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From YouTube: Public Art Committee September 8, 2020
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A
A
A
A
B
D
C
G
H
B
Okay,
okay,
so
we
have
a
quorum.
I
just
wanted
to
inform
everyone
that,
with
the
resignation
of
theo
iano,
there
is
a
vacancy
on
the
committee,
as
theo's
term
would
expire
on
the
31st
of
october.
It
was
decided
to
leave
the
position
vacant
and
appoint
a
member
for
a
full
three-year
term
starting
november.
First
and
mr
stockhouse,
you
can
vote
with
us
now.
B
And
that
was
confirmed
by
the
city
clerk
okay
mark.
Do
we
have
any
guests.
B
Okay,
I'd
like
a
motion
to
approve
the
minutes
from
the
august
11th
meeting.
B
Second,
okay:
I
would
like
to
amend
the
minutes
on
page
six.
It
reads
that
the
fee
could
not
exceed
a
thousand
dollars
for
the
city's
insurance
policy.
C
B
The
that
was
the
wording
I
had
gotten
from
city
manager,
lacouris
and
I
believe
that's
what
was
mentioned
at
the
meeting.
Okay.
B
Do
I
hear
a
second
second
all
in
favor,
aye
aye.
Anybody
opposed
okay
minutes
are
accepted
as
amended.
Okay,
we
have
some
current
project
updates.
First,
I
am
thrilled
to
tell
everybody
that,
as
of
this
morning,
we
learned
that
the
art
boxes
are
indeed
here.
B
A
delivery
was
attempted
and
for
some
reason
they
were
not
accepted
by
the
coordinator
down
at
public
works.
Diane
put
the
the
vendor
in
touch
with
the
ray
who's.
The
coordinator
of
public
works
and
they're
gonna
try
the
delivery
again,
so
we
should
definitely
have
them
in
the
next
couple
of
days.
B
Okay
and
we
have
all
of
our
ducks
in
a
row,
all
of
the
artists
were
paid
their
honoraria.
B
The
bids
for
printing
the
vinyl
are
all
in
and
in
the
procurement
office,
so
and
jeff
davis
from
porter
boards
is
gonna
mail
email
me
the
the
final
specs
for
the
vinyl
printing.
Just
so
you
know
everything
is
done
correctly.
B
Okay,
I'm
going
to
go
a
little
out
of
order
here.
If
you
don't
mind.
B
B
Everything
is
much
more
detailed
and
she's
using
a
a
much
brighter
palette.
Okay,
this
is
the
seminal
princess
and
wood
duck.
That's
a
dramatic.
B
Okay.
This
is
the
cecilia
louisa
sculpture.
That
was
installed
maybe
about
a
week
ago
in
front
of
the
ikea
apartment
complex,
and
this
was
to
satisfy
the
agreement
that
the
developer
had
with
the
city
and
the
public
art
committee
to
install
a
you
know,
a
sculpture
that
was
worth
the
equivalent
of
a
hundred
thousand
dollars
or
more
and
the
pack
vetted
miss
louise's
work.
Last
year
she
actually
came
to
the
pack
christopher
stell.
B
His
work
is
progressing
okay
and
I'm
going
to
skip
to
this.
We
got
a
request
from
jacob
carr.
Who
is
the
vice
mayor?
He
just
sent
something
out
this
morning,
but
I
had
already
prepared
this
and
what
he
is
proposing
is
the
purchase
of
seven
to
seven
ten
statues
that
can
be
used
in
different
parts
of
tarpon
springs.
B
B
He
would
like
the
pack
to
assist
in
positioning
the
statues,
so
they
wouldn't
conflict
with
any
of
our
projects,
but
these
were
the
some
of
the
statues
he
proposed
and
I
believe
that
there
were
some
others
that
were
in
a
package
you
should
have
received
today,
but
I
simply
just
didn't:
have
the
time
to
incorporate
them
in
the
presentation.
B
Okay
and
the
city
of
tarpon
springs
also
asked
the
pac
to
assist
with
a
gateway
sign
survey,
and
this
was
the
text
that
appeared
on
the
city
of
tarpon
springs
website.
Okay,
and
these
were
the
questions,
I'm
sure
I'm
sorry,
it's
so
small.
But
these
were
the
questions
asked
on
the
survey
name,
surname,
email
address
and
a
company
name,
if
appropriate,
and
some
suggestions
as
to
elements
ranked
as
important,
somewhat
important
or
not
important,
the
the
what
the
sign
should
be
made
of
any
colors.
B
What
this,
what
the
text
should
read
on
the
sign,
whether
it
should
be
illuminated,
should
it
include
landscaping
and
lighting,
and
there
were
some
samples
of
three
options
and
people
were
asked
to
select
one
of
the
options.
Okay,.
F
I
just
wanted
to
say
I
I
did
a
copy
of
that
survey
on
next
door,
because
I've
noticed
that
a
lot
of
people
do
sign
in
there
as
well.
So
the
email
that
went
out
about
the
survey
said
you
know
please
share
on
social
media,
so
I
just
wanted
to
point
out
that
I
just
shared
it
on
next
door.
Earlier
today,
oh
there
you
are
makila
yeah.
Sorry,
I
have
technical
problems.
Oh.
B
Okay,
so
we
have
a
full
house
today.
Okay,
I'm
sorry,
I
skipped
around
through
the
the
agenda,
but
does
anybody
have
any
questions
about
the
ongoing
projects
louisa
crystal
or
indianos.
F
I
had
a
I
had
a
point
of
order
if
it's
possible
with
regard
to
the
art
boxes.
I
love
them,
but
I
I
wanted
to
actually
chime
in
last
time
and
vote
for
them
and
we
had
three
whole
days
to
to
vote
for
136
submissions.
That
was
the
week
when
I
was
starting
school,
and
so
I
was
a
little
bit
late,
because
I
also
had
a
doctor's
appointment
that
day
and
my
my
votes
weren't
counted,
and
so
I
wondered.
F
B
Okay,
well,
how
does
everybody
else
feel
about
that
diane?
You
were
the
one
that
prepared
it
did.
Did
you
feel
that
we
we
had
enough
time
or
I
know
I
know
that
the
there
was
a
a
deadline
imposed
for
the
artist
which
would
you
know,
influence
when
we
got
the
got
to
them
so.
H
There
was
quite
a
bit
of
work
to
go
through,
you
know
all
of
them
and
get
them
all
arranged,
and
I
know
joan
was
you
know
intrical
in
doing
that
too,
then
the
artists
were
very
persistent
about
wanting
to
know
whether
they
had
won
or
not.
So
we
didn't
want
to
keep
them.
You
know
yeah,
but
a
week
on,
but
we
did
review
them
during
the
the
meeting
and
everybody
did
agree
to
get
them
in
on
that
day.
H
So
I
mean
by
the
by
what
we
had
proposed,
but
I
mean
moving
forward:
I'm
not
opposed
to
lengthing
it
out.
That
decision
is
up
to
you
all
right.
B
Okay,
yeah
thanks
for
reminding
us
diane
it
yeah
it
was.
There
was
a
certain
sense
of
urgency
because
we
wanted
in
this
particular
instance.
We
wanted
to
get
them
selected
because
you
know
we
were
on
a
time
frame
to
get
the
you
know
the
selections
done
and
the
you
know
printing
process
set
up
and,
as
I
mentioned
earlier,
we
we
now
have
all
of
our
ducks
in
a
row,
and
the
boxes
should
be
arriving
within
the
next
couple
of
days.
B
B
C
B
Right,
and
can
I
hear
any
other
people's
feelings
about
that.
G
Well,
I
I
mean
I,
I
don't
have
any
problem
with
with
extending
the
voting
time
for
us
or
or
leaving
it
as
it
is.
I
mean,
I'm,
I'm
fine
with
it
anyway.
I
do
think
that
we
need
to
watch
out
about
somebody
really
loading
up
the
the
their
entries.
I
mean
you
could
see
that
the
number
of
people
were
doing
that.
C
Well,
I
personally
know
two
people
that
I
know
of
that
one
too
yeah
and
I'm
sure
there
were
more
than
that,
but
those
were
two
that
I
talked
to
yeah.
H
E
I
I'm
curious
are
the
images
that
were
selected
available
anyplace.
I
know
we
had
a
list
of
the
artist's
names,
but
are
the
images
assembled
together,
someplace.
B
B
If
you
guys
would
like
me
to
do
that,
I
could
try
to
get
it
into
a
like
a
low
memory
or
a
low
res
power
point
and
send
it
out.
Would
that
be
okay
lucian?
I.
E
B
H
I
kind
of
surprised
me
since
you
all
did
a
blind.
You
know
listing.
There
were
quite
a
few
that
you
all
did
select
together,
which
was
kind
of
nice
to
see
I'd
say
for
probably
about
60.
Were
you
know
across
the
board
and
then
once
we
got
down
to
that
it
was
like.
Then
maybe
two
people
had
decided
that
this
was
something
they
really
liked.
H
B
Right
yeah,
I
walked
them
over
to
you
on
a
thumb
drive
because
I
couldn't
it's
the
only
way
I
could
get
them
over
to
you
to
get
to
the
printer.
You
know
they're
huge
they're.
I
don't
know
how
many
gigabytes
the
files
are,
but
it's
they're
really
large
and
I
had
to
convert
them
all
to
pdf
for
the
for
the
printer.
So
I
spent
quite
quite
a
bit
of
time
in
good
old
photoshop
on
them.
Printer.
B
Yeah
and
jeff
said
that
he
would
rema
email,
the
technical
specs
on
the
bleeds
and.
B
All
that
other
interesting
stuff,
the
the
second
item
under
old
business,
is
the
sandbag
corral.
I
think
we're
gonna.
If
it's
all
right
with
everybody,
I
think
I'd
like
to
defer
that
to
the
next
meeting.
Does
anybody
have
any
strong
feelings
about
the
sandbag
corral?
B
E
Yeah,
what
are
we
deferring?
I
had
some
questions
about
it
because,
right
now
it
has
a
load
of
sand
in
it
which
I
assume
will
stay
there
until
hurricane
season
is
over.
B
Okay,
so
we're
all
okay
about
deferring
it?
Yes,
okay,
yeah,
the
the
sand
issue.
Lucian
is
a
definite
consideration.
Okay,
the
the
bahamian
sponger
project.
C
Trish,
yes,
I'm
assuming
that
everybody
got
the
the
report
that
I
sent
and
hopefully
read
it.
B
Well,
I
I
just
wanted
to
make
a
comment
that
I
think
it's
incumbent
upon.
All
of
us
to
you
know,
make
sure
we
read
and
understand
the
you
know
whatever
attachments
or
files
are
sent
to
us
before
the
meetings.
So
you
know
we
can
discuss
it.
C
B
Well,
the
one
the
one
thing
I
I
wanted
to
to
point
out
is
that
the
the
purpose
of
the
project
and
the
statute
was
to
highlight
the
history
of
the
sponge
industry,
which
would
include
you
know
the
bahamian
sponge
people
who
use
hooks.
Okay.
That
word,
because
people
find
it
objectionable.
B
Okay,
and
I
think,
if
it's
the,
I
think,
if
we
wanted
to
expand
into
the
into
the
community
to
do
something,
because
you
raised
a
lot
of
questions
about
you,
know
reverend
smith
and
some
other
people,
that's
something
else
we
might
want
to
pursue
as
a
separate
issue.
B
But
I
think
that
the
I
I
guess
where
I'm
going
with
this
is
there's
been
a
lot
of
discussion
and
research
about
the
statue
and
the
importance
of
the
you
know
of
this
type
of
sponging
in
the
community.
B
And
you
know
I
I
just
like
to
keep
the
focus
on.
You
know
who
these
individuals
are,
but
I'd
certainly
love
to
entertain
another
project
about
you
know,
and
that's
that
will
you
know,
go
to
lucian
in
a
minute
about
the
opportunity
zones.
B
C
Okay
continue
my
report,
it
was
my
understanding-
and
maybe
I
misunderstood,
but
when
we
were
discussing
doing
something
in
the
african-american
community,
that's
when
the
bohemian
project
came
up.
That
was
what
my
memory
was,
and
so
that's
why
I
kind
of
explored.
You
know
talking
to
people
in
that
community
to
see
what
they
would
like.
So
what
you're
saying
is
that
we
want
to
do
the
bahamian
thing,
regardless
of
anything
else.
That's
the
focus,
not
the
african-american
community.
Is
that
what
you
it's.
E
B
Right
well,
the
thing
is
that
it,
it
would
involve
the
african-american
community,
but
with
a
focus
on
on
the
sponging
industry.
C
That's
not
exactly
the
same
thing,
because
I'm
not
sure
how
involved
I
talked
to
david
archie
and
he
didn't
really
seem
to
see
a
connection
between
the
bahamian
sponges
and
the
and
their
community.
He
really
didn't
seem
to
be
interested
in
it,
but
I
kind
of
caught
him
by
surprise.
I
think
so.
He
hadn't
had
time
to
think
about
it,
but
anyway,
so
I
think
yeah.
C
We
need
to
determine
first
of
all,
if
they're
the
same
thing
or
totally
different,
because
then
my
focus
has
been
wrong
in
what
I,
what
I've
done
so
far.
C
Okay,
if
we
want
to,
if
we're
just
concentrating
on
the
the
sponges,
then
I
had
I
mean
the
yeah,
the
bohemian
splinters.
I
had
an
idea
for
something
that
was
in
my
report,
so
you
may
want
to
talk
about
that
or
not,
but
several
people
have
liked
that
idea.
Very
much
chris
christopher
still
had
a
couple
of
suggestions.
C
Okay
and
then
you
could
blow
it
up
and
do
what
we
want
to
with
it.
He
thought
a
statue
would
be
prohibitively
expensive
which
what
I
think
too,
but
he
suggested
if
he
wanted
to
go,
that
route,
is
to
talk
to
mitch
colby,
who
did
the
one
at
the
church
at
the
greek
orthodox
church
right.
So
that
was
his
suggestion
and.
B
That
was
also
the
suggestion
of
john
terrapanning,
and
you
know
I
do
have
mitch
colby's
contact
information.
C
So
do
I
think
yeah
my
my
idea
for
the
project
and
several
people
have
really
liked
it,
because
we
have
such
very
limited
space
on
where
to
put
artwork
on
the
dock.
We
don't
have
any
place
for
a
mural.
C
I
thought
doing
having
someone
do
a
nice
painting
and
put
it
on
one
of
the
illuminated.
Well,
my
suggestion
was
the
illuminated
boxes
next
to
the
statue
and
put
a
history
of
the
bahamian
spongers
on.
There
is
as
a
plaque
and
have
a
determinant
have
it
on
both
sides
and
have
it
as
a
permanent
installation.
C
F
I
actually
really
liked
it
when
I
read
your
report
trish
about
possibly
doing
some
artwork
with
the
bahamas
buncher
in
an
illuminated
art
box.
That's
a
more
permanent
feature.
Since
we
have
extras
it
seems,
cost
effective.
F
It's
a
good
way
to
put
it
near
the
sponge
statue
and,
and
that
way
we
could
do
more
of
what
patricia
thought
about
as
far
as
maybe
actually
contacting
members
of
the
african-american
community,
like
you've
been
doing
with
dr
smith
and
so
forth,
and
seeing
what
did
they
want
to
be
represented
so
rather
than
spending
hundreds
of
thousands
of
dollars
or
whatever,
on
a
big
statue,
doing
something
like
this,
so
we
honor
the
bahamian
sponge
industry
and
I
loved
your
idea,
but
also
checking
with
members
like
what
you
were
doing
on
an
informal
basis
and
getting
some
feedback
as
to
look.
F
You
know
we're
trying
to
honor
you
shouldn't.
We
be
asking
you
what
you
would
like.
You
know
what
is
representative
of
you,
because,
while
the
bahamian
spongebob
has
the
historical
aspect,
it
may
not
link
very
much
to
current
members
of
the
african
american
community
so
asking
them
what
they
would
like
and
then
possibly
using
money.
We
would
have
used
for
sculpture
to
do
some
project
whatever
they
may
come
up
with
to
honor
them
might
be
more
receptive
in
the
community,
but
I
loved
your
ideas.
Thank
you.
So
much
for
contributing
nutrition.
B
Okay
bill:
oh
trish,
I'm
sorry.
C
I'm
not
sure
yet.
Okay,
I
did
talk
to
dr
smith,
reverend
smith
and
he
had
a
meeting
last
night
and
he
told
me
that
he
was
gonna.
He
liked
my
idea
a
lot
and
he
suggested
he
said.
Would
that
be
the
only
thing
that
you
would
do?
He
said
like
sort
of
suggesting
maybe.
C
Perhaps
if
we
did
the
painting
and
put
it
on
the
illuminated
box,
we
could
take
that
same
painting
and
have
it
put
somewhere
in
the
in
their
community
like
the
cap
center
or
someplace
like
that
that
would
represent
them.
That
was
just
an
idea.
He
hasn't
gotten
back
to
me
yet
so,
when
he
does,
I
can
send.
I
can
send
diane
sort
of
report
and
she
can
send
it
out
to
the
pack.
G
C
Yeah,
that's
what
I
put
where
do
we
go
from
here
determine
with
input
from
them
from
the
african-american
community.
What
they
would
like
to
what
they
would
like
is
a
way
to
represent
them
and
they
decide
if
we
want
to
do
the
bohemian
project
if
the
community
rejects
that
idea,
which
is
I
mean,
you've
already
answered,
that
we
want
to
do
that
project
and
then
what
form
of
art
is
preferred,
and
then,
where
does
it
fall
in
our
master
plan?
As
far
as
you
know,
how
soon
we
go
with
it,.
C
Doing
a
statue
as
an
indian
project,
I've
looked
through
the
specs
for
doing
a
statue
for
commissioning
a
statue,
and
I
think
it
would
be
very,
very,
very
costly
and
time-consuming.
There's
a
lot
of
steps.
It's
kind
of
daunting.
Actually,
when
you
look
at
all
the
things
that
you
have
to
go
through
to
commission
a
statue
talking
about
a
long
period
of
time
now,
mitch
colby
may
be
able
to
come
up
with
something
you
know
quicker
than
putting
out
a
call
to
artists.
He
might
have
some
ideas
about
it.
So.
B
Well,
I
think,
if
something
of
this
scope,
where
we're
going
to
have
to
do
a
call
to
artist
that
go,
that
goes
without
saying,
but
certainly
he
would
be,
you
know
contacted
so.
Does
the
pack
feel
that
we
should
approach
the
board
of
commissioners
to
do
away
with
the
whole
statue
concept.
C
That
they
had
specified
a
statue.
When
was
that
done?
I
don't
remember
it
being
voted
as
a
statues
per
se.
B
E
I
don't
think
they
took
formal
action
on
your
presentation.
I
think
I
don't.
I
don't
remember
any
formal
board
action.
You
presented
your
your
proposal.
There
were
some
comments
on
it,
but
I
don't
think
there
was
a
formal
vote,
so
I
I
think
everybody
understood
from
what
I
remember
that
it
was
in
process
it
was
being
explored.
G
Well,
I
I
just
think
that
one,
it
was
a
historical
balance
that
that
that
statue
was
proposed
as
to
me,
and
it
has
nothing
to
do-
and
this
is
you
know,
with
with
contemporary
times
it's
about
the
founding
of
of
tarpon
springs.
G
What
tarpon
springs
is,
but
if,
if
that's
not
really
favorable
to
to
pack
to
us
and
and
maybe
to
the
african-american
community,
then
this
thing
needs
to
be
rethought
and,
and
there's
been,
I
mean
trish
has
had
a
lot
of
research
into
it
and
there's
a
lot
of
community
involvement
with
it.
The
problem
is,
you
say,
is,
is
where
is
it
going
to
go?
How's
it
going
to
go
and
how
is
it
going
to
balance
off
with
tarpon
springs?
G
You
know
a
greek
fishing
community,
a
greek
sponging
community,
with
the
fact
that
it
was
a
railroad
town.
It
was
a
spa
town.
It
was
you
know,
it
was
those
kind
of
things,
so
the
history
of
tarpon
springs
can
be
told
by
by
the
the
public
art
it
has.
So,
if
we're
not
going
to
use
that,
then
how
we,
how
we
incorporate
both
the
historical
aspect
of
why
there's
a
an
african-american
community
here
and
the
the
one
that
that
originated
it
back
in
in
the
the
19th
century
or
the
early
20th
century.
G
So
I
think
that
that
we
have
to
really
rethink
how
how
to
balance
it
up.
I
think
putting
putting
you
know,
information
inside
a
lot.
You
know
light
boxes
if
it's
a
big
enough
light
box.
Yes,
I
think,
but
if
it's
like
the
ones
that
we're
putting
up
now,
I
don't
think
I
don't
think
that
really
balances
it
out
as
as
much
as
it
should
be,
but
that
you
know
so
so
I
think
maybe
we
could
reconsider
and
and
tell
the
commissioners
that
we're
after
having
involved
the
the
african-american
community.
B
Diane,
what
is
your
feelings
about
whether
you
know
whether
the
presentation
was
approved,
whether
that
is
considered
a
consensus
by
the
board.
H
I
would
have
to
explore
that
I
don't
I
feel
like
that
was
the
presentation
of
ideas
and
they
liked.
You
know
some
of
them.
They,
like
I
said,
did
give
feedback
and
everything,
but
I
don't
think
that
you
asked
for
actual,
or
you
know
the
pack
asked
for
actual
approval
of
every
single.
You
know
item
on
there.
I
could
be
wrong,
but
that
may
be
something
that
you
want
to
do
in
the
future.
Moving
forward.
Just
say
you
know,
once
you
decide
on
what
you're
going
to
do
in
that
particular
year.
H
A
B
Yeah
so
we're
the
you
know
what
you
know:
bill's
going
to
discuss
the
you
know
the
recycling
containers.
H
H
I
don't
think
so.
You
have
a
lot
of
good
projects
and
the
illuminated
art
boxes
are
already
almost
you
know
done
and
the
story
time
will
be
installed
at
the
cultural
center
shortly.
You
know.
So
there
are
things
moving
forward.
It's
just
that.
A
lot
of
these
projects
that
you
all
have
on
you
know
in
your
plans.
They
they
take.
A
lot
of
time
to
you
know,
do
the
research
and
then
you
know,
find
the
artist
and
then
you
know
all
the
qualifiers
that
go
along
with
it.
H
You
know
they're
they're,
not
very
easy
projects
like
just
saying,
okay,
we
want
to
go
ahead
and
hire
cecilla,
cecilia
louisa,
to
do
a
sculpture
for
the
kids
splash
park,
or
you
know
one
of
the
park.
You
know
it's
it's
like,
but
then
you
have
to
put
that
call
out.
You
know
to
lots
of
different
artists
and
see
what
you
get.
I
mean
it's
just
such
a
process,
so
I
I
don't
know
whether
a
presentation
at
a
border
commissioner's
meeting
says
that
they
adopted
everything
or
not.
I
can
ask.
B
B
B
Okay,
does
anybody
else
have
any
comments
about
lucian.
E
Yeah,
just
a
general
comment
on
process.
I
think
every
project
we
do,
particularly
if
it
is
a
major
permanent
installation,
should
survive
a
pretty
rigorous
process.
I
think
it
needs
to
go
through
the
research
phase.
It
needs
to
go
through
a
call
for
artist
stage,
and
I
don't
think
we
should
shy
away
from
that
process,
because
what
we're
doing
has
a
a
long
life
and
I
think
we
should
embrace
that
rigor
right,
diane.
H
I
I
kind
of
agree
because
it's
they
are
major
projects,
but
it's
just
you
know
unless
you're
working
on
it,
like
you
know,
lucian
and
I
worked
on
the
dumpster
corrals
together
and
you
know
joan,
and
I
worked
on
the
illuminated
art
boxes.
You
know
if
you're
not
working
on
a
particular
project
and
then
trish
was
doing
research
and
you
know
so
everybody's
doing
different
parts,
but
not
everybody
else.
That's
not
working
on
a
project
doesn't
realize
all
the
time
that
actually
does
go
into
it.
You
know
so
I
would
hate
to
see.
H
You
know
it's
like
all
the
work
we
did
on
the
dumpster
crowds
to
kind
of
do
small,
beautiful
beautification
for
artists
that
you
know
can't
afford
to
do
the
insurance.
I
would
hate
for
all
that
work
to
just
be
abandoned.
You
know,
so
you
know.
I
think
we
need
to
consider
that
when
you're
talking
about
these
projects-
and
you
know
really
kind
of
you
know-
get
together
as
far
as
the
same
page
on
what's
a
realistic
timeline
for
these,
you
know
kind
of
thing.
B
Right,
well,
the
other
thing
too
is:
I
wanted
to
remind
you
that
we
did
work
on
and
codify
a
process.
Would
you
do?
You
still
have
that
in
your
files.
B
Luciana
we
did,
we
did
work
on
a
on
a
on
a
process
of
how
to
undertake
a
major
art
project
and
it
would
it
would
start
with
a
proposal
then
go
to
the
board
of
the
commissioners
for
approval,
and
you
know,
then
you
know
the
call
to
artists.
It
was
a
you
know.
It
was
a
step
by
step
of
how
to
do
a
project
so
diane.
Maybe
you
can
email
that
out
to
everybody.
B
B
B
So
we're
gonna
we're
gonna
kind
of
put
the
sponger
project
on
hold
and
find
out
some
particulars
about
approvals,
and
consideration
is
that
is
that,
okay
with
everybody
or
you
just
want
to
do
away
with
it.
E
I
don't
think
it
should
be
abandoned.
I
do
think
it
needs
some
work
and
really
the
point
of
my
last
comments
was:
I
think
we
have
to
do
a
lot
of
background
work
for
major
projects
and
if
we
come
against
come
up
against
a
stumbling
block,
we
ought
to
be
able
to
say
this
won't
work
and
be
able
to
walk
away
from
it.
A
D
Yeah,
we
should
come
up
with
an
actual
program.
You
know
how
we're
gonna,
how
we're
gonna
run
it.
It's
like
back
to
the
to
the
illuminated
art
boxes,
I'm
still
not
sure
the
locations
are
going
to
go
into
where
they're
gonna
go.
You
know,
and
I
think
we
need
to
really,
especially
with
one
like
that
is-
have
a
whole
series
of
of
steps
that
this
is
the
way
we're
going
to
program.
This
particular
project.
D
Ongoing
and
here's
the
way
we're
going
to
run
it,
and
I
don't
know
that
we
get
to
that
level
before
we
kick
it
off.
So
sometimes
I
think
we
jump,
but
I
like
the
sponge
project
again,
I
was
under
the
impression
it
was
more
historic
that
it
was
supposed
to
be
put
in
context
with
the
other.
D
A
B
G
Yeah,
I
I
I
agree
with
that,
and
it's
sort
of
what
I
said
earlier
is
that
I
think
it
it
is.
It
just
balances
some
of
the
early
history
of
tarpon
springs,
and
but
I
also
think
that
maybe
it
needs
to
be
clarified
a
little
bit
as
to
whether
the
the
commissioners
understand
the
the
commitment
to
this
and
okay
and
and
also
where
is
it
going
to
be?
I
mean
you
know.
G
G
B
That
basically
blocked
a
an
egress
from
the
parking
lot.
G
B
Okay,
let's
see
who
haven't,
I
got
in
here
maquila.
F
If
you
guys
want
to
go
with
a
sculpture,
I
would
be
okay
with
it.
Although
I,
as
I
said
I,
I
love
trisha's
idea
of
possibly
doing
something
with
the
bahamian
sponges
via
a
light
box
nearby,
so
that
would
be
more
cost
effective.
I
think,
but
but
I,
if
the
history
aspect
is
the
important
aspect
rather
than
honoring
people
of
color,
then
of
course
that
puts
a
different
twist
on
it.
F
I
wasn't
there
when
you
first
brought
up
the
behemoth
sponge
discussion,
so
I
actually
really
wasn't
privy
to
the
thinking
behind
it,
so
I
will
go
with
what
you
guys,
as
a
group
think
is
best.
G
I
just
think
what
trish
is
bringing
up
is
is
I
think
it
is
important
to
involve
the
african-american
community
and
that's
another
project
perhaps,
and
we
we
should
take
what
trish
is
suggesting
and
use
that
as
a
foundation
for
maybe
what
a
project
down
the
road
would
be
that
that
would
would
do
that.
I,
I
think
that
would
be
really
a
good
way
to
look
at
it.
B
Okay,
so
I
think
what
we
need
to
do
is
to
recodify
the
whole
sponge
sponger
statue
issue
and
take
it
back
specifically
to
the
board
of
commissioners
and
give
them
a
formal
presentation
with
just
that
project
and
see
whether
they
you
know
approve
or
disapprove
of
it.
Does
that
meet
everybody's
approval.
F
Will
we
give
them
the
option
to
say
either
you
want
a
statue
or
whatever,
or
you
want
something
smaller
like
what
trish
was
suggesting.
So
when
you're
doing
the
presentation
for
the
board
of
commissioners,
they
would
have
the
option
to
say
okay,
we
want
to
do
something
with
bahamian
sponges,
but
we
don't.
We
don't
necessarily
want
to
go
with
the
full
big,
full
big
ticket
item.
We
want
to
go
with
some
more
medium-sized
item,
or
are
you
only
going
to
present
the
statue
idea.
B
I
think
I
think,
since
it
was
the
statue
that
was
proposed,
I
think
we're
just
going
to
go
with
this
with
the
statue
and
I'm
sure
we'll
hear
from
the
board
of
commissioners
if
they
want
to
suggest
anything
else.
But
I'm
going
back
to
lucian's
comment,
which
I
completely
agree
with,
is
that
everything
has
to
be.
You
know
codified,
and
you
know
it
has
to
be
perfectly
clear
what
whether
the
approvals
are
there,
the
scope,
etc
before
we
proceed
is
that
is
that
whatever
is
kind
of
coincides
with
other
people's
thinking
trish?
C
Yeah,
it
is
one
thing
that
chris
still
brought
out.
Let
me
find
his,
I
don't
think.
Well,
I
can
just
tell
when
we
were
discussing
the
bahamian
sponges.
He
said
actually
he's
done
a
lot
of
research
into
this
and
he's
been
to
the
bahamas
and
so
forth
that
they
were
not
really
that
much
a
part
of
the
doc.
He
said
most
of
their
work
was
done
in
bayley's,
bluff
right,
okay,
so-
and
it
was
only
let's
see
in
the
late
1800s
very
late
1800s
we're
talking
about.
C
Maybe
a
15
20
year
span
until
the
greeks
came
in
with
the
diving
helmets
and
kind
of
you
know
they
took
them
out
because
they
couldn't
compete
with
with
the
greek
divers
with
them.
You
know
with
the
equipment
they
didn't
have,
so
they
were
gone,
so
it
was
actually
a
fairly
small
amount
of
time
and
they
weren't
really
that
much
on
the
docks.
You
know,
I
guess
they
brought
their
sponges
to
the
sponge
exchange.
C
Everybody
else
did,
but
that's
just
something
to
keep
in
mind
that
they
were
not
that
big,
a
part
of
the
history
and
they
weren't
a
huge
part
of
the
history
of
the
sponge.
Diving.
B
B
Yeah,
no,
no!
No!
I
I
see
where
he's
coming
from
and
you
know
I've
had
extended
talks
with
dudley
sally
whose
great
grandmother
was
mother
mears.
You
know
whose
family's
been
a
part
of
tarpon
springs
from
the
very
beginning,
and
he
reiterated
basically
what
chris
said
about
you
know.
The
main
concentration
of
those
types
of
sponges
was
up
in
bailey's
bluff,
but
they
did
join
with
the
with
the
greek
spongers
because
the
original
greek
sponges
also
used
hooks.
B
So
it's
there's
a
lot
of
overlap
and
it's
it's
a
you
know.
One
of
my
favorite
quotes
is
from
h.l
menken
for
every
complex
problem,
there's
a
simple
solution
and
it's
wrong
and
that's
kind
of
you
know
I
mean
you
know.
I've
spoke
to
annie
dabbs.
I
spoke
to
david
archie.
I've
spoken
to
dudley.
I've
spoken
to
an
awful
lot
of
people,
read
a
lot
of
books
done
a
lot
of
searching
and
you're
right.
Chris
is
right,
you
know,
but
they
they
were
still
an
integral
part
of
the.
C
But
it
depends
on
who
you're
reading
what
emphasis
they
put
on
on
or-
and
you
know
what
they
did
so.
B
Right,
the
only
thing
I
can
compare
it
to
is
kind
of
the
dutch
settlement
of
lower
manhattan.
You
know
they
weren't
there
very
long,
but
they
did
make
an
impact
and
they
did
have
an
influence
right.
You
know,
and
then
you
know
they
basically
were.
You
know
supplanted
by
the
you
know
the
british
but
okay.
So
this
will
just
we'll
have
to
get
some
more
research
and
some
more
opinions
about
this.
B
Okay,
all
right
now,
the
the
gateway
sign
survey.
Oh.
A
H
I
can
just
give
you
a
quick
update
on
that.
Okay,
thanks
diane
that
was
put
out
but
thursday
of
last
week.
It
started
and
it's
been
on
different.
You
know
platform,
social
media
as
well
as
tarpon
arts
and
the
public
art
section
of
our
website
city's
website,
and
it
is
open
until
october
1st.
H
So
so
far
there
have
been
about
75
responses,
and
so
once
we
get,
you
know
through
the
whole
time
frame
and
everything
we'll
be
able
to
compile
everything-
and
you
know
then
give
the
pack
members
and
you
know
bob
robertson,
who's
working.
You
know
with
the
commissioners
on
you
know
that
project
all
that
data,
which
I
believe
is
really
going
to
help
them.
You
know
qualify
a
little
bit
because
people
are
using
the
write-in
section.
B
So
right,
well,
I
I
did
want
to
emphasize
that
when
this
was
originally
proposed
at
a
board
of
commissioners
meeting
and
correct
me,
if
I'm
wrong,
I
believe
that
the
only
involvement
of
the
pat
was
to
prepare
the
questionnaire.
B
Yes,
okay,
so
all
the
other
tallying
and
the
other
work
will
all
be
done
by
the
by
bob
robertson
and
capital
project.
H
B
B
H
Robertson
is
sending
out
postcards
and
if
they
don't
have
access
to
the
link,
he's
got
a
phone
number
on
there
to
call
his
assistant
and
she
will
take
their
responses
verbally
over
the
phone.
Also,
karen
lemons
is
taking
printed
copies
to
the
business
owners
down
in
the
sponge.
B
H
B
Right,
it
was
also
brought
to
my
attention
by
tina
bucavalus
who's,
a
local
historian,
that
that
whole
area
is
part
of
the
it's
a
national
historic.
I
believe
it's
national.
I
know
it's
a
florida
historic
district
and
I
was
wondering
what
impact
that
had
on
any
of
the
signage,
because
sometimes
historic
districts
have
restrictions
on
what
can
be
put
there.
B
H
B
H
C
G
B
No
nobody,
okay,
okay,
lucian,
the
opportunity
zone,
research.
E
I
I
am
now
sorry.
I
can't
find
the
mute
button
when
I'm
cruising
for
it.
Thank
you
diane
for
sending
this
opportunity
zone
map.
I
guess
I
really
would
like
to
bounce
back
to
bill
and
his
recurring
ideas
and
recurring
theme
of
using
various
gis
layers
to
explore
where
we
should
be
concentrating
our
efforts
in
areas
of
town
that
don't
necessarily
have
public
art
in
them.
E
B
E
D
E
D
Again,
I
was
just
trying
to
come
up
with
some
thoughts
or
some
ideas
on
how
we
might
delineate
this
a
little
bit
further.
Some
of
the
things
that
we
could
look
at
were
you
know
we
have
a
downtown
business
district.
Then
we
have
the
sponge
docs
area,
whether
it's
historic
or
what
you
might
call
it.
D
D
What
what
are
the
important
factors
to
make
sure
that
we're
covering
all
the
neighborhoods
in
tarpon
springs-
and
you
know
whether
it's
the
the
economic
value,
whether
it's
some
of
the
corridors,
that
we
look
at,
that
we
want
to
make
sure
that
we're
hitting
them?
You
know
where's
what
is
important
to
really
look
at
and
then
one
of
the
ways
to
track
that
is
to
figure
out.
Where
have
we
spent
our
money?
Where,
where,
where
have
we
placed
the
public
art?
Where
is
it?
D
And
what's
the
value
of
it
so
that
we
can
kind
of
get
an
idea?
You
know
here's
where
we
spread
these
dollars,
and
this
is
what's
not
being
served
as
as
well
as
it
should
be.
So
again,
those
were
just
my
thoughts
when
I
sent
that
note
to
diane
to
pass
on
to
joan
and
lucian.
B
Okay,
what
what
type
of
projects
would
would
you
envision
in
the
in
this
in
this
this
zone,
because
they're,
primarily
residential?
Are
they
not
is
the
greatest
bulk
of
the
properties,
residential.
D
It
all
depends
how
we're
gonna
look
at
it.
I
mean
you
know
you
can
take
them
and
look
at
the
corridors
that
you
know
your
tarpon
avenue
corridor,
your
you're,
you
know
pinellas
or
all
19..
You
know.
Obviously
I
think
the
city
is
very
interested
in
making
sure
that
people
coming
through
tarpon
springs.
Have
this
impression
of
of
you
know
how
this
community
is.
You
know
evolving
and
and
coming
to
life
with
all
kinds
of
art,
and
so
I
think
that
you
know
there's
some
value
to
that.
D
You
know,
I
think
it's
real
easy
to
kind
of
put
down.
You
know
where
we
put
the
statues
how
much
the
statues
cost
you
know.
So
we
can
start
getting
an
idea.
You
know
where
we
have
our
public
art
located
and
then
again
I
just
took
a
stab
at
some
of
the
you
know:
we've
got
the
fruit
bowl,
which
is
a
residential
we've
got
the
beaches.
We've
got
that
you
know
the
areas
around
the
bayous
we've
got
the
corridors.
D
We've
got
the
business
district
to
take
a
look
at
some
of
those
and
again,
if
you,
if
you
delineate
around
what
this
downtown,
how
much
have
we
put
in
public
art,
downtown,
okay
versus
how
much
we've
put
at
the
beaches
versus
how
much
we've
put
in
the
sponge
stocks
versus
how
much
we've
put
at
some
of
these
other
places
that
we've
decided
that
these
are
underserved
and
we've
got
to
do
more,
to
bring
public
art
to
those
particular
areas.
B
Sounds
it
sounds
like
this
is
probably
gonna
morph
into
a
workshop
with
perhaps
diane
and
karen
lemons.
H
Diane
I
just
wanted
to
mention
I
consent
and
I
will
send
you
all
after
this
meeting
a
list
of
the
current
public
art
and
its
locations
right
now,
keep
in
mind.
You
know:
we've
got
the
nyads
we're
going
to
have
story
time,
but
it's
predominantly
bike
racks
artistic
bike,
racks.
A
H
You
know:
we've
got
the
indiano's
mural,
that's
at
the
cultural
center.
We've
got
an
indiana's
mural
on.
You
know
one
of
the
places
here
in
the
heritage
museum,
but
right
there's
not
a
huge
amount
of
public
art.
That's
out
there.
H
H
You
know
a
map
for
you
on
where
you
would
like
to.
You
know,
start
placing
these
and
then
prioritize,
and
then
what
is
it
going
to
be?
You
know,
is
it
going
to
be?
You
know
what
it?
What
is
it
you
know?
What
element
are
you
going
to
put
there
kind
of
thing
so
right,
I
think
that's
a
project
in
and
of
itself
yeah.
B
D
I
mean
all
these
things
are
starting
to
swell
up,
and
you
know
I
I
think
it's
important,
that
we
have
a
good
feeling
and
understand
and
and
a
priority
with
where
we
want
to
see
this
public
guard
distributed
and
how
we
want
to
see
it
distributed,
because
it's
not
an
endless
fund
of
dollars
that
can
go
into
it.
So
where
can
we
get
the
best?
B
G
Well,
I
just
you
know
just
thinking
about
the
spread
out
areas
and
the
fact
that
a
lot
of
them
are
residential
is
that
they're
there
are
designated
major
corridors
going
into
those
residential
areas
in
that
the
residential
areas
have
an
identity.
I
suppose,
I'm
not
you
know,
I'm
new
to
tarpon
springs,
so
I'm
not
familiar
with
everything,
but
there
are
certain
areas
that
have
a
designation
or
could
have
a
designation
where
you
get
a
sense
of
community
pride
for
that
particular
area.
G
So
there
could
be
markers
like
like
a
mile
marker
or
something
like
that
that
that's
placed
as
you
are
now
entering.
I
know
you
know
you
can
do
that.
Like
you
know,
in
in
saint
petersburg,
historic
kenwood,
I
mean
you,
you
can't
go
into
historic
kenwood
without
knowing
you're
in
historic,
kenwood,
yeah
and
and.
G
Thing
with
with
certain
areas
here
in
tarpon
springs:
you
know
that
that
are
not
as
distinct
as
as
say,
the
docks
or
or
the
major
downtown
area.
But
I
mean
that
is
an
opportunity
for
some
some
kind
of
placement
of
public
art
that
that
wouldn't
be
super
expensive
and,
and
it
could
be,
it
could
be
hooked
up
with
the
city
and
I'm
getting
ahead
of
myself.
Instead
of
buying
a
bunch
of
sculptures
from
a
catalog
and
placing
them
along
the
bike
trail,
I
I'm
I'm
giving
away
my
some
of
my
thoughts.
A
B
Okay,
aquila.
F
Yes
bill,
I
think
your
idea
of
putting
a
map
which
says
what
we've
got
where
and
how
much
it's
been
spent
in
that
area
is
fantastic
and
I'm
glad
that
diane
has
so
much
of
that
already
squared
away.
F
So
I
think
we
just
need
to
add
the
dollar
amounts
to
the
kind
of
materials
you
have,
but
one
thing
that
I
wondered-
and
I
don't
know
if
this
is
the
right
section,
but
since
you
were
talking
about
potential
underserved
areas,
we
have
talked
at
a
previous
meeting
about
saying
that
there
might
be
certain
walls
on
buildings
that
the
city
owns
that
might
be
work
worthwhile
for
potential
future
mural
projects.
Can
we
get
a
list
of
those
walls?
Can
we
put
them
on
that
map?
So
we
can
see.
F
Okay
here
are
the
underserved
areas
here
are
potential
places
that
we
already
have
where
we
might
be
able
to
put
something
so
that
they
kind
of
overlap.
If
you
will,
this
is
what
we've
got.
This
is
walls
we
have
that
we
might
be
able
to
do
something
with
and
then
add
on
to
what
robert
was
saying
about
you
know.
Maybe
we
want
signage
or
whatever,
for
certain
gateways
through
neighborhoods
or
to
you
know,
pat
I
live
off
of
klosterman,
for
instance,
I
don't
think
other
than
locals.
F
A
lot
of
people
know
that
that's
one
of
the
best
ways
to
go
toward
howard
park
if
you're
coming
from
south
county-
and
so
you
know
there
there's
something
along
those.
There
are
lots
of
opportunities,
and
I'm
just
wondering
can
we
add
the
walls
we
already
own
for
the
city
that
might
work
for
potential
projects
just
so
we
have
that
all
in
the
mix
and
we
know
okay,
here's
a
possibility.
B
I
believe
parameters
already
sent
out
the
gis
maps
that
have
all
of
those
specifications
is
that
correct,
diane.
H
F
C
Patricia
yeah
michaela
I
have
looked
online
for
public
buildings
to
put
murals
and
so
forth,
and
I
think
I
just
googled
public
buildings
and
tarpon
springs.
If
I'm
not,
you
know,
I
think,
and
there
was
a
you
know,
there
was
a
list
of
the
public
buildings
and
I
had
to
say
there
is
nothing
nothing
that
lends
itself
to
murals.
B
B
All
right,
okay,
is
everybody:
okay,
with
jumping
up
in
the
agenda,
sure
I'm
going
to
the
water
tank.
Okay,
it's
on
the
grounds
of
tarpon
springs
golf
course:
it's
visible
from
sisler
field
and
that's
something
else.
B
We
should
probably
talk
about
and
at
the
board
of
commissioners
meetings
they
discuss
paintings
with
you
know
both
golfers
and
ball
players,
because
obviously
it's
on
the
golf
course-
and
it
is
visible
from
the
baseball
field
and
because
of
the
size
and
scope
of
the
water
tank,
they
suggested
using
the
same
applique
method
that
chris
still
used
on
the
mattress
building
to
adhere
to
the
water
tank,
and
this
would
allow
artists
to
create
work
in
their
studios,
which
can
then
be
photographed
enlarged
using
the
applique
process
and
which
can
be
installed
by
licensed
and
insured
contractors,
namely
speedpro.
B
Who
did
the
work
with
chris
still,
and
I
had
a
discussion
earlier
with
diane
and
I'd
like
to
get
everybody's
feedback
on
this
one.
B
This
is
a
huge
structure
and
do
you
guys
feel
it
would
be
appropriate
to
do
a
series
of
panels
or
to
just
use
one
artist
to
create?
You
know
some
kind
of
illustration
or
painting
that
would
go
around
the
entire
tank.
C
B
Okay,
michaela.
F
I
agree
with
trish
that
I
think
one
artist's
vision
going
around
rather
than
a
series
of
different
artists
work
on
the
water
tower
would
look
better,
but
I
just
wanted
to
clarify.
I
I
like
the
speed
pro
process
and
everything,
but
did
we
cleared
out
that
if
the
artist
is
using
that
and
the
speed
row,
people
are
doing
the
actual
installation?
Does
the
artist
still
have
to
get
individual
liability
insurance,
even
though
he
or
she
is
not
actually
doing
the
installation.
B
Well,
I
would
assume
that,
if
some,
if
you,
if
we're
going
to
be
using
one
artist
for
the
entire
water
tank,
that
artist
is
not
going
to
agree
to
a
thousand
dollars.
B
Right,
okay,
but
you
know
the
thing
is:
if
we,
if
we
do
use
one
artist
now
we're
talking
about
a
much
more
expensive
process,
and
that
being
said,
it
takes
it
out
of
the
realm
of
the
minor
subcontractor
and
that
individual
would
obviously
have
to
get
the
liability
insurance
that
was
specified
by
the
city
attorney.
B
B
Right
this
is
why
the
artist
ally
got
deep,
six
right.
B
F
B
No,
I
again,
you
know
it's
that's
a
question
for
our
city
attorney
trish,.
C
Hey
I'm
totally
confused
with
this
okay,
you
have
an
artist
who's,
creating
a
picture
okay
which
will
go
around
around
the
structure:
correct,
okay,
so
they're
going
to
be
completing
that
in
their
home
in
their
own
space.
So
what
happens?
My
understanding
is
that
speed
pro
takes
that
and
they
do
a
picture
of
it
and
then
or
somebody
does
a
picture
of
it
and
install
so
there's
no
artist,
that's
up
there
working.
So
I
don't
know.
C
B
Where
no,
the
the
whole
the
whole
the
artist
alley,
was,
I
attempted
to
to
find
a
workaround
for
this
artist's
liability
issue
by
using
speed
pro
and
have
the
artists
paint
the
images
in
their
homes,
and
I
was
still
told
by
the
town
attorney
that
the
artist
still
needs
all
of
the
liability
insurance,
even
though
they
weren't
on
site.
So
that
would
apply
to
the
water
tank
as
well.
G
Wouldn't
that
have
to
do
with
the
way
the
contract
is
written,
that
the
you
know
there
are
contractors
and
subcontractors
and
subcontractors,
and
so
it
it
seems
to
me
that
that
you
know
like
there's
a
lot
of
places
where
an
artist
doesn't
have
to
get
workers
compensation,
because
the
company
they're
working
with
they
have
will
carry
that
workers
compensation.
I
mean
that's
happened
to
us
in
the
past
and
we're
not.
We
don't
have
to
carry
it
because
we're
not
doing
the
the
physical
work
up
on
the
scaffoldings.
G
Maybe
so
you
know,
I
I
think,
there's
you
know
the
the
way
a
contract
can
be
written
could
could
sort
of
get
around
it,
but
I
mean
you
say
you
you've
gone
through
this
with
the
city
and
I
I
know
from
dealing
with
cities
that
they
have
their
own
boilerplates
for
how
they
they
write
their
their
their
contracts.
But.
H
Your
hand
up
yeah:
did
you
see
my
email
before
we
came
on
joan,
because
I
was
able
to
talk
to
tom
trask
about
this
scenario,
so
I
said
to
him:
I
said:
okay,
let's
just
say
we
have
an
artist
that
we
want
to
do
the
water
tank.
You
want
to
do
a
beautiful
picture
of
nature
and
you
want
some
ball
players
in
it
and
you
want
some
golfers
in
it.
Okay
and
so,
let's
just
say,
hypothetically,
that
we
say
we're
going
to
pay
you
5
000,
to
paint
this
picture.
H
H
Their
second
contract
is
with
the
guy
who
makes
the
photo
of
the
the
painting
okay
and
then,
if
he
does
that
in
his
studio,
then
he
doesn't
need
insurance.
The
third
contract
is
with
speed
pro.
H
They
have
to
have
insurance
because
they
would
be
installing
it
on
city
property,
so
that
would
be
three
contracts
with
three
different
people
and
the
only
person
that
would
need
the
insurance
would
be
the
guy
who
put
it
on
to
the
you
know
the
water
tower
yeah,
but,
however,
there's
a
caveat
there.
H
I
have
to
check
with
our
finance
and
our
procurement
people,
because,
depending
if
we
may
need
three
different
bids
on
the
photographer
and
the
guy
who
does
who
adheres
it
on
to
the
water
tower,
I
don't
know
it
was
too
close
to
the
meeting
to
get
that
information.
So,
but
that's
what
I
found
out
today.
B
Right
yeah-
and
I
think
the
other
thing
this
is
exactly
the
opposite
of
what
I
was
led
to
believe
about
the
artist
alley
artists.
I
was
told
that
they
still
needed
the
insurance
right.
H
B
So,
oh,
okay,
I'm
getting
all
kinds
of
diversity.
A
G
F
Right,
I
was
just
thinking
when
diane
was
talking
about
how
you
can
do
three
contracts.
You
could
possibly
do
narrow
it
down
to
two
have
one
with
the
artist
you
produce
the
artwork
and
produce
a
photo,
whether
you
subcontract
that
out
as
up
to
you.
As
you
know,
some
artists
are
good
photographers
and
some
aren't,
and
so
that
would
be
only
one
contract
and
then
the
speed
pro
would
be
the
second
one,
making
it
a
little
bit
more
streamlined.
Does
that?
Does
that
potentially
work.
B
So
not
really
because
the
the
photograph
that
speed
pro
needs
is
a
highly
technical,
layered
image
right,
which
I
don't
think
most
photographers
are
capable
of
of
doing
I
mean
I
if
somebody
else
is
capable
of
doing
it,
then
I'm
sure
it
could
go
out
for
bids.
But
again
it's
a
very
you
know,
specialized
process.
F
Right
provide
one
that
that
meets
the
specifications.
When
I
looked
into
it
before
I
found,
I
used
the
photographer
that
chris
still
used
for
his
piece
and-
and
he
was
perfectly
willing
to
to
do
a
high
quality
piece
that
speedpro
could
work
with
right.
I'm
just
saying
it
just.
I
just
thought
it
would
be
easier
to
just
do
two
contracts
rather
than
three.
If
the
artist
can
find
one
that
actually,
they
obviously
have
to
meet
the
you
know,
qualifications
that
speed
pro
needs.
If
you
you
know,
you
can't
provide
that.
B
B
You
know
you
know
on
a
project
of
this
size.
I
don't
know
how
anybody
else
feels.
You
know
when
we're
talking
about
a
huge
project,
and
you
know.
B
C
I
was
wondering
about
if
we
had
three
contracts
in
dealing
with
three
different
people
we
have.
The
thousand
dollar
limit.
Is
that
going
to
cover?
Is
that
per
contract
or
just
for
the
artist
or
I
mean
speed
pro,
probably
is
going
to
charge
more
than
that
to
install
yeah?
C
You
know
I'm
just
learning
about
how
how
the
cost
and
for
the
public
art
can
get.
Well
again,
this
situation.
B
B
You
know,
and
I'm
sure
that
would
be
a
very
healthy
fee,
even
no
matter
how
you
know
whether
we
commission
them
or
whether
we
purchase
the
painting,
we're
not
going
to
get
anything
like
that
for
a
thousand
dollars
that
I'm
aware
of
the
other
alternative
would
be
to
use
the
panels
going
back
to
you
know
a
thousand
dollar
per
artist.
B
G
You're
gonna
get
a
much
better
product
if
you
have
one
artist
dealing
with
that,
I
mean
if,
if
there's
the
complication
of
getting
baseball
players
and
golfers
and
things
like
that
in
it,
I
don't.
I
don't
know
what
the
restrictions
will
be.
I
think
you
should
really
open
it
up
to
what
the
artist's
interpretation
of
how
to
deal
with
this
thing
is
you'll,
get
a
you'll,
get
a
better
readable
and
a
better
quality
thing
that
way.
D
Yeah
I
I
referred
to
you
artists.
You
know
to
come
up
with
the
best
solution
there.
That
sounds
like
it
makes
sense
to
me.
B
Okay,
so
what
about.
A
B
Well,
the
now,
if
we're
talking
one
artist,
we
have
to
do
a
call
to
artists
and
you
know,
get
get
proposals
and
quotes,
but
yeah.
H
C
I
would
may
ask
about
sure
how
how
large
a
painting
are
we
talking
about?
They
would
have
to
blow
it
up
quite
a
bit,
but
as
far
as
the
artist
producing
this,
what
size
would
they
have
to
paint
what
size
panel
would
they
have
to
paint
on,
or
they
might
have
to
do
a
series
of
paintings
to
go
around
that
whole
structure.
B
C
C
So
I'm
just
wondering
what
size
we're
talking
about,
because
they
can.
You
know
when
they
take
a
picture
of
it.
They
can
blow
it
up
quite
a
bit
if
it's
a
quality
thing
so
has
that
been
explored
about?
I
mean
we're
talking
about
cost,
how
much
it
would
cost.
But
if
they're
not
going
to
be
doing
a
huge,
huge
panel,
if
they
could
do
smaller
works,
maybe
they
would
do
it
for
a
thousand
dollars.
G
Well,
we
we
completed
carol
and
I
completed
a
15
foot
by
70
foot
mosaic
in
germany
and
we
submitted
a
72
inch
painting
of
that
particular
panel.
So
it
was,
it
was
scale
oriented.
It
was
on
five
different
walls
making
up
one
painting,
but
our
requirement
was
to
do
a
scale
of
one
inch
equals
one
foot
or
something
somewhat
like
that.
Now
the
the
company
like
vpro,
have
probably
had
speed
pro.
It
probably
has
a
way
of
taking
that
and
doing
their
their
copies
of
it
up
to
certain
points.
G
So
that's
how
they
did
christopher
stills.
I
think-
and
so
so
I
think
that
doesn't
really
answer
your
your
question,
because,
if
you're
designing
a
painting,
that's
let's
say
what
I
don't
know
how
big
the
tower
is.
I'd
say
it's
15
feet
by
60
feet
I
mean
that's
a
you
know:
you're
you're,
trying
to
create
a
an
image,
that's
going
to
be
readable
and
that
kind
of
thing,
so
it's
gonna
be
worth
way
more
than
a
thousand
dollars.
G
You
know,
even
though
you're
doing
a
one
inch
equals
one
foot
painting
which
is
is
something
that
most
people
can
do.
I
mean
actually,
I
have
to
admit
we
had
a
28
000
square
foot
studio
in
saint
pete,
but
we
did
that
painting
on
our
dining
room
table
so.
B
E
A
E
Photography
and
what
kind
of
image
they
had
to
work
with,
but
we've
just
spent
a
little
bit
of
time,
talking
about
underserved
areas
and
doing
some
mapping
and
modeling
of
various
parts
of
town
and
we've
jumped
into
a
very
specific
expensive
project.
E
B
Well,
the
the
thing
about
the
water
tank
is
at
the
behest
of
the
board
of
commissioners
and
that's
why
it's
gotten
thrown
into
the
mix.
D
But
that's
why
it's
so
critical
to
have
a
set
of
priorities,
because
we
can
look
at
them
and
say:
here's
what
we
see.
You
know
we're
not
saying
no
to
that
we're
just
saying
this
is
what
we're
looking
at
and
why?
Okay,
having
been
on
that
golf
course
many
times,
I
I
do
question
the
amount
of
dollars
going
into
that
with
the
number
of
people
that
are
going
to
actually
enjoy
it
and
and
and
be
able
to
look
at
it.
A
B
Yeah-
and
you
know
like
we,
we
don't
even
have
the
dimensions
or,
as
robert
pointed
out,
the
proportionality
of
the
tank
and-
and
you
know,
bill's
right,
I
mean
it's,
it's
going
to
be
a
limited
or
you
know
audience,
because
it's
set
way
back
from
walt
19..
B
E
I'd
like
to
propose
that
we
proceed
with
the
modeling
of
the
town
and
identifying
areas
where
we
have
art,
where
we
don't
and
then
go
back
to
the
commission
and
say:
we've
done
this
background.
Work
parameter,
has
all
these
beautiful
layers
of
of
gis
and
falderol.
This
is
where
we've
spent
your
dollars
our
dollars.
E
B
Okay,
robert,
you
had
your
hand
up.
G
Well,
just
just
I
agree
with
lucianne
on
that
in
a
way
in
a
recent
video
with
what
williams
said.
Is
that
maybe
maybe
not
having
this?
This
really
kind
of
detailed
plan,
this
detailed
goal,
this
global
kind
of
goal
with
this
thing
is
we're
leaving
openings
for
the
city
commissioners
to
propose
art,
that's
our
job
and
that's
not
their
job.
G
Their
job
is
to
put
in
sidewalks
and
things
like
that
where
job
is
to
to
put
public
art
in
in
in
tarpon,
so
those
of
us
are
are
engaged
in
that
and
involved
with
that,
and-
and
you
know,
I
was
railing
about
a
a
project
that
the
commissioners
want
to
put
in
on
on
the
bike
path
and
say:
that's
that
we'll.
G
C
B
So
I
think
that
this
is
a
point
that
needs
clarification,
because
I
I
think
robert
you
expressed
it
beautifully.
I
think
you're
exactly
right
we're
on
the
we're
on
the
public
art
committee,
because
we
have
certain
qualifications,
certain
interests,
I
think
we've
been
doing
a
good
job.
I
think
we're
you
know
a
responsible
committee
and
you
know
it's.
B
B
Which
is
go
ahead,
robert
you're,
primed
and
ready.
E
E
Statues
are
being
proposed.
So
I'm
a
little
confused
about
that.
I
absolutely
agree
with
robert's
perception
that
we're
being
asked
to
affirm
this
and
I
I
don't
think
we
really
need
to
act
on
it.
B
Well
again,
I
agree,
I
think
the
reason
it
ended
up
with
us
is
because
the
our
role
would
be
to
kind
of
determine
if
there
were
any
sites
that
would
interfere
with
any
of
our
projects,
and
you
know
I
I
I'm
just
speechless
by
this
whole
thing.
I
I
think
it's
a
I
agree
with
you.
I
think
it's
a
bad
idea.
B
I
think
it's
you
know
the
equivalent
of
garden
gnomes.
I
I
think
it's
I'd
like
them
more.
D
B
Right
trish.
C
Well,
when
I
saw
this,
I
was
wondering
what
what
they
wanted
us
to
do
as
far
because
the
statues
are
already
they've
already
decided
on
those,
and
actually
I
have
to
kind
of
be
the
odd
guy
out
here,
because
I
kind
of
like
the
idea.
C
Okay,
the
statues
are
very
nice
they're,
very
they're,
very
well
done.
You
can
look
at
them
and
tell
that
they're,
not
just
something.
You
know
out
of
a
garden
shop
or
something
they're,
they're,
really
nice
statues-
and
I
I've
seen
this
in
other
cities
and
and
they're
pretty
cool.
You
know
think
of
having
some
a
couple
of
kids
at
the
splash
park
or
ball
player
at
the
ballpark
yeah
yeah.
F
I
I
think
that
if
they,
I
don't
know
the
board
of
commissioners
people,
so
I
can't
say
you
know
what
their
personalities
are
like
or
so,
but
but
if
they
want
a
public
art
committee
to
help
determine
that
we're
bringing
real
art
to
the
area
then
having
these
particular
statues,
I
don't
think
is
necessarily
the
way
to
go,
and
the
fact
that
they're
overlapping
is
something
that
I
would
think
is
is
kind
of
concerning,
because
if
they
want
to
do
our
job
then
they
should
just
do
it.
F
But
on
the
other
hand
again
I
don't
know
the
people
at
all.
So
I
have
no
idea
if
they
would
feel
very
stepped
upon.
If
we
said
hey
look,
you
know
this,
isn't
your
purview.
This
is
our
purview
and
maybe,
as
a
group,
we
we
might
not
find
that
having
not
particularly
unique
statues
spread
throughout
the
community
willy-nilly
is,
is
all
that
great
for
us.
You
know
we
would
much
rather
have
like
one
good
project
or
so,
but
again
I
I
don't
know
the
personalities,
I
don't
know
the
politics
behind
it.
F
So
I
defer
to
those
of
you:
who've
been
involved
in
this
process,
much
more,
but
I
I
stand
with
robert
as
far
as
I
I
think,
they're
kind
of
overstepping
their
boundaries,
robert.
G
Well,
I
think
what
what
lucian's
been
bringing
up
throughout
this
meeting
is
this
overall
plan
for
the
city,
and
because
of
that,
I
would
say
that
they
asked
they're
they're
kind
of
asking
us
to
help
them
place
this,
so
it
wouldn't
impose
on
where
we're
going
to
put
art,
but
it
does
impose
on
where
we're
going
to
put
art,
because
we
are
are
going
to
be
looking
at
and
and
this
year
and
next
year
and
at
places
to
put
art
so
when
they
use
up
a
space
for
these,
where
it
hasn't
gone
through
the
art
committee
for
for
suggestions
of
what
it
is,
it
uses
that
space,
in
other
words,
if
there
was
some
kind
of
an
agreement
with
pinellas
county
that
we
could
use
the
the
bike
path
as
for
some
kind
of
a
project
down
the
road.
G
It's
already
for
foregone
conclusion
that
well
we
got
a
pelican
and
we
got
a
kid
on
a
bicycle
and
we
got
this
net,
so
it's
already
imposed
on
our
placement.
So
what
I
would
say
is
that
that
it
it
it's
it's
taking
away
possibilities
of
where
we
can
put
art.
B
E
I
I
can't
imagine
that
there
isn't
a
way
to
communicate
with
the
county
to
present
a
really
quality
project.
I
just
I
can't
imagine
that
there
isn't
room
for
that
conversation.
Yeah.
B
I
agree,
but
I
think
we
have
to
have
come
up
with
an
appropriate
project
to
do
it.
You
know
the
I
I
guess
my
my
issue
with
putting
the
art
boxes.
There
was
that
I
don't
know
how
much
of
an
impact
it
would
have.
B
You
know
unless
we
put
it
in,
you
know
a
very
defined
geographic
space.
It
was
more.
It
was
more
of
a
visual
and
artistic
concern
than
whether
it
was
a
you
know.
We
could
get
permission
to
do
it,
but
again,
you
know,
I
think
I
think
we
should
perhaps
reach
out
to
the
county
and
see
what
could
be.
You
know
considered.
For
you
know,
art
along
the
bike
trail.
B
Okay
bill
is
that
robert?
Do
you
have
any
other.
G
Just
a
question,
because
what
I'm
thinking
the
lucian's
question
about
this
is
this
is
pine.
You
know
the
bike
trail
is
pinellas.
County
is
stafford
on
either
side
of
the
bike,
trail
pinellas
county
or
is
that
city.
A
B
C
B
I
thought
it
was,
I
thought
that
was
county,
but
I
can
check
diane.
Do
you
know
off
the
top
of
your
head,
whether
that's
county
or
city?
No,
I
don't
either.
I
was
just
told
that
the
the
bike
path
and
that
you
know
you
know-
and
the
green
space
on
either
side
of
the
the
path
itself
was
counted
because
it
was
part
of
the
old
railway
road
bed.
B
Right
bill,
the
pelican,
pelican
brief
and.
D
The
last
time
we
left
that
you
and
kyle
were
to
to
put
your
heads
together,
so
I
have
not
spoken
with
kyle
or
communicated
with
him,
but
if
that
hasn't
happened
then
I
guess
I
need
to
reach
out
to
him
again.
D
B
B
Yeah,
I
was,
I
was
hoping
you
know,
because
I
know
that
in
the
past
he
always
responded
to
texts,
because
if
he
was
working
he
wouldn't
pick
up
the
phone
and
I
sent
him
a
couple.
I
actually,
you
know
copied
the
same
text
about
just
you
know
getting
a
hold
of
me
at
such
pace
and
nothing.
B
B
H
Me,
oh
sure,
d:
do
you
all
need
to
vote
on
whether
you
want
to
participate
in
in
vice
mayor
cars?
Or
do
you
want
to
just
say
now
that
the
the
public
art
committee
doesn't
want
to
participate?
B
Well,
we
could,
I
don't
even
know
what
the
motion
would
be.
B
And
if,
if
we
can,
can
I
get
a
second
on
it?
B
Right:
okay,
so
that
you
would
you
would
some
some
move
on
that?
You
would
make
a
motion
to
that.
G
B
Right
all
in
favor
aye
anybody
opposed
okay,
it's
unanimous
okay,
diane
city
announcements,.
H
Just
that,
oh,
if
you've
passed
by
the
cultural
center
you'll
see
that
it's
been
graded,
a
lot
of
landscaping
has
been
taken
out
in
preparation
for
new
landscaping
there
and
they
will
be
probably
pouring
the
concrete
slab.
It's
going
to
be
kind
of
an
oval
shaped
to
enhance
the
story,
time
sculpture
that
should
be
put
in
probably
sometime.
They
said
by
the
end
of
next
week,
great
exciting
and
then
they're
going
to
be
putting
the
lights.
The
lighting
on
it
and
they've
got
a
beautiful
landscaping
plan
for
that
whole
area.
B
Right,
that's
right.
I
just
wanted
to
confirm
that.
Okay,
okay,
our
next
regular
meeting,
is
going
to
be
tuesday
october
13th
2020
at
2
p.m.
Again
via
zoom.
Do
I
hear
a
motion
to
adjourn.