have
all
this
extra
information.
That
will
probably
mean,
in
my
opinion,
that
we
have
to
change
our
selection
process
slightly
as
well.
In
the
sense
of
that
we
probably
should
pre-select
a
larger
pool
and
then
narrow
down
just
so
that
we
can
apply
all
those
all
that
extra
information
and
that
we
don't
influence
the
artist
beforehand
that
we
submit
as
they
did
before.
D
But
then,
once
we
have
it,
we
pick
our
top
10
or
so,
and
we
have
only
one
or
two
that
we
can
ultimately
pick
that
we
can
then
apply
our
information
and
and
and
get
back
to
the
artists.
If
we
need
it,
that
would
make
it
more
manageable,
then
get
back
to
the
artist
that
we
had
pre-selected
already
and
talk
about
Dimensions
or
placement
or
size
could
renegotiate
if
the
bench
that
they
were
suggesting,
we
feel
is
way
too
small.
D
I
So
you
some
are
you
mostly
suggesting
just
that
we
have
a
larger
pool
of
the
finalists
kind
of
like,
instead
of
top
three
top
ten
depending
on
if
they
have
enough
applications.
D
G
D
H
H
Then
we
can
do
that
if
we
get
too
specific
about
it,
we're
we're
ruling
out
the
chance
that
one
of
our
very
creative
artists
is
going
to
think
of
something
that
we
never
have,
and
they
might
come
up
with
something
that
we
say.
Oh
wait.
You
know
we
never
thought
of
that,
but
that
actually
fits
just
fine,
so
I
think
we
need
to
let
them
let
them
roll
a
bit
too.
D
Yeah,
that's
what
I
mean
I
mean
not
not
give
two
stringing
requirements
and
the
call
for
artists,
not
that
that's
not
what
I
mean
like
that
should
be
completely
open.
But
then,
once
we
have
our
our
finalists
that.
J
E
B
D
B
Think
process.
D
B
You
know
we
want
to
be
able
sorry
I'm
trying
to
strike
the
balance
of
my
words
because
I
hear
what
Don's
saying
as
well,
but
we
want
some
room
and
some
some
opportunity
to
work
with
the
individual
artists
and
then
we're
so
not
ask
we're
not
only
asking
for
their
time
right
and
their
commitment,
but
we're
also
asking
for
them
to
essentially
create
sorry.
Oh
gosh,.
I
B
I
B
B
And
I
mean
I
love
that
process,
but
again,
if
that's
something
we
want
to
do
more.
So
if
we
want
to
do
that
more
often
for
our
projects,
again,
I
think
that's
just
really
important
that
we
have
to
we
gotta
we
gotta
pay
in
for
that.
F
And
I'm
hopeful
that
when
we
provide
more
information
about
the
environment,
the
plant
equipment,
the
colors,
the
blah
blah
blah,
but
they
also
have
a
better
concept
of
what?
What
the
environment
is.
That
you're
going
to
have
a
piece
sit
in,
so
that
that
information
up
front
will
make
their
their
selection
or
their
their
creation.
Much
better
for
us
right.
F
C
Mask
the
committee
so
I
appreciate
all
the
the
feedback
just
a
little
bit
of
a
clarifying
if
I'm
kind
of
following
the
thread
amongst
the
members,
it
seems
to
me
maybe
there's
a
threshold
requirement
because
I
think
for
a
park
that
is
extremely
small,
where
you're
talking
it
just
minimally
triggers
a
CIP
project
where
it
might
just
be
benches.
Yeah.
A
G
C
Feel
you
know
really
understand
it.
I
think
that
makes
sense,
for
you
know
a
little.
You
know
less
than
a
quarter
acre
park
that
is
going
to
have
one
art
piece
for
you
know,
fifteen
thousand
dollars
you
know:
do
you
want
to
go
through
that
level
of
iteration?
C
So
maybe
there's
a
a
little
bit
of
a
threshold
determining
of
when
you
know,
process
a
process,
B
process,
b
b
being
a
little
more
iterative
where
it's
stipend,
but
something
that
you
know
is
just
kind
of
barely
triggering
the
CIP
process
that
is
not
going
to
allow
for
a
lot
of
art.
It
can
be
a
much
more
straightforward
process.
So
maybe
that's
the
a
little
bit
of
that.
Fine
point.
I
think
that
I'm
kind
of
picking
up
between
the
comments
I
just
want
to
see
if
I'm
tracking.
I
B
I,
don't
know
how
long
ago
was
John
but
I.
Think
in
one
of
our
previous
meetings
we
did
establish
a
threshold
threshold
of
when
we
would
use
an
RFQ
process
versus
just
kind
of
a
straightforward
call.
So
I
I
want
to
say
it's
100K,
but
I.
Don't
remember,
I,
don't
think
that's
right,
yeah,
but
so
I
think
that
is
something
we
did
talk
about
and
land
on
yeah.
K
I
I
Yeah
and
we've
been
doing
that
it's
been
fine
for
big
projects.
It
probably
makes
sense
to
do
a
little
more
in
depth,
but
I'm
thinking.
If
there
is
a
threshold,
the
threshold
should
probably
apply
for
peace
and
not
for
the
total
amount
of
the
CIP
project,
because
if
it's
a
150,
000
CIP
project,
let's
say
it's
a
huge
one.
A
lot
of
times.
We
split
that
up
into
multiple
smaller
art
pieces
and
then
some
of
those
it
might
make
sense
to
have
the
more
iterative
process
and
some
of
them
might
not.
F
So
when
I
saw
the
fabulous
design
of
the
play
equipment
with
the
bursting
greens
and
yellows
and
reds
I
was
really
thrilled
to
see
that
the
artists
had
through
Magic
created
pieces
with
mosaics,
which
were
matched
those
colors.
Those
vibrant
colors,
which
I
don't
know
how
she
did.
It
happens
to
answer
whatnot
or
the
the
gift
of
inspiration,
but
it
matched
perfectly
with
the
end
result
did
not
match
what.
F
What
I
remember
seeing
and
again
that
that
whole
disconnect
would
have
been
addressed
if
she
probably
had
seen,
and
we
had
seen
what
the
color
schemes
were
going
to
be
like
and
so
that
small
little
piece
would
have
triggered
hey.
It
should
be
fit
into
this
environment
and
we
wouldn't
have
to
again
spend
that
much
money
on
it,
but
it
would
have
just
had
directed
her
in
the
choice
of
the
color
schemes
to
match
and
remove
the
surprise,
I'm
glad
it
all
worked
out
for
Remora,
because
I
I
thought
that
was
just
great.
C
I
Yeah,
should
we
should
we
put
off
to
a
future
meeting
to
decide
what
exactly
that
threshold
is
and
have
a
discussion
about
that
I
think
it
might
be
helpful
if,
if
we
could
go
back
historically
and
look
at
which
pieces
have
we
done
that
before
and
how
much
did
those
pieces
cost
and
that
would
probably
give
us
an
idea
of
just
what
have
we
previously
thought?
You
know,
even
though
we
didn't
have
a
hard
and
fast
rule
which
which
dollar
amounts,
have
we
generally
decided
in
the
past,
like.
I
Needs
extra,
you
know
back
and
forth
extra
effort
from
from
both
the
committee
and
the
artist
to
get
it
right.
E
That's
the
hard
and
fast
rule
I
think
it
depends
on
the
art
as
well.
If
it's
a
bench
as
long
as
you
can
sit
on
it,
who
cares
which
exactly
orientation
is?
You
know
what
I
mean,
but
if
it
were
like
a
a
mobile
like
you
know,
sticking
up
mobile,
then
you
do
care
like
how
high
at
hand
so,
even
though
they
both
might
be
a
fifteen
thousand
dollar
piece,
but
then
We
Care,
the
level
We
Care
is,
is
different.
I
E
E
E
I
The
thing
is:
I:
do
care
about
the
bench
right?
Okay,
if
it's
a
65,
000
bench
I,
think
it's
worth
spending
some
of
that
money
on
a
stipend
and
making
sure
it's
perfect.
But
if
it's
a
twenty
thousand
dollar
bench,
then
I'm
like
okay.
Well,
these
look
at
these
top
three
proposals
and
that
one's
so
right
now
you're
trying
to.
E
Cat
you
want
you're
trying
to
work
out
a
tier
system.
What
at
which
level
you
you,
we
care
enough
to
say
something.
What
I'm
saying
is
just
if
we
have
just
a
list,
then
we
can,
we
can
decide
on
on
the
go
we
can
just
when
we
see
the
piece
we
can
say.
Oh
this
one,
we
want
to
Care
on
this
one.
We
don't
want
to
carry
out
of
this
one.
E
We
care
what
part
of
one
of
the
Care
the
orientation
or
the
the
height
or
you
know
at
that
point,
we
can
check
check
that
list
with
so
I.
D
Sorry
I
have
a
quick
question
regarding
that,
since
I'm,
not
on
the
committee
for
that
long
yet,
but
as
I
understand
it
that
it
happened.
It
happened
in
the
past
that
I
understand
that
for
for
larger
projects,
we
gotta
we
got
to
see
the
because
we
asked
them
for
for
basically
a
model.
What
they're
actually
going
to
do
right
and
the
smaller
project?
We
don't.
We
only
see
the
portfolio
and
we
don't
really
know
what
the
artist's
gonna
propose
more
or
less.
D
But
what
I
understand
is
that
in
the
past
it
has
happened
that
once
that
proposal
has
been
made
that
the
committee
had
had
waiting
on
like
I,
remember,
I,
think
the
the
Wyandotte
park
bench
that
the
committee
wanted
some
structure
on
the
bench
like
wood,
wood,
grain
structure
or
something
like
that
like
in
my
I'm,
asking
that
because
I'm
wondering
like,
if
there's
different
points
of
contacts
like,
if
do
we
once
the
artist
has
has
like
the
submitted
their
final
design.
D
Is
that
the
the
time
we
should
weigh
in
if
we
have
like
sight
requirements
that
we
wanted
to
discuss
with
the
artist
or
not
because
I
I
miss
I'm,
assuming
that
has
happened
in
the
past,
that
the
committee
has
seen
the
final
Yeah
final
art
piece
and
has
weighed
in
and
so
in
one
way
or
the
other
I.
I
Guess
we
can
always
there's
always
the
opportunity
to
say
hey.
Can
you
change
this
through
that
slightly
and
have
a
little
back
and
forth
I?
Think
in
the
case
of
that
bench
you
mentioned
it
was
like
a
pretty.
It
was
a
pretty
minor
chain.
We
weren't
asking
them
to
redesign
it
or
submit
a
new
proposal.
It
was
just
a
discussion
of
how
is
the
wood
finished
to
protect
it
from
the
elements
and
the
artist
was
was
straight,
was
flexible
with
that
and
saying
hey
I
could
do
this
or
I
could
do
that?
I
What
do
you
think
so?
We
just
you
know,
gave
our
input
on
that,
but
that's
different
from
saying
you
know
making
major
changes
to
the
bench.
D
Yeah
I,
don't
know,
I
mean
I'm,
just
wondering
where
those
points
of
contact
are
so
that
we
can
decide.
You
know
like
what
do
we
put
in
the
call
for
artists?
What
do
we
do?
We
then
pay
a
stipend,
because
we
want
more
beforehand.
Do
we
not,
and
once
we
see
the
final
draft,
is
that
another
point
of
contact
with
the
artist
that
happens,
naturally
that
we
could
ask
about
site
requirements
and
then
the
final
design
right
and
maybe
last
minute
Corrections?
B
Is
going
to
tell
us
right
because
to
your
point,
like
the
threshold
will
tell
us
if
it's
going
to
be
a
multi-step
process
and
then
that
will
inform
the
artists
again
what
commitment
and
what
is
going
to
be
involved
on
their
part,
but
also
it
tells
us
right.
It'll
tell
us
when
our
reviews
are
when
we
will
send
them
or
share
our
feedback
and
how
we
will
be
able
to
work
with
them.
I
think
if
we
don't
set
that
threshold
in
advance
and
we
just
keep
it
open
one
it
it.
B
We
are
unprepared
right
for
kind
of.
We
don't
really
know
how
much
input
we
can
provide
and
where,
where
to
your
point
of
the
points
of
contact,
are
but
I
think
again,
the
threshold
will
tell
us
the
process
and
the
involvement,
the
level
of
involvement
from
both
the
artist
and
the
committee.
So
I
think
that's
why
it's
super
important
to
have,
because
again,
I
think.
We
need
that
to
tell
us
what
type
of
call
it's
going
to
be.
C
I
offer
just
once
again
making
sure
I'm
kind
of
synthesizing
what
I'm
hearing
so
one
I
to
the
earlier
comment
from
chair
cup
I,
don't
know
the
dollar
threshold
of
those
I'll
have
to
research
that
so
I'm
happy
to
come
back
to
the
committee
and
say
when,
in
the
past,
you've
kind
of
done
this
other
process
where
it's
modeling.
C
This
is
the
level
for
those
art
pieces
where
this
is
kind
of
triggered,
so
not
doing
it
on
the
totality
of
the
project,
but
the
individual
art
pieces
are
kind
of
triggering
in
this
dollar
threshold.
So
you
have
that
as
a
way
to
kind
of
decide
what
might
be
a
threshold.
I
think
what
I've
heard
from
the
vice
chair
and
if
I
may
expand
upon
the
comment.
C
There's
insurance
requirements
do
not
gloss
over
this
because
it
is
very
problematic
to
go
through
this
whole
process
with
all
of
you
and
we
get
to
a
contract
and
we
can't
execute
a
contract
because
of
insurance
and
there's
no
reason
Insurance
should
be
wagging
the
dog
when
we
we
put
up
front.
This
is
what
you
committed
to
and
when
Council
proves
this,
it's
basically
the
only
way
to
change.
It
is
to
go
back
to
council.
C
So
the
more
we
can
be
up
front
and
clear,
I
think
with
artists
about
what
the
process
is
going
to
be.
Here's
the
amount
of
information
we
have
at
that
point
in
time.
I
think
that'll
make
the
committee's
life
a
little
bit
easier
as
it
evaluates
and
as
people
self-select
do
I
want
to
bid
on
this
or
not,
but
it
the
more
clarity
we
can
provide
I
think
will
not
only
help
the
VAC
in
your
decision-making
process,
but
it
creates
a
very
clear
process.
C
So
you
don't
have
to
worry
about
we're,
not
going
to
entertain
this
element,
because
we
know
it's
triggered
this
threshold.
So
we're
going
to
go
down
this
path
and
everyone's
clear
about
that.
So
I
think
there
is
a
lot
of
value
in
doing
that.
I'm
happy
to
come
back
to
the
committee
with
what
has
been
done
in
the
past
kind
of
what
those
dollar
thresholds
are,
and
maybe
the
committee
can
decide,
here's
a
range
if
it's
going
to
fit
in
this
range,
it's
path,
B,
any
and
all
times.
C
Otherwise
we're
going
to
do
path
a
and
we
can
even
do
a
little
off-ramp.
That
says
it's
path,
a
with
this
one
exception
where
we
may
want
to
retool
it
because
of
the
uniqueness
of
this
project
yeah,
but
at
least
there's
some
clarity
both
for
the
committee
and
for
artists
that
want
to
respond
to
the
call.
I
Yeah,
the
clarity
is
important.
I
think
the
artist
needs
to
know
up
front
when
they
are
filling
out
the
application
before
they
fill
out
the
application
they
need
to
know.
Is
there
going
to
be
a
stipend
if
I
become
a
top?
Three
finalists
am
I
expected
to
do
more
work
if
I'm
a
finalist
or
you
know,
is
this
just
the
project
where
I
submit
my
proposal
and
it's
either
approved
or
it
doesn't
make
the
cut,
and
my
proposal
will
basically
be
the
final
project.
They
should
know
that
foreign.
C
A
I
G
Thank
you,
I'm
kind
of
trying
to
I've
been
just
before
I
miss
him
today
and
I'm,
trying
to
catch
up
and
I
understand,
but
I,
I
and
kind
of
understand
the
process
and
I
I.
Wonder
if
you
have
like
any
kind
of
face:
3D
visualization,
to
be
able
to
kind
of
a
a
visualize,
how
a
3D
a
art
will
look
in
the
environment
that
you
are
looking
for.
A
C
As
part
of
the
public
comment,
the
VAC
really
can't
respond
to
the
comment.
I
can
make
some
comments,
but
do
you
have
other
comments
or
questions
that.
G
No
I
would
just
listen
and
try
to
understand
better
and
to
think
about
it.
I
mean
I,
know
I,
just
it
it's
a
question,
but
I
can
tell
you
for
myself
I'm
using
a
very
basic
thing.
If
I
want
to
put
exhibition,
I,
I
kind
of
create
a
room
for
that
I
can
look
3D
and
to
see
put
together
before
I'm,
going
to
a
place
and
try
to
do
all
the
work
and
try
to
be
there.
So
I
would
kind
of
think
that
will
be
some
tool
for
you
to
help.
G
You
I
think
it's
still
between
the
what's
the
I'm,
not
sure
about
the
process.
If
you
ask
the
artist
up
front
to
show
you
some
kind
of
model
or
you
just
offer
them
to
do
something
in
a
sorry,
I,
don't
understand
exactly
the
process,
but
I
think
in
one
point
it
would
be
maybe
something
to
think
about
how
to
visualize
I
mean
it's.
G
A
Okay,
so
I'll
just.
C
Well,
the
comments
the
committee
is
not
for
our
public.
The
committee
is
not
able
to
answer
a
question,
but
I
did
start
the
conversation
by
saying
as
part
of
CIP
projects.
There
are
going
to
be
some
projects
that
the
city
will
actually
get
a
3D
model
for,
and
that
could
be
a
tool
for
the
VAC
to
use
in
understanding
location
scale
for
future
public
art
haven't
ever
talked
about
the
idea
of
an
artist
using
SketchUp
and
doing
3D
modeling,
but
from
a
CIP
process.
C
So
if
there
are
no
other
comments
from
the
committee,
I
certainly
have
gotten
a
lot
of
feedback
and
the
the
big
takeaways
I'll
do
some
homework
on
understanding
the
thresholds
where
the
other
alternative
path
has
been
done
and
what
those
dollar
figures
are
happy.
A
C
Come
back
to
the
committee
and
socialize
that
with
the
committee,
so
you
may
pick
a
range:
a
dollar
range
that
you
would
want
to
trigger
this
additional
review
or
stipend
process
and
use
that
as
the
approach
going
forward
and
the
rest
of
the
feedback
is
very
helpful
and
we
can
build
that
into
kind
of
a
defined
approach.
The
committee
can
take
for
future
CIP
projects,
so
I'll
write
those
notes
up
and
hopefully
be
reflective
of
all
the
comments
I
heard
from
the
BAC.
D
John,
maybe
if
you
could
find
out
you
know
at
what
point?
Does
the
city
get
like
the
final
s
draw
as
a
final
submittal?
What
the
artwork's
gonna
look
like,
you
know
for
insurance
purposes
and
just
like
for
like
I'm
assuming
assuming
there
is
a
point
where
that
that's
being
submitted.
If
we
can
always
include
that
in
the
updates
wondering
if
that's
possible
do.
D
Well,
usually,
we
don't
really
see
what,
if
we
don't,
if
we
don't
pay
a
stipend
and
we
get
a
draft
right,
we
don't
really
see
what
the
final
piece
will
look
like.
So
my
question
is
like
at
what
point
do
we
know
how
it
finally
looks
like
right
without
the
stipend
like
just
in
the
normal
process,
and
can
we
can
we
be
you
know,
can
we
get
an
update
on
that?
One
style
is
final,
that
we
will
get
to
see
that.
C
So
as
it
stands
right
so
I'd
like
to
respond
to
that,
because
it's
an
interesting
comment
so
what
ends
up
happening
once
the
VAC
approves
approves
an
art
piece.
It
goes
to
city
council,
but
basically
the
submittal
that
the
artist
provided
gets
to
be
an
attachment
to
the
artist
contract.
So
we
don't
actually
see
a
modified
schematic
of
the
art
piece
it
gets.
It
is
an
attachment
to
the
agreement,
so
there
is
no.
C
There
is
no
additional
SketchUp
if
you
will
of
a
finalized
piece.
So
basically,
once
it
leaves
the
committee's
hands
and
goes
to
city
council
that
doesn't
change
and
then
once
Council
blesses
it
we
use
what
they
blessed,
which
is
what
you
saw
and
that
gets
attached
to
the
agreement.
So
there
is
no
other
iterative
process.
So
what
you
kind
of
see
is
what
you
get
at
that
point
in
time.
I
F
Hence,
there's
no
and
there's
no
checkpoint
along
the
way,
so
it
was
Susan's
comment
along
the
way.
Just
for
us
to
check
in
to
see
are
we
are
we
going
to
get
what
we
actually
thought
we
were
going
to
get
as
far
as
a
radically
different
or
or
not
yeah,
I,
guess,
I!
Guess,
that's
a
process
question
which
I
think
she's
bringing
up
is
that
we
should
have
a
checkpoint
along
the
way.
B
Because
if
it's
just
like
the
single
entry
right
and
we're
asking
for
and
based
on
the
process
that
John
just
laid
out,
if
we're
asking
to
see
something,
you
know,
maybe
they
can
send
us
and
we
have
gotten
updates
right.
We've
gotten
updates
when
the
pieces
are
in
the
studio,
yeah
and
so
we've
gotten
some
of
those
but
I
I
think
I
would
be
just
be
cautious,
based
on
the
process.
I
just
heard
like
we
don't
have
there's
no
room
for
input
in
that
process,
so
I
I
mean
so
that's
again.
F
I
like
to
bring
up
the
issues
that
well
in
the
pieces
that
went
into
Pyramid
Park
I
had
expected
certain
colors
on
the
mobile
which,
when
I
saw
the
piece,
wasn't
there
so
I
was
surprised
and
that
may
have
been
my
lack
of
knowledge
but
somewhere
there's
a
disconnect,
in
my
my
mind,
with
what
I
thought
I
approved
and
what
I
I
saw.
So
is
there
a
process
for
us
to
be
able
to
say
hey?
F
This
is
what
we're
going
to
get
actually
with
the
priest
is
going
to
create,
and
it's
just
like
when
I'm
creating
art
for
a
commission
I
check
in
with
my
client
to
say:
hey.
This
is
what
I've
created.
Is
this
kind
of
the
direction
that
you
thought
it
was
going
to
go
into
and
that's
that's
a
checkpoint
along
the
way
to
see
that
we're
still
in
sync.
F
A
F
That
that's
what
I
kind
of
heard
from
what
I
thought
was
missing.
I
thought,
that's
what
Susie
was
was
bringing
up
as
well.
It's
kind
of
a
checkpoint
along
the
way.
Are
we
on
the
same?
Are
we
on
the
path
to
get
what
we
thought
we
were
going
to
get
or
if
things
veered
off
and
there's
a
hence
a
way
to
kind
of
Bring
It
Back
closer
to
what
we
thought
we're
going
to
get.
A
C
I
think
one
way
to
potentially
approach
this,
maybe
in
the
actual
boilerplate
contract
language,
which
requires
say
a
quarterly
like
a
a
quarter,
a
half
a
three-quarter
check-in
of
either
as
not
to
make
it
overly
cumbersome.
But
to
say
whenever
the
the
fabrication
is
at
a
quarter
provide
documentation
to
the
city.
On
this,
when.
C
It's
this
and
it
I,
don't
know
that
we
could
necessarily
augment
all
that
much,
but
at
least
it
would
be
a
way
to
Garner
a
check-in
kind
of
force,
a
check-in
that
staff
could
then
come
back
to
the
committee
and
say
here
is
piece.
You
know
here
is
said
Peace
for
said
project
at
you
know,
frame
it
as
this
project
is
doing
this.
This
was
the
color
palette.
C
Here's
what
it
looks
like
at
this
stage,
here's
what
it
looks
like
at
this
stage
and
maybe
that's
a
way
to
do
it
through
the
contractual
process,
but
as
far
as
the
actual
schematic
that
gets
attached,
it's
it's
what
you've
approved.
So
if
we're
approving
schematics
I
think
the
other
piece
that's
going
to
be
really
important
is
hopefully
that's
schematic
says
it's
six
feet:
these
are
the
color.
C
These
are
the
color
palettes
too
I
think
your
point
Cliff
that
it's
a
blue
green
purple
and
these
colors
and
so
from
a
contractual
obligation,
we're
able
to
track
it
and
if
there's,
if
it's
not
in
line
with
the
contract,
that's
when
you
can
actually
change
it
but
to
make
sure
that
schematic
whatever
it
is
that
the
committee
approves
has
that
very
well
represented
on
that
schematic
because
it
gets
put
as
an
attachment.
So
that's
basically
what
we're
getting
and
it's
clear
it's
six
feet:
it's
this
set
of
colors,
etc,
etc.
C
C
We
can
certainly
do
the
checklist
approach,
but
just
making
sure
that
I
think
the
concerns
that
are
race
or
are
you
getting
what
you
thought
you
were
getting
so
really
it's?
The
schematic
is
what
holds
binds
that
agreement
together.
So
we
need
to
make
sure
the
schematic
once
it
leaves
the
vac
and
goes
to
council.
Has
that
detail
is
what
I'm
clearly
hearing
from
the
committee.
E
I
I
Yeah
honestly
I
would
personally
I
would
only
want
to
make
that
contractual
obligation
and
additional
burden
of
giving
us
the
work
in
progress.
Pictures
for
the
bigger
projects
that
just
my
point
of
view,
I,
don't
know
how
other
people
feel
about
that.
If
it's
a
small
project
I,
don't
know.
D
Okay
can
I
ask
again,
maybe
that
that
provides
more
clarity,
John
for
for
our
most
recent
project,
for
the
maintenance
buildings
like
what
we,
what
we
approved
is
to
artists.
We
don't
know
what
they're
gonna
paint
right
and
we
don't
know
exactly
which
areas
take
on
a
pick
and
if
they're
going
to
fill
the
whole
area,
we
have
like
right.
We
had
like
both
buildings
have
like
one
or
two
or
three
areas
that
they
could
pick
from.
So
what
you're
saying
is
with
those
Maintenance
building.
D
D
You
know
it's
or
do
we
stop
at
this
point,
I
think
I
I
need
to
get
more
clarity
like
before
we
have
this
all
this
discussion
about
thresholds
and
because
I
I
agree
with
all
of
it,
but
I
think
I'm
still
not
clear
completely,
because
we
at
what
point
do
we
even
know
what
the
final
design
is
and
then
yeah
do?
We
do
we
need
those
checkpoints
along
the
way
during
the
production
so
for
the
maintenance
buildings
we're
still
going
to
get
a
fine,
more
final
design
or
not.
Yes,.
C
C
So
hopefully
the
comments
are
in
in
line
or
kind
of
in
agreement
with
the
vision
of
what
was
produced,
but
whatever
that
SketchUp
looks
like
or
is
envisioned
would
be
attached
to
the
agreement
and
then
signed
it
executed
and
that's
what
gets
delivered.
So
it
says
the
mural.
Is
this
big,
and
this
is
the
concept
art
on
it.
D
I
Yeah
and
also
I
think
it's
important
to
recognize
that
project
as
kind
of
an
outlier.
It
was
really
experimental
and
different
from
our
normal
process
because
we
got
those
other
committees
involved.
So
maybe
that's
why
we
feel
like
we
have
a
little
less
information
at
that
at
this
point,
and
most
of
the
time
we
don't,
we
don't
do
things
that
way.
I
So
I
just
want
to
be
careful
that
we
don't
end
up
micromanaging
the
artists
and
and
trying
to
get
them
to
change
small
details
too
much
after
we've
already
approved
their
final
proposal
and
chosen
them,
and
actually
that
is
that
yeah,
but
so
I'll
get
to
the
second
clip.
But
we
should
recognize
that
that
the
proposal,
the
final
proposal
or
the
rough
draft
or
whatever
we
choose
it's,
never
going
to
be
exactly
the
same
as
the
final
product.
It's
not
going
to
be
a
photorealistic
imitation
of
what
we
get
it's
going
to
change.
I
F
Yeah
I,
just
don't
want
to
be
thoroughly
surprised
by
the
end
result.
Well,
I
was
thoroughly
surprised,
both
in
a
good
happy
way
with
Maura
park,
because
I
thought
she
did
a
great
job
and
at
Pyramid
Park
I
was
surprised
in
the
negative
way,
who
wasn't
as
great
as
I
thought
it
was
going
to
be
and
and
that
those
checkpoints
would
help
either
either
set
my
expectation
or
give
feedback
to
the
artist
in
the
process
of
hey
our
our.
Are
you
going
with
where,
where
I
thought
you
were
going
to
be
going?
I
J
I
Okay,
discussion
and,
let's
see
what's
next,
it
might
take
me
a
second
to
find
it.
Do
they
close
the
thing?
Okay,
7.2
right,
we
skipped
around
a
little
bit,
but
I
believe
believe
we're
getting
that
contract
getting
to
7.2
Center
for
the
Performing
Arts
call
for
artists
update
on
the
status
regarding
the
call
for
artists
for
the
Center
for
the
Performing
Arts
2023
Gallery
display
next
steps
on
jurying.
C
Yes,
so
very
quick
verbal
update,
so
we've
had
a
call
for
artists
out
since
October
on
this
coming
Saturday.
That
call
will
close.
Currently
we
have
29
submissions,
so
starting
Sunday,
you
will
be
receiving
some
emails
from
Cafe
to
start
to
jury.
Those
submissions,
My
Hope,
Is,
that
between
now
and
the
December
meeting
I'm
hoping
the
VAC
committee
can
spend
some
time
before
the
December
I
believe
it's
13th
meeting,
if
I
remember
correctly,
reviewing
those.
C
So
we
can
at
the
next
BAC
meeting,
decide
on
the
artist's
proposals
once
again.
This
is
for
the
art
that
would
be
displayed
for
approximately
a
month
and
a
half
to
two
months
at
the
CPA
through
2023
So,
currently,
there's
29
submissions
it
closes
on
Saturday
and
then
Sunday.
We
open
up
the
durian.
So
this
is
to
give
you
a
heads
up.
At
least
29
special
missions
will
be
reviewed
by
you.
C
I
will
start
to
notice
the
BAC
immediately
once
that
closes
and
would
ask
if
you
can
take
some
time
to
review
those
and
hopefully
provide
feedback
before
the
December
13th
date.
So
we
can
bring
forward
the
top
a
top
submissions
and
the
committee
can
decide
to
move
whom
to
move
forward
with
as
far
as
a
art
displays
in
the
CPA
for
2023..
So
that's
a
quick
update
on
that
process.
Happy
to
answer
any
questions.
D
I
J
Yeah
in
the
past,
how
many
artists
are
we
looking
to
to
exhibit?
There
is.
C
That
so,
typically
for
the
year,
it's
at
least
five
with
two
Alternatives,
so
we're
typically
looking
between
five
and
eight,
but
based
upon
the
role,
the
move-in,
the
move
out,
the
display
time
of
approximately
a
month
and
a
half.
It
ends
up
being
about
five
artists
with
two
alternates
or
three
alternates,
but
always
happy
to
take
more
because,
as
we've
seen
this
last
year
at
least
you
haven't
seen
I've
seen.
C
We've
had
a
few
artists
that
have
had
the
back
out,
so
we've
had
to
rely
on
the
alternates.
So
we
are
looking
for
between
five
and
eight
ideally
and.
C
Time
from
a
contractual
standpoint,
it
needs
to
be
one
at.
I
C
I
Okay,
maybe
we
could
do
a
little
group
share
two
at
a
time
when
we
get
more
staff
or
something
because
that
that's
an
interesting
idea
where
I
think
some
artists
may
find
themselves
not
applying
to
this,
because
there's
so
much
wall
space
to
fill
and
they
don't
have
enough
paintings
and
that
could
be
a
real
problem,
especially
for
a
more
amateur
or
beginner
artists.
So
but
yeah
I
understand
it
for
now
John,
let's
keep
it
to
one:
that's
how
we've
always
done
it.
Oh
man,
what
was
I
goodness?
I
Oh
yeah,
how
long
is
left
to
apply
Jen
and
how
would
an
artist
go
about
applying
if
they
haven't?
If
they
don't
know.
C
Well,
there
are
one
two
basically
three
days
and
a
couple
hours
left
to
apply,
so
it
closes
this
Saturday,
basically
at
midnight
to
apply
they
can
apply
through
Cafe.
It's
a
very
well
known
artist,
a
call
for
artists
solution
if
they
can't
find
it
by
just
doing
a
internet
search,
they
can
certainly
reach
out
to
me
John
dot,
Lang
mountainview.gov
I'm
happy
to
afford
them
the
direct
linked
for
the
for
the
for
them
to
submit
directly
in
to
our
our
call
for
artists.
I
Thank
you.
Thank
you,
because
the
number
of
applicants
right
now
seems
a
little
low
for
three
days
to
the
deadline
and
normally
I
think
we
have
50
60
applicants.
I
would
like
to
choose
from
a
bigger
number.
C
Do
the
the
2019
call,
which
was
the
last
call
that
was
done,
had
41
respondents
so.
C
I
I
I
C
So
members
from
the
public,
would
you
like
to
speak
on
this
topic
or
ask
questions
on
this
topic.
I
Then,
let's
see
what
is
what
is
next
for
us
animate
comments.
Sorry
committee
staff
comments,
questions
committee
reports.
No
action
will
be
taken
on
any
questions
raised
by
the
committee
at
this
time.
This
is
just
General
comments
and
questions.
C
Doesn't
have
any
comments
or
questions
so
I
certainly
defer
to
the
committee
for
any
comments
or
questions.
B
I
have
one
question
and
I
just
I.
It
would
be
helpful
to
know
what
the
protocol
is
when
general
public
reaches
out
to
us
directly
with
questions
or
comments
or
wanting
to
understand
the
inner
workings
of
the
visual
arts
committee,
so
I
think
yeah
if
that's
documented
somewhere
or
if
that's
a
future
agenda
item
but
I
think
that
would
just
be
helpful
to
know
you
know
what
what
communication
can
and
cannot
happen.
A
C
I
Yeah,
because
we
have
we've
gotten
a
couple
in
the
last
month
or
two
and
I've
gotten
emails
from
Naya
and
other
people
and
I
would
love
to
be
able
to
help
them
and
get
you
know
involved
with
their
projects
and
I'm
like
I.
Just
don't
know,
I
don't
know
if
we
can
legally
so
hang
in
there.
Anyone
who's
asked
us
questions
and
John
will
give
us
the
answers
on
on
how
we
can
or
or
cannot,
participate
or
help.
I
Okay,
then,
all
right,
if
there's
no,
no
questions
comments
from
the
public.
Oh.