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From YouTube: Public Art Committee April 14, 2021
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A
A
A
Mark,
oh
mr
sallow
is
here
mark:
do
we
have
any
guests
for
the
you
know
online.
A
Okay,
has
anyone
have
everyone
had
a
chance
to
read
the
minutes
from
the
last
meeting?
A
Can
I
have
a
motion
to
accept
the
the
minutes
from
the
march
10th
meeting
trish
second
bill?
Is
there
any
comments,
discussion,
corrections.
A
Okay,
all
in
favor
of
accepting
the
minutes
of
the
march
10th
meeting
as
submitted,
please
say:
aye
aye
any
opposed.
A
Okay
me,
the
ma
the
minutes
are
accepted
as
presented
we're
in
for
a
treat
this
afternoon.
Folks,
we
have
a
guest
presentation
by
tarpon
springs:
police
chief
jeff
young,
who
has
brought
to
us
a
mural
project
from
the
tarpon
springs
high
school
art.
Students
welcome
chief.
D
Well,
thank
you,
madam
chair
members
of
the
public
arts
committee.
Thank
you
for
allowing
me
this
time
to
come
here
and
do
a
little
presentation
in
front.
It's
actually
pretty
exciting.
For
me,
I've
never
done
a
public
art
project,
so
this
is
a
first
time
for
me.
So
hopefully
you
guys
can
steer
me
through
this
as
I
navigate
the
waters.
D
So
city
manager
asked
me
to
get
with
mrs
fatolida's
principal
out
of
the
high
school
on
behalf
of
a
commissioner
carr,
who
kind
of
had
a
project
in
mind
of
doing
an
entryway
piece
of
mural
art
on
this
on
the
roadway
as
you
go
into
sunset
beach,
so
I
did
meet
with
the
students
out
there
at
the
school
and
mrs
phatalitis
and
we
kind
of
came
up
with
ideas
and
stuff.
D
The
kids
were
battling
back
and
forth
with
their
ideas
in
their
head
and
they
went
out,
and
I
I
kind
of
went
around
and
took
pictures
of
the
ground
out
there
and
different
areas
and
and
build
you
know
buildings
and
areas
all
around
and
they
were
given
conceptual
designs.
The
one
thing
that
kind
of
led
up
to
a
change
of
the
threshold
was
the
logistical
issues
with
it:
a
we're
going
to
have
to
wait
until
the
park
closes,
because
vehicles
would
be
driving
over
that
area
constantly.
D
So
we
would
have
to
do
it
at
night
this
time
of
year,
night
time
is
around
8
o'clock,
8
30.
By
the
time
we
get
everybody
out
of
the
park,
keeping
the
kids
there
until
whatever
hour
with
light
units
and
having
to
bring
out
lighting
and
stuff.
So
it
really
logistically
probably
wouldn't
work
out
for
us
that
well
there.
D
So
I
started
looking
for
other
areas
out
there
and
I
did
drive
around
and
walk
the
beach
and
the
viewing
platform
area
where
people
go
out
to
enjoy
the
sunset
there's
benches
out
there
and
a
big
platform
right
below
them.
That
could
stand
for
a
mural
piece
right
there.
So
really
what
I'm
bringing
forward
to
you
is
more
of
a
conceptual
design
that
the
kids
came
up
with
looking
for
a
little
guidance
from
y'all
on.
D
Should
we
incorporate
the
thank
you
for
visiting
sunset
beach
that
logo
in
there
as
well
or
just
the
wave
theme
with
the
sunset
going
down
having
it,
you
know
we're
positional.
When
people
are
sitting
at
the
bench
looking
out,
they
would
see
the
sunset
on
the
ground.
I
think
it
makes
for
great
photographs
and
pieces
for
the
parents
of
the
kids
to
come
out
and
enjoy
and
take
a
look
at
it,
and
also
anybody.
D
That's
out
there
visiting
sunset
beach,
looking
at
the
sunsets
and
seeing
a
piece
of
art,
that's
created
by
our
students,
and
you
know,
I
know
that
city
manager
and
commissioner
carr
one
of
the
things
that
they
were
looking
for.
Is
this
to
be
an
annual
type
of
thing,
and
you
know
the
beginning
of
each
school
year.
We
start
with
the
first
semester
and
then
maybe
even
mid-year
do
another
project
with
the
next
group.
D
So
I
think
it
has
a
lot
of
promise
and
we
can
move
around
to
different
areas
through
the
city
so
but
for
a
first
project.
I
think
this
concept
is
very
doable
and
something
that
can
be
proud
for
the
city
of
tarpon
springs
to
showcase.
A
Well,
I
know
that
you
know
just
about
every
project
we've
done
other
than
the
really
major
major
projects
have
been
done
with
student
and
young
artists
in
mind.
You
know
the
art
boxes,
and
you
know
some
of
the
other
things
we've
done
is
to
encourage
students.
So
I
commend
you.
I
think
this
is
going
to
be
a
you
know,
a
great
initiative
and
I'm
very
happy
that
it
was.
You
know
that
you
took
it
on
and
you
know,
got
the
students
involved.
A
You
know
it's,
it
does
wonders
for
students,
self-esteem
and
I
think
it's
a
real
plus
for
the
community
that
we
acknowledge.
You
know
the
accomplishments
of
what
our
students
can
do
david.
Do
you
have
any
comments
about
the
project
or
the
design
or
the
placement.
C
D
Well,
that's
one
thing:
I
asked
the
kids
give
me
a
list
of
supplies
that
they
would
need
what
type
of
paint
and
those
things.
Then
that's
something
that
I
guess
we
would
look
through
the
public
art
committee
purchasing
and
stuff
I
have
like.
I
said
this
is
my
first
time
doing
an
art
project,
so
the
kids
are
the
ones
that
are
gonna
present
it
to
me.
D
D
E
Trish
yeah,
I
really
like
this.
I
like
the
design,
it's
very
eye-catching,
very
creative
as
far
as
the
different
paints
and
what
you
know,
what
what
they
need
to
be
used.
We
had
this
discussion
back
last
year,
and
so
we
have.
We
have
the
criteria
for
the
paints
and
the
the
finishing
and
everything
that
has
to
be
done
so
we'll
be
prepared
to
guide
them.
A
Okay,
bill.
F
Yep,
I
think
the
it
makes
me
smile
when
I
look
at
the
yard
itself.
It's
very
nice
and
getting
the
kids
involved
is
that's
just
super
young
artists.
The
only
thing
I
would
throw
on
to
the
the
pain
is
to
make
sure
that
it's
not
slippery
when
wet.
So
that's
one
of
the
things
we're
gonna
have
to
watch
out
for
you
know
in
in
that
environment,
mm-hmm,
okay,
so
something
that
can
be
anti-skid.
F
B
A
G
I,
like
everything
about
the
project.
The
design,
I
think,
is
wonderful.
The
involvement
of
the
high
school
everything
I
really
liked
the
initial
proposal
for
the
dumpster-
and
I
think
the
design
was
based
on
that,
and
it
is
perfect
for
that
application
with
the
two
sides
of
the
dumpster.
G
I
ran
out
to
the
beach
just
now
on
my
way
in
and
just
looked
at
all
the
different
design
elements,
we
have
the
new
gate,
which
has
a
very
simple
graphic
design
on
on
each
side
of
the
gate.
We
have
the
nice
kind
of
sunburst
sign
in
front
of
the
bathroom
thing,
and
then
we
have
a
few
bike
racks.
I
did
look
at
the
viewing
platform.
There
are
five
benches
bolted
onto
it
and
to
me
the
dumpster
two
sides
are
a
far
more
visible
and
appropriate
place
to
put
this
mural.
H
I'm
I'm
a
little
bit
misunderstanding.
This
is
going
to
go
on
the
floor
of
the
okay
of
of
the
viewing
deck,
so
people
are
going
to
be
walking
on
it.
Correct,
okay,.
A
Well,
we
did,
it
was
done
for
the
alternative
site,
the
the
dumpsters
yeah.
H
H
H
You
know
damageable
paints
in
the
middle
of
the
road
that
are
damaged,
yeah
people,
spin
donuts
on
them,
or
they
they
do
things
with
it
just
just
every
day,
walking
back
and
forth.
So
I
think
the
the
we
talked
about
about
durable
paints
and
things,
but
it's
also
a
combination
of
the
surface
that
it
goes
down
on
so
that
it
so
that
it
adheres
well
to
that,
so
it
doesn't
break
off.
You
got
moisture
that
could
get
underneath
it
and
things
like
that.
Is
it
a
wood
deck
or
a
concrete.
H
Okay,
so
moisture
could
get
underneath
that
it
could
lift
it.
There
are
all
these
kind
of
things
to
be
considered
about
which
might
mean
that
it
needs
to
be
either
refreshed
or
re
re.
You
know
use
this
as
a
limited,
I
mean
with
the
students
again,
maybe
a
two-year
time
span
for
this,
and
then
you
do
it
again.
H
H
Walking
on
it
and
there
you
know
the
having
having
this
is
an
ongoing
thing,
which
is
what
you
want
to
do.
I
think
it
could
be
that
same
space
and
it
could
become
a
a
kind
of
a
celebratory
thing,
every
two
years
or
every
whatever
hour.
You
feel
two
years
or
three
years
or
you
think
it
might.
Last
I
mean
you
could
look
at
it
and
see
how
it
how
it
goes
over
the
first
year.
E
H
I
Miguel,
you
guys
have
brought
up
some
really
great
points.
I
I
like
the
idea
of
possibly
having
a
non-slip
finish
on
it
if
it's
on
the
ground,
just
from
a
safety
standpoint,
I
like
the
idea
that
we
can
possibly
trade
it
out
every
two
years
and
either
make
provisions
up
front
for
either
repainting
it's
just
a
flat,
color
or
doing
a
new
design
saying
this
is
an
ongoing
thing
that
we're
going
to
keep
doing,
because
I
do
fear
that
it's
going
to
wear
out
faster
than
we
might
think
so
as
far
as
the
design
I
like
it,
but
I
would
leave
the
thank
you
for
visiting
sunset
beach
off.
I
You
see
that
you're
at
sunset
beach,
when
you
first
arrive,
and
if
this
is
going
to
be
a
great
area
where
people
can
take
pictures,
I
I
think
from
the
angles
and
stuff
it
would
actually
be
aesthetically
more
pleasing
to
just
stick
with
the
wave
and
the
the
yellow
orange
background.
Without
the
lettering,
because,
depending
on
the
angle,
you
might
not
see
all
the
lettering
and
then
people
are
not
going
to
take
the
time
to
photoshop
that
out.
I
So
if
you're
looking
for
people
who
are
instagramming
or
so
it
would
be
more
aesthetically
pleasing
to
just
have
the
more
just
the
design
without
the
lettering,
and
that
would
also
make
it
a
lot
easier
for
the
students
to
to
complete
in
a
really
wonderful
manner.
So
those
are
my
thoughts.
Thank.
A
Okay,
so
it's
back
to
me:
I'm
gonna
be
the
pain
in
the
neck.
I
thoroughly
agree
with
lucian.
A
I
I
think
that
putting
it
on
the
the
walls
of
the
dumpster
would
answer
a
lot
of
the
questions
raised
by
the
other
members
of
the
pack
about
slippery
and
durability,
and
you
know
I
it's
hard
for
me
to
envision
a
selfie
opportunity
for
some
things
on
the
ground.
I.
A
D
It's
at
the
beginning
of
the
park
when
you're,
first
driving
in
it's
just
to
the
left.
So
and
again
you
know
we
weren't
looking
to
to
try
to
compete
against
another
proposal
or
anything
here.
The
initial
proposal
was
supposed
to
be
the
threshold
on
the
ground
right
and
that's
what
you
know,
but
we're
looking
at
other
viable
options
for
that
type
of
thing,
and
you
know
where
I
think
what
mr
stackhouse
was
talking
about
the
where
that
might
be
an
issue.
D
If
we
did
that
threshold
going
in
which
I
think
it
probably
would
have
looked
really
nice
going
into
the
entryway
on
the
ground
and
if
there's
a
you
know,
but
the
logistics
of
that
doing
at
night
and
stuff
and
then
vehicle
traffic
over
it
probably
would
wear
it
out
even
that
much
more
quickly.
B
D
And
sitting
there,
people
would
be
taking
pictures,
there'd
be
more
opportunities
for
people
to
be
involved
with
the
art
as
opposed
to
driving
by
it
and
seeing
it
you
know,
as
it
encloses
the
dumpster
on
the
way
out.
Yes,
they
would
make
the
dumpster
look
nicer,
but
it's
not
for
the
kids.
You
know
to
have
a
piece
of
art
where
everybody's
sitting
out
enjoying
it
constantly
when
they're
out
there.
Looking
at
the
sunset,
I
think,
is
a
better
place
for.
A
Okay,
I
think
you
have
a
better
feel
for
what
the
students
are
looking
to
do
than
I
do
so.
I'm
gonna
follow
your
lead
on
this
and
I
think
you
know
what
mckayla
mentioned.
You
know.
I
like
the
idea
of
the
lettering
of
sunset
beach,
but
maybe
not
the
thank
you
for
visiting.
You
know
just
sunset
beach
and
maybe
the
lettering
in
a
different
color
to
make
it
a
little
more
readable.
A
H
A
Right,
the
first
time
I
saw
it,
I
thought
of
the
japanese
artist
hakusai,
but
I'm
weird
okay,
so
trish
you're
going
to
I
remember
you
did
extensive
research
on
the
on
the
on
the
mural
paints.
Okay,
so
trish
will
be
giving
you.
You
know.
E
Of
course,
what
I
was
researching
was
paints
for
a
mural,
but.
A
A
I
wonder-
and
this
is
something
we
should
look
at-
I
wonder
if
there's
some
kind
of
paint
and
david-
maybe
you
might
be
more
aware
of
this
with
your
background,
I
think
there
might
be
you
know
finishes
like
the
type
of
thing
they
might
use
on
garage
floors
that
you
know
that
have
like
a
gritty.
H
I
Michaela
I
know
about
this.
My
husband
just
painted
our
driveway
with
a
trompe
lloyd
design
of
tiles.
He
used
special,
concrete
paint,
got
it
at
home
depot
and
he
used
a
varnish
that
had
a
little
bit
of
a
grit
to
it.
Purposely
so
that
it's
non-slip,
because
we
don't
want
anybody
slip
on
our
driveway,
so
so
yeah
that
kind
of
stuff
definitely
exists.
I
I
know
he
just
got
his
stuff
from
home
depot,
so
I
don't
know
what
the
color
range
is,
because
the
piece
that
we
have
is
relatively
grays
and
browns
and
blacks
and
so
forth.
So
I
don't
know
if
they
come
in
colors
as
bright
as
this,
but
since
it's
paint
it's
possible,
you
could
just
mix
pigment
in
with
it.
Well,
if
it's
clear.
I
No,
the
finish
is
the
varnish
is
clear,
but
the
paint
itself,
because
he
got
special,
concrete
paint,
oh
and
as
far
as
durability.
He
had
painted
it
before
with
a
different
pattern,
and
after
about
five
years,
it
was
really
starting
to
show
where,
but
that's
only
our
driveway.
Now
we
do
have
cars
obviously
going
on
it,
but
we
don't
have
hordes
of
people
and
after
about
seven
years,
it
really
needed
to
be
completely
repainted.
H
You
can
I
add
on
to
that,
though
I
think
also
just
the
suggestion
that
you
know
that
I
made
that
this
be
a
recurring
event.
Yes,
that
it
becomes
more
celebratory
for
the
high
school
students.
E
H
E
Yeah,
oh
trish,
you
had
a
comment.
No,
I
just
have
had
a
thought
of
a
good
source
to
look
to
talk
to
would
be
linda
and
mike
eisner.
Oh.
A
Yes,
right,
laura,
yes,
you
know,
you
know
yeah
well,
yeah
they
they
used
an
artist
who
had
that
you
know
gritty
varnish,
but
you
know
I.
I
think
that
you
know
I
think
we
could
work
closely
together
with
you
on
a
lot
of
the
technical
stuff.
A
I
think
I'm
assuming
that
you
know
the
students
would
be
working
as
part
of
their.
You
know,
classroom
assignments.
I
don't
know
whether
we
would
consider
giving
them
a
small
honorarium
for
participating
and
I
don't
think
it
would
be
any
problem
to
cover
the
cost
of
the
materials.
E
A
Right
now,
right,
I'm
terribly
excused
yeah.
I
can
see
yeah.
Why
don't?
Why?
Don't
you
go
we'll?
Consider
it
further
and
you
know
we'll
we'll
probably
get
get
an
email
to
you.
Yes,.
D
A
Okay,
I
think
what
we'll
do
is
diane.
Maybe
you
can,
you
know
collate
universal
can
collate
the
notes
and
we'll
come
up
with
some.
Some
of
the
recommendations
are
you
voting
to
approve
it?
I'm
going
to
ask
her
a
vote
in
a
minute.
The
only
other
consideration
I
have-
and
it's
probably
you
know
something
that
will
have
to
be
discussed-
is
the
liability
that
ever
looming
l
word.
A
Okay,
but
okay,
I
will
entertain
a
motion
to
approve
the
high
school
mural
on
sunset.
Beach
can.
C
C
C
A
Any
other
I
I
I
frankly
love
the
idea
of
putting
some
kind
of
almost
like
a
false
wall
on
the
back
of
the
gazebo
that
the
kids
could
paint
correct.
That's
a
great
idea
and
probably
just
a
regular
that
we
don't
have
to
worry
about
concrete.
We
don't
have
to
worry
about
prep
we'd,
probably
do
some
kind
of
varnish
or
protective
finish
on
it.
E
I
If
they
painted
in
this
school,
then
that
would
take
care
of
liability
right
because
if
they
can
paint
it
somewhere
on
the
school
grounds,
wouldn't
that
take
care
of
liability
exactly
because
then
they're
just
doing
it
as
a
school
project
exactly
and
we
just
have
to
get
somebody
to
cart
it
over
and
install
it.
And
we
don't
have
to
worry
about
right.
Big
l
word
right.
C
A
I
agree
with
louisiana.
I
think
it
was,
I
think
it
was
modified,
but
the
I
think
that
I
think
that
david
that's
a
great
idea.
A
So
again,
I'm
going
to
entertain
a
motion
to
approve
the
project
just
to
approve
that
it'll
be
done.
A
Trish
ii,
david,
okay,
and
now
we
could
have
some
discussion.
I
think
I
think
I
started
to
ask
diane
and
marissa
to
just
collate
all
the
comments
we
made
and
I
think
david.
Do
you
think
that
you
would
mind
going
out
to
the
bandstand
and
maybe
taking
a
look,
giving
us
an
idea?
What
would
be
involved
with
putting
that
backdrop,
wall
up?
Thank.
A
Size,
materials-
and
you
know-
and
the
other
thing
too
is
I'm
also
going
to
ask
a
motion
that
the
for
a
motion
that
the
public
art
committee
would
cover
the
cost
of
the
materials
for
paint
and
if
we
decide
to
do
that
back
wall
to
cover
the
materials
for
that
too,
I
can't
see
it
costing.
E
Anyone!
Yes,
yes,
I'd
like
to
make
an
an
amended
motion
that
we
approve
the
the
project
and
include
the
materials
up
to
a
cost
of
what
a
thousand
dollars.
Okay,
okay,.
A
And
you
know-
and
you
know
with
maybe
add
to
your
motion-
that
up
to
a
thousand
dollars
but
open
for
reconsideration
of
the
amount
right.
E
A
A
Okay,
the
I'm
I'm
I'm
going
into
old
business,
but
I'm
going
to
skip
down
to
point
b,
because
these
are
items
that
I
think
we
can
get
through
very
quickly.
The
sisler
field,
mural
diane.
You
said
that
the
artist
is
has
already
prepped
the
wall
or
is
in
process
of
prepping.
The
wall.
J
A
All
right
project
updates
the
illuminated
art
boxes,
we've
generated.
A
second
call-
and
I
know
some
members
of
the
greek
community
have
indicated
that
they
would
like
to
see
images
pertaining
to
the
greek
culture
of
tarpon
springs.
So
the
theme
this
time
will
be
nature
and
culture.
A
Let's
see
everything
else
is
kind
of
the
same
after
discussion
with
diane
we
put
in
a
maximum
of
two
images
per
artist,
because
last
time
I
think
we
got
something
like
25
photographs
from
one
person.
So
we're
not
going
to
do
that
anymore
and,
of
course
the
dates
for
the
submissions
have
been
updated.
A
This
is
the
existing
existing
boxes.
Okay,
so
can
I
have
a
motion
to
you
know
instruct
diane
to
get
the
second
call
out.
Do
I
have
a
motion.
A
Okay,
second
check
bill,
all
in
favor,
okay
mark.
Do
you
have
the
image
of
the
christopher
still
mural?
Please
you
could.
A
Okay,
I
got
this
from
christil.
He
is
approaching
completion
on
the
advent
health
lobby
mural
and
applying
the
finishing
touches.
As
you
can
see,
it's
one
of
his
usual
incredibly
detailed
pieces.
A
Okay
and
then
the
elizabeth
indiano's
mural
at
the
cultural
center
has
been
completed
and
we
have
a
photograph
from
that
and
not
only
do
we
have
a
photograph,
but
we
have
the
actual
model
in
the
audience
with
us.
Miss
annie,
jabs
there
she
is
and
a
beautiful
model
she
is
so
I
think
you
can
see
the
the
color
the
detail,
work
and,
mr
abs.
I
believe
that
you
are
very
happy
with
your
representation.
A
Thank
you
very
much.
Okay,
the
the
contract
is
com
considered,
complete
and
diane.
I
believe
that
elizabeth's
been
giving
the
final
payment
on
her
contract.
She
has
okay,
so
I
guess
all
that
remains
is
some
kind
of.
J
I'm
working
with
elizabeth
indiano
snail
on
a
press
release
for
the
mural
and
also
the
keys
the
legends
for
both
sides
of
the
mural
that
will
identify
it,
and
so
we
will
determine
probably
in
may
a
time
to
get
the
board
of
commissioners
and
the
public
art
committee
over
to
see
it,
and
you
know
then
arrange
you
know
when
we're
going
to
be
opening
the
the
cultural
center
to
visitors.
A
Okay,
wonderful,
okay!
We
don't
have
to
take
any
action
on
that.
The
other
item
is
the
black
heritage
project
and
there
are
some
handouts.
A
I
have
assembled
a
selection
panel
and
they
are
on
the
last
page
of
the
call
to
artists.
We
followed
a
template
for
cafe,
which
is
the
international
clearinghouse
for
for
artists,
and
the
selection
panel
is
tina.
Bucavalus,
annie,
dabs
who's
with
us
today,
rod,
davis,
who's,
the
provost
of
spc
dudley,
sally
who's.
A
I
forget
whether
he's
third
or
fourth
generation
tarpon,
but
he's
currently
the
president
of
the
tarpon
springs
area,
historical
society,
the
reverend
milton
smith,
who
also
has
deep
roots
in
the
in
the
community,
lynn
whitlow,
who
was
a
historian
and
art
expert
and
theresa
wilkins
who's,
the
director
of
the
lipa
ratner
museum
of
art.
So
I
think
they
they
bring.
A
lot
of
you
know
fire
power
to
the
table.
A
They
all
had
a
chance
to
review
the
the
call
to
artists
and
a
lot
of
it.
You
know
toward
the
back
is
boilerplate.
There
were
some
comments
about
the
explanatory
texts.
The
comments
were
so
detailed.
A
Annie
supplied
a
lot
of
information
from
rose
cemetery
which
she
has
been
in
charge
of
and
has
shepherded
to
a
designation
as
a
national
historic
place
in
the
united
states
about
you
know
the
spongers
who
are
interred
in
the
cemetery,
theresa
wilkins,
who
has
a
doctorate
in
anthropology,
made
some
comments,
as
did
lynn,
whit,
whitlow,
reverend
milton
smith,
has
actual
relatives
who
were
would
be
included
in
this
dudley.
A
Sally
and
tina
buccavales
made
extensive
comments
and
as
a
printed
reference,
it's
an
arcadia
publication
in
the
black
america
series
on
tarpon
springs
florida
that
was
written
by
sandra
rooks
and
carol
mountain
which
I
is
given.
All
of
this
information
was
compiled
into
an
appendix
that
will
be
available
to
interested
articles
on
artists
on
requests.
A
Should
they
reach
that
far
into
the
into
the
process?
So
david,
do
you
have
any
comments
or.
C
I
do
have
a
comment
since
we
are
looking
at
135
000.
I
don't
know
if
anybody's
been
to
rosewood
lately,
I
actually
haven't
been
lately,
but
the
last
time
that
I've
went,
it
seems
like
it
needs
a
little
bit
of
love,
perhaps
by
the
city.
B
A
The
location
has
been
determined
I
have
been
discussing
with
annie
and
some
of
the
you
know
the
other
residents
about
a
union
academy,
neighborhood
location,
and
this
speaks
to
lucian's
suggestions
that
have
been
ongoing
about
getting
things
in
other
places
in
town,
and
I
think
this
is
the
community
it
addresses,
and
this
is
the
community
it
acknowledges
and
and
honors,
and
I
think
that
would
be
an
appropriate
location.
A
C
A
G
I
would
just
like
to
repeat
my
concerns
from
last
meeting.
I
think
before
we
make
any
kind
of
call
to
artists,
the
location
has
to
be
specified.
The
budget
has
to
be
fleshed
out
and
I'm
concerned
about
the
selection
process,
taking
two
artists
to
the
board
of
commissioners.
G
You've
built
a
really
strong
selection
committee
and
I
think
they'll
do
a
fabulous
job
of
deciding
on
the
location
and
then
deciding
on
the
the
artist
to
whom
the
contract
is
awarded,
and
I
I
think
with
that
strong
a
group
based
on
both
the
arts
community
and
the
historic
community
that
that
that
group
ought
to
be
the
jury
and
should
then
take
its
proposal
to
the
commission.
Well,.
G
The
call
to
artists
didn't
it's
still.
What
you
sent
us
yeah
in
the
meeting
materials
was
still
that
two-stage
process.
A
Okay
yeah,
but
the
this
the
selection
panel
is
basically
just
another
term
for
a
jury.
G
B
I
May
I
ask
is:
is
it
what
you're
asking
whether
the
board
of
commissioners
will
get
two
finalists
overview
or
just
one
based
from
the
selection
process
that
included
two
finalists,
but
the
com
selection
committee
actually
picks
the
winner?
Usually
that's
the
one
that
goes
to
the
board
of
commissioners.
I
think.
A
Usually,
usually,
I
I
think
what
happened
you
know.
The
precedent
was
with
the
the
base
for
the
nyad
sculptures,
which
ended
up
getting
totally.
G
B
E
J
On
process
and
press
all
we
have
to
do
is
modify.
This
is
a
draft
of
the
you
know,
for
this
call
to
artists.
You
know
for
your
discussion,
so
these
are
good
things
that
you're
bringing
up.
If
there's
confusion,
then
we
just
need
to
get
it.
You
know
honed
a
little
bit
more.
So
if
you,
if,
if
your
purpose
is
to
choose
the
finalist,
I
would
say
we'll
just
add
a
paragraph
that
from
the
two
finalists
that
make
it
to
that
stage,
then
the
selection
committee
will
choose
one
to
present.
A
J
Well,
it's
up
to
you
all
I
mean
if
you
want
to
it
depends
on
how
many
people,
how
many
artists,
I
guess,
respond
to
the
call
and
then
maybe
you
get
five
people
and
then
you
say:
well,
you
know,
maybe
your
your
panel,
your
jury
selection
committee
is
split
and
they
say
well.
We
really
like
two
of
these.
You
know,
and
so
maybe
you
hone
it
down
to
those,
and
maybe
you
have
a
modification
that
you
would
like
the
artist
to
do
so
you
meet
maybe
with
zoom
or
whoever
you
would
do
it.
J
You
know
with
the
artist
like
we
did
before
and
then
based
on
that
then
the
jury,
the
selection
committee,
would
say:
okay
well,
based
on
you
know
what
we
found
out.
You
know
and
and
seeing
these
two
artists
we
really
like
this
one
the
best-
and
this
is
the
one
we're
going
to
go
with.
Okay,
so
I
mean
that
would
be
kind
of
how
I
would
think
about
it,
but
you
know,
like
I
said
I
opened
that
for
discussion,
but
that's
a
possibility.
I
The
I'd
like
to
add
that
I
agree
with
luciana,
since
we
have
a
good
selection
committee
that
it's
fine
if
they
do
the
two-step
process,
where
maybe
they
have
to
come
up
with
a
concrete
design
at
that
point,
once
they're
the
finalists
and
then
the
committee
decides
which
one's
the
winner.
I
But
if
we
present
two
choices
to
the
board
of
commissioners,
then
ultimately,
the
board
of
commissioners
would
be
making
an
artistic
decision,
and
I
think
the
art
experts
you
guys
have
selected
would
be
more
qualified
to
do
so,
and
so
just
saying,
hey,
say,
yay
or
nay,
when
it
gets
to
the
boc
might
actually
streamline
the
process.
But
I
haven't
worked
with
them
very
much.
So
I
don't
know,
but
that's
sort
of
my
thinking.
A
Okay,
so
does
anybody
else
fall
into
that
mindset
david.
E
H
I
mean
normally
there
there
are
two
or
three
finalists
in
any
of
these
kind
of
things,
and
one
of
the
reasons
for
that
is
is
during
the
contract
negotiations.
Things
can't
fall
through.
You
can't
have
other
kinds
of
problems,
so
you're
well
into
the
process,
and-
and
I
mean
there's
that
one
but
then
the
other
one-
is
that
knowing
that
there's
two,
the
person
is
much
more
apt
to
really
put
their
everything
into
what
the
proposal
is.
Instead
of
saying
all
right,
I
got
it,
you
know
and
then.
B
H
Of
kind
of
cruise,
the
thing
is
the
next
step
in
this
thing
that
might
be
between
or
with
this,
the
the
the
the
judges
in
the
thing,
the
panel
is
modifications
according
to
site,
and
things
like
that,
and
that's
very
typical,
because
that's
when
the
artist
and
the
and
the
designer
or
the
city
or
or
whoever
it
is,
can
go
over
a
lot
of
the
the
issues
that
are
about
placing
that
wherever
it
might
be
placed
and
and
so
there
has
to
be-
maybe
some
redesign
in
there
and
stuff
and
some
people-
you
know-
maybe
won't
do
it,
but
it
gives
it
you
a
chance
to
have
an
alternative
in
that
way.
B
F
H
Case
if
it
goes
directly
from
the
panel
to
the
to
the
boc,
then
you
know
it.
It
is
it's
sticky
because,
as
lucian
said
you're
or
was
it
trisha
said
I
can't
remember
now,
but
one
of
you
said
that
then
the
boc
would
be
making
the
decision
between
the
two
based
on
the
recommendations
of
of
this
panel.
So
you
might
want
to
have
two
finalists,
but
they
go
to
the
panel.
Then
the
panel
takes
one
of
those
and
presents
okay.
H
A
lot
of
sense
and
you're
in
that
world
you
have,
you
have
two
finalists
and
then
the
the
panel
selects
one
of
those
to
go
ahead.
That's
usually
the
the
method
that
happens
and
they've
had
a
chance
to
say.
Well,
there's
this
one
and
there's
that
one
and
they
can.
They
can
discuss
that
too.
If
they
have
just
the
one,
it's
almost
like,
take
it
or
leave
it
right,
you
know,
and-
and
everybody
will
take
it
of
course,.
A
Right,
okay,
so
we
could,
we
could
modify
it
to,
I
think,
clarify
what
robert
said
is
everyone
in
agreement
with
that
I
mean
he's
in
the
world
so
in
that
world,
and
I
think
that
that
really
makes
the
most
sense,
because
you
know
it's,
it's
like
putting
your
house
on
the
market
and
you've
got
one
buyer
and-
or
you
know,
you've
got
three
buyers
and
you've
got
two
out
there
competing
and
suddenly
one
of
them
decides
he
really
doesn't
want
it.
You
know
you
have
to
have
that
backup.
H
A
A
Okay,
so
diane
you
and
I
will
work
on
it.
Would
it
be
appropriate
just
to
re-email
it
to
the
to
the
pac
members
sure
after
it's
modified,
and
then
we
really
like
to
get
this
out.
J
Checked
but
well,
but
there's
other
things
that
you
wanted
to
discuss
the
the
amount.
Okay
yeah,
the.
A
Nation
right,
the
the
amount
of
135
was
the
figure
that
we
had
discussed
at
the
last
meeting,
and
the
thing
is
that
I
think
that
we
could
probably
do
well
with
getting
some
additional
donations
toward
this
project.
Robert
is
nodding
his
head.
Thank
you,
robert.
A
Oh
yes
right,
so
I
think
that
you
know
I
guess
where
I'm
going
with
this,
I'm
looking
at
the
135
is
coming
from
the
pack
budget,
which
would
still
leave
us
95,
000
or
so.
Judging
from
the
the
figures
we
got
from
marissa
this
afternoon,
so
you
know
we're
not
we're
not
tapping
it
out,
and
I
know
that
at
the
commission
meeting
last
night
a
new
development
project
was
announced
for
manatee
village,
so
that
might
be
another
infusion
of
of
money
into
the
into
the
fund.
A
A
H
A
Right,
well,
you
know
it's,
I
think
it's
a
facet
of
tarpon
springs
history
and
culture
that
has
not
been
represented
by
public
art.
So
you
know,
I
think
it's
it's
filling
a
real
need
in
the
community.
A
So
I'm
going
to
entertain
a
motion
to
continue
working
on
this,
to
modify
the
call
to
artists
and
resubmit
it
and
diane's
going
to
find
out
if,
where,
if
we
can
have
the
approval
of
the
revised
call
done
by
email,.
J
I
okay,
I'm
I'm
thinking
we
probably
cannot,
but
I
will
ask
again.
J
But
okay,
so
if
I
understand
you
correctly,
are
you
voting
on
keeping
the
135
000
as
the
the
budget,
the
location
to
be
determined
in
union
academy
neighborhood,
and
that
we
will
modify
it
to
two
finalists
and
then
the
panel
will
be
selecting
the
finalists
to
present
to
the
city
right
then
all
you
have
to
do
is
vote
on
that
and
we're
good
to
go
on
revising
it.
Okay,.
C
A
A
I
think
when
we
see
what
conceptual
pieces
we're
getting,
I
think
we
can
finalize
the
location,
but
I
think
generally,
we
we
kind
of
know
where
it
is
it's.
The
annual
puzzled.
H
Well,
are
you
talking
about
the
docks
or.
A
Yeah
around
mlp,
the
union
academy,
I
think,
annie-
will
have
some
input
she's.
She
knows
that
area
very
well
and,
as
I
said,
you
know
there
have
been
really,
I
think,
very
valuable
discussions
from
all
of
the
people
on
the
selection
panel
about
you
know
the
various
facets
of
the
project,
including
you
know,
location,
you
know,
and
that
type
of
thing.
H
The
only
thing
I
have
to
say
about
it
is
that
for
the
person
visiting
the
docs,
it
doesn't
change
the
story
right.
So
that's
what
I
thought
originally
this
might
have
been
about
was
changing.
That
story.
A
H
A
You
know
as
to
you
know
what
went
on
you
know.
You
know
in
that,
in
that
section
of
tarpon
springs,
because
you
know
it's
all
historic.
You
know,
annie
was
telling
me
about.
You
know,
houses
that
were
actually
purchased
from
mcdill
the
airport
when
they
renovated
it
and
became
the
homes
in
that
area.
So
I
mean
there's
a
lot
of
you
know.
You
know
I'm
kind
of
a
tarpon
history
buff,
but
I
you
know
until
I
spoke
to
annie
about
it.
A
I
had
no
idea-
and
you
know
just
all
of
the
information
that
was
just
you
know.
Gotten
from
you
know
those
interred
at
rose
cemeteries.
Is
you
know?
Really?
You
know
amazing.
So
you
know.
I
think
that
this
is
something
we
you
know.
I
I
kind
of
really
want
to
get
it
moving.
So.
J
Joan
yes,
if
I
may
interject
something
the
with
the
panel
that
you've
got
and
everything
going
on
with
with
this
project,
I
mean
there's
going
to
be
a
lot
of
great
information.
That's
going
to
be
collected
from
this,
and
if
I'm
not
speaking
out
of
turn,
you
know
being
the
cultural
and
civic
services
director
I
mean
I
can
see
us
taking
a
lot
of
this
information
and
creating
an
awesome
exhibit
from
it.
J
So
you
know
if
I
can
get
this
information
if
you'll
share
it
with
us,
you
know
we'll
turn
something
into.
A
I
A
F
G
I
I'm,
I
guess,
I'm
hung
up
on
the
location,
because
it
seems
to
me
that
the
location
for
a
work
of
art
becomes
part
of
the
inspiration
for
the
concept.
I
may
be
wrong,
but
it
sounds
like
we're
going
after
something
that
could
be
created
in
a
studio
and
placed
anywhere
and
I'm
I'm
thinking.
Maybe
we
want
something
that
is
site
specific
and
inspired
by
its
location.
I,
I
may
not
be
right.
You
know
I
defer
to
the
artist.
H
I
think
that's
a
reasonable
requirement.
I
think
in
your
you.
You've
got
to
be
open
enough
in
your
your
call
for
artists
to
to
say
that
it
does
not
have
to
be
figurative
or
representational.
H
I
mean
it.
Doesn't
you
will
consider
everything
I
think
that's
important
right
but
yeah.
I
I
agree
with
you
on
that
that
if
you
you
get
something
you
may
not
expect
out
of
it
rather
than
everything
you
expect
right.
A
You
know
I
mean,
should
we
wait
until
we
get
feedback
from
the
selection
panel
about
a
definitive
location,
or
should
we
just
proceed
with
the
call
to
artists
and
see
what
kind
of
a
response
we
get?
This
is
robert
said.
You
know
I
mean
his
his
work.
I
mean
he's
currently
got
this
huge
installation
down
at
creative
pinellas,
and
I
mean
his
his
his
message
can
be
anything
taken
anywhere
really.
B
H
Feeds
the
information
right
it
if
people
will
say
well.
Why
is
that
here?
Well,
this
is,
you
know,
there's
a
there's,
a
house
here.
B
H
That
has
something
to
do
with
something,
and
people
will
through
asking
their
questions
about.
It
might
start
answering
their
own
questions
and
and
finding
out
things,
and
that's
that's
the
nature
of
that,
whereas
if
it
was
very
literal,
people
will
look
at
it
and
that
that's
that
you
know
maybe,
and
they
won't,
they
won't
get
engaged
with
it.
On
a
on
an
emotional
intellectual
level,.
A
H
Mean
that's
the
advantage
of
of
the
the
more
abstract
art
or
the
non-objective
art
is
that
it
can
mean
more
things
to
more
people
right
and
on
many
different
levels,
and
you
know
you'll
have
some
artists
that
will
deal
with
the
content
of
it
as
just
being
scaled.
Maybe
they'll
just
lay
out
say
well,
this
needs
a
big
thing
right
here.
You
know
or
or
it
needs
something
on
the
ground.
Like
the
high
school
student
said,
it
needs
something
to
be
down
there
rather
than
where
you
expect
it
to
be.
H
I
think
it
could
be.
You
could
get
a
lot
of
rich
stuff
and
the
135
thousand
dollars
is
a
good
start,
but
you
know,
if
you
had
more,
you
you'd
probably
get
more
rich
things
that
way
right.
If
you
want
just
a
literal
figure,
figurative,
sculpture
and
you
wanted
permanent
material.
H
H
B
H
J
Joan,
if
you
wanted
to
wait
just
one
more
month,
you
know
for
the
I
mean
so
that
you
have
a
chance
to
meet
with
your
committee
and
discuss
this.
I
mean
we
would
only
be
talking
about
receiving
the
submissions
by
you
know
july,
2nd,
instead
of
june
2nd.
It's
up
to
you
all,
but
I
mean
it's
like
it's.
I
don't
the
time
passes
by
so
quickly.
A
Okay,
so
we'll
we'll
defer
it
until
the
may
meeting
and
I
will
get
the
selection
panel
together
and
you
know
the
thing
is-
I
said
you
know
because
they're
not
on
on
on
a
committee
they're
not
bound
by
sunshine
laws.
You
know
their
emails
are
on
the
back.
If
you
want
to
communicate
with
them,
you
can,
but
you
can
communicate
directly
with
them.
C
A
B
A
A
Okay,
so
this
will
just
be
deferred
until
the
may
meeting
and
we'll
just
try
to
do
some
extra
work
on
it.
J
I
just
wanted
to
comment
on
his
behalf
that
mr
danforth
is
at
a
conference
out
of
state,
and
so
he
was
going
to
try
to
make
the
meeting
we
could
check
with
with
mike
to
see
if
possibly
he
has.
J
But
the
very
last
page
of
the
proposal
was
the
shark
images
that
he
had
that
you
had
asked
him
for
the
golf
course
and
then
he
did
get
a
quote
from
the
other
businesses
for
wrapping
the
the
corral
yes
and
so
he's
make
his
quote.
His
emails
states
that
the
company
quote
was
eighteen
hundred
and
fifty
dollars
more
than
the
one
that
he
had
so
anyway,
you
can
read
his
his
response.
There,
no.
A
Okay,
he
he
did
not
delineate
what
the
pre-existing
insurance
that
the
installers
have.
What
he
just
said,
the
fee
will
be
added
to
the
final
balance
is
that
added
in
if.
J
No,
you
know
because
he
has
the
the
very
you
know
on
the
first
proposal.
He
had
it
at
the
total
product
project
cost
at
11,
815
and
25
cents,
and
so
he's
just
saying
that
if
they
can
not
use,
I
guess
the
insurance
from
the
installer
then
he
would
have
to
get
his
own
insurance
and
then
add
that
right
and
is
this
so
I
guess
it
would
have
to.
C
The
second
one
is
obviously
probably
one
of
my
more
favorites.
I
like,
I
think
it's
very
forthcoming.
I've
never
really
played
there,
so
you
know,
but
I
do
like
it.
I,
like
the
shark,
a
lot
better,
mm-hmm
truthfully
and
the
insurance.
This
is
all
about
whether
the
installers
are
able
to
use
their
insurance.
Is
that
going
to
be
a
problem.
A
Right
well,
the
the
thing
is:
what
he's
suggesting
is
that
all
of
these
pieces
would
be
done
as
appliques
and
installed
by
another
company,
so
that
would
involve
diane
correct
me.
If
I'm
wrong,
two.
J
Contracts,
I
think
he
out.
Yes,
I
believe
so,
and
I
think
he
specifies
it
on
that
second
page
of
the
locations
and
then
the
the
approximate
cost
for
each
one
and-
and
I
believe
that
is
yes
and
installed
with
a
protective
coating,
so
total
cost
to
install
and
print
art
and
then
cost
and
then
he's
adding
his
time
and
cost
for
equipment
and
everything.
So
the
total
project
cost
for
those
four
locations
would
be
the
11
815.
J
If
you
know
accepted
it,
you
know,
as
is
so,
and
then
he,
if
you
approved
it,
he
would
have
to
go
to
contract
and
get
that
you
know
approved
by
the
city
and
with
you
know
mr
trask
and
everything
so
it
would
have
to
be
approved
by
the
city
manager
and
tom
tom
trask
and
how
he
would
apply
it.
E
F
No,
I
like
the
the
sharks
for
the
the
golf
course
wall.
Do
we
have
the
other
ones
for.
J
We
you
had
that
in
your
previous
proposal.
I
did
not
print
reprint
that
one.
E
B
B
A
H
I
need
to
slow
things
down,
but
I'm
gonna
do
it
a
little
bit
again.
I
don't
know
I
just
have
trouble
with
this
whole
project
of
things
I
mean.
I
do
think.
The
the
shark
in
the
golf
course
is
appropriate
and
fits
in
some
way
or
another.
B
H
B
H
Add
on
to
it
I
mean
I
think,
where
this
whole
idea
of
unsolicited
kind
of
projects
kind
of
might
be
getting,
you
know,
might
be
crowding
some
of
the
kind
of
things
that
we
really
really
want
to
get
done,
and
so
that's
that's
my
take
on
that.
I
Okay,
michaela,
okay.
My
question
was
this:
when
we
discussed
the
dumpster
enclosures
a
while
back.
I
remember
robert,
for
instance,
saying
well
one
easy
way
that
we
could
make
those
areas.
Look
nice
without
going
completely
hog
wild
is
by
having
them
covered
with
film
in
different
pantone
colors,
or
something
like
that.
So
they
would
be
bright
and
attractive,
but
we
wouldn't
necessarily
require
an
artist
who
has
a
huge
artist
fee
with
lots
and
lots
of
nitpicky
things
and
so
forth.
I
And
somehow
I
didn't
see
the
disconnect
between
that
which
a
lot
of
people
seem
to
think
was
not
a
bad
idea
to
going
to
this,
which
seems
rather
involved
and
and
for
myself
I
would
prefer
to
have
gone
with
it,
just
single
colors
around
the
dumpsters
and
spend
the
rest
of
the
money
towards
the
big
project.
A
Well,
as
you
said,
it
was
an
unsolicited
proposal.
I'm
you
know,
I
I
think
my
opinion
falls
in
with
everybody
else's.
I
like
the
idea
of
the
the
the
shark
at
the
golf
course,
but
I'm
not
wild
about
the
other
projects,
and
I
agree
that
I
think,
if
we're
going
to
do
something
meaningful
like
the
black
heritage
project,
I
think
throwing
more
money
at
that
would
be.
A
You
know
better
advised
so
diane.
Do
you
think
you
could
get
him
to
do
a
breakdown
of
just
doing
the
shark
at
the
golf
course
sure?
How
does
that
sit
with
everybody?
Everybody.
B
C
A
E
A
No,
no,
no!
It's
something
that
it's
it's
something
that's
meant
to
be
a
selfie,
so
you
stand
in
front
of
it
and
it
looks
kind
of
cute.
You
know.
In
other
words,
you
could
stand
there
and
make
yourself
look
like
you're
holding
the
pole.
That's
confusing!
Okay!
I'd
like
to
enter!
Let's
keep
this
on
the
up
and
up
I'd
like
to
entertain
a
motion
that
we
will
asked
david
danforth
to
submit
a
separate
proposal
of
the
shark
at
the
golf
course.
A
J
J
I
know
that
right.
C
A
H
I
A
A
A
Discussion
on
timeline
to
review
new
unsolicited
artist
proposal.
That
kind
of
goes
to
what
comment
that
robert
just
made,
but
I
think
time
is
marching
on,
I
think,
is
everybody.
Okay,
oh
diane,.
J
I'm
sorry,
I
believe
that
they
had
that
power
point
from
william
too,
from
oh.
A
H
F
There
we
go
okay,
real
quick.
I
was
asked
to
take
a
look
at
the
safford
avenue
and
also
lemon
street
around
the
the
library.
So
this
is
a
shot
looking
north
from
the
intersection
there
at
tarpon
and
safford.
F
So
you
can
see
my
little
green
arrows
here,
showing
light
posts
along
the
street,
I'm
going
to
assume
anything
within
the
street
side.
This
is
going
to
be
a
lineal
trail
for
the
the
county
park.
I
would
would
assume
the
I
have
not
checked
yet,
but
I
would
think
that
the
lights
around
here
are
all
city
of
tarpon
springs.
F
Okay,
so
that's
looking
the
other
direction
towards
the
intersection
of
of
tarpon
avenue
and
safford
again
it
was
tough
to
get
you
can
see.
There's
a
number
of
posts.
Comment
was
made
and
I
totally
agree.
We
want
to
stay
off
of
the
tarpon
avenue
intersection
there
there's
a
lot
of
things
going
on
with
pedestrian
crossing
and
everything
else,
and
it
gets
a
little
complicated,
there's
plenty
of
opportunities.
F
As
you
head
north,
you
can
see
all
the
arrows
that
I
have
generated
there
with
light
posts.
The
whole
way
up
that
northern
section,
we
can
also
look
the
other
direction.
This
is
down
below
the
historical
society
there
and,
as
we
look
up
through
you've,
got
light
posts
on
on
both
sides
that
are
available
there
and
another
shot.
F
This
is
looking
west
or
excuse
me
yes,
west,
on
on
lemon
and
there's
a
couple
of
like
posts,
it
gets
a
little
busy
up
there
with
the
tree
canopy,
as
you
can
see
the
library's
over
here,
so
there's
light
posts
up
along
that
side
and
a
couple
there
one
of
the
probably
the
the
best
areas
that
I
saw
was
around
the
fountain
there's
actually,
four
of
them
that
are
located
and
in
that
particular
area
again,
I'm
not
sure
how
the
solar
panels
would
work
with
the
the
tree
canopy
that
we
have
in
that
particular
area
and
then
the
only
other
thing
is.
F
A
Thank
you
bill.
Okay,
I
have
gotten
some
complaints
that
the
quote
on
quote
solar
batteries
and
panels
on
the
sponge.
Docks
are
quote
ugly
and
I
was
asked
by
a
member
of
the
community
down
there
to
investigate
hardwiring
the
boxes
into
those
acorn
lights
for
the
sake
of
appearance,
and
not
only
can
it
be
done,
they're
significantly
cheaper
than
adding
solar,
so
I
just
wanted
to
know
how
you
felt
about
it.
F
A
Well-
and
it
answers
bill's
comments
about
the
tree
canopies,
because
if
they're
they're
wired
directly
into
the
lights,
we
don't
have
to
worry
about
getting
sunlight
correct.
So
you
know
you
did
a
great
job
on
this.
Do
you
have
any
you
know
like
what?
What
what
do
you
think
would
be
your
priority
locations.
F
Center
right
up
there
as
far
as
the
highest
profile,
I
think
you're
going
to
get
that
greatest
highest
profile
down
there
on
safford,
though
okay,
that's
just
that's
my
that's
my
gut
feel,
plus,
I
think
what
it
does
is.
It
gives
us
an
opportunity.
If
you
took
a
look
at
all
the
green
eras
along,
there
is
a
tremendous
opportunity
to
do
a
walking
path.
Type
thing
with
several
of
these
that
it's
not
quite
as
cluttered
as
what
you
have
down
at
the
sponge
docks.
So
I
think
it
could
be
really
making
a
statement.
F
See
it
and
notice
it
plus
everyone
who
kind
of
walks
down
through
that
that
particular
area.
F
F
F
I
think
we'd
start
off
with
some
and
then
figure
if
we
want
to
continue
the
you
know
a
path,
but
you
know
I
think
first
thing
is
to
figure
out
where
we
want
to
go
and
then
we
can
say:
do
we
want
to
start
in
the
north
side
of
south?
You
know
of
tarpon
avenue
or
the
south
side
of
tarpon
avenue.
If
that's
the
area
you
want
to
go
or
you
know,
you've
got
a
nice
stretch
there
on
lemon
street
too.
That.
B
J
B
J
No,
I'm
not
sure
it
was
a
quantity
discount.
You
know
kind
of.
A
Right
yeah,
there
was
a
significant
savings,
I'm
talking
about
like
a
few
hundred
dollars.
You
know
for
ordering
a
certain
amount,
you
know
because
they
they
got
some
kind
of
reduced
freight
shipping.
So.
F
You
know,
because
if
we
continue
to
add
more
we're
going
to
have
to
continue
to
populate
them
with
new
pieces
of
art,
so
it's
a
good
problem
to
have,
but
it
it's
it's
a
situation.
I
think
we
have
to
keep
in
mind
that
you're
you're
creating
a
situation
where
you're
gonna
have
to
generate
more
more
art
right.
A
Well,
the
thing
is
that
if
we
do
safford,
it's
very
close
to
the
tarpon
springs
art
association
and
I
wonder
if
they
could
populate
those
boxes,
because
that
would
pull
people
into
the
gallery.
E
E
Okay,
the
art
guild
is,
it
was
originally
conceived
by
the
art
association.
Some
of
the
members-
I
should
say
not
the
organization.
E
Are
a
lot
of
people
in
the
in
the
art
guild
in
the
gallery
that
are
not
tarpon
springs
residents.
A
H
Just
have
a
comment:
what
bill
was
saying
and
to
elaborate
a
little
bit
more
about
that
is
that
the
the
north
and
in
south
safford
location,
those
are,
are
more
pedestrian
oriented.
Although
there
are
cars
on
it,
it's
still
really
pretty
much
a
bike,
bicycling
and
walking
lane,
not
unlike
what
dota
kinesis
it
is
a
there's,
a
promenade
sense
about
that,
and
I
think
it
would.
H
It
would
be
a
great
opportunity
to
help
the
city
of
tarpon
springs
in
evolving,
that
section
right
there
and
and
making
it
become
more
of
a
part
I
mean
I,
I
was
sitting
at
the
the
carol
and
I
were
sitting
our
studio
is
that
I
have
I'm
a
stakeholder
in
this
right
now
I
mean
I
would
like
to
see
some
of
this
going,
but
we
were
sitting
at
the
tarpon
grill
and
we
watched
people
going
back
and
forth
and
they
were
looking
as
if
they'd
never
seen
this
before
this
place.
They.
H
B
H
Aspect
of
it
I
mean
you
got
the
little
train
station
museum
there,
which
I've
been
wanting
to
go
into
ever
since
I've
been
here,
never
never
really
tried
to
do
it,
but
I
just
I
want
to
know
more
about
that
intersection.
The
fact
that
this
is
where
a
train
was
that
this
is
this
is
an
early
part
of
of
tarpon
springs
and.
H
The
other
than
spring
bayou-
maybe
it
is
the
the
earliest
location
or
public
location
for
tarpon-
springs
with
the
railroad.
So
I
think
it.
I
think
it's
an
important
kind
of
addition
to
the
city
with
arkan.
Quite
often
I
mean
look
at
the
linwood
section
down
in
miami
when
I
was
there
when
they
were
first
starting
to
do
it.
H
H
H
I
mean
that
could
be
a
major
way
to
get
down
there
right
and-
and
so
I
think
it
could
be
something
that
would
really
help
the
city
of
tarpon
springs,
and
if,
if
there
were
some
light
boxes,
there
would
be
very
subtle
bill
said
we
could
add
more
there'd,
be
more
opportunities,
more
artists,
more
things,
and
I
I
what
I
like
is
this
is
the
the
the
the
fact
that
you
can
replace
these
things
over
and
over
again,
as
as
a
involvement
of
the
people
in
the
community.
H
To
do
this,
I
mean
it's
got
to
be
real
thrilling
for
kids
to
have
their
work
up
and-
and
this
same
thing
along
here
and
it
doesn't
have
to
be
kids,
it
can
be
anybody,
it's
just
community
involvement
that
becomes
celebratory.
You
can
make
events
out
of
it.
You
can
make
a
special
day
about
it
or
something
like
that
and.
A
Yeah
one
of
the
artists
bicycled
all
the
way
up
from
dunedin
and
have
her
husband
take
a
picture
of
her
and
in
front
of
her
image
in
one
of
the
boxes.
So
I
agree
with
you
so
diane.
I
think
we'll
we'll
check
with
tom
function
and
maybe
mark
to
see
whether
that
location
would
be
okay,
because
I
think
I
think
it's
wonderful.
I
think
he
did
a
great
job
on
this
bill
and
maybe
you
know
look
to
make
this.
The
second
phase.
B
A
Right,
okay
and
maybe
we'd
look
at
doing
maybe
10
10
more
and
then
we've
got
the
five.
I
don't
know
whether
we
should
use
those
five
as
well
or
you
know,
because
they
do
have
the
the
solar.
A
And
rewired:
okay
yeah!
No!
I
I
I
got
the
the
specs
from
we've
been
dealing
with
a
company
in
texas
called
porter
board
they're,
the
only
these
were
all
custom
made.
C
C
A
Weight
and
everything
else,
so
maybe
diane
do
you
want
me
to,
or
do
you
want
to
make
get
a
quote
from
from
porter
board
about?
You
know
the
hard-wired.
J
Boxes
can
we
yeah
after
we.
A
F
H
C
Do
like
the
idea
about
lemon,
I
really
want
to
see
lemons
start
getting
built
up,
so
we
have
more
than
just
one
block
in
tarpon.
You
walk
around,
but
I
think
it
would
look
good
down
limit
as
well,
because
it's
kind
of
opened
up.
E
C
Where
you
have
silver
king.
A
Up
to
the
library
that
could
be,
that
could
be
the
third
phase.
I
mean
you
know
the
other
nice
thing
about
this.
Is
we're
not
talking
about
a
huge
investment
in
money
right?
I
think
the
total
for
all
of
the
of
the
15
that
went
on
the
you
know
with
the
solar
that
went
on
the
sponge
docks.
What
was
it
it
was
under
10
000,
I
think
for
the
15.
Wasn't
it
diane?
I.
J
So
I
can't
remember
you.
F
H
A
point
of
something
the
the
show
you
know
the
catalog
we
gave
out
you
know
is:
is
our
show's
about
climate
change
and
it's
about
the
sustainability
of
of
our
communities
and
and
especially
florida
with
with
water
rides
and
things
like
that.
But
it's
just
the
issue
of
the
complaint
against
the
solar
panels
is
they're
ugly,
but
they're
they're
there,
and
what
they're
doing
is
not
taking
electricity
off
the
grid,
so
they're
reducing
the
grid.
The
grid
is
one
of
the
major
problems.
H
H
Pole
has
one
of
those
sticking
up
on
top
of
it
and
you
don't
really
notice
they
become
like
telephone
poles,
they're,
just
they're
part
of
the
infrastructure
and
they're
there.
So
that's
the
only
thing
I
mean
I
I
if
it's
it's
always
an
economical
sight
line
thing
it.
It
looks
different
to
us
now,
but.
A
A
Well,
someone
made
the
suggestion
and
I
think
it's
probably
a
good
one-
would
be
to
just
paint
those
solar
panels
black
to
make
them.
You
know
a
little
more
subtle,
but
you
know
blending
in
with
those
acorn
lights
a
little
better.
A
Okay,
we're
getting
down
to
the
the
finish
line
here,
folks,
okay,
the
budget
marissa.
Thank
you.
I
know
this
information
just
came
in
yesterday
so
but,
as
you
can
see,
we're
in
pretty
good
shape,
we
did
expend
quite
a
bit
this
year,
which
we
had
budgeted
for
on
maintenance.
A
A
The
payments
dakota
maphis
was
part
of
the
original
art
box
artist,
but
I
think
there
was
a
communication
problem,
so
she
got
paid
late
and
then
there's
the
final
payment
to
elizabeth
indiano's
on
the
mural
project,
and
then
there
were
the
signs
for
the
storybook
sculpture
and
the
336
was
the
the
sign
down
by
the
that
went
in
the
20
by
30
box,
directing
people
to
tarponarts.org
for
the
information
about
the
artists
and
the
art
art
boxes.
A
So
so
we're
left
with
222
340.
and
75
cents.
A
So
we
do
have
some
money
to
spend,
but
I
think
I
agree
with
you
all
that
we
should,
you
know,
allocate
more
toward
the
significant
project
and
maybe
just
look
to
do
that.
You
know
the
shark
at
the
golf
course.
That's
very
wise.
H
A
bit
of
new
old
business,
I
think
mikhail
brought
up
brought
up
this
subject
of
what
to
do
with
the
utility
boxes
and
and
I've
forgotten
all
about
it-
that
we
had
discussed
just
painting
them
bright
colors,
you
know,
go
through,
go
through
the
color
wheel
and
just
have
a
bright
red
and
then
a
bright,
green
and
then
a
bright
blue.
H
And
then
you
know
if
all
over
the
city
wow
and
I
think
in
in
it's
something
as
a
project
that
could
be
a
statement
of
the
city
like
the
city
of
dunedin,
has
little
oranges
or
a
little
tangerine.
A
I
A
H
H
Of
things
you
know
and
do
you.
G
We
have
an
agenda
item
that
we
haven't
addressed,
which
I
think
is
pretty
important.
The
unsolicited
artist
proposals.
B
G
We
we've
been
putting
that
off
month
to
month
since
january
and
okay,
we
could.
We
continue
to
get
kind
of
in
a
jam
with
artist
proposals.
We've
had
three
now
in
the
time,
the
short
time
that
I've
been
on
the
committee
right
and
we've
turned
down
each
of
those
three
which
creates
an
awkward
situation.
G
G
We
can
put
a
budget
limit
on
it
if
we
want,
but
I
think,
rather
than
have
something
what
we.
What
we
have
right
now
is
an
open
invitation
on
our
website
with
an
application,
and
you
sort
of
have
to
know
you
know
the
proposals
we've
had
have
been
from
artists,
who
kind
of
knew
the
the
system.
G
A
C
A
Well,
I
guess,
if
you
read
the
ordinance
it
sort
of
falls
upon
us
to,
you
know,
create
projects,
and
you
know,
while
lucian's
right,
you
know
we
will
get
stuff,
that
you
know
that
people
will
come
to
us
with.
But
it's
often
you
know
inappropriate
or
you
know
not
something
that
fits
in
our
standards
or
images
of
where
we
want
to
go
with
public
art.
A
So
I
think
her
idea
is,
is
brilliant
and
that's
just
just
have
this
window
of
availability
where
people
can
submit
an
unsolicited
art
project
and
then
we
could
we
could
I
mean
somebody,
you
know,
could
come
up
with
an
absolutely
brilliant
project
that
we
could
you
know
take
on,
but
you
know
for
the
most
part
they
haven't
you
know
and
and
as
you
said,
you
know
the
stuff's
been
you
know
rejected
for
one.
You
know
one
reason
or
another.
A
C
B
A
You
know
things
have
been,
you
know
brought
to
us
that
are
unsolicited,
that
you
know
just
don't
fit.
What
we
envision
as
our
standard
of
of
what,
where
we
want
to
go
with
public
art
and
tarpon
springs
right.
Very
often,
you
know
it's
it's,
it
has
to
be
unique.
It
has
to
reflect
tarpon
springs,
you
know,
like
even
the
shark.
The
shark
is
very
nice,
but
it
doesn't
speak
to
the
community
so
but
yeah,
but
we
still
have
to
leave
the
door
open,
and
I
think
lucian's
suggestion
is
is
a
good
one.
A
A
Okay,
any
other
comments,
any
other
ideas
plans.
Diane,
do
you
have
any
announcements
for
us?
No
okay!
It
is
basically
3
40
and
I
would
like
to
hear
a
motion
for
adjournment
fish
david
seconds.
We
are
adjourned.
It
is
wednesday
april
14th
at
3
40
p.m.