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From YouTube: Public Art Committee June 8, 2022
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A
C
A
Okay,
we
have
a
quorum,
we
have
some
guests
with
us
today.
Would
you
like
to
just
give
us
your
excuse
me
your
name
and
address.
Please.
A
Street,
thank
you
very
much.
I
assume
you
all
had
a
chance
to
read
the
minutes.
Can
I
get
a
motion
to
accept
the
minutes.
A
I
hear
a
second
second:
is
there
any
discussion,
any
comments
or
corrections.
A
Okay,
the
motion
to
accept
the
minutes:
megan,
can
you
call
the
roll.
D
D
E
A
The
time
of
his
presentation
will
be
approximately
20
minutes,
after
which
we
will
take
some
comments
from
the
public
art
committee
members
and
the
members
of
the
public.
This
project
has
already
been:
oh,
we
have
another
guest
name
and
address.
Please
lynn,
white.
A
Thank
you,
lynn.
Okay,
this
project
has
already
been
vetted
and
approved
by
our
selection
panel,
some
of
which
are
here
with
us
and
has
been
refined
for
images
and
content
by
the
artists,
community
and
panel
members.
A
A
After
the
project
goes
through
its
final
iteration
and
is
approved
by
the
pac,
it
will
be
presented
for
a
vote
to
the
board
of
commissioners
and
in
accordance
with
general
instructions
from
mayor
vada
kiotis.
All
information
will
be
presented
prior
to
the
meeting
to
the
board
of
commissioners
in
the
backup.
Mr
oliver
you're
up.
H
Is
a
printer
yeah
just
in
case
I
need
to
I
use
this
thing
right.
F
H
Well,
I'll
try
to
be
expedient
so
that
you
can
all
ask
questions
if
you
like.
I
know
that
you're
really
aware
of
what's
going
on
with
this
project
because
you've
created
it,
you
sponsored
it
it's
an
honor.
Thank
you
for
enabling
me
to
to
be
here
and
present
my
vision
for
fulfilling
your
request
for
the
city.
I
guess
I
just
forward
this
so
there's
my
title
slide.
H
That's
one
of
many
historic
images
that
I
found
in
the
process
which
has
been
taking
me
online
and
through
books
and
libraries,
etc.
H
F
H
Oh,
that
okay
gotta
push
the
right
button.
This
image
right
here
is
one
one
and
sort
of
the
heyday
of
the
the
docs
when
you
know
when
the
sponging
industry
started
to
kind
of
really
take
off
before
they
actually
built
the
concrete
barrier
and
all
that
stuff.
This
is
just
basically
your
background
about
the
project
in
terms
of
trying
to
celebrate
the
role
of
african
american
or
bahamian
spongers
in
the
development
of
tarpon
springs.
H
I
think
it's
just
interesting
to
begin
to
think
about
how
to
connect.
I'm
certainly
going
to
be
doing
this
in
terms
of
the
art,
because
I
want
people
to
go
from
one
sculpture
to
the
next.
They
may
go
down
19
pinellas,
but
they
may
also
go
down
the
trail
there
past
the
historical
site
on
stafford
avenue
so,
and
we
have
that
business
district
in
between.
So
I
think
it's
a
really
interesting
opportunity
to
kind
of
just
show
more
what
the
city
has
on
the
right.
H
Okay,
so
my
conceptual
strategy
for
this
project
is
use
historical
and
natural
elements
to
create
a
painterly
and
engaging
thematic
narrative
in
both
sculptures.
This
should
create
a
visceral
feeling
about
the
local
black
history
of
sponging
in
the
context
of
natural
and
civic
environment.
You'll
I'll
describe
that
more.
When
you
actually
get
to
see
the
proposed
works,
I
want
to
create
connection
between
these
two
sculptures
through
common
materials,
elements
imagery
and
juxtapositions
within
the
imagery.
H
The
elements
that
could
be
used
obviously
are
sponges.
Hey
I've,
envisioned
black
hands.
You're
gonna
see
this
when
we
get
to
the
actual
image,
a
crawl,
which
is
like
a
a
something
that
is
actually
part
of
the
process
of
of
of
harvesting
and
repairing
sponges,
but
also
has
a
connection
to
african
culture,
maps
and
historical
photographs
scenic
and
staged
photography
significantly.
Both
sculptures
are
also
share
elements
of
like
gateways
or
doorways,
so
in
one
other
you're
going
to
see
that
it's
like
it's
a
gateway
to
the
sponge
docs.
H
But
it's
also
encouraging
people
to
go
through
and
explore
the
thing
in
the
in
in
the
in
in
the
round
and
you'll
see
similar
imagery
or
forms
in
the
and
the
second
site
at
union
academy.
H
And
they
have
both
of
them
have
a
sort
of
sense
of
reciprocity
to
them.
That
different,
like
going
through
the
gateway
like
having
two
sides,
so
that
you
know
it
gives
an
ability
to
kind
of
resonate
between
the
idea
of
the
black
and
the
greek
sponging
and
their
their
approaches
and
what
they
contributed
and
obviously
what
they
how
they
may
have
collaborated
to.
H
So,
in
terms
of
the
two
site,
this
is
an
interesting
proposal
because
a
project
because
the
two
sites
are
usually
you're
talking
about
one
piece
of
art
or
something
that's
like
really
clearly
designated
a
campus,
a
college
camp
or
something
like
that.
So
interpretive
panels
may
be
helpful
in
terms
of
engaging
people's
curios
sitting
and
getting
them
to
motivate
them
to
go
to
the
next
site
or
or
make
make
it
part
of
a
tour
for
them.
Black
sponges,
many
black,
sponges
and
tarpon
strings
came
from
the
bahamas.
H
As
you
know,
the
motto
of
the
bahamas
is
forward
upward
and
onward
together.
That's
something
that
I
kind
of
latched
on
to
early
and
it's
receded
a
little
bit
in
terms
of
its
visual,
but
I
still
think
it's
still
in
the
mix,
because
it's
a
very
powerful
theme-
and
I
think
it
applies
to
it-
complies
to
anywhere,
but
it
can
apply
particularly
to
the
idea
of
going
forward
with
more
history.
H
Shared
history
together
here
in
tarpon
springs,
so
this
seems
to
be
will
be
helped
to
use
to
connect
the
two
sculptures
as
well
as
the
community.
While
celebrating
the
early
collaboration
black
street
black
and
greek
sponges.
H
This
is
your
the
site
number
one
on
dodecas
dodecanese
avenue.
H
I
quickly
gravitated
towards
this
site,
because,
as
I
was
going
down,
you'll
see
on
the
right
side
and
lower
right
side,
the
the
approach
road
you'll
see
a
slight
bend
and
that
bend
turn
is
right
where
the
trolley
stop
is,
of
course,
there's
right
where
the
sign
for
the
chamber
and
the
beginning
of
the
sponge
dock
starts
and
and
that
on
the
on
the
left
side,
you'll
see
the
bench
there,
which
just
designates
a
trolley
waiting
area
right
behind
that
are
two
trees
and
a
space
of
21
foot
three
inches
between
it
was
a
perfect
spot.
H
I
felt
to
put
something
that
could
announce
the
the
district
and
hopefully
be
colorful
and
engaging
and
something
that
people
would
look
at
while
they're
waiting
for
the
trolley.
H
Here's
another
shot
of
the
other
side
here
on
the
you'll,
see
a
small
shot
that
shows
you
that
there
that
waterfront,
that's
when
you
look
through
that
opening
in
the
trees,
but
then
there's
also
the
back
side.
So
this
is
something
that
people
can
actually
explore
and
again
in
the
round.
That's
my
hope,
and
I
also
notice
that
there's
some
electricity
there
too.
So
that's
a
good
thing.
H
One
of
the
things
I'll
be
doing
is
exploring
a
little
bit
more
of
the
site
in
terms
of
the
trees
and
the
roots
and
things
like
that
for
foundation
considerations.
You
know,
so
the
strategy
for
site
number
one
is
to
locate
in
a
highly
visible
access,
an
accessible
location
which
is
a
trolley
stop
was
like
a
bull's-eye.
I
felt
I
wanted
to
create
a
colorful
beacon
so
that
something
that
would
be
attractive,
something
that
would
draw
people
and
engage
them
and
help
beautify.
H
The
area
make
an
artistic
gateway
for
the
sponge
docs
and
its
history,
while
focusing
on
the
history
of
black
sponging
and
the
collaboration
with
the
greeks,
the
early
greeks,
so.
H
Again,
interpretive
panels,
we're
not
sure
they'll
be
located,
but
something
could
happen
right
in
that
area
to
encourage
people
to
connect
with
the
other
sculpture
and
basically
to
help
drive
cultural
education
and
awareness,
tourism
and
civic
pride,
and
what
kind
of
you
know
deepen
the
meaning
of
what
it
means.
Maybe
to
be
this
sponge
capital
the
world.
I
think
it's
a
really
unique
opportunity
in
the
cultural
context
nationally
in
the
national
discussions.
I
think
it's
a
positive
step
to
put
forward
to
sort
of
look
at
shared
history
and
collaboration.
F
H
So
this
is
my
response
to
the
first
site,
the
first
sculpture
at
the
at
the
the
sponge
docs.
H
This
was
the
most
challenging,
even
though
it
was
the
smaller
of
the
two
sculptures,
but
I'm
getting
very
satisfied
with
the
form
this
is
taking.
Now.
These
are
sort
of
we've
got
three
probably
going
to
have
five
sides
actually
to
them.
Smaller
sides
that
are,
as
you'll
see
that
I
have
a
study
model
that
I
could
even
pass
around
here.
F
H
Is
this
is
an
approximation
of
what
it
would
be
like
you
have
these
two
kind
of
columns?
If
you
will,
they
are
angled
so
that
when
you're
coming
down
the
road,
you
see
that
sort
of
aqua
sort
of
panel.
It's
it's
a
it's
about
10
feet
tall,
that's
a
material
called
it's
a
it's
an
exterior,
an
architectural
resin
material
called
either
lima
core,
there's
another
company
that
makes
it
called
three
formats
samples
from
both
that
can
be
digitally
printed,
which
is
the
medium
throughout
this
work.
H
It's
all
stainless
steel's
framework
and
then
digitally
printed,
exterior
architectural
resin.
So
all
that
imagery
can
be
manipulated
and
created.
That's
the
painterly
thing
that
I
mentioned
so
you'll
see
that
sort
of
water
kind
of
effect
there
on
that
tall
panel,
that's
kind
of
like
the
from
coming
down
the
sidewalk
you're,
going
to
kind
of
see
that
I
wanted
you.
I
wanted
that
color
to
really
draw
you
in
when
your
eye
goes
up.
You'll
see
that
it
almost
looks
like
a
keystone
there's
a
pair
of
black
hands
holding
like
a
sponge.
H
There
that'll
probably
be
like
a
have
to
be
a
stage
photograph
that
I'd
take,
so
I
wanted
to
make
a
clear
amount
announcement
about
what
the
theme
of
this
was
without
having
anybody,
didactic
and
draw
people
in
and
the
and
the
other
thing
about
this
is
that
I
think
the
medium
it
allows
for
a
lot
of
input
from
different
things.
You'll
see,
for
instance,
some
of
the
colorful
patterns.
H
So
there's
some
inherently
educational
things
that
people
don't
necessarily
see
or
what
they
wouldn't
necessarily
see
in
a
maybe
a
different
type
of
sculpture
on
the
right
side
of
that
you'll
see
basically
that's
supposed
to
be
a
topographic
map
of
the
encloat
river.
H
I
was
thinking
about
like
the
areas
where
the
sponging
actually
was
discovered
and
found,
and
there's
a
little
insect
keystone
of
like
an
image
of
black
sponges
in
a
boat,
and
you
also
see
that
conch
shell,
that's
a
little
reference
to
sort
of
like
their
their
cultural
heritage
and
they're
being
linked
to
the
bahamas.
So
that'll,
probably
repeat
itself,
also
in
the
second
sculpture
and
above
that
you'll
see
some
imagery,
which
is
sort
of
like
kind
of
essentially
like
a
horizon,
a
shot,
a
scenic
shot
of
the
anklet
river.
H
And
then
it's
got
a
reverse
side,
that's
kind
of
what
it
looks
like
sort
of
under
the
canopy
of
trees
there
for
scale
those
trees
are
21
foot
three
apart
at
the
trunks
and
they're
about
14
15
feet
to
the
lower
branches,
and
I
think
a
little
trimming
can
be
done.
But
I
tried
to
do
this
so
it
wouldn't.
It
wouldn't
be
any
major
arboring
needed
just
minor
trimming.
Perhaps
that's
the
reverse
side.
This
is
the
side
of
the
sculpture,
that's
facing
the
waterfront.
H
What
you
would
see
if
you
were
on
the
docks,
looking
back
and
so
the
keystone
image
is
right.
Now
I've
got
the
image
of
this.
This
pair
of
hands
clipping
the
same
like
clipping
of
sponges
and
processing
it.
You
know
a
pair
of
black
hands,
doing
that
and
you'll
see
that
sort
of
that
blue
watery
kind
of
you
know
again
similar
to
the
first.
The
announcement
from
the
other
side
that
panel
is
is
sort
of
representative.
H
H
So
within
those
kind
of
watery
images,
you're
going
to
see
some
some
imagery
that
evokes
those
two
types
of
of
of
sponging,
which
were
what
the
the
bahamians
and
the
and
the
and
the
greeks
did
again
on
the
right
side,
there's
more
sort
of
imagery
of
sponging
and
I've
got
a
little
inset
of
the
crop
of
the
crawl,
which
is
that
pen
that
holds
the
sponges
again.
H
On
that
right
side,
I've
got
like
instead
of
a
topographic
of
the
river,
I've
got
actually
a
map
of
the
town,
so
now
you're,
looking
back
to
the
gateway
towards
the
town,
now
you're,
seeing
an
early
map
that
will
hopefully
I'll
be
able
to
depict
sort
of
a
couple
of
these
areas
that
were
sort
of
like
this
central
sponging
areas.
I
think
it
was
bailey's
bluff
and
there
was
sponge
point
and
and
finally,
the
docks
and
surrounding
warehouses
and
things
so
something
I'm
going
to
try
to
do
that,
evokes
that
and
then
set
in.
H
That
is
an
image
of
like
a
of
a
inside,
a
warehouse,
p
processing
sponges
together,
the
greeks
with
african
americans
or
bohemians
in
there
and
you'll
see
that
again.
Another
scenic
at
the
top
of
that
which
is
the
image
of
that
waterfront
when
it
was
deep
early,
teeming
with
sponge,
harvesting
and
stuff
like
that.
So.
H
H
That
green
patch
is
the
sort
of
it's
actually
a
drainage
area
for
the
parking
lot,
and
it's
got
a
perimeter
fence,
I'm
proposing
to
replace
that
fence
with
a
sculpture
that
still
performs
the
the
function
of
of
enclosing.
That
area.
Some
of
the
things
I
kind
of
went
to
multiple
sites
to
look
at
it
under
rainy
conditions,
and
I
noticed
things
growing
there.
H
So
I
think
not
much
modification
needs
to
happen
that
actually
greenery,
maybe
addition
of
a
few
interesting
floral
things
that
achieve
those
functions
and
I'm
thinking,
perhaps
some
gravel
area
around
the
base
of
the
sculpture,
so
that,
like
I'm
aware
of
things
splashing
up,
you
want
to
want
to
kind
of
keep
organic
matter
from
splashing
up
on
the
base
of
the
sculpture.
That's
an
important
concern
for
me.
This
is
a
site
number
two
strategy.
H
F
H
All
right
again,
a
highly
visible
location
was
important
and
having
it
be
sort
of
a
beacon
illuminated
from
internal
from
natural
light.
In
both
cases,
both
sites
have
electricity.
H
H
So
this
this
larger
area,
it's
about
30
feet
or
so
by
20
feet,
allows
for
sort
of
more
presence
of
the
larger
black
community
to
be
portrayed
in
the
sculpture.
So
the
idea
is
to
sort
of
link
some
of
the
imagery
and
themes
and
then
expand
on
a
little
bit
with
with
with
the
imagery
around
this,
this
particular
site.
H
H
H
Those
look
like
what
look
like
fence
pickets
with
more
scenic
imagery,
that's
taken
from
the
the
riverfront,
the
beachfront
with
the
grasses,
some
of
the
forested,
some
of
the
forested
uplands,
including
I
even
have
one
of
the
backdrops-
has
actually
shot
from
the
rose
cemetery.
So
basically,
this
resin
material,
I'll.
F
H
This
enables
you
to
it
can
be
cut,
so
I
you
know,
would
have
these
images
printed
on
this
material
cut
and
they
can
actually
become
pickets
and
that
enables
that
rather
large
wall,
surface
area
to
be
permeable.
So
the
air
is
not
it's,
not
it's
less
a
lot
less
force
on
it
and
then
images
printed
on
solid
they
can
be,
they
can
either
be
sort
of
translucent
or
opaque.
You
can
choose
or
they
can
be
backlit,
but
there's
a
whole
series
of
these
panels.
Just
so.
H
That's
one
example:
some
of
them
have
the
images
laminated
right
in
between
and
there's
a
couple
thicknesses,
but
in
any
case,
these
sort
of
are
around
30
or
so
or
more
feet.
Long
enable
like
quite
a
bit
of
imagery
to
be
placed
on
them
and
will
form
a
bit
of
a
narrative.
The
idea
is
that
one
side
leans
a
little
bit
more
towards
the
history.
H
The
other
one
leans
a
little
bit
more
towards
the
present
and
they
both
kind
of
connect
to
that
sponging
history
you'll
see
the
the
two
end
kind
of
caps,
which
are
that
part
of
the
sculpture
yeah
either
end
one's
facing
the
intersection,
which
is
the
there's,
got
a
picture
of
the
woman
who's.
A
school
teacher
there
at
the
union
academy
and
you'll
see
the
actual
uni
older
union
academy
nested
within
that
image
and
another
map,
that's
facing
the
intersection.
H
The
other
side
facing
the
the
citizens
lines
for
progress
building
has
got
those
hands
with
the
sponge
again
and
it
has
a
famous
person
there,
mr
emerson,
he
was
in
an
early
rendition.
It
seems
like
it's
a
good
idea,
perhaps
still
to
keep
him
there,
but
I
also
like
this
idea
of
a
male
and
a
female
figure
in
this
sculpture.
H
It
helps
the
sense
of
nuclear,
family
and
community
the
theme
and
both
sides
you'll
notice
how
both
of
these
things
sort
of
like
both
of
the
the
the
long
sides
they
kind
of
ramp
up
or
they
kind
of
like
they.
They
flow
up,
that's
kind
of
a
gesture
of
reciprocity
and
and
the
whole
idea
of
the
theme
of
lifting
lifting
forward
and
upward,
which
actually
you'll
see
in
the
end
cap
you'll
see
the
words
are
actually
in
this
in
the
sculpture.
H
So
I
did
that
little
study
model
just
give
you
a
sense
that
it's
not
like
a
straight
up
and
down
fence
is
existing.
It's
a
little,
it's
more
sort
of
like
sculptural,
it's
angled
in
and
it's
a
little
curved
and
those
things
are
also
going
to
create
a
little
more
strength
too.
For
this
thing,
the
triangulation
you
see
in
both
sculptures
actually
is
going
to
help.
You
know
with
wind,
you
know,
and
all
that
kind
of
stuff.
So
this
is
a
sampling
of
visuals
of
materials.
H
Here,
there's
a
sculpture
on
the
left,
which
is
made
of
similar
materials,
a
very
tall
one.
Those
are
digitally
printed
panels.
It's
internally
lit
there's
a
couple
companies
that
make
this
material
three
form
and
luma
core
two
of
them.
I've
been
exploring
and
talking
to
reps,
for
both
I've
been
gotten.
Some
quote
on
steel
from
arrow,
steel,
who's,
a
local
company,
and
the
idea
is
to
use
3016
stainless
steel,
which
is
like
the
highest
grade
of
marine
grade
stainless
steel
for
the
structure
and
actually
all
the
hardware
as
well.
H
It's
a
little
hard
to
see,
but
a
lower
right
corner.
There's
like
a
little
what's
called
a
standoff,
I'm
very
con
one
of
the
things
I'm
going
to
do
in
detailing
this
is
that
all
the
panels
get
whether
they
attach
to
a
structure
it
or
two
of
them
or
or
to
another
layer.
There's
always
a
spacer
of
some
kind
to
keep
moisture
from
staying
and
condensing.
You
always
want
airflow
and
and
things
dry
out,
and
so
you
don't
have
just
you
just
don't
have
issues
that
way.
H
Okay
and
there's
my
that's
a
little
bit
of
my
draft
schedule
and
I
should
have
brought
my
eyeglasses,
so
I
could
see
it
all
the
way
up
there.
I
gotta
read
it
from
my
screen
down
here.
Okay,
I
don't
know
if
they're
in
my
prescription
but
anyways
so
this
month.
The
idea
is
to
obviously
present
to
you
all
and
perhaps
even
get
to
the
board
of
commissioners
to
show
them
this
and
get
an
approval.
H
You
know,
exercise
the
contract
and
you
know,
get
a
disbursement
and
start
start
going
on
the
next
phase,
which
will
include
some
more
research
and
some
photography
and
things
like
that.
I've
gotten
a
lot
done,
though,
so
I'm
excited
and
I've
got
some
leads.
So
I'm
ready
to
go
for
that
then,
basically
of
about
a
four
month
period,
design
development,
creating
of
the
files
that
will
go
into
printing
all
those
panels,
doing
some
prefabrication
or
mock-ups
of
things
and
then
come
around
november,
basically
get
going
on
fabrication.
H
I
would
want
to
basically
have
those
panels
ready
to
be
printed.
Those
files
be
ready
to
be
printed.
So
you
know-
and
I
kind
of
I
kind
of
did
this
as
a
draft.
The
way
I
laid
out
laid
it
out
and
laid
out
the
disbursements
was.
I
wanted
to
kind
of
make
sure
that
if
there
was
an
opportunity
to
surgical
forward,
it
wouldn't
be
a
hold
up.
You
know
in
the
funding
at
the
same
time,
there's
a
fourth
disbursement,
so
there's
actually
like
a
final
one
when
everything's
completed.
H
So
I
try
to
serve
both
sides.
That
way-
and
let
me
see
if
I,
the
next
one
and
basically
that
is
it-
that
is
the
end
you'll
see
the
butterfly.
I
also
caught
on
another
trip
to
the
site
so
feeding
on
the
milkweed
there
and
I
was
happy
to
take
any
questions.
I
don't
know
what
the
time
is
like,
but.
H
I'm
passing
around
a
couple
of
different
samples
of
that
material
with
actual
historical
images
and
they're
printed
in
either
translucent
or
backlit
and
different
version
or
opaque
versions.
So
there's
a
lot
of
thinking.
That's
gonna
have
to
go
into
all
those
panels,
but
it's
okay.
It's
like
it's!
Just
it's
it's
getting
there.
I
think
it'll
be
go
ahead.
I
My
first
take
is
great
enthusiasm
for
the
number
of
hooks.
If
I
may
use
that
term
that
you've
built
in
particularly
in
the
dodecanese
site,.
I
H
Thank
you.
It's
kind
of
an
interesting
thing
because
it's
like
I've
got
some
background
in
exhibition,
design
and
architecture,
and
it's
like
all
these
things
kind
of
colliding,
but
it
ultimately
needed
to
be
kind
of
piece
of
artwork.
So
it's
like
that's
where
the
beauty
of
the
medium
graphic
medium,
I
think,
enables
you
to
kind
of
distill
and
work
on
it.
So
you
can
refine
it
into
something.
That's
visually
engaging
and
like
feels
like
art,
not
just
like
a
a
signpost
or
a
sandwich,
porter
whatever.
I
I
I
think
you
have
achieved
that,
particularly
on
that
site,
and
you
know
the
other
side
of
the
coin
is,
I
think
the
union
academy
site
lends
itself
more
toward
introspection
and
interpretive
material.
I
C
I
completely
agree
with
lucian
impressed
by
the
materials
I
I
like
the
blend
of
the
different
materials
and
how
you're
kind
of
weaving
it
all
together
and
again
you,
you
probably
have
a
lot
of
things
to
do,
to
get
to
the
final.
What
you're
going
to
get.
H
Yeah
thanks,
there's
there's
a
bit
of
the
weeds
still
to
go
in
there
too,
because
these
always
come
with
different
finishes.
So
I'm
trying
to
I've
already
started
to
hone
down
on
the
the
finished
that
they
that
they
come
in.
I
want
the
finish
that
to
be
the
one
which
is
the
least
the
most
scratch
resistant,
but
also
the
easiest
to
sort
of
clean
or
whatever.
It
is
so
that.
H
You
were
to
get
so
yeah
the
from
the
front
of
the
first
thing
to
do
actually
in
turn-
and
I
mentioned
this
with
the
with
the
the
detailing
in
terms
of
having
it
be
like
well,
those
on
that
you
see
the
sculpture,
there
actually
will
be
kind
of
permeable.
H
You
know
there
may
be
a
little
sliver
of
a
crack
there.
It's
also
air
and
water.
It
can
flow
in
and
out
and
there's
not.
You
know
like
condensation
behind
the
window.
It's
not
going
to
be
the
right
thing.
That's
the
idea
with
this.
So
if
you
do
that
you're
already
ahead
because
you're
not
getting
like
gunk
right
and
there,
I
even
thought
about
those
leaves
that
might
fall.
I'm
trying
to
make
it
so
there's
just
nothing
really
there
they
can
land
they
just
kind
of
get
blown
away
by
the
wind.
H
One
key
thing
is
going
to
be
whether
the
base
I
have
it
right,
rising
up
off
the
ground
a
little
bit,
that's
partly
for
the
splash.
It's
also
for
the
air,
whether
that's
going
to
be
enclosed
or
not,
I'm
still
working
on
that
one
way
or
another.
We
have
to
keep
the
leaves
out
of
there.
You
know
from
if
maybe
they
blow
out
or
they're,
not
there
in
the
first
place.
H
H
H
E
E
The
academy
site,
I
notice
in
your
model-
I
know
it's
just
a
model,
but
it
is
nevertheless
a
conceptual
thing.
There's
no
gate,
but
there
needs
to
be
a
gate
for
maintenance
for
the
interior.
H
E
Well,
they
they
have
to
get
in
there
and
clean
it
out.
Every
now
and
again
and
right
yeah,
you
know
so
I
thought
we
should
probably
keep
the
gate.
Oh
yeah,
yeah
and
the
area
around
the
current
fencing.
E
You
mentioned
putting
gravel
or
something
there
because
it's
I
agree,
the
the
current
dead
grass
look
is
not
nice,
so
you
know
something.
H
But
if
we
cut
a
perimeter
at
the
where
the
water
line
basically
near
the
water
line
is
we
could
just
carve
that
that
that
turf?
Back
probably
there
may
be
a
nice
ground
cover
which
was
like
no
maintenance,
would
be
really
beautiful,
yeah
a
ring
of
that
and
then
a
ring
of
gravel
would
be
wonderful.
Because
then
you,
you
know.
E
E
Need
something
I'm
curious
about
the
use
of
the
word
crowl.
Is
that
a
word
that
was
used
by
the
sponge
hookers
here
in
in
toppin
yeah
at
the
beginning?
E
Because
to
be
honest,
my
first
thought
when,
when
I
first
heard
the
word
was:
oh
my
god,
that's
an
afrikaans
word
and
you
know
the
connotations
with
afrikaner.
Words
is
no.
No.
We
don't
want
to
do
that,
but
if
it's
something
that
the
sponges
called
the
things
that
they
kept
the
sponges
in-
that's
that's
great.
That's
fine!.
H
Right
that
that
is
a
you
know,
it's
an
interesting
point,
cultural
point
because
that
word
in
south
africa
may
have
sort
of
it
would
have
probably
replaced
an
indigenous
word.
You
know
for
something
similar,
but
basically
the
the
meaning
of
it
and
it
could
have
even
been
pejorative
from
depending
on
your
perspective,
but
there's
a
will.
Yeah
go
ahead.
E
Yeah
kral
is
actually
derived
from
the
the
dutch
word,
which
is
very
similar,
sounding
and
and
comes
from
the
same
root
as
the
spanish
chorale,
which
of
course,
we
okay
and
we've
adopted
both
words
into
english,
one
via
spanish
in
the
us
and
the
other
fire
dutch
in
and
afrikaans
in
south
africa.
E
The
zulu
were
the
the
the
majority
language
that
the
next
majority
language
there
is
zulu
and
it's
isibia
is
the
name
that
the
zulus
call
corral,
kraus
completely
adopted
word
for
them
too,
but
it's
been
there
for
a
couple
of
hundred
years.
So
you
know
it's
like
everything
else.
That's.
F
E
J
Steve
I
mean
you've,
you've
told
done
done
a
wonderful
job
of
doing
public
art.
I
mean
you.
You've
got,
as
you
said,
two
locations
that
connect
two
different
cultures,
two
different
places
and
one
in
one
place,
and
you
you
check
all
the
boxes
of
what's
really
necessary
in
in
a
good
piece
of
public
art.
J
Yeah-
and
that's
what's
important
about
this-
is
that
this
this
sort
of
fulfills
some
of
the
need
of
this
particular
project
or
the
african
american
hair
or
the
america,
the
black
heritage
in
in
tartan
springs
and
it
it
brings
that
to
to
the
storyline
of
tartan
springs,
and
I
think
that's
great,
so
art
wise
everything.
It's
you
know
it's
got.
You
got
all
your
color
that
you
usually
do.
J
You
know
that
that's
just
an
amazing
attractor
right
to
begin
with,
and
then
you
have
all
this
information
that
you
come
back
to,
and
you
say
I
didn't
see
that
before
and
things
like
that.
That's
that's
great!
I'm
going
to
come
down
to
another
level
of
this,
though,
is
that
how
much
engineering
have
you
had
done
on
these
structures?
F
J
And
they
had
to
be
taken
down
that
all
had
to
be
reinforced
and
put
back
in
so
so
I
don't.
I
didn't
see
any
kind
of
place
here
for
any
kind
of
engineering
that
you
might
do
in
order
to
place
this.
I've
seen
your
other
works
in
other
places
that
have
had
engineering
of
some
sort,
but
have
you
you
know
is
that
a
major
consideration,
the
the
the
four
or
five
corners
of
the
the
one
on
the
docks
they're
just
sitting
on
the
ground
right
now.
H
Right,
there's
I'm
thinking
of
two
one
of
two
things
there
and
I
think
the
the
the
determinant
is
going
to
be
sort
of
the
the
way
the
tree
roots
are
working
in
that
area.
If
I
it's
a
it's
an
11
foot,
three
between
curbs
there,
so
my
first
thought
was
to
like
excavate
a
little
bit
and
like
pour
a
slab
in
there
and
then
have
all
those
things
anchored
right
into
the
slab.
So
you
really
got
like
a
real
good
like,
like
you've,
got
a
real
good
weight.
H
The
other
option,
depending
on
the
roots
was
it
might
be
to
do
less
of
a
slab,
and
maybe
some
pilings
or
something
it
depends
on
what
we
run
into
there.
So
I'm
going
to
look
a
little
more
closely
at
that
the
sculptures
otherwise-
and
this
is
actually
I
was
sweating
this
one,
particularly
because
it
was
a
lot.
You
know
it
was
just
trickier
than
the
other
sculpture
and
I
backed
away
from
a
lot
of
like
you
if
you'll
notice,
at
the
top
of
this,
it's
a
lot
more
light
and
airy.
H
Now
I
had
sort
of
like
these
more
like
large
forms,
possibly
curve
forms
which
are
more
of
like
a
wind
sock,
and
now
I
just
got
the
a
lot
less
leverage
on
the
top
of
these
things,
and
I've
also
got
the
triangulation
going
and
I've
got
things
where
wind
wind's
going
to
go
either
way
versus
like
up
against
the
wall,
and
I
think
what
will
happen.
You'll
see
how
it's
kind
of
straight
up
and
down
there.
I
think
some
more
angle
is
going
to
go
into
these
things.
The
way
it's
the
way.
H
The
study
model
is
showing
me
that
I
think
there's
going
to
be
more
angles
and
there's
probably
going
to
be
some
slivers
of
more
color
and
separation
in
there,
which
will
create
more
structure.
H
So
I
was,
I
was
happy
with
the
direction
because
I
felt
like
I
wasn't,
creating
something
that's
going
to
like
really
take
it
hit.
J
J
F
H
J
F
J
And
all
that
kind
of
stuff
and
you're
on
the
the
side
of
a
body
of
water,
and
so
there's
there's
that
kind
of
aspect
and
in
I
think
both
cases
I,
the
the
one
at
the
academy,
is,
is
a
little
bit
different.
That's
acting
way
more,
like
a
fence
there,
there
is
an
inherent
fear
factor
for
me
and
how
close
it
is
to
the
road
without
any
bollards
there
or
anything
like
that
to
keep
cars
from
running
through
it.
J
I
mean,
I
I
think,
that's
a
you
know,
that's
that's
the
problem
with
the
real
world
in
some
ways.
F
J
Just
rose
my
attention
to
that
and
but
then
they
think
you
can
do
about
that
as.
F
J
C
F
D
H
F
H
You
know
what
we
have
complete
control
of
what
we
print
so
in
photoshop,
whatever
you
can
make
some
really
interesting
things
I
mean
I
should
have
when
I
started
described
that
I
should
have
said
earlier,
like
the
idea
that
you
could
see
something
to
do
with
a
sponge
hooking,
perhaps
in
there,
or
something
that
the
bottom
of
the
water
could
all
be
layered
in
there
there's
even
the
potential
to
put
you
could
even
kind
of
put
ghosts
of
the
islands
where
these
people
came
from.
H
D
I,
like
it
very
much
on
on
the
second
site.
I
have
a
couple
of
concerns.
What
are
the
dimensions
of
this.
H
It's
a
it's
going
to
be
in
the
neighborhood
that
at
the
most
highest
point,
it's
around
close
to
eight
feet
and
the
length
of
it.
Those
sides
they're
going
to
the
last
time
I
measured
the
sides
are
going
to
be
somewhat
close
to
39
42
feet
the
two
sides
of
that
thing:
they're
a
little
curved.
D
J
F
F
J
Of
if
the
city
here
has
any
it's
usually
a
city
thing,
but
but.
J
J
J
Find
yourself
having
to
adjust
to
that
I
mean
it's.
It's
also
could
fall
under
the
category
of
a
a
nuisance.
F
J
J
D
That's
okay.
Another
thing
that
I
find
really
important,
though,
is
that
especially
since
it's
right
in
front
of
the
school
and
and
it's
almost
like
a
fence
being
replaced
with
another
fence,
does
anybody
feel
that
you
do
and-
and
I
just
wonder,
if
that's
really,
I
love
all
the
artwork
that
it
represents,
and
I
don't
know
how
you
would
incorporate
all
that
artwork
in
a
different
form.
But
it
just
looks
like
an
like
an
eight-foot
fence.
H
F
D
C
E
I
was
concerned
about
that
too,
and
I
actually
went
there
and
had
a
look
and
the
current
fence
is
set
back
about
four
or
five
feet
from
the
edge
of
the
sidewalk.
The
sidewalk
is
about
four
feet
wide
and
if
you're
pulled
up
to
the
stop
sign
coming
down
gross
to
turn
left
onto
mlk,
there
is
no
visibility
problem
at
all.
But
as
again,
I'm
sure
city
engineers
need
to
look
at
it
and
we're
going
to
take
a
look.
Maybe
if
you
thought
of
it
as
the
bones
of
a
boat
instead
of
well.
D
Boat
shape,
I
I
don't
think
that
the
children
will
be
able
to
appreciate
that
from
above,
but.
C
F
H
I
appreciate
the
conversation
because
it's
like
some
of
the
servicing
some
of
the
things
that
were
coming
through,
like
it
is
and
matter
of
fact,
some
of
the
imagery
of
that
corral
is
actually
in
the
pickets
and
and
beyond
that.
The
the
boat
theme
was
something
that
was
running
through
even
both
sculptures.
I
just
the
top
of
the
other
one,
of
course
transformed
into
something
a
little
bit
different.
It
was
more
like
waves,
but
that
was
a
part
of
the
intent
that
that
that
shape
was
somehow
connected
to
sculptures
robert.
J
About
your
comment
about
the
the
the
fence,
you
know,
I
think
my
take
on
it
when
you
said
pick
it
and
pick
a
fence.
I
thought
of
community.
F
J
J
J
I
think
I
got
that
from
that
as
much
as
anything,
but
you
know
maybe
you
know
it
has
multiple
meanings
and-
and
this
is
where
people
are
going
to
see
these
things,
I'm.
J
H
E
J
You've
mentioned
that
throughout
this
whole
thing,
and
I
appreciate
that
how
you're
letting
this
develop,
especially
even
listening
to
us,
is
that
it's
possible
that
it
would
be
lower
at
some
point
than
it
is
now
and
high
enough
at
another
point
to
make
that
statement.
Maybe
at
the
edges,
where
there
are
the
gates
or
the
the
way
into
it
and
stuff,
so
that
would
be
uplifting.
It
would.
F
J
Be
a
little
bit
more
lyrical
mm-hmm,
you
know,
I,
I
think
that
model
is
just
yeah.
You.
J
G
F
H
Yeah,
my
first
thought
was
to
try
to
make
it
a
little
too
high
to
climb
on.
That
was
my
first
thought,
but
then
it's
scooping
down
somewhat
so.
H
A
Stephen
yeah,
I
think
I
think
you've
done
a
wonderful
job
as
just
about
everybody
on
the
you've
checked
all
the
boxes
and
thank
you
for
letting
us
also
know
that
it's
still
a
word
work
in
progress.
A
F
F
A
But
we're
going
to
open
the
comments
to
the
public
and
if
you
could
confine
yourselves
to
four
minutes
like
they
do
with
the
at
the
board
of
commissioners
meeting
anyone
from
the
public
like
to
have
any
comments,
questions
tina.
A
F
K
Most
of
my
comments
are
going
to
be
oriented
towards
that,
but,
first
of
all
fantastic.
Thank
you
very
nice.
I
and
I
want
to
say
that
the
site
of
on
dodecanese
is
particularly
appropriate,
because
that's
an
area
that,
in
the
very
early
days
of
tarpon,
I
believe,
that's
where
patton's
mill
was,
which.
F
K
Know
so
they
were
okay.
The
community
was
in
that
area
at
first
before
it
moved
farther
south,
so
very
appropriate
sighting.
Another
thing
I
wanted
to
mention
was
you
had
that
sort
of
path
coming
to
union
academy.
F
K
I
happen
to
know
that
planning
it
has
a
grant
application
out
to
do
more
oral
history,
work.
J
J
H
K
Another
thing
that
I
thought
might
be
great
that
you
may
or
may
not
know
about,
but
I
I
worked
on
the
application
for
rose
hill
cemetery.
C
F
K
It
shows
a
diver
and
there
were
oh
yeah
see
there
were
greek
pokers
a
lot
of
great
cookers
and
there
were
several
african-american
divers
and
apparently
he
was
one
of
them.
K
K
F
F
K
If,
when
I
visited
the
bahamas-
and
this
was
in
2008,
I
saw
a
crawl
and
they
are
called
crawls
they're
in
use,
and
I
have
a
photograph
if
you
ever
need
an
updated
photograph.
Sounds.
F
K
You
know,
I
think
I
I
think
I
can
retrieve
it
one
thing
I
also
wanted
to
say
not
just
to
you,
but
to
the
city
in
general.
Sponge
capital
of
the
world
was
something
that
lasted
for
about
10
or
15
years
challenges.
K
F
F
B
A
Yeah
stephen
and
I
you
know
considered
the
thing
about
doing
perhaps
a
qr
code
or
something
that
would
take
people
to
more.
You
know
information
you
know
about.
You
know
the
historical
figures
on
the,
but
that's
something
else
again.
I
mean
right
now
we're
just
concerned
with
the
with
the
art
piece,
which
I
think
is
phenomenal
lynn
see
you.
F
A
Steven,
thank
you
very
much.
We
look
forward
to
its
next
evolution
and
onward
and
forward.
A
Okay
back
to
the
agenda
old
business,
the
sports
field
mural
bill.
That's
that's
any.
C
Movement,
well,
I've
done
the
outreach
to
the
the
soccer
folks,
but
I've
not
gotten
any
response.
So
I've
tried
both
female
and
voice
mails.
C
So
I
will
continue,
but
I
think
it's
to
the
point
where,
if
I
don't
get
something
soon
I'll
just
do
the
measurements
on
the
front
of
the
building
and
I'll
help,
bring
pictures
and
we'll
go
ahead
and
start
the
call
for
artists
with
our
july
meeting,
and
then
we
can
show
them
some
ideas
of
what
it
might
look
like.
Instead
of
you
know,
but
I
don't
know
if
I
should
reach
out
to
jamie
again
at
parks
and
correct
and
and
he's
the
one
who
gave
me.
G
E
Can
I
leap
in
and
make
a
absolutely
comment
on
it?
I
went
out
there
and
and
took
a
look
at
the
building.
I
haven't
had
some
photographs
here
if
anybody
wants
to
take
a
look,
but
the
building,
of
course
has
four
sides
and
there's
one
side
that
faces
the
soccer
field.
E
One
side
that
faces
the
tennis
courts
the
front
or
what
appears
to
be
the
front,
but
actually
has
the
men's
toilet
door
in
it
faces
the
road
and
the
back
with
the
ladies
toilet
door
faces
a
children's
playground,
and
so
I
was
thinking
that
there's
real
opportunity
there
for
somebody
to
get
very
creative
with
their
raps
and
and
so
on.
You
know
to
to
have
a
kids
oriented
thing
on
one
side:
tennis
on
the
other
foot
soccer
on
the
other,
and
lord
only
knows
what
I'm
the
one
that
faces,
the
road,
the.
H
E
In
addition,
there's
a
city
bench
with
a
city
trash
can
and
a
one
of
those
little
tiny
libraries
on
a
stick.
You
know
you
know
you've
seen
them
with
a
little
bird
house
type
thing
alongside
that
that
parking
lot
there
and-
and
I
was
I
I
don't
know
it
just-
seemed
to
me-
that
the
the
opportunity
to
link
the
two
you
know
to
somehow
get
the
kids
off
the
swings
and
into
reading
books
or
kids
who
want
to
read
books
onto
the
swings.
C
I
G
F
G
Well
also
like,
for
instance,
over
at
the
craig
park,
the
re,
the
public
restrooms
there
are
on
like
a
timer
where
they
lock
and
open
at
certain
times.
You
know
kind
of
things,
don't.
G
G
An
issue
for
public
art,
but
yeah
we're
just
painting
in
mural,
but
I'm
sure
that
they
have
a
system,
but
I
can
look
into
that
if
you'd
like
so.
C
By
next
month
I
will
have
the
measurements
for
that
building
and
you've
got
some
great
photos.
We,
we
did
have
some
as
well,
but
if
you
have
this
electronically.
A
G
Your
contest
has
gone
gangbusters
good.
I've
got
probably
about
last.
I
checked
it
was
about
278
responses.
Now,
of
course,
some
of
them
are
duplicates,
of
course,
but
we
have
them
in
constant
contact
so
that
we
can
download
them
into
an
excel
file
and
then
sort
them,
and
we
have
the
stamp
dates
on
when
we
receive
them.
So
when
you
get
them
in
the
july
meeting,
whoever
you
choose,
we,
if
it's
a
duplicate
name,
we'll
be
able
to
handle
that
that's
great
yeah,
a
lot
of
good
response,
good
names,
yeah,
very
creative,
so.
A
So
I'm
looking
forward
to
seeing
this
when
the
when
we've
passed
the
deadline,
which
is,
I
guess,
coming
up
in
a
few
weeks
right.
Yes,.
G
You'd
have
to
get
a
vote
from
the
the
board
and
then
allow
public
comments.
F
I
The
city
through
pat
mcneese,
who
I
believe
coordinated
with
tom
function,
possibly
with
public
works,
has
recommended
to
us
that
the
southern
site
for
our
gateway
should
be
the
northeast
corner
of
live
oak
and
mirs.
There
is
a
good
parcel
there,
which
contains
a
drainage
pond.
It's
all
under
city
oversight,
it's
the
perfect
location
for
people
coming
up
from
the
south.
I
I
think
we
really
need
to
look
at
the
topography
a
little
bit
more
to
see
how
much
of
it
is
level
not
prone
to
flooding,
etc,
but
it
is
certainly
the
best
location
to
the
south.
The
northernmost
point
we
decided
a
long
time
ago
is
the
city-owned
parcel
where
the
exercise
equipment
is
near,
live
oak,
so
those
two
gateways
to
introduce
tarpon
springs
to
people
who
are
using
the
trail,
bikers
walkers
runners,
etc.
I
The
two
main
ones-
water
service,
electric
graham,
has
pointed
out
a
lot
more
which
I'll
let
him
go
through,
and
then
there
are
pictures,
both
aerial
pictures
and
street
level
pictures
of
the
southern
site.
So,
graham,
if
you'd
proceed
with
your
ideas
and
then
we'll
throw
it
open
for
the
rest
of
the
committee
to
add
concerns.
E
Considerations:
yeah,
if
you,
if
you
actually,
you
know,
go
there
and
have
a
look
at
where
the
trail
crosses
mirrors.
There
you've
got
the
it's
used
as
a
divider
on
the
on
the
southwest
road
saffron,
and
so,
if
you've
got
people
on
the
trail,
children,
people
on
bicycles,
whatever
they're
going
to
have
to
cross
the
road
to
get
to
the
project.
E
If
we
want
them
to
access
the
project-
and
it's
not
a
particularly
busy
street,
but
I
don't
know
whether
we
would
have
to
have
a
crosswalk
there
of
some
kind.
You
know
whether
it
just
be
white
lines
painted
on
the
roadway
or
whether
it
has
to
be
something
more
official
or
or
what
in
order
to
mitigate
any
possible
safety
hazard.
E
You
know,
I
just
don't
know,
and
if
we
do,
how
much
would
it
cost
and
who
would
pay
for
it?
Hopefully
not
the
artist.
E
E
You
know
you
see,
you
see
those
all
over
the
place.
People
put
up,
sticks,
put
solar
panel
on
top
and
it
powers
whatever
is
at
the
bottom,
and
as
long
as
you
don't
need
a
lot
of
electricity
that
that
works,
you
can
have
storage
batteries
that
you
know
would
work
for
the
evening
and
so
on.
It's.
E
Don't
know
about
flooding
from
the
storage
pond
if
you
go
and
look
at
the
storage
pond,
there
are
two
outflows
or
inflows
from
that
pond.
One
headed
south
one
headed
west-
I
don't
know
where
the
west
one
goes,
but
the
south
one
I
think
goes
over
to
towards
certainly
towards
the
waterfield,
ditch
on
the
south
side
of
mirs,
don't
know
whether
there's
any
restrictions
on
structures
that
can
be
placed
near
those
things.
E
E
Two
other
things
one
which
is
here
in
the
list,
and
that
is
that
you're
right
on
a
corner
where
a
lot
of
there's
a
lot
of
traffic
going
to
the
city
dump.
You
know,
which
is
just
around
the
corner
there
on
mills
and.
E
A
Well,
it's
by
ordinance
part
of
the
public
art
ordinance,
we're
required
to
have
insurance
on
all
the
public
art
pieces.
E
A
E
Yeah
something
that
the
artist
is
going
to
have
to
consider
is
that
caddy
corner
from
where
this
sculpture
is
going
to
be
on
the
south
west
corner
of
that
intersection
are
a
couple
of
benches.
There's
a
trash
can
in
between
them
all
provided
by
the
city.
The
trash
can
is
anywhere.
E
I
don't
know
about
the
benches,
who
put
those
there
and
there's
a
a
pole
with
a
a
sort
of
aging
container
there
that
obviously
used
to
contain
some
leaflets
some
sort
of
advertising
literature
for
something
I
I
don't
know
what
it
was,
but
the
you
know
the
artist
with
his
sculpture
is
going
to
have
to
attract
people
away
from
that
particular
thing
which
looks
you
know,
kind
of
a
nice
place
to
sit
underneath
the
trees
in
the
shade.
J
F
J
J
I
think
some
of
what
graham
brought
up,
though
about
about
some
of
these
sites
is,
and
maybe
since
we're
revising
this
thing
to
this
safford
gateway.
You
know
the
the
whole
thing
is,
it
needs
to
be
open
and
inviting,
but
also
needs
to
be.
There
should
be
an
intimacy
to
it
once
you're
there
there
should
be
reason
to
hang
around
it.
Maybe
this
is
a
good
place
where
we
should
consider-
and
we've
talked
about
this
before
using
landscape
art
as
much
as
as
an
object.
J
Somebody
designing
something,
you
know
a
garden
or
a
you
know
a
something
that's
growing
and
to
use
up
this
way.
Of
course
you
have
more
trees
and
stuff
you
can
relate
to,
but
down
there
it
is
so
sterile.
Yes,
it
is
it's
a
road
to
the
dump
is
what
it
seems
like
yeah,
and
this
can
really
enhance
it
somewhat
yeah,
so
yeah
it's
so
that
we
might.
G
J
G
F
E
Got
the
the
museum,
the
you
know,
the
depot
and
there's
some
spare
space
there.
That
is,
is
owned
by
the
city.
I
don't
it's
not
really
spare,
but
you
could
you
know
and
that's
right,
downtown
in
in
the
old
part
of
the
town,
and
maybe
maybe
you
just
pretend
the
gateway's
there.
A
F
D
F
I
Well,
just
rifting
off
that
considering
the
northern
end,
would
you
echo
that
approach?
Would
you
create
something
entirely
different?
How
do
you
see
the
two?
It.
J
J
Things,
that's
a
continuity,
that's
really
good!
If
it
were
two
entirely
different
artists,
then
it
would
be
two
entirely
different
pieces,
but
I
think
it's
a
chance
to
to
deal
with
one
environmental
issues
still
get
your
water
feature
in
there.
Maybe-
and
it
you
know
just
brings
to
you
know
the
brings
up
the
whole
question
of
place.
In
terms
of
you
know,
a
piece
of
art
as
place
and
piece
of
art
is
as
far
as
natural
growth
or
or
design
or
whatever
it
could
be
a
plaza.
J
J
You
know
it's
something
that
we've
been
wanting
to
do
something
I
think
in
involving
environmental
kind
of
right
or
topiary
or
whatever
you
know
like
growing
stuff
living
art.
I
J
F
E
That
desolate
piece
of
wasteland-
that's
right
next
door
to
the
the
triangle
is
currently
for
sale
for
development.
It's
it's
earmarked
for
development
of
some
kind.
Maybe
the
developer
will
pay
for
this
thing,
whatever
it
is,.
A
B
Yes,
currently,
as
stated
on
the
last
and
I'll,
just
repeat
it,
let
me
get
logged
in
is
215
for
215
492
dollars
is
the
balance.
We
did
get
notification
from
pat
mcneese
that
take
five
car
wash
has
come
in
for
site,
work
and
building
permits.
Instead
of
doing
public
art,
they
will
be
paying
into
the
fund
and
the
amount
of
payment
due
will
be
ten
thousand
five
hundred
dollars.
B
It
has
not
been
paid
yet,
and
so
it
will
be
due
on
the
final
inspection,
so
that
is
and
then
actually
I
just
got
an
email
excuse
me.
I
was
reading
my
email,
but
it
is
pertinent
to
our
discussion.
Right
now.
Is
the
north
lake
estates,
residential
planned
development
project
has
applied
for
their
site
work
permit.
B
B
A
Thank
you
next
one,
the
tarpon
springs
library,
25th
anniversary,
I'd
like
to
defer
that
I've
been
looking
at
some
various
grant
opportunities.
I
haven't
come
up
with
anything.
Yet
I've
been
poking
around.
There
are
some
things
out
there:
the
cra
production,
art
diane.
We
have
nothing
this
month,
no
okay,
new
business,
the
children's
art.
To
date,
we
haven't
had
any
response
from
the
library
or
parks
and
rec
about
getting
the
children's
art.
Coincidentally,
carrie
was
here
just
before
the
meeting
started
and
she's
going
to
check
up
on
it.
A
If
none
is
forthcoming,
we'll
just
have
to
like
to
defer
this
to
next
month,
and
you
know
see
if
we
get
any
children's
art,
if
not
we'll
just
proceed
as
usual.
With
the
you
know,
the
art
boxes,
okay,
the
ordinance
workshop
is
wednesday
june
29th
at
2
p.m.
I
believe
it's
going
to
be
here.
G
Yes,
and
thank
you
to
every
to
graham
and
joan,
who
gave
us
great
input
for
in
preparation
for
the
workshop
megan
did
a
great
job,
putting
together
a
binder
for
you,
so
every
ordinance
from
all
those
cities
and
are
in
alphabetical
order
in
your
binders
and
and
also
the
comparison
sheet
that
graham
and
joan
found
that's
in
there.
G
C
A
The
thing
is,
I
think
I
think
if
we
look
at
these
things,
a
lot
of
them
are
boilerplate.
Okay,
you
know
they
follow
a
certain
pattern,
like
the
definition
of
what
a
building
is
so
on
and
so
forth.
What
I
think
I
would
like
us
to
do
is
to
focus
on
just
some
high
points.
A
A
What
percentage
of
the
project
most
municipalities
seem
to
be
at
one
percent,
and
the
other
thing
too
is
this
is
not
financial,
but
I
would
like
to
amend
the
student
member
on
the
committee
to
be
an
ad
hoc
member
without
a
vote,
because
I
think
that
while
we
would
love
to
have
a
you
know,
a
younger
person
and
a
student
on
the
committee,
I
I
think
that
they're
not
quite
prepared
to
to
vote
on
what
we're
dealing
with
and-
and
I
was
wondering
if
this-
let's
start
with
lucy
ann.
A
I
Well,
I
I
think
the
big
consideration
for
me
is
whether
we
continue
to
allow
developers
discretion
exactly
or
do
a
simple
pay-in
to
the
fund
right.
A
E
Yeah,
the
many
of
the
municipalities
separate
out
their
ordinances
into
two
parts.
One,
the
organization
of
their
public
art
committee
and
and
the
the
other
part
is
usually
is
a
completely
separate
part
of
their
ordinances,
which
is
the
funding
of
the
public
art
committee
and
and,
and
ours
is
all
sort
of
co-mingled
together
and
I'm
not
sure
whether
we
shouldn't
do
something
similar
to
that
and
and
make
some
changes
that,
I
think,
are
long
overdue.
On
the
organization
of
the
public
art
committee,
you
mentioned
one
of
them.
E
That
there
could
be
some
stronger
language
in
there
for
advising
the
commissioner
board
of
commissioners
as
to
how
the
progression,
through
the
committee
from
non-voting
member
to
voting
member,
ought
to
work
regardless
of
what
they
actually
do,
because
I
noticed
they're
not
really
concerned
about
that
of
late.
For
whatever
reason
you
know,
I've
been
a
beneficiary
of
that,
so
I
think
I
can
bring
it
up
without
any
fear
of
of
people.
Thinking
I'm
doing
sour
grapes,
but
you
know,
maybe
we
want
to
put
something
like
that
in
there.
E
Maybe
there
are
other
things
in
the
organizational
rules
that
we
want
to
change
in
addition
to
how
to
get
more
money
out
of
the
art,
techs.
F
G
F
J
I'm
just
happy
that
we're
doing
this,
it
will
go
a
long
ways
to
just
sort
of
putting
things
putting
things
in
in
a
way
that
makes
it
work
better
for
us
right
and
the
city.
D
A
Okay,
so
we'll
see
you
all
here,
wednesday
june
29th
at
2
p.m,
I'm
going
to
go
out
a
little
bit
out
of
order
here
tina.
Would
you
like
to
make
your
comment?
I'm
not
going
to
keep
you
waiting
just.
K
Very
briefly,
I'd
like
to
say
that
I
really
appreciated
the
pac
committee.
The
way
that
this
that
this
board
showed
respect
and
concern
for
the
input
of
the
community,
and
I
would
like
to
respectfully
suggest
that
when
there
are
projects
that
have
to
do
with
the
greektown
historic
district,
that
perhaps
you
might
consider
giving
some
similar
kinds
of
opportunities
for
input
from
the
community,
of
course,
you're
lucky
to
have
lucian
who's,
one
from
one
of
the
oldest
families
in
the
community.
K
A
G
Oh,
my
staff
comments
was
basically
just
about
the
public
art
ordinance,
the
workshop
and
just
you
know
what
we've
got
for
you.
We've
got
your
nice
big
notebooks,
so
please
bring
those
with
you
and,
like
I
said,
use
highlighters
use
paper
clips
use
whatever
you'd
like
so
that
we
can,
you
know,
really
be
productive.
Just.
C
G
Well,
I
think
once
we
identify
the
changes
that
we
would
like.
You
know,
I
think
I'll
try
try
to
take
a
stab
at
him,
adding
them
to
the
ordinance
and
then.
A
Right,
it
has
to
be
done.
Look
at
yeah,
I
mean
there's
a
particular
format.
It
has
to
be
done
in
a
strikethrough
right.
So
what
might
be
the
most
efficient
thing
to
do?
Is
and
I'd
be
willing
to
take
this
on.
We
could
collate
the
the
comments
that
we
have.
I
could
type
them
up
so
that,
if
they
do
have
to
go
into
you
know
into
the
ordinance,
maybe
making
all
she
have
to
do
is
copy
and
paste
them
in
you
know,
you
know,
with
striking
out
the
you
know
the
old
text.
F
A
As
I
said,
I
don't
anticipate
a
lot
of
changes
in
the
boilerplate
right,
so
I
you
know,
I
don't
see
this.
You
know
going
on
for
20
000
pages,
but
you
know,
as
I
said,
I
think
you
know
we'll
just
look
at
the
main
points
that
we've
discussed
and
I
think
if
we
concentrate
on
that.
G
I
think
like
what
graham
man
mentioned
about,
take
a
look
when
you
go
through
some
of
these
other
cities.
Is
that
how
they
structure
it?
Because
we
could
actually,
you
know,
maybe
organize
it
in
a
little
bit
better
way
that
it
seems
more
logical
when
you
read
it,
you
know
kind
of
thing
like
this
is
for
developers.
This
is,
for
you
know,
participants
this.
You
know
this
is
how
you
know
kind
of
thing.
Just
a
little
bit
logical,
yeah,
right.
A
Well,
actually,
what
the
format
that
graham
suggested
to
me
at
least
makes
the
most
sense,
but
maybe
you'd
like
to
email,
tom
trask
and
ask
him
what
would
involve
you
know,
transitioning
from
the
ordinance
the
way
it's
written
now
to
like
a
two-part
ordinance.
It's
just
a
matter
of
doing
subtitles
or
you
know.
B
I
Just
to
be
clear
on
the
safford
gateway
project,
I
don't
see
if,
if
we're
going
in
the
direction
direction
of
a
landscape,
call
and
I'll
draft
that
for
the
next
meeting,
that
sort
of
obviates
the
questions
to
staff
about.
F
F
E
In
the
in
the
minutes
for
the
may
11th
meeting
item
four,
it
said
deb
mckinney
and
troop
721
postponed
to
the
june
8th
meeting.
I
believe
this
is
the
june
8th
meeting.
F
G
Haven't
heard
anything
from
her
yeah,
no,
she
she
said
that
she's
having
a
hard
time
getting
the
kid
rallying,
the
the
kids,
so
she
wanted
to
just
go
ahead
and
defer
it
until
further
notice.
Okay,.
A
A
I
think
this
has
been
an
extraordinarily
productive
meeting
and
looking
forward
to
shredding
our
ordinance
and
replacing
it
with
something
that
really
makes
sense,
and
I
will
let's
see
the
meeting
is
adjourned
at
3
27
pm
our
next
regular
meeting,
and
there
was
an
error
on
the
agenda-
is
july,
13th
at
2
p.m.
Diane
tried
to
sneak
us
past
july,
but
I
caught
her
okay
meeting
adjourned.