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From YouTube: Public Art Committee September 8, 2021
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A
A
A
Good
afternoon
it
is
wednesday
september
8th
at
2
o'clock.
This
is
the
meeting
of
the
public
art
committee
in
the
second
floor
media
room
marissa.
Would
you
call
the
roll
please?
Yes,.
C
A
Have
a
quorum
today
we
have
a
guest
presentation
by
renee
vinson,
who
will
be
telling
us
about
comprehensive
and
strategic
planning.
Renee
is
the
planning
director
for
tarpon
springs,
but
just
a
quick
bit
of
business.
A
We
didn't
have
a
quorum
at
our
august
meeting,
so
we
need
to
approve
the
meet
the
minutes
from
july
14th
and
august
11th.
Let's
take
july
14th.
Are
there
any
comments,
any
corrections
or
amendments
to
the
minutes.
D
A
All
in
favor,
aye
minutes
accepted
is
submitted
august
11th
minutes.
Any
comments
or
corrections
motion
to
accept
is
submitted
so
move.
Second.
E
A
Okay,
all
in
favor,
okay
minutes
accepted,
is
submitted
renee
you're
up
all
right,
her
presentation's
up
on
the
screens
folks,
so
you
can
oh.
C
F
I
fumbled
my
way
through
for
those
of
you
who
don't
know
me:
I'm
renee
vinson,
I'm
the
planning,
design,
planning
and
zoning
director
for
the
city
of
tarpon,
and
I
am
back
on
my
second
stint
about
a
little
over
a
year.
In
previously
I
was
here
from
2012
to
2014
in
the
same
position,
so
I'm
happy
to
be
back.
It's
it's
fun.
I
like
I
like
small
town,
local
government
as
opposed
to
the
amorphousness
of
working
for
pinellas
county.
F
A
Just
to
comment:
there
is
a
printout
of
renee's
presentation
in
your
handouts.
Sorry,
that's!
Okay!.
F
Thank
you
for
asking
me
to
come
in
and
talk
a
little
bit
about
the
strategic
plan
and
our
comprehensive
plan.
The
the
strategic
plan
initiative
began.
Let's
see
we're
about
three
months
into
it.
F
It
took
us
quite
a
while
to
get
to
a
scope
of
work
with
the
board
of
commissioners
and
we,
the
the
board
hired
a
collaborative
team
between
usf
institute
of
government
and
st
pete
college
collaborative
labs
to
do
that
work
and
that
that's
really
it's
going
to
continue
on
through
the
draft
plan
will
probably
be
done
around
march
time
frame
of
next
year,
and
then
we
have,
you
know
a
year-long
kind
of
implement
initial
implementation
to
make
sure
that
we
use
the
plan
and
and
are
implementing
the
way
that
that
we
should.
F
The
comprehensive
plan
is
occurring
update,
and
this
is
our
first
up
update
that
we've
done
major
updates.
Since
oh
wow,
it's
been
probably
15
years
since
a
wholesale
update
to
the
comp
plan
has
been
done.
It's
been
a
long
time.
My
goal,
you
know
all
along
with
this-
is
to
as
much
as
possible
is
to
really
integrate
those
two
plans.
F
What's
the
next
thing
that
we're
doing
so,
we're
really
trying
to
coordinate
moving
forward
with
our
with
our
public
input
and
and
how
those
plans
get
drafted
so
we're
just
starting
on
the
let's
see
if
I
can
advance
a
slide
here,
we're,
but
just
starting
on
the
comp
plan.
We've
had
the
notice
to
proceed
issue
notice
to
proceed
issued
about
two
weeks
ago,
so
that
will
be
kicking
off
your
best
source
of
information
for
both
of
these.
F
And
if
I
can
get
this
to
come
back
over
here,
I
cannot
there's
two
links
there
for
our
connect.
Tarpon
springs
website,
one
one
is
for
the
strategic
plan
and
one
is
for
the
comprehensive
plan
and
those
are
project
pages
where
we'd
like
to
to
push
information
out
on
the
comprehensive
plan.
F
You
know
processes
with
the
with
the
board
members
and
the
first
was
you
know
identifying
what
what
are
our
current
successes?
How
you
know
what's
been,
you
know,
what's
great
about
turbine
springs
and
what
are
you
proud
of,
and
then
they
shifted
over
to
the
future
successes,
and
so
what?
What
do
you
see
are
the
things
that
are
going
to
continue
and
make
the
city
viable
and
vibrant
and
great
for
the
future,
and
one
of
the
things
that
you'll
notice
under
that
future
successes
is
more
public
art.
F
F
On
august
26th,
we
had
a
second
engagement
online
community
engagement
session,
and
this
was
really
the
first
first
introduction
with
the
public
we
had
close
to
80
people
registered,
but
we
only
had
probably
about
40
to
45
that
participated.
I
think,
I
think,
joan
I
think
you
were
on
there
yeah,
and
so
we
were
trying
to
build
off
of
what
had
already
been
done
by
the
board
and
and
then
bringing
in
additional
input
into
these
various.
F
You
know
focus
areas
you
know
so
not
only
ranking
what
what
the
board
had
already
done,
but
also
them
providing
additional
input
and
again
you'll
see
so
you'll
see
references
to
you
know:
preservation,
public
art
and
things
of
that
nature.
So
again,
we're
just
we're.
Kind
of
this
is
a
building
process.
F
So
the
schedule
for
the
for
the
upcoming
events
that
the
public
or
you
whomever
you
know
would
like
to
participate
in
there
will
be
individual
and
group
stakeholder
interviews
that
will
be
taking
place
beginning
it
says
mid-september
to
mid-october.
That
list
is
still
being
refined.
I
will
tell
you
that
all
of
our
boards
and
committees,
those
names
were
provided
as
potential
people
to
be
interviewed,
so
you
may
get
a
call.
F
So
ultimately,
the
board
of
commissioners
will
weigh
in
on
who
who
is
on
that?
You
know
that
stakeholder
interview
list
so
again
this
is
to
further
refine
the
direction
that
we're
going.
There
will
also
be
a
full,
a
resident
feedback
survey
that
will
be
available
community
wide
that
will
be
going
on
for
about
a
month
as
well
and
then
in
february
and
say
excuse
me,
january
and
february,
we'll
have
two
community
focus
group
meetings.
Those
will
both
be
in
person
and
virtual.
We
have
one
on
a
weekend
and
we
have
one
on
a
weekday.
F
So
by
that
time
we'll
be,
you
know
really
focusing
in
on
the
nuts
and
bolts
of
the
strategic
plan
and
what
you
know
what
the
content
is
going
to
be.
So
you
know
again
stay
stay
tuned
to
that
connect
tarpon
page
as
things
made.
F
F
You
know
our
plan
is
very,
very
rooted
in
the
original
1990s
growth
management
law.
For
florida
it's
been
tweaked
along
the
way
and
updates,
but
this
will
be
the
first
kind
of
wholesale
update.
That's
been
done
since
it's
origin,
you
know
probably
since
about
2008,
so
we
have
a
lot
of
room
for
for
development
on
this,
and
so
we
started.
F
We
actually
went
out
for
requests
for
proposals
and
put
this
out
and
ultimately,
we
we
did
select
tyndale
oliver
to
be
our
consultant
on
this
project,
but
we
started
in
the
rfp
with
a
series
of
questions,
and
I
think
it
really
gets
to
you
know
where
we
want
to
be
as
a
community
over
the
next
20
to
30
years,
and
so
some
of
those
pertinent
questions
that
we
ask
in
the
rfp
there
and
we
listed
them
here-
won't
read
all
of
them,
but
you
know
how:
how
do
we
respond
to
sea
level
rise?
F
You
know,
you
know.
Is
there
a?
Is
there
a
good
economy
of
scale
where
we
can
stop
relying
on
continued
growth,
and
you
know
work
with
what
we
have
and
what
does
that
look
like?
Is
there
an
end
state
to
development
transitioning
from
a
from
a
needs-based
economy
to
an
asset-based
economic
needs
based
to
asset-based
economic
development?
That's
where
I
think
the
public
art
very
much
comes
into
play.
F
You
know
that
is
an
asset
for
this
community
and
and
so
that
that
creates
that
sense
of
place
and
things
that
bring
people
to
the
community
and
and
and
helps
to
create.
You
know
an
economic
driver
in
and
of
itself.
You
know
how
do
we
attract
visitors
you
know
without,
and
how
do
we
grow
without
really
overwhelming?
You
know
the
the
city
itself
without
damaging?
What's
what's
so
unique
about
it,
so
those
are
all.
Those
are
pretty
heavy
questions.
F
So
we'll
we'll
go
with
the
the
consultants
and
see
how
see
how
we
do
this.
The
the
intent
is
that
again
we're
going
to
try
to
start
marrying
up
our
public
outreach
for
the
comprehensive
plan
with
the
excuse
me
with
the
strategic
plan.
So
I
don't
know
exactly
what
that's
going
to
look
like
but
pay
it.
You
know
again
keep
in
touch
with
that
connect
tarpon
platform,
because
that's
where
we'll
be
pushing
these
things
out,
we
we're
on
a
fairly
tight
timeline.
F
F
We
did
put
out
an
initial
survey
on
that
connect.
Tarpon
springs
site
this,
and
this
was
the
the
question
here
that
didn't
didn't
get
come
through
on
this,
for
some
reason
was
thinking
30
to
40
years
in
the
future,
you
know
what
which
of
the
following
issues.
Do,
you
think
are
the
most
important
and
it
was
a
ranking
and
so
the
I
circled
the
ones
there
that
have
risen
to
the
top.
You
know,
and
so
those
are
things
like:
a
walkable
community,
safe
community,
passive
recreation,
sea
level
rise
land
preservation.
F
You
know
maintaining
our
unique
identity,
preserving
our
history.
You
know,
I
think
those
two
really
speak
again
to
the
impact
that
public
art
can
have
on.
You
know,
with
our
with
our
identity
and
and
the
uniqueness
of
tarpon
springs
and
and
how
we,
how
we
keep
maintaining
that
sustainability
obviously
was
another
big
one
that
was
that
rose
to
the
top.
F
The
survey
is
still
active
if
you
want
to,
and
I
you
know
apologize
I
was
reading
through
this
I'm
like
well,
I
didn't
have
anything
specific
to
public
art,
but
I
think
you
know
maintaining
the
history
and
the
uniqueness
and
the
identity
does
get
to
a
lot
of
the
work
that
this
committee
does
for
the
city.
So
this
this
is
survey
still
live.
If
you
want
to
go
to
the
connect,
tarpon
springs
website
and
take
the
survey,
if
you
haven't
already,
you
do
have
to
register,
but
it's
pretty
minimal
registration
requirement.
F
We
hope
you
know
we're
not
like
asking
for
you
know
blood
samples
or
anything.
So
hopefully
people
won't
be
too
turned
off
by
that,
but
it
does
give
us
some
analytical
data
on
the
back
end
for
who's
answering
the
surveys
and
things
like
that.
So
we
do
ask
for
that.
So
that's
up
and
there
and
there's
also
some
open-ended
questions
about.
You
know
that
are
really
interesting.
I
didn't,
if
you
want,
I
can
forward
to
you
the
latest.
I
can
send
it
to
diane
and
she
can
send
it
out
to
you.
F
The
latest
full
results
from
this,
as
well
as
the
open-ended
survey
questions
because
they're
very
interesting.
You
know
about
what
people
what
people
find
you
know
compelling
about
tarpon.
What
are
the
best
things?
What
are
the
things
that
we
need
to
work
on?
So
there's
a
lot
of
good
information
in
there
so
to
you
so
so
to
the
point
of,
I
think
why
you
asked
me:
how
does
the
master
plan
fit
here?
As
I
read
through
the
master
plan
for
public
art,
a
few
things
kind
of
jumped
out
at
me?
F
You
have
great
goal
statements
and
I
think
those
things
very
much
need
to
be
somehow
brought
into
both
of
those
the
strategic
plan
and
the
comprehensive
plan.
Now
I
can
definitely
make
sure
it
happens
with
the
comprehensive
plan
you
know
it.
You
know,
and
I
think
that
the
document
itself,
in
whatever
form
it
is
really
needs
to
be
a
strong
reference
document
for
both
plans.
So
you
know
we
can
work
to
that
end.
Some
of
the
things
that
stood
out
in
the
history
section.
F
I
really
again.
I
think
we
need
to
pull.
You
know
me,
being
you
know
myself
as
the
staff
support,
for
you
know
both
of
these
plans.
You
know
more
so
with
the
comprehensive
plan,
but
pulling
some
of
those
elements
out
and
literally
weaving
them
into
some
of
our
initiatives
and
goal
statements
and
things
in
the
comprehensive
plan.
F
The
contemporary
design,
integrated
public
art,
I
thought
was
fantastic
again,
there's
a
very
strong
tie-in
there
with
land
development
activities
and
some
of
those
things
could
really
partner
with
sustainability
committee
initiatives,
because
you
know
I'm
thinking
about
you
know
we
have
to
deal
with
sea
level
rise,
but
I
don't
think
anybody
wants
to
see
the
city
be
seawalled.
You
know
in
the
end,
that's
not
what
we're
talking
about
so
that's!
F
It
might
be
an
extreme
example,
but
there
are
ways
that
you
know
those
things
can
take
place
that
that
actually
function
as
a
public
art
type
of
of
you
know,
project
and
integrating
those
elements
in.
So
I
think
those
are
really
interesting
opportunities,
the
the
black
heritage
project.
Again,
I
don't
think
that's
very
well
recognized.
Hopefully
it's
more
recognized
because
you
guys
are
putting
an
emphasis
on
it.
But
again,
I
think
some
of
that
history
needs
to
be
brought
into.
F
We
have
a
historic
resources
element
in
the
comp
in
the
comp
plan,
so
a
lot
of
this
can
be
integrated
into
that
element.
One
of
the
other
focus
areas
that
I'm
trying
to
work
on
is
it
so
just
the
current
structure
of
the
plan,
the
comprehensive
plan
is
it's
pretty
dry,
you
got,
you
know,
10
11
elements
that
are
you
have
a
future
land
use.
You
have
a
conservation
element.
F
What
I
really
want
to
be
able
to
do
is-
and
we
can
do
this
now
under
the
new
growth
manager,
the
new
community
planning
act
with
the
state.
They've
loosened
things
up
a
bit.
I
really
want
to
organize
the
plan
around
more
around
focus
areas
and
again
that's
how
it
will
tie
back
to
the
strategic
plan,
so
that
will
make
it
a
lot
easier
to
weave
things
like
public
art
into
you
know
not
just
a
smattering
here
or
there,
but
you
know
almost
maybe
as
a
focus
or
a
goal
area.
F
So
we
can
look
toward
that
end
as
well.
Let's
see
what
else.
F
I
think
that's
everything
I
wanted
to
cover.
I
don't
have
my
don't
have
a
whole
bunch
of
notes
in
front
of
me,
so
I
don't
have
anything
else.
You
know
I
don't.
Okay
I'll,
stop
there
and
I'll
be
happy
to
answer
questions.
Hopefully
this
was
somewhat
informative
for
you
and
if
not
I'll,
come
back
and
try
again.
F
F
Past
actually,
you
have-
and
I
was
at
that
session-
I
sat
and
listened
to
it
and
so
there's
a
lot
that
isn't
reflected
if
you,
if
you
go
back
to
the
the
actual
real-time
record,
and
you
can
get
this
on
the
website
now
you'll
find
a
lot
more
detail
on
than
just
what's
on
that
kind
of
that
diagram
that
I
included
right
and-
and
I
can
definitely
say
that
I
mean
public
art-
was
something
that
was
discussed
and
was
recognized
and
you
know
so.
I
don't
don't
feel
bad
that
it's
not
up
on
that.
F
That
was
specific
to
the
you
know
that
contemporary
design
integrated
public
art,
we
don't
have
design
criteria
per
se,
for
you
know
other
than
normal
things
like
setback
requirements
and
things
like
that
and
I
think
there's
an
opportunity
to
to
push
that
a
little
bit
with
certain
types
of
development
projects
that
you
know.
Okay,
if
you're
going
to
be,
you
know
if
you've
got
to
do
a
sea
wall
for
something
or
if
you've
got.
I
think
we
can
integrate
some
of
those
standards
that
you're
looking
for
perhaps
into
some
of
those
design
standards.
F
I
haven't
thought
through
it
much
more
than
that,
but
when
I
read
it,
I
thought
that
you
know
that
there
was
an
opportunity
there,
so
we
can.
We
can
look
more
to
that.
It's
it
just
those
those
those
initiatives
seem
to
tie
in
with
a
lot
of
land
development
opportunity.
You
know,
development
opportunities
that
you
see
or
development
that
will
take
place,
whether
it's
public
or
private.
So
it's
it's
a
balance.
You
know
trying
to
the
public
art.
Oh
that's
what
I
forgot
to
mention
as
well:
the
land
development
code,
public
art
program.
F
I
definitely
want
to
go
back
into
the
comprehensive
plan
and
set
up
enabling
policies
and
things
we've
never
been
challenged,
but
I
want
to
make
sure
that
stays
that
way.
So
I
think
we
do
need
to
go
back
and
get
that
into
the
comprehensive
plan
as
go
as
policy
statement
about
the
public
art
program
and
that's
in
the
land
development
code.
F
At
least
get
it
yeah
get
some
sort
of
policy
statements
in
there
that
back
up
what
is
in
the
land
development
code,
you
know
it's,
it's
just
normally
the
normal
course
of
business
is
you
know
you
have
your
comprehensive
plan,
you
establish
your
goals,
objectives
and
policies,
and
then
your
regulating
plans
implement
those
policies,
and
so
the
land
development
codes
of
regulating
plan.
The
public
art
program
is
part
of
that
it's
in
there,
but
we
don't
have
a
strong
tie
back
to
the
comprehensive
plan.
F
Really,
that's
that's
that
speaks
to
why
it's
in
the
land
development
code.
So
that's
at
least,
if
it
is,
I
haven't
seen
it
so
I
that's
something:
I'm
gonna
I'll
look
for
it,
but
and
once
we
do
the
comprehensive
plan
update
the
next
thing
that
we
will
do
will
be
follow-on
land
development
code
updates
to
make
sure
that
anything
that
new,
that's
been
developed
or
that
needs
to
be
addressed,
gets
into
the
to
our
land
development
codes
as
well.
G
I
don't
know,
I
don't
know
if
this
is
an
appropriate
question,
but
I
was
just
thinking
about
the
the
dealing
with
the
land,
development
and
strategically
planning
and
looking
forward.
Does
this
mean
that
that
the
public
art
budget
and
the
strategic
planning
budgets
could
could
meld
together?
In
other
words,
you
know
money
makes
art
and
a
lot
of
these
strategic
plans.
We
have
here
what
we
could
do
with
say
dealing
with.
G
You
know
high
water
rising
and
things
how
we
could
deal
with
in
a
contemporary
or
artistic
way
if,
if
that
could
be
integrated
into
the
budgets
that
goes
into
not
sea
walls
but
but
treating
something
that
that
is
very
creative
and
probably
expensive.
F
So
the
intent
with
the
strategic
plan,
it
does
become
a
document
that
should
be
guiding
budget.
So
to
that
end
you
know,
if
certain
elements
get
into
the
strategic
plan,
then
there
should
be
a
flow
somewhere
in
the
pipeline
for
budgeting
to
support
the
things
that
are
in
that
strategic
plan.
Yeah.
G
C
G
Million
dollars,
then,
all
of
a
sudden,
let's
make
an
art
piece
out
of
it.
Here's
250
dollars
right
right.
So
that's
that's
the
thing
where,
where
the
the
amount
of
art
going
into
a
big
infrastructure,
sometimes
is
minuscule,
but
it's
multiple
times
more
than
a
piece
of
art
would
be
without
that
infrastructure
project
right,
so
it
would
be
money
placed
in
the
right
place
so
strategically.
F
No,
you
are
it's,
you
know
it's
it's
getting
the
the
money
budgeted
at
the
right
point
in
time,
I
think,
is
what
you're
really
trying
to
trying
to
and
so
and
that's
where
you
know,
having
those
you
know
having
those
goal,
statements
and
focus
areas.
You
know
in
the
con
in
the
strategic
plan
is
that's
where
that.
Why
that's
important
and
that's
why
I'm
encouraged
when
you
see
in
those
for
what
do
we
see
as
future
successes?
F
F
You
know,
and
I
think
that's
why
one
of
the
things
I
had
up
here
was
partnering
with
the
sustainability
committee
initiatives,
because
I
think
there's
a
lot
of
overlap
between
you
know
between
those
two,
especially
with
regard
to
sea
level
rise,
and
so
you
know,
I
think
I
think
it's
an
interesting
opportunity.
I
don't
I
don't
have
a
lot
more.
F
F
H
Lucian
in
that
regard,
I
wonder
if
our
ordinance
needs
a
little
broadening,
because
I
think
it's
pretty
specific
to
the
funding
of
public
art
projects.
It
is
developers
and
really
it
ought
to
be
a
more
global
consideration.
F
F
F
It
should
be
the
comprehensive
plan,
I
say
it
should
be
plan
and
then
then
then
our
land
development
codes
and
then
strategic
planning,
the
strategic
plan
I'll
put
out
here
on
on
the
side,
I
put
the
the
strategic
plan
and
a
comprehensive
plan
a
little
more
side
by
side.
The
strategic
plan
really
is
going
to
be
a
document,
that's
five
to
seven
year
horizon
and
it's
going
to
be
probably
more
more
project
driven.
F
You
know
in
in
terms
of
in
using
it
as
a
budgeting
document,
whereas
the
comprehensive
plan
is
a
much
longer
horizon,
and
so
the
strategic
plan
should
be
responding
to
what's
in
the
comprehensive
plan.
The
land
development
codes
are
more
of
that
bottom
regulatory
document
that
everything
has
to
meet.
So
you
know
they
shouldn't
be
at
odds
with
each
other.
Sometimes
they
are,
but
you
know
so
just
think
think
of
the
comp
plan
and
strategic
plan
is
kind
of
side
by
side,
one
with
a
very
long
range
vision,
one
with
a
shorter
range.
F
So
this
one's
going
to
be
a
little
more
driven
by
project
driven.
This
is
going
to
be
a
little
more
policy
driven,
but
they
should
have
that
common
common
goal
between
them
with
those
those
core
focus
areas-
and
that's
that's.
You
know
that
actually
will
be
kind
of
unique
if
we
pull
that
off,
but
I'm
hoping
that
we
can
so
that
that
they
do
talk
to
each
other,
and
it's
recognized
that
these
are
both.
You
know
equally
applicable
to
guiding
documents
for
the
city.
E
No
just
excited
to
see
the
some
sort
of
integration
with
with
infrastructure
projects,
because
it's
a
great
way
for
us
to,
as
I
think
robert
mentioned,
to
really
get
a
bang
for
the
buck.
When,
when
the
work's
going
to
be
done,
you
know
what
what
can
we
do
to
enhance
that
and
that
that
would
be
exciting.
I
F
The
both
you
know,
the
conference
of
plan
really
is
a
big.
It's
a
policy
document,
and
so
you
want
you
know
for
things
for
the
for
the
long
range
look.
You
know
you
want
policies
in
place
that
speak
to
so
in
regard
to
public
art,
I'm
not
thinking
about
I'm
I'm
racking,
my
brain,
but
I
don't
think
there's
a
real
emphasis
anywhere
in
the
and
plan
about.
F
You
know
the
importance
of
public
art
and
so
that
I
think,
needs
to
be
corrected
and
that
that
establishes
you
know
once
you
kind
of
have
that
policy
in
there,
then
the
regulatory
things
and
this
and
the
more
project
driven
things
like
the
strategic
plan
should
be
responding
to
that.
So
it
that
it's
a
bit
of
a
hierarchy
there.
I'm
not
sure
I
answered
your
question.
I
went
off
on
a
tangent
kind
of
I'd.
Do
that?
I'm
sorry.
I
F
But
the
the
the
regulatory
aspects
of
how
something
would
look
I
mean
we
would
never
go
there
in
the
comprehensive
plan.
You
know
the
the
land
development
code
regulations
now,
for
you
know,
for
public
art
are
they're
fairly
narrow.
As
you
know,
what
what
can
be
done?
Obviously,
this
board
has
to
approve
it's
actually
going
to
be
a
project
to
be
built,
otherwise
they
pay
in
and
then
you,
you
guys,
administer
those
funds.
F
I
think
you
may
be
talking
about
when
I
was
talking
about
with
the
contemporary
design,
integrated
public
art
and
how
that
ties
in
with
continent
with
land
development.
That's
something
we
need
to
take
a
little
bit
deeper
look
at.
Is
there
an
opportunity
there
for
public
and
private
projects
to
you
know
to
specify
that
if
you
have
certain
elements,
you
at
least
need
to
to
consider.
You
know,
maybe
a
you
know
some
sort
of
public
art
integrated
with
them.
I
need
to
educate
myself
a
little
more
on
that,
but
I
think
there's
an
opportunity
there.
I
Okay,
I
think
that
answered
that
question.
I
might
go
on
my
scope
a
little
bit.
Tyndale
oliver
is
that
a
development
company
tyndall.
F
Oliver
is
they
do
only
public
sector
work,
they
don't
do
private
development
like
so
a
lot
of
a
lot
of
a
lot
of
consulting
companies,
kind
of
have
a
foot
in
both
worlds,
they're
out
here,
building
working
with
developers,
but
they're
also
do
work
for
cities
tyndale.
Oliver
is
purely
a
public
entity
and
that
they
do
not
do
developer
work.
F
Oh
yes,
absolutely
yeah,
tyndale,
all
over
they're,
very
well
known,
they're,
very
reputable
land
planning
company.
I've
had
no
hesitation
about
utilizing.
F
I
don't
know
that
they
get
into
that
type
of
of
work,
they're
they're
more
of
a
you
know,
an
urban
planning
driven
company
that
really
focuses
on
you
know
they
do
a
lot
of
community
development
area
plans,
comprehensive
plans,
updating
land
development
regulations,
so
they're
very
much
in
that
world.
So.
I
Okay,
is
there
anything
in
this
plan
to
to
resurface
any
buildings
or
any
appearance.
I
I
F
Not
not
in
terms
of
you
know,
I'm
resurfacing
buildings
if
you're
talking
about
you
know
not
from
a
public
perspective.
I
mean.
Certainly
private
development.
May
you
know
may
do
that.
Manatee
village
is
a
good
example.
They're
going
to
be,
you
know
basically
retrofitting
that
that
shopping
center
and
updating
the
look
of
it,
but
there's
not
there's
nothing.
Nothing
like
that
would
really
fall
into
the
realm
of
the
of
the
of
the
comp
plan.
I
don't
think
we
do
have
the
facade
grant.
We
have
the
yeah.
F
We
have
the
facade
grant
program
in
the
community
redevelopment
area
as
well
as
down
in
the
sponge
docs,
so
that
which
is
a
grand
opportunity
that
it's
usually
geared
more
toward
historic
buildings,
but
it
doesn't
have
to
be.
I
don't
think
for
for
the
docks.
I
don't
think
it
has
to
be
that,
yes,
you
can
get
a
matching
grant
from
the
city
from
the
community
development
area.
F
Fondor
for
the
general
fund
dollars
are
set
aside
as
well
for
that
for
for
the
for
the
doc
since
they're,
not
in
the
cra
that
you
know
you
put
in
a
certain
amount,
the
city
matches
it
up
to
a
maximum
and
you
can
use
that
to
do
exterior
building
improvements
and
improve
the
look
of
the
buildings.
Okay,.
F
Yeah
I
mean
one
section
of
vault:
19
is
in
the
community
redevelopment
area,
so
from
I'll
say
from
tarpon
out.
No,
it
goes
farther
south
than
that
it
was
down
to
mirrors.
F
It
goes
all
the
way
down
to
mirrors.
So
there
is
an
opportunity
there
inside
that
that
community
redevelopment
area
boundary
where
facade
grants
are
available
for
people.
You
know
for
business
owners
to
take
advantage
of
so
it's
it's
more
you'll
see
it
more
often
than
like
tarpon
I
have
in
that
area,
but
it's
actually
been
pretty
well
utilized.
I
One
more
question
is:
there's
a
lot
of
talk
about
the
sea
level
rise
and
kind
of
out
of
the
scope.
I
mean
it
has
nothing
to
do
with
art,
but
has
that
been
calculated
and
what
is
the
rise
currently
calculated
per
year?
Is
that
a
thing.
F
So
they've
got
good
sea
level
rise
data
on
the
pinellas
county
gis
website
that
you
can
delve
into
because
you
know
they
have
the
they
have
the
you
know
the
short
mid
and
long
range,
and
then
they
have
the
the
low
mid
and
high
estimates,
and
so
you
can
kind
of
see
where,
where
the
city
ends
up
with
those
various
layers
of
data.
I
F
Mean
historically
yes,
I
mean
you,
can
you
know
the
tide
gauges
from
just
from
saint
peter,
a
fairly
good
indicator
and
and
there's
we
definitely
have
you
know
sea
level
rise
happening.
We
have
whatever
is
causing
it,
because
I
guess
it's
up
for
debate,
but
there's
no
doubt
that
looking
at
past
data,
it
is
happening.
You
know.
Does
that
trend
continue?
Well,
that's
above
my
pay
grade
right
now.
F
J
F
I
won't
say:
you've
missed
the
boat,
it's
not
in
there
now,
but
this
up
we're
just
starting
the
comprehensive
plan
update
so
you'll.
You
will
have
opportunities
to
have
your
voice
in
in
that
update
of
the
comprehensive
plan,
and
certainly
this
is
not
the
only
master
plan
that
will
probably
it'll
at
a
minimum,
be
a
reference
document.
We
have
stormwater
action
plans.
The
sustainability
action
committee
is
developing
a
sustainability
plan.
F
All
those
things
really,
you
know
ideally
will
be
reference
documents
at
a
minimum
and
then
things
that
are
extremely
important,
get
into
the
goals,
objectives
and
policies
itself
of
the
comp
plan.
Okay,
thank
you.
So
I
hope
you
don't
feel
like
you,
the
ship
left
without
you,
maybe
in
the
past,
but
we'll
get
there.
Okay,.
A
F
They
know
absolutely
all
the
real-time
records
for
the
strategic
plan
are
are
posted,
so
if
you
want
to
take
a
deeper
dive
into
those,
I
would
encourage
you
to
as
well
as
looking
at
the
comp
plan
site
and
just
kind
of
stay
tuned,
we'll
and
I'll
come
back
time.
You
like,
okay,
so
great.
A
A
Okay,
all
business,
the
girl
scout
ambassador
troop
1142
public
art
projects,
diane,
I
believe
you
were
in
touch
with
the
troop
leader.
K
Yes,
I
reached
out
to
her
to
see
what
progress
they
had
made
and
because
school's
now
back
in
session,
and
she
said
that
they
had
their
two
sites
selected
and
they
did
that
with
public
works
and
then
they're
in
the
process
of
purchasing
their
paints
and
also
asked
her
if
she
had
a
like
a
a
version
of
what
they
were
going
to
paint
in
those
two
locations.
K
A
Right
and
just
a
reminder,
we
approved
a
500
grant
to
them
for
for
their
materials,
many
of
which
could
be
reused.
Things
like
safety,
vests
and
things
of
that
sort.
They.
J
A
A
But
you
know,
given
the
fact
you
know,
as
I
said,
covet
in
the
schools,
you
know
school
thing,
but
it's
a
very
worthwhile
project
and
you
know,
as
I
said,
diane's
been
following
up
with
the
troop
leader,
but
they
will
give
us
a
detailed
invoice
and
you
know
draft
designs
and
things
like
that
and.
K
C
J
A
K
He
did
talk
to
the
principal
and
at
one
point
they
were
looking
for
students
to
participate
and
they
have
eight
students
that
are
interested
in
doing
the
mural
and
so
the
principal
asked
you
know
if
we
could
meet
you
know
with
the
students
and
just
kind
of
give
them
an
overview
of
it
and
everything.
So
I
I
I
told
chief
young
that
since
he
was
you,
know,
kind
of.
C
K
That
you
know
whatever
he
was
available
and
everything,
and
that
if
he'd
like
me
to
go
along
you
know,
would
would
do
that.
You
know
kind
of
thing,
but
we
have
the
site
and
everything
it's.
So
it's
not
really
going
to
be
that
difficult.
I
think
it's
just
that.
I
think
they
just
wanted
a
little
bit
of
an
overview,
because
there
are
eight
new
students
that
are
going
to
be
participating.
E
I
only
have
paint
on
my
computer,
so
I
can't
when
I
did
that
it
was.
It
was
very
crude,
really
crude
and
a
little
scary
when
I
put
the
primary
colors
on
on
the
building
there
at
riverside.
So
a
couple
of
folks
were
going
to
play
with
it
and
see
what
they
might
be
able
to
to
come
up
with
on
that
we
do
have
locations
for
the
art
boxes.
E
E
I
don't
know
I'm
just.
I
think
we
need
a
couple
of
those
things
and
I
just
need
some
guidance
david
and
I
went
out
and
looked
and
and
there's
some
nice
locations
that
we
could
put
those
those
art
boxes.
E
Again,
I
think
we're
still
looking
for
opportunities
to
something
other
than
murals.
The
murals
are
fantastic,
they're,
low-hanging
fruit.
I
think
they're,
wonderful,
but
I'd
love
to
see
us
get
some
other
forms
of
art
out
along
some
of
those
those
locations.
C
E
A
Right
and
I
had
a
conversation
with
mark
lacouris
and
he
he
seemed
to
think
that
we
were
going
to
need
the
approval
of
some
of
the
league
captains,
and
I
I
don't
know
you
know,
I
mean
that's
kind
of
opening
a
pandora's
box
to
some
extent,
because
I
I
think
you
know
your
concept
of
you,
know
uniformity.
But
not.
You
know
like
tailoring
things
for
the
individual
sports,
but
having
some
kind
of
thematic
approach.
D
To
everything,
like
the
background
of
the
of
the
murals,
the.
A
A
A
Right-
and
I
think
the
other
thing
too
is
bill's
suggestion
about
the
art
boxes.
I
think
what
we,
what
we
should
do
is
you
know,
since
you've
already
looked
into
it,
maybe
give
us
an
idea
as
to
the
dimensions
of
the
art
boxes.
A
K
A
B
E
C
A
Make
sure
that
right,
yeah,
the
other
thing
too,
is
the
hardwired
boxes,
are
significantly
cheaper
than
the
solar
powers
and
they
they
will
just
tie
into
existing
light
fixtures.
So
that's
that's
another
consideration,
so
maybe.
A
A
So
maybe
you
know,
as
I
said,
you
know,
diane
said:
go
on
a
canvassing
trip
and
you
know
maybe
make
a
little
graph
of
hard
wire
and
size
and
we
can
get
a
good
idea.
E
There's
an
opportunity
to
do
something:
they're
they're,
all
like
white
right
now,
and
I
think
someone
with
an
artistic
you
know
talent
might
be
able
to.
You
know,
come
up
with
something
unique
to
do
with
them
and
again
we're
only
looking
at
sisler
and
riverside.
So
I
mean
there's,
there's
tons
of
opportunities
here
with
the
other
parks
you
just
have
to
start
somewhere,
and
those
are
two
great
ones
too,
and
I
know
we
have
a
one
to
talk
about
here
on
the.
H
H
H
Jumped
out
at
me,
and
I
think
the
iconic
silhouette
for
riverside
against
a
blue
wall
or
a
red
wall
or
a
yellow
wall.
I
think
this
is
a
great
test
case
of
that
design
concept
and
it's
it's.
D
A
A
Right,
yeah,
that's
my
question:
okay,
right,
yeah!
It's
that's
a
thousand
dollar
flat
fee
to
keep
her
in
that
or
keep
the
artist
in
in
that.
I
C
K
J
Good,
it's
great
with
the
the
stitching.
G
G
You
know
the
the
figures
themselves
would
hold.
I
have
some
issues
with
the
figures
themselves,
so
I
don't
know
if
anybody
else
does.
J
G
You
have
the
same
issue,
I
have
maybe
I've
driven
up
and
down
route
19
a
couple
of
times
and
there's
some.
You
know
nighttime
establishments
that
have
it.
G
G
I
you
know
I
I
like
them,
I
think
they're,
just
you
know,
there's
a
little
bit
more
consideration
there.
I
I
think
the
the
bat
swinger
is
is
very
appropriate
for
this,
and
I
think
that
would
be
great.
I
don't
think
you
need
anymore.
That
gets
the
whole
idea
across.
This
is
what
this
is.
K
I
will
say
that
I
did
send
this
to
the
president
of
the
tarpon
springs
little
league
and
also
the
one
who's
in
charge
of
from
the
board
of
directors
in
charge
of
softball
and
the
president
of
the
board
loved
it.
So
that
was,
and
she
thought
that
that
you
know
was
going
to
be
good.
For
you
know
all
the
kids
so.
C
K
A
C
F
J
J
Yeah
and
I
was
like
well,
they
put
her
foot
on
backwards
and
then
it's
like
an
optical
illusion.
D
C
K
But
I
I
I
do
appreciate
the
the
the
scale
kind
of
thing
you
know,
yeah.
K
A
Think
that
the
picture
needs
to
be
a
little
bigger,
a
tad,
a
drop.
A
J
K
A
Right
and
somebody
is,
or
somebody
inquired
about
the
whether
boys
and
girls
play
softball
and
an
easy
fix
to
that
if
boys
do
play
is
just
to
eliminate
the
ponytail
on
the
batter.
J
I
know
exactly
and
football
everybody's
looking
a
little
long
in
the
locks.
I
I
do
like
it
would
we
want
to
do
the
primary
start
off
with
the
primary
colors
on
this
building.
K
C
A
K
K
I
think
she
struggled
a
little
bit
with
this
one,
because
I
had
asked
her
like
when
I
sent
out
your
original.
You
know
information
like
a
week
ago.
I
had
asked
her
for
it
and
and
she's.
You
know
she
says
I'll,
get
it
to
you
today.
It's
like,
I
said.
Well,
I
don't
want
you
to
rush
it.
I
said
so.
I
said
I
could
use
take
it
as
a
handout.
You
know
kind
of
thing,
so
she
sent
it
to
me
yesterday.
C
A
So
all
right,
so
can
I
get
a
oh
go
ahead.
Robert.
G
G
I
mean,
in
other
words,
this
is
what
we're
going
to
see
we're
going
to
see
on
this
piece
of
paper,
something
that
we're
going
to
go
to
sister
field
and
see.
In
other
words,
this
is.
This
is
a
I've.
I've
been
stung
by
judging
many
art
shows.
G
Of
paper
and
photographs,
and
when
you
get
there,
it's
not
that
at
all
right
right!
So
and
you
say
she
if
she's
a
young
artist,
she
probably
needs
to
give
us
a
really
good
good
mock-up
of
what
this
is
going
to
be.
A
Okay
diane,
can
you
ask
her
to
to
make
the
tweaks
we
suggested
and
if
she
could
email
you,
the
digital
adaptation
and
ask
her
about
painting
the
the
side
of
the
building?
Also
could
just
be
flat
or
maybe
just
put
some
of
the
the.
A
And
you
know
email
it
to
us,
so
we
can
get
an
idea
so.
A
C
G
I
mean
if,
if
she
just
put
this
together
pretty
quickly,
she
didn't
have
giant
time
to
really
look
at
it
and
go
back
and
say
I
need
to
adjust
this,
and
just
I
mean
making
art's
a
process,
and-
and
this
is
the
first
step
in
the
process
and
we're
all
interested
in
it.
You
know
she
could
work
on
a
little
bit
more
for
us.
A
Yeah
well,
the
budget's,
certainly
well
in
line
you
know
with
you
know
what
we
want
to
spend
you
know
staying
within
that,
you
know,
thousand
dollar
parameter.
E
A
Okay,
so
I
don't
think
we
need
to
I'm
sorry
bill.
C
K
E
E
C
G
Some
respects,
so,
if
you
do
one
facade
in
red,
you
do
another
facade
in
blue
and
you
do
the
other
facade
in
yellow
or
whatever.
So
you
just
take
the
cube,
you
take
a
cube,
which
is
what
a
building
is,
and
one
wall
is
one
color
and
you
paint
it
up
to
the
edge
that
solid
color.
And
then
you
paint
the
other
wall.
That's
solid,
color.
What
what
you're
doing
basically
is
you're
painting
the
building
you're,
not
making
art
on
the
you
know,
you're,
not
making
art
this
way.
C
G
You're
making
art
another
way
and
and
it
they
could
exist
as
them
as
themselves,
because
you're
going
to
have
a
series
of,
I
mean,
go
to
a
kid's
toy
store.
You
know
and
and
look
at
look
at
blocks
and
things
like
that.
They're
they're
quite
often
painted
this
way,
they're
very
primary,
color
and
and
sharp
edges
and
stuff.
G
It's
something
that
could
be.
You
could
say.
Well,
here's
your
surface!
Mirrorless
do
something
on
this.
You
know
you
you've
got
a
corner,
that's
red
and
you
got
a
you
know:
one
wall,
that's
red,
and
one
wall,
that's
yellow!
What
are
you
gonna
do
with
that?
If
you
want
to
go
from
one,
you
know
one
wall
to
the
other
wall.
G
If
you
want
to
wrap
around
it,
whatever
you're
giving
them
a
a
kind
of
a
starting
point,
if
you
want
to
do
a
mural
on
it,
if
you
want
to
do
something
else
on
it
or
whether
this
would
suffice
as
as
a
look
you
know,
it
would
be
a
very
contemporary,
although
the
image
I'm
getting
is
from
about
the
1920s.
But
anyway
it's
it's.
G
A
K
A
Maybe
maybe
we
need
to
reach
out
to
to
the
the
league
people.
E
To
if
someone
can
in
photoshop
do
it
so
that
we
have
a
visual
of
it,
that
this
is
perhaps
what
it
would
look
like.
I
think
it
would
help
you
know
all.
E
G
Has
anybody
seen
these
kind
of
contemporary
plastic
built
children's
parks
and
you
know
playgrounds
and
parks,
they're
made
out
of
primary
colors
and
secondary
colors
and
they're
just
a
lot
of
different
straight
color.
This
parts,
this
color
that
parts,
the
other
color
and
stuff.
C
G
C
G
C
G
Stuff,
so
so
it's
not
it's
not
team
or
sport
related.
It's
it's
creating
a
place
and
creating
that
place
is
bright.
Colors
and
bright,
colors,
usually
sort
of
says
happy.
G
So
happy
place
and
it's
clean
and
it's
colorful
and
it's
not
drabby
white
or
beige
or
pale
blue,
or
something
like
that.
It's
it's!
It
is
a
statement
of
color
that
could
be
city-wide.
It
could
spread
beyond.
C
G
And
it's
just
it,
you
know
it's
not
much
different
if
you
think
of
it
in
dunedin,
they
have
those
little
one
of
those
little
stickers
or
somebody
paints
a
little.
Oh.
C
A
G
I
G
I
G
Yeah,
but
that
is
sort
of
the
thing
you
know
this
is
an
athletic
field
and
it
is
youth,
athletics
and-
and
it's
you
know,
if
good
enough
for
the
museum
of
modern
art.
G
A
All
right,
so
I
guess
I
don't
think
we
need
any
kind
of
motions
or
seconds
for
any
of
this,
although
maybe
I'll
get
a
motion
for
the
softball
mural
at
sissler
to
approve
it
pending
the
revised
design
from
the
artists
and
approving
the
dollar
amount.
Can
I
get
a
motion
to
that
effect?
I'll
make
a
motion
about
it:
okay,
second,
david,
all
in
favor
any
opposed.
E
A
The
second
round
images
were
submitted
to
the
printer
and
a
plan
is
in
place
to
remove
the
existing
final
panels
from
one
side
of
the
boxes,
either
east
or
west
facing,
so
that
the
boxes
aren't
empty,
coordinate
the
delivery
of
the
panels
to
the
printer,
who
will
remove
the
existing
decals
and
replace
with
the
new
images
panels
will
be
delivered
to
public
works.
Who
will
sign
simultaneously
replace
the
new
panels
while
removing
the
existing
panels
and
the
process
will
be
repeated.
A
I
think
that
minimizes,
the
you
know
the
you
know
the
amount
of
work
that
has
to
be
done
by
public
works.
K
Did
you
I
did
talk
to
tom
function
and
based
on
what
they're
doing
he
he
felt
like
it?
Would
they
wouldn't
be
able
to
do
it
before
october,
1st
yeah?
It's
not
right
around.
A
A
A
You
know
alan
picked
them
up
the
printer,
so
he's
probably.
K
Working
on
it,
I
didn't
send
joe
him
and
joe
wraith
your
you
know
the
the
process
so
they're
aware
you
know
kind
of
thing,
so
they'll
get.
A
A
K
I
That'd
be
interesting,
so
you
were
saying
that
we
had
five
boxes
left.
Is
that
correct,
that's
correct,
and
then
we
have
about
five
fields
that
we
were
talking
about
doing
the
murals
on
that?
Is
there
any?
Would
that
be
too
much
for
public
works?
If
we
had
one
box
for
each
field
because
they're
double
sided,
and
maybe
the
schools
like
mr
mills
was
saying,
could
do
some
type
of
thing
to
where
the
students
it's
like
an
award
that
they
get
their
art
in
there
for.
A
D
I
don't
think
so
are
the
are
the
solar
panels,
part
of
the
boxes?
Are
they
purchased
separately?
Have
we
already
purchased
the
five
solar
panels
to
go
on
those
boxes.
A
They
they
come
together,
the
company
that
makes
it
porter
board
in
texas.
That's
why
it
took
so
long
to
even
get
them.
These
are
all
one
of
a
kind
so
that
the
you
know
you've
got
the
frame
with
the
led
lights
in
them
and
then
they're
connected.
If
you
get
down
on
the
sponge
docks,
you
can
see,
there's
like
a
battery
box
and
then
the
solar
panel
right.
C
A
Well,
if
you
don't
use
the
solar
panels,
it's
just
a
box.
Okay,
and
you
know
I
don't
you
know.
As
I
said
it's,
they
work
quite
a
bit
more
money
to
do
the
solar
panels
than
to
do
hardwired.
A
A
No,
no
I'm
not
saying
well,
you
know
I
mean
definitely
going
to
use
the
ones
we
already
have,
but
I'm
saying
going
forward
with
the
fields
because
you
know
like
if
we
put
them
in
tree,
you
know
places
with
tree
canopies
where
they're
not
going
to
be
getting
enough
sun
to
power
the
batteries.
It's
not
a
big
deal
to
hardwire
them
and
they're
significantly
cheaper,
because
we're
not
paying
for
the
batteries
or
the
solar
panels.
A
Anybody
else
have
any
technical
questions
about
the
boxes,
and
the
thing
is
that
there's
a
there's,
a
key
that
the
the
one
side
of
the
box
flops
open
and
that's
how
the
vinyl
panels
slide
in
and
out
so.
A
Right
because
the
the
30
by
30s
are
very
heavy,
that's
true,
and
you
know
the
other
thing
to
you
know
we
we
do
have
enough
in
the
budget
to
buy
some
smaller
ones.
For
that
are
hardwired.
I
think
they're
only
maybe
like
five
or
six
hundred
dollars
a
piece
you
have
to
look.
C
A
But
you
know,
I
think,
because
I
think
the
solar
boxes
were
like
thirteen
hundred
a
piece.
That's
right.
A
A
Okay,
project
updates,
let
me
know,
okay
project
updates.
Chris
christopher
still
advent
health.
The
er
is
complete,
but
I
don't
know
whether
there's
going
to
be
a
ribbon
cutting
or
a
mural
reveal
because
of
covet.
I
seriously
doubt
it
black
heritage
project,
the
updates,
the
it's
in
diane
did
put
it
in
cafe:
we've
gotten
some
inquiries
and
I
added
some
photographs
of
the
proposed
site
to
the
appendix.
K
Also
on
the
pinellas:
oh,
what
what's
the
pinellas
art
association
down
there?
Oh.
C
C
K
It's
like
what
is
there,
what
are
they
called
saint
pete,
fine
art
or
something
something
or
other
it's
their.
You
know
their
art
website.
A
Okay,
the
next
agenda
item
borders
on
the
miraculous,
despite
several
attempts
by
myself
and
especially
diane.
Thank
you
diane
okay.
I
finally
got
in
touch
with
desmond
clark
of
saint
cates.
He
actually
called
me
back
this
morning.
I
don't
think
he
knew
where
I
was
anyway,
and
this
is
about
the
repair
of
the
glenna
good,
acre
nyad,
the
one
that
fell
over
okay.
A
His
analysis
shows
that
there
was
insufficient
structural
report
for
this
and
the
other
standing
niad.
As
the
pieces
were
originally
planned
to
be
displayed
indoor
or
behind
stanchions.
They
were
not
really
meant
to
be
displayed
outdoors.
A
A
However,
the
addition
of
this
metal
reinforcement,
which
is
done
with
a
weld,
will
discover
discolor
the
origin,
the
existing
patina,
so
that
the
patina
will
have
to
be
redone
from
the
knees
down
saint
kate's
will
take,
will
pick
up
the
additional
statue
deliver
it
to
the
foundry
and
reinstall
it.
Once
it's
been
repaired,
the
foundation
will
have
to
be
reworked
to
provide
new
support
for
the
reinforced
statues
and
they
will
also
re-patinate
him.
Is
that
the
corrector?
Okay?
A
I
asked
him.
This
was
the
big
thing.
I
asked
them
to
create
a
draft
invoice,
because
the
damage
to
the
statue
is
covered
by
an
insurance
policy,
so
I'd
like
to
at
least
get
an
idea.
What's
going
on
and
perhaps
start
the
claim
project
process
with
the
insurance
I
made
notes,
while
I
was
talking
to
him
this
morning
and
I
printed
it
up
and
emailed
it
to
diane.
If
anybody
would
like
to
see
it,
you
know
because
I
wanted
to
make
sure
I
got
everything
right,
but
I
I
did
kick
his
non-responsiveness.
A
It's
been
extremely
frustrating
and
you
know
robert
indicated
that
he's
been
extremely
busy
he's
been
doing
a
lot
of
out-of-state
work
and
other
things.
But
you
know
I
I
I
have
difficulty
with
anybody
who
doesn't
return
phone
calls
or
emails.
I
mean,
even
if
you
just
say,
I'm
still
alive,
I
don't
care,
we
just
right
diane.
He
just
fell
into
a
a
pit
somewhere.
A
I
A
Yeah
the
problem
with
the
with
holograms
in
general
on
that
scale
is
height,
and
the
thing
is
that
you
need.
You
know
buildings
that
are
a
few
stories
high
to
put
the
different
cameras
and
that's
something
we
don't
have
here.
A
I
I
was
in,
I
have
to
give
you
my
notes,
david.
I
was
in
touch
with
I.
What
gave
me
the
idea
was.
I
saw
a
virtual
holographic
circus
from
germany
and
I
thought
it
would
be
great
to
have.
You
know
like
something
like
that,
but
sea
creatures
down
at
the
sponge
docks-
and
you
know
I
finally
tracked
down
the
the
company
that
did
it,
which
you
know
they're
headquartered
in
toronto,
but
he
actually
did
a
virtual
tour
of
tarpon
springs.
A
You
know
it's
like
google
earth
and
stuff
like
that,
and
basically
I
mean
he
put
a
lot
of
time
into
it
and
basically
told
me
that
he
doesn't
think
it
would
work
here,
because
the
lack.
A
A
A
A
C
A
C
A
A
Right,
yeah:
well,
we
what
I
the
original
plan
was
to
do
it
for
the
holidays
and
have
santa
and
a
sled,
come
down
the
sponge
docks
and
have
all
of
these.
You
know
leaping
sea
creatures,
you
know
having
something
come
out
of
the
ankle
river,
you
know,
and
it
would
be
just
just
a
hoot
for
the
kids
and.
J
A
G
Else
going
on
do
I
need
to
be
here
anymore.
I
haven't.
A
A
Robert
no
we're
I
was
just
about
to
adjourn
after
the
two
announcements.
Diane
has.
K
I
thought
we
were
going
to
talk
about
the
new
business.
The
spring
bayou
water
feature.
A
Oh
okay,
yes,
but
I
think
you
can
leave
okay.
A
Okay,
diane,
why
don't
you
take
this
over
right
cause?
I
know
you,
you
sent
some
images,
no.
K
We
were,
I
was
just
looking
at
some
that
were
I
I
have
like
a
you
know.
If
you
all
know
pinterest,
you
know
you
got
boards,
I've
got
a
public
art
board
and
everything,
but
I
I
love
to
they
have
a
lot
of
public
art
on
pinterest
as
as
well
as
instagram,
but
they
had
really
neat
sculpture
coming
out
of
the
water.
K
You
know
like
this
flock
of
birds
and
everything,
and
I
just
thought
it
would
be
so
beautiful
and
spring
by
you.
You
know
because
every
there's
so
many
people
that
use
craig
park.
It
amazes
me
because
my
office
is
there,
so
I
can
see
it
all
the
time,
but
they
love
it,
and
you
know
we
have
to
we'd
have
to
be
cognizant
of.
K
You
know
the
flow
of
boats
and
they
have
the
christmas
boat
parade
and
everything
and
all
the
manatees
so
not
to
upset
the
wildlife.
But
if
we
put
it
kind
of
more
towards
the
side,
there's
like
a
little
dip
there
that
you
know
could
be
right
off
of
the
sea
wall
and
it
just
there's
just
so
many
really
cool
things,
and
there
could
also
it
could
also
have
a
kinetic
component
to
it.
C
K
A
G
H
C
H
The
water
volvo
makes
the
best.
C
H
They're
they're
fabulous.
They
can
be
shaped
like
coral.
They
can
be
shaped
like
mangrove
roots.
It.
H
It
is
and
it
you
know
it
speaks
exactly
to
what
renee
was
saying
about
public
art,
sustainability
right.
You
know,
infrastructure.
All
of
that.
A
H
And
I
think
that's
a
great
opportunity
for
calls
to
artists.
You
know
how.
How
would
you
creatively
design
a
fountain,
for
maybe
the
mother
mirrors
parking
lot
when
it's
105
degrees
and
we
want
people
to
continue
to
eat
shop
and
play
in
tarpon
springs,
so
I
think
we
ought
to
think
about
water
features
in
that
way.
Oh.
A
E
K
K
I
It
kind
of
reminds
me
of
victor
strauberger:
has
anybody
ever
heard
of
him
victor
schrelberger,
and
he
was
all
about
learning
how
water
moves
you
know
it
moves
counterclockwise
through
a
hose,
it
doesn't
move
straight
and
he
made
these
fountains
how
the
water
would
flow
and
it
would
come
back
and
circulate
and
it
aerated
ponds
and
things
of
that
nature
and
they
do
a
lot
of
stuff
with
lakes.
So
I
don't
know
if
maybe
that's
something
too,
because
people
would
kind
of
want
to
see
an
invention
that
you
know
is
100
some
years
old.
K
J
We
did,
we
did
one
in
chesapeake
in
our
lakeside
park
and
we
also
did
artwork,
which
was
metal,
but
we
also
did
a
fountain
and
the
fountain,
I'm
not
going
to
say
it's
like
bellagio,
but
it
was
a
beautiful
fountain
with
lights,
so
always
on
holidays.
So
if
it
was
fourth
of
july
it
would
be
red,
white
and
blue
lighting,
or
you
know,
and
it
was-
and
it
was
very
sweet
and
you're
absolutely
right
about
the
aeration
of
the
water.
H
The
anything
permanent
that
goes
in
spring
bayou
is
subject
to
regulation.
C
C
H
A
K
No,
I
hadn't
emailed
these
to
you,
but
I
just
wanted
just
to
remind
everybody.
I'll
probably
leave
these
up
here.
Just
as
a
reminder,
you
know,
but
please
let
me
know
if
you
can't
attend
this.
You
know
a
meeting
as
soon
as
possible.
Just
so
we
make
sure
we
have
a
quorum
and
then
just
so
mike
and
mark
are
going
to
be
starting
our
my
tarpon
art
season.
K
Yes,
this
weekend
so
they're
pretty
busy,
because
they
you
know,
do
all
the
committee
and
board
meetings
and
everything
too
so
their
request
was,
you
know
if
we
have
anything
that
we
want
to
share
kind
of
like
renee's,
you
know
presentation
or
if
you
have
something
that
you
want
to
project
up
there
for
discussion,
to
try
to
get
it
to
me
at
least
a
week
ahead.