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From YouTube: Public Art Committee August 10, 2022
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A
A
C
A
Here
we
are
joined
by
two
of
our
new
alternates
today,
elainey,
better
known
as
biba
christopolous
and
nick
welcome
aboard
guys.
Thank
you
thanks.
I
gather
you've
been
sworn
in
and
told
all
about
the
you
know,
sunshine
laws
and
I
run
the
meeting
according
to
robert's
rules
and
despite
my
kind
of
silly
persona,
I
run
a
tight
meeting
so
behave
and
even
though
legally
you
guys
don't
have
a
vote,
I
always
listen
to
you
you're,
always
given
a
chance
to
speak,
so
I
just
want
you
to
be
aware
of
that.
A
We
usually
go
in
order
around
the
days
and
everyone's
given
a
turn,
and
I
would
also
really
encourage
you
to
think
about
some
projects.
You
can
bring
back
to
the
committee
because
we
are
also
the
source
of
the
art
projects
as
well
as
the
implementers
of
them
so
and
nick.
If
you
would
just
want
to
give
a
brief,
a
brief
overview
of
your
you
know,
art
experience.
C
Well,
a
lifelong
residence
here
tarpon
springs
grew
up
mainly
in
the
greek
culture
you
know,
and
down
at
the
sponge.
Our
boat
yard
has
been
there
since
1913.,
I'm
the
guy.
That
makes
the
diving
helmets
I
mean
we
can
we
can.
We
can
cut
to
the
chase
in
that
respect,
but
you
know
I
do
a
number
of
other
things
and
and
all
but.
D
B
E
B
B
You
know,
probably
the
last
six
to
ten
years,
but
I
lived
in
greece
for
10
years
before
that
was
teaching
and
making
art
and
being
a
professional
photographer
there
as
well
grew
up
in
tarpon
springs
and
upon
return,
worked
with
the
city
on
several
grant
projects
through
the
nea
and
humanities
council,
on
the
documentary
and
on
some
photography
exhibits.
So,
but
you
know
a
lot
of
family
history
in
turpin
as.
A
Well,
I
think
we've
got
a
really
good
group
here,
so
we
have
two
guests
with
us
who
are
going
to
be
making
presentations
christine
rank
carter
from
the
leipa
ratner,
museum
of
art
and
elizabeth
indianos.
A
F
A
Okay
hearing
then
I'll
move
to
accept
the
minutes,
as
submitted
all
in
favor
hi.
All
right,
any
opposed.
Thank
you.
Minutes
are
accepted
as
submitted
and
now
for
our
guest
speaker
rank
carter.
Is
the
newly
appointed
executive
director
of
the
leipa
ratner
museum
of
art?
Congratulations
christine
on
your
selection.
A
The
the
mayor
and
the
spc
provost
rod,
davis
had
met
and
are
would
like
to
foster
a
closer
working
interaction
between
lerma
and
the
city,
and
the
pac
is
an
obvious
choice
to
help
foster
this
relationship.
D
Oh,
thank
you
so
much
this
is.
This
is
an
honor
to
be
able
to
to
meet
you
all
face
to
face.
I
know
it's
been
a
a
long
couple
of
years,
doing
things
on
zoom
and
we're
just
getting
back
into
in-person
events
and
things
like
that
at
a
somewhat
comfortable
level.
Now,
but
it's
my
honor
to
be
here.
As
joan
mentioned,
I'm
christine
rick
carter.
I
was
the
curator
for
the
leiper
ratner
museum
of
art
for
about
six
years.
Until
just
maybe
six.
D
No
two
months
ago
I
became
executive
director,
and
with
that
I
also
have
experience
working
for
st
petersburg
college
throughout
the
campuses.
As
the
curator
for
the
foundation,
I
have
a
long
history
in
north
pinellas
county.
My
parents
are
artists,
they
own
the
painted
fish
gallery
in
dunedin,
so
I'm
a
north
pinellas
county
girl
and
I'm
really
excited
to
be
able
to
see
how
we
can
partner
more
with
the
city
of
tarpon
springs
and
unite
north
pinellas
county,
because
we
are
just
as
awesome
as
south
county
and
trying
to
bridge
that
gap.
D
So
we're
working
on
a
lot
of
partnerships
throughout
throughout
pinellas
county
and
with
saint
pete
institutions
like
american
stage
and
our
sister
institution
under
st
p
college,
the
palladium
so
I'm
hoping
that
there
are
ways
that
we
can
really
integrate
with
you
all
in
the
public
arts
committee
to
find
ways
to
do.
City-Wide
celebrations
get
beyond
the
walls
of
the
museum
because
we're
not
some
old
fuddy-duddy
institution.
We
have
a
lot
going
on
and
actually
I
think
robert
stackhouse
can
probably
attest
to
that,
as
our
current
exhibition
features
robert
stackhouse
and
carol
mickett.
D
So
I'm
really
here
to
just
introduce
myself,
and
I
know
that
dr
rod
davis,
our
provost-
could
not
be
with
us
today
and
he
sends
his
regrets,
but
we're
excited
to
be
working
with
you
all
and
with
the
mayor
on,
hopefully
some
great
projects
just
to
give
you
a
little
bit
of
a
background
on
what
we've
been
doing
and
for
those
of
you
who
might
not
be
familiar
with
the
museum.
I
know
some
of
you
are,
but
the
museum's
celebrating
its
20-year
anniversary
this
year,
which
is
kind
of
a
big
deal
for
for
us.
D
We
started
off
the
year
with
a
a
celebration
of
our
masterworks
and
our
mission
this
summer.
We
focus
on
florida
artists,
which
is
why
we're
celebrating
carol
mickett
and
robert
stackhouse
with
the
balance
of
water
exhibition
that
celebrates
a
part
of
our
collection,
that's
very
important
to
our
mission,
which
is
florida,
artists
and
fine
crafts
of
the
southeastern
united
states.
D
This
fall
we're
celebrating
everything
architecture
related
for
those
of
you
who
know
edward
hoffman,
who
has
been
sort
of
a
favorite
son
of
tarpon
springs
and
is
an
architect
of
many
of
our
amazing
properties
around
the
city.
He's
also
responsible
for
designing
the
leeper
ratner
museum
of
art,
so
this
fall
we're
we're
doing
everything
related
to
architecture
and
celebrating
his
legacy
as
he
steps
into
the
next
phase
of
his
life
retiring
soon.
D
We've
been
working
closely
with
the
college
and
different
departments
to
to
kind
of
bring
bring
the
museum
into
the
21st
century,
and
with
that,
that's
something
I.
I
hope
that
we
can
discuss
further
at
some
time
to
somehow
become
a
destination
and
a
cultural
hub
for
pinellas
county
and
for
tampa
bay,
but
also
making
shining
a
light
on
the
city
of
tarpon
springs.
So
I've
mentioned
some
collaborative
ideas
with
joan
and
hoping
that
we
can.
D
As
you
might
have
heard
about
a
year
ago,
the
museum
went
through
a
transition
under
st
pete
college.
We
were
a
stand-alone
501c3
as
a
direct
support
organization
of
the
college,
and
last
year
we
transitioned
into
being
a
full
department
of
the
college,
which
is
great
because
we
have
like
this,
this
army
of
experts
behind
us
that
can
help
us
with
anything
we
need
with
that.
D
D
D
Our
current
exhibitions
that
we've
been
doing
this
summer
with
balance
of
water
and
florida's
waterways.
Those
exhibitions
will
be
up
through
august
27th
if
you
haven't
seen
them
yet.
You
should
definitely
come
learn
a
lot
about
florida's,
waterways
and
climate
change,
and
I
want
to
give
kudos
to
carol
mickett
and
robert
stackhouse
for
being
so
involved
and
really
uplifting.
Tarpon
springs
in
many
many
ways,
including
not
only
educational
components
but
bringing
the
community
and
their
neighbors
to
the
museum
and
really
getting
that
synergy
going
as
well.
D
Just
so
you
know
with
our
fall
exhibitions
they
open
september
16th.
That
is
followed
by
smithsonian
free
museum
day
on
september
17th.
I
encourage
you
guys
to
come.
We
will
be
posting
a
lot
of
programs
on
our
website
and
I
just
found
out
this
morning.
Creative
loafing
best
of
the
bay
has
nominated
our
20th
anniversary
exhibition
for
best
of
the
bay
museum
exhibit
award.
So
I
encourage
you
all
to
enter
your
vote.
D
We
I'm
sure
you
know
several
people
who
have
been
nominated
for
all
kinds
of
things,
but
I
think
shining
a
light
on
snapey
college
and
the
museum
and
our
great
area
of
tarpon
springs.
It's
it's.
It's
a
joy.
We
try
to
we'll
take
whatever
we
can
get,
but
I
don't
know
if
you
have
any
questions
for
me.
I
just
wanted
to
say
hello
and
introduce
myself,
and
I
hope
that
we
can
at
some
point
have
you
all
come
to
the
museum.
I'd
love.
To
give
you
a
personal
tour.
D
We
have
a
lot
of
exciting
things
planned
and
I
hope
that
you
guys
can
be
a
part
of
it
and
on
your
way
out,
I've
left
some
of
our
wrap
cards
for
our
current
exhibitions
that
celebrate
robert
and
carol
and
more
information
about
the
museum
and
our
fall
exhibitions.
So,
thank
you
guys.
You
got
any
questions
for
me.
E
B
A
G
Glad
to
see
you
here
as
opposed
to
me
going
there
but
yeah
congratulations.
I
know
that
we'll
figure
something
out
and
it'll
be
of
great
benefit
to
both
organizations.
D
Well-
and
I
want
to
thank
you
and
thank
you
william
as
well-
I
am,
I
haven't-
had
the
chance
to
meet
some
of
you
before
and
graham,
I
think
you
came
to
our
20th
anniversary
reception
and
I
talked
to
you,
for
I
think
it
was
probably
the
first
time
I
met
you
and.
G
D
F
Well,
christine
after
working
with
you
this
past
spring,
I'm
putting
this
show
together
even
longer
than
that.
I
I
just
want
to
commend
you
for
how
well
you
did
that,
how
how
really.
F
D
Oh
great,
oh
thank
you
and
it's
been
a
a
pleasure
too.
You
know
with
our
collection.
I
don't
want
to
keep
you
guys.
I
know
you
have
a
full
agenda,
but
I
one
thing
I
did
want
to
mention
with
the
museum's
collection
being
half
of
it
being
focused
on
florida,
artists,
which
is
something
that
I'm
very,
very
integrated
and
deeply
rooted
in
this
exhibition
really
was
a
warm
welcome
to
robert
and
carol.
D
I
know
it's
they've
been
in
the
community
for
a
few
years
now,
but
this
really
was
a
debut
for
them
to
our
neighbors
and
our
friends
and
we're
just
deeply
honored
to
have
them
in
our
community,
especially
with
christopher
still
and
alan
lipa's
legacy,
and
all
of
these
other
artists
that
live
in
in
dunedin
and
clearwater,
that
we
tried
to
elevate
everybody
and
and
and
present
them
to
give
a
warm
welcome
to
robert
and
carol.
So
thank
you.
D
F
E
C
I'd
like
to
congratulate
you
as
well
for
getting
out
of
the
you
basement,
and
you
know
the
museum
has
always
been
a
gem.
You
know
in
the
community
and
I
suspect
it
will
keep
on
shining.
You
know,
congratulations
again,.
B
D
Absolutely,
oh,
we
will
be
trust
me.
We
will
be
partnering
quite
a
bit
and
you'll
be
seeing
me
on
on
friday
at
the
fall
faculty.
If
you're
there,
we've
got
a
lot
of
a
lot
of
stuff
planned,
so
I'm
excited
to
actually
finally
meet
you.
I've
seen
your
name
quite
a
bit.
Okay,.
A
Well,
in
the
interest
of
full
disclosure-
I
guess
I
should
have
mentioned
that,
I'm
on
the
advisory
board
of
the
lerma,
and
I
have
a
suggestion
for
you
to
bring
back
to
dr
davis.
Okay,
since
we
are
talking
about
synergy
and
partnerships
and
collaboration,
I
thought
it
might
be
appropriate
to
invite
diane
absolutely.
A
H
A
H
H
One
of
my
main
articles
was
about
the
libra
ratner
museum
and
you
know
showcasing
that
because,
like
you
said,
there's
lots
of
museums
in
the
tampa
bay
area
and
I
felt
like
that
one
didn't
get
as
enough
media
attention
that
it
deserved.
So
we
did
I'll
have
to
give
you
a
copy
of
that
article.
But
I
would
love.
D
H
D
Well,
we
would
love
to
have
you
involved
in
the
advisory
capacity
at
the
museum,
and
I,
especially
that
is
part
of
the
the
my
main
vision
for
making
this
whole
area
more
of
a
destination
is
through
aggressive
marketing.
We've
we've
been
getting
more
and
more
attention
in
the
media,
especially
in
the
past
year
or
so
with
our
exhibitions,
and
it's
it's
worth
putting
the
extra
time
in
to
make
sure
that
between
social
media
and
whatever
we
can
do
to
generate
interest
is,
is
very,
very
needed.
H
Well-
and
you
know
it's
in
our
will
house,
because
as
director
of
cultural
and
civic
services
for
the
city
of
tarpon
springs,
you
know
when
we
elevate
our
culture
and
the
arts
in
our
city,
it.
You
know
it
benefits
everybody.
So
you
know.
D
Thank
you.
Thank
you.
Thank
you.
Well,
I
don't,
unless
you
guys,
have
any
other
questions
I'll
I'll
take
my.
I
think
we
can
let.
D
Thank
you
and
thank
you
again
for
your
time.
This
is
just.
I
know
that
you
all
do
so
much
for
the
city.
I
do
a
lot
of
work
with
the
public
art
committee
in
the
city
of
dunedin,
and
I
know
it's
a
big
job.
Somebody's
got
to
do
it
and
I'm
thrilled
to
to
finally
see
you
all
in
person
and
and
can't
wait
to
see
what
comes
of
all
of
this.
So
thank
you
very
much.
Thank
you.
A
Okay,
elizabeth
batter
up
elizabeth
has
revised
her
proposal
for
the
film
in
support
of
this
blessed
plot
this
earth.
I
I
So
I'm
congrats
to
christine
I've
worked
with
her
for
as
long
as
I've
been
at
the
college
in
some
capacity
in
the
basement
or
above
the
basement
and
she's
one
of
the
best
we're
really
our
community
is
in
great
hands
under
her
direction.
Diane's
direction
your
direction,
joan
we're
really
on
a
roll.
I
think
so
it's
happy
to
see.
There's
four
artists
on
this
panel-
that's
terrific!
I
I
did
have
an
opportunity
to
listen
to
your
last
meeting
in
july.
I
I
listened
to
it
online
and
I
don't
know
if
that's
where
you
want
to
take
off
or
if
you
want
me
to
read
my
proposal
to
you
again
or
in
what
way
you
want
me
to
move
forward
here
on
this.
Perhaps.
I
I
Okay,
the
comments
that
I
recall
from
the
july
meeting
were,
I
think,
a
suggestion
by
you
joan
about
doing
two
different
proposals
or
addressing
the
list
of
the
characters.
I
call
them
characters
because,
as
a
writer
and
a
filmmaker
and
a
painter,
a
narrative
painter,
those
are
characters
to
me,
and
I
have
to
say
that
I
I'm
not
keen
on
that
idea,
the
reason
being
as
a
multi-disciplinary
artist.
I
I'm
a
storyteller
and
the
idea
of-
and
I've
played
this
out
with
the
director
of
the
dunedin
fine
arts
or
museum
there,
and
several
others
who
wanted
me
to
talk
about
the
mural
when
they
came
to
visit,
people
from
out
of
town
came
and
dunedin
museum
came,
and
so
they
said
well,
will
you
talk
about
it,
and
so
my
natural
instinct
was
to.
I
Start
addressing
the
characters
telling
them
the
overview
going
character
by
character,
but
with
with
things
I
had
to
say
about
the
play
about
the
the
actors
that
played
the
parts
about
I've,
I've
written
like
a
diary
from
day
one
as
I
worked
there
in
the
middle
of
covid.
So
I
had
plenty
of
time
to
just
be
by
myself.
Diane
would
open
up
for
me
and
I'd
be
there,
and
so
I
wrote
a
lot
of
my
thoughts
on
each
character.
I
I
wrote
about
how
I
felt
children
were
going
to
respond,
how
my
own
grandchildren
were
going
to
respond.
There
are
a
lot
of
things
that
and
I
think,
good
storytelling,
which
I
think
I'm
not
a
bad
one.
You
can
bring
in
to
compel
people.
For
example,
let's
just
start
with
the
alligator
virgil,
the
alligator,
who
was
the
alter
ego
blog
persona,
my
good
friend,
susie
gablic,
a
world
renowned
art
critic
who
just
recently
passed
that
was
a
she
had
a
blog
about
virtually
alligator,
and
that
was
in
my
mind.
I
remember
talking
to
her.
I
She
was
blind
and
deaf
at
the
time
and
sings,
but
she
could
hear
somewhat
standing
in
front
of
the
alligator.
There
was
just
an
eyeball
and
the
teeth
there
and
she
wanted
me
to
describe
virgil
and
she
said:
does
he
have
a
big
toothy
grin?
I
said.
Oh
yeah
he's
got
a
big
toothy
grin
you
know
I.
I
might
not
include
that
in
a
film,
but
I
would
include
possibly
in
talking
about
the
alligator
and
what
kind
of
alligator
he
is.
I
I
would
show
how
he
evolved.
I've
taken
a
bunch
of
pictures,
diane
you've
got
some
of
them.
I
even
made
myself
little
video
clips
of
me
painting
on
some
of
them,
but
I
do
also
have
that
alligator
turning
into
a
character
in
his
costume
for
the
first
time
saying
things
like
yeah,
I'm
a
I'm,
a
regular
dinosaur
and
I've
been
here
longer
than
any
of
you
people.
You
know
I'm
a
dragon
in
the
garden
of
eden.
I
I
I
don't
feel
comfortable
as
an
artist
who
addresses
multi-disciplinary
work
to
say
well,
here's
a
list
of
characters
and
here's
what
I
was
thinking
about
them,
because
it
all
just
sort
of
comes
forth,
as
I
think
about
it.
That's
how
I
approached
it
when
I
gave
some
a
few
talks,
not
a
lot
of
them,
but
people,
I
think,
felt
a
sense
of
completeness
about
what
was
my
inspiration
and
what
they
were
seeing,
how
I
felt
about
the
color
I
mean
here
I
was
you
know
in
lockdown,
not
knowing.
I
If-
and
this
is
everybody's
heard-
these
stories
now
are
we
going
to
live?
Are
we
going
to
die
so
my
colors
are,
I
think,
more
exaggerated,
because
I
emotionally
was
on
this
roller
coaster,
not
knowing
every
day
those
greens
that
you
saw
they
were
there
very
electric
at
times
for
those
kind
of
reasons.
I
don't
think
I
would
go
into
that
to
talk
about
covet
or
anything
like
that,
but
I
would
have
a
very
personal
response
to
the
characters.
I
How
they
came
to
me
what
they
mean
to
me,
what
that
inspiration
was
so,
I
feel
less
compelled
to
make
a
list
of
them
and
then,
oh
by
the
way,
here's
another
little
15
minutes
of
what
I
was
thinking,
they're
very
integrated.
So
that's
my
response
to
listening
to
you
all
talking
just
briefly
about
that
aspect.
You
are
a
great
storyteller,
oh
well!
Thank
you.
I
Well,
thank
you.
I'm
a
terrible
speaker.
I
hate
to
speak,
I'm
nervous
as
heck.
You
know
I
I
introverted
me
does
not.
I
only
talk
because
I
have
to
have
something
to
say,
but
I
don't
feel
comfortable
doing
it,
but
so
what
I
think
that
this
would
be
these
films
and
by
the
way
the
city
of
tarpon
springs,
can
put
them
wherever.
Yes,
it
seems
appropriate
right
there
in
front
of
the
mural
and
and
perhaps
where,
where
you're
at
diane
or
whenever
the
city
wants
to
use
them.
It
doesn't.
I
You
know
that's
up
for
the
public
art
committee
and
and
you
to
decide
and
the
city
to
decide,
but
I
see
it
as
a
supplement
to
people
coming
to
see
the
mural
could
be
anywhere
in
the
city.
I
I
started
writing
down
lines
and
I
just
started
painting
at
the
same
time
so
they're
very
integral
to
each
other,
and
that's
how
I
would
like
to
approach
the
film
if
possible,
people
want
to
hear
me
talk
about
it
and
that
was
a
takeaway
when
I
did
meet
people
there
that
they
wanted
to
know
and
they're
overwhelmed
by
as
a
rule
they're
overwhelmed
by
so
much
to
look
at
the
costumes
and
all
these
characters
and
then
to
just
have
that
little
bit
of
what
inspired
me
and
what
some
of
them
said
in
the
play,
even
if
it
wasn't
the
actor
which
I
do
have
footage
of
the
actors.
I
You
know
some
of
the
lines
they
said,
for
example
the
owl
at
the
end,
she's
the
closing
character.
Graham,
you
know
well
you
had
to
time
your
music
so
carefully
to
that
to
that
for
me
and
appreciate
that
she
talks
about
when
did
the
this
is
a
line.
I
When
did
the
concept
of
home
start
to
come
to
me
and,
and
she
talks
as
an
owl,
she
talks
as
a
community
member.
She
talks
about
someone
who
is
inspired
by
the
culture
of
tarpon
springs
and
even
florida
you
could
say,
and
she
says,
did
it
start
that
day
you
know
from
the
sky.
When
I
looked
down
and
saw
my
community,
that's
paraphrasing,
but
she
never
realized
it
more
than
from
the
sky
from
the
god
view
down.
That's
what
the
owl
says.
So
I
mean
I
I
would
like
to.
I
I
can
see
my
voice
overlaying
some
of
these
pictures.
I
don't
feel
comfortable
with
the
camera
focused
on
me.
I'm
sure
there
will
be
some
times
that
we
would
put
that
in,
but
I'd
rather
my
voice
run
along
as
parts
of
the
mural
are
brought
to
life
and
discussed
and
we
could
integrate
little
films
I
made.
I
know
when
I
painted
the
rattlesnake.
I
was
creeped
out.
You
know
I'm
not
a
big
snake
person
and
I
remember
for
family
and
friends.
Videoing
me,
oh
the
rattlesnake.
I
You
know,
but
then
again
the
gentleman
whose
son
was
in
the
play.
Who
was
panther
boy,
I'm
trying
a
blank,
but
he
works
with
the
city
and
he's
over
at
the
co
at
the
cultural
center.
His
son
played
the
panther
as
soon
as
his
son
came
in.
He
just
ran
right
to
it.
You
know
it
was
like
the
snake,
so
you
know
people
different
people
have
different
reactions
and
snakes
are,
you
know,
treated
differently
in
different
cultures,
worshipped
as
healers
and
whatnot.
I
So
without
that
cultural,
just
bias,
there's
people
have
different
reactions.
So
that's.
If
anybody
has
any
questions,
I'm
happy
to
address.
E
I
Yeah
I
mean
at
times
you
know
I
mean
like
I'm
not
going
to
have
the
wood
duck
morph
into
I
mean
because
I
don't
he's
not
wood
ducks
are
not
in
the
play
and
some
of
the
birds
aren't,
but
you
know
they
could
be
mentioned,
like
probably
each
character
in
the
play
had
an
audition
for
me,
out
of
hundreds
that
could
have
been
pictures.
I've
taken
pictures
that
you
find
and
they
were
morphed
and
changed.
I
So
maybe
I'll
say
that
maybe
I
won't
but
when
appropriate
and
when
I
can
do
it,
keeping
within
the
the
very
sound
context
that
diane
suggested
you
don't
want
us
to
be
an
hour.
I
mean
I
can
see
it
being
25
30
minutes
35,
you
know,
I
you
you
just
can't
let
it
I
mean
editing
is
profound.
You
go
through
every
clip
and
every
possibility
and
I
think
in
some
ways
it's
harder
than
painting
that
mural
that
took
a
year.
I
You
know
it's
really
a
hard
and
tedious
job
number
one
rule
is
you
can't
break
the
rule
of
being
boring
and
tedious?
That's
an
athletic
you're
a
filmmaker.
You
know
I
mean
you
that
has
to
go
you're,
you
have
to
kill
your
darlings.
You
can't
put
everything
in
there.
You
have
to
tell
a
story.
You
have
to
be
absolutely
riveting
in
every
story.
You
tell
and
leave
your
like.
What's
that
saying,
make
them
laugh,
make
them
cry,
make
them
wait.
I
E
B
D
I
Think
I
think
you're
right
william,
because
I
mean
this
mural
came
about
in
the
late
70s
and
I
had
to
work
with
people.
There
was
a
historical
book
about
the
city
of
tarpon
springs
by
gertrude
for
getting
stouten,
and
there
were
many
people
I
mean
I
came
here
because
I
got
a
national
endowment
grant
from
the
arts
to
come.
Help
further,
enhance
and
define
the
identity
of
tarpon
springs.
I
So
as
a
newcomer
here
back
in
the
70s,
you
know
I
I
I
learned
a
lot
about
the
city
and
the
the
founding
families
and
what
was
important
to
people
and
read
the
historical
books
and
whatnot
and
talk
to
people
who
are
from
here.
Well
what?
I
What
do
you
think
about
these
animals
and
these
birds
and
that
so
that
laid
the
foundation
and
those
characters
that
I
developed
years
ago
show
up
again
in
a
refreshed
version.
For
example,
you
know
I
painted
on
a
building
outside,
and
cars
were
whizzing
by
and
you
had
to
really
reduce
colors
to
like
three
colors
and
you
had
to
make
a
more
of
a
cartoon.
This
is
more
of
a
painting
because
the
distance
is
right.
There
right,
where
you
are
you,
you
can
see
it.
I
So
I
changed
a
lot
of
things,
but
the
characters
are
very
important.
They
were
a
long
time
in
coming
here.
I
did
change
characters
of
just
one
character,
one
or
two,
but
I
refreshed
it
and
I
made
a
lot
of
personal
eye
contact.
In
other
words,
the
deer
in
the
first
one
from
many
years
ago,
is
looking
sideways.
I
G
Yeah,
first
of
all,
thank
you
for
coming.
G
What
I
was
hoping
for,
whether
whether
we
get
it
or
not
right
is,
is
a
two-part
thing.
Two
different
and
distinct
videos
movies,
whatever
the
one
would
be
the
show
itself,
probably
edit
it
down
for
for
length
and
and
so
on,
into
a
a
smaller
format,
but
having
the
characters
that
you're
looking
at
on
the
screen
and
you're.
Looking
at
on
the
in
the
mural
itself,
telling
their
stories
in,
in
your
words
that
you
gave
them,
because
the
the
show
itself
was
very
moving
very,
very
powerful.
G
I
saw
it
any
number
of
times,
as
you
know,
and
and
it
it
really
appealed
to
me.
So
I
would
like
to
see
something
like
that.
It
doesn't
have
to
be
the
full
hour.
You
know
I
mean
it
doesn't
have
to
be
all
the
intros
and
and
so
on.
It
just
needs
to
get
the
characters
stories
or
the
essence
of
the
characters
stories
out
there
in
the
characters,
own
words
and
with
the
music
and
the
dance
and
and
so
on
to
explaining,
so
that
anyway,
you
get
the
picture.
G
The
other
half
is
the
the
the
not
alternate
but
additional
thing,
which
is
what
you've
described
here,
which
is
the
artist's
view
of
of
of
these
characters.
Of
of
you
know
why,
when
you
walk
into
that
room,
you
have
this
incredibly
colorful
mural
in
front
of
you
that
grabs
your
attention
and
you
can't
look
at
all
of
it.
G
You
you
have
to
look
at
a
piece
and
then
another
piece
and
then
another
piece
and
and
and
I
think
that
listening
to
your
voice
and
also
looking
may
you
know
maybe
looking
at
the
screen
as
well.
While
you
are
examining
this,
this
entire
mural
would
be
a
very,
very
interesting
thing
for
many,
many
people,
and-
and
so
you
know
that
that
was
my
take.
Is
I
don't
want
to
see
just
one?
I
want
to
see
two.
I
Yeah,
I
I
I
understand
completely
and
I
whatever
production
I
made
at
the
museum,
where
you
did
no,
no
nothing,
and
that
was
glorious
production
that
you
and
dee
were
also
involved
with,
was
a
theater
production
that
then
became
a
film
production
that
then
was
shown
in
tampa
in
different
venues
and
libertaire.
I
We
produced
it
two
years
in
a
row
and
had
film
of
that
it
was
way
longer
than
the
film.
You
know
the
I
made
a
film
of
that
having
had
footage,
and
so
with
everything
I've
done,
theater
focusing
on
theater
or
in
this
case
a
mural.
There
has
been
a
film
component.
I
too,
and
many
people
who
are
still
asking
me.
When
can
we
see
it
again?
Are
you
going
to
produce
it
again?
When
is
it
going
to
be
not
going
to
produce
it
anytime
soon?
I
I'll
tell
you
that,
but
I
do
have
hopes
to
have
a
film
version
of
this
blessed
plot
this
earth.
It's
just
a
big
job.
I
I
embrace
it.
I
want
it
that
needs
to
happen,
but
I
think
it's
a
another
project,
but
I
am
fully
intent
on
making
that
happen
and
I'm
working
with
this,
the
city
and
and
and
you
know
and
then
whatever
way
I
have
to
do
it,
but
I
think
that's
another
gigantic
proposal,
but
for
right
now
I
think
it
would
be
good
even
as
a
like
a
a
morsel.
I
You
know
to
be
a
supplement
to
going
there.
I've
had
the
experience
already
of
talking
about
it.
Didn't
take
that
long.
I
could
do
a
better
job
in
a
film
that
people
could
see
and
then
I
think
absolutely
I'm
all
on
board
to
then.
Let's
talk
about
a
film
45
minutes,
that's
what
it
was
like.
50
minutes
total
just
let
people
see
that
and
like
they
can
see
libertare
if
they
want
they
can
see.
No,
no,
nothing
if
they
want.
I
They
can
see
snippets
of
waiting
for
guacamole
if
they
want
things
that
I
produced
years
ago.
So
I
think
that's
a
huge
aspiration
that
I
am
very
intent
on
satisfying
and
by
the
way
grampy
keeps
talking
about.
He
was
involved,
it's
very
difficult
to
get
sound
in
music,
sound
effects
and
music
and
to
work
with
a
composer
who
has
an
original
score
like
mike
amish
did
so
graham,
was
kind
enough
to
work
with
me
and
the
minute
that
music
plays
that's
when
the
actors
start
coming
out.
F
Robert
elizabeth
you've
you've
obviously
done
this
all
before.
F
And
I
I
sort
of
hear
you
you're
saying
that
this
there's
some
some
about
this-
that's
kind
of
almost
amorphous
in
a
way
in
that
that
it's
it's
not
defined
yet
you're
going
to
be
finding
this
in
this
process,
how
you
do
it
and
you've
you've
found
it
before,
so
I
have
every
faith
that
you'll
do
it
again.
Thank.
I
I
You
know
I'll
start
that
way
to
retrace
my
steps
and
I'll
also
hold
on
to
remembering
the
audience
response,
meaning
not
the
people
who
saw
the
play,
but
people
from
dunedin
arts
and
whatnot
that
when
I
did
talk
about
it
to
them
and
unfold
my
process,
I'm
just
rattling
fast,
because
I
think
nobody
wants
to
hear
me
talk.
I
You
know
and
I'm
like,
oh
and
then
they're
like
wait,
wait,
wait,
wait
what
what
now
and
they're
looking
and
people
want
to
know
they
want
to
know
what
the
artists
thought
and
what
inspired
them
and
that's
what
I'm
trying
I'll
keep
rolling.
I
In
my
mind,
too,
what
are
some
of
those
unique
things
and
diane
pointed
it
out
in
a
very
significant
way,
because
I
was
thinking
well
we'll
interview
the
mayor
and
we'll
talk
and
we'll
see
what
everybody
thinks
and
she
said
people
don't
they
want
to
know
something
that
we
really
don't
have
readily
available.
What
were
you
thinking?
I
H
What
did
you
think
yeah?
Can
I
make
a
comment
based
on
that
sure
yeah
when
elizabeth
kind
of
chatted
with
me
about
this
before
she
brought
it
to
the
public
art
committee?
We
had
a
really
long
conversation
about
it.
H
You
know
I
think
you
have
to
you
know,
keep
in
mind
like
what
the
purpose
of
this
film
would
be
for
and
really
it's
kind
of
like
when
you
walk
into
the
cultural
center
into
that
gallery,
and
you
see
that
mural
you're
just
taken
back
by
its
beauty
and
the
colors
and
everything,
and
you
want
to
know
more
about
it,
you
want
to
know
like
wow.
Well,
you
know
what
is
it's?
The
history
of
tarpon
springs.
H
You
know
sections
of
it
or
she
might
you
know,
hone
in
on
a
particular
character,
but
it's
got
to
be
something
that's
informative,
as
well
as
showing
the
artistic
side
and
what
was
in
the
mind
of
the
artist,
because
that's
what
people
want
to
know,
you
know
and
that's
why
I
said
they
don't
care
about
who
you
know
liked
it
and
who
did
that
you
know
about.
You
know
that
kind
of
thing:
it's
like
they're
there
to
find
out.
Why
did
you
paint
this
mural?
What
is
it
about?
You
know?
H
So
that's
basically,
when
you
know
our
conversation
is
that
and
that's
kind
of
where
she
started
and
being
the
artistic
person.
She
is
she'll
morph
and
you
know
knowing
elizabeth
there's
a
lot
to
tell,
but
if
you're
going
to
cut
it
down
to
25
to
30
minutes,
you
know
she's
going
to
have
to
edit
herself
along
the
way
and
say.
Is
this
person
that
important?
What's
what
are
the
most
important
people
in
there
or
animals?
And
how
do
we
want
to
tell
this
story?
You
know
kind
of
thing.
H
I
agree
that
the
the
theatrical
part
of
it
was
was
poignant
and
beautiful
and
everything-
and
she
did
a
great
job
on
that,
and
so
did
everybody
involved.
But
it's
like
it
is
a
separate
entity.
You
know
kind
of
thing
so
yeah,
that's
you
know,
that's
her
challenge
is
to
get
it
into
a
point.
That's
informative,
that's
of
interest
and
people
are
going
to
want
to.
You
know,
tell
people
about
it
and
you
know
bring
more
people
in
to
see
it.
I
I
You
know
we
have
to
communicate
so
yeah.
I
I
I
think
I
I'm
almost
to
a
fault.
I
think
I'm
like
I.
I
would
just
think
this
is
crap.
You
know
people
don't
want
to
know
that.
I
mean
you
or
told
me
something
I
didn't
know
people
want
to
know
what
inspired
you.
I
never
never
dawned
on
me.
I'm
thinking.
Oh
all,
these
people,
you
know
and
city
hall,
should
say
something.
No,
I
mean
I
I
will
try
to
keep
a
close
reign
on
wandering
off.
I
It
cannot
be
boring,
that's
just
a
curse.
You
know
it
has
to
be
something
that
reaches
out
and
connects
with
everyone.
I
think
that's
my
goal
anyway,
emma
you
did
a
great
job
with
that
aerial
shot,
starting
with
your
film
that
first
epiphany
dive
ariel
did
a
great
film.
We
better.
We
better
move
this
a
little
bit.
Yes,
I'm
sorry
get
a
hook
quickly,.
C
You
know
I
was
in
the
play.
It
was
an
honor
being
involved
in
it
with
liz,
I
loved
what
she'd
done.
C
I
like
the
ideas
that
she's
putting
forward
now,
but
I
I
I
agree
with
graham
at
a
certain
level
that
you
know
not
just
talking
about
the
piece
and
bringing
the
characters,
but
you
know
some
of
the
beauty
that
was
involved
in
the
in
the
production
itself,
capturing
that
on
film
you
know
they
put
a
lot
of
effort
into
you,
know,
filming
and
the
the
ballet
and
the
dancing
you
know
and
things
it
was.
It
was
really
a
nice
interpretation.
C
You
know,
I
think
it
would
be
something
that
I
think
the
viewer
you
know
of
what
you're
creating
you
know
would
be
drawn
to
you
know
just
like
any
artist,
you
know
what
are
we
trying
to
do,
trying
to
first
get
you
to
be
interested
in
not
find
it
boring
and
turn
away,
but
then
you
know
evoke
an
emotion
in
the
viewer
and
all
and
get
them
to
start
asking
questions
like
with
any.
You
know
what
is
this?
What
was
it
about?
Who
were
these
people
and
also
yeah?
C
I
mean
I
like
it
and
all,
but
I
agree
with
graham
you
know
that
it'd
be
nice
to
bring
in
the
the
other
aspect
of
it
of
the
play
and
all
not
just
the
mural
and
all,
but
how
the
mural
came
to
life
and
all
so.
B
Feva
yeah
I
mean
I
did.
I
saw
the
the
performance,
it
was
one
of
the
most.
You
know
moving
and
inspiring
things.
I've
seen
it
over.
E
B
So
yes,
it
was,
but
I
do
understand
that
it's
a
completely
separate.
You
know
issue
from
a
film
perspective.
Like
that's
true,
that's
a
lot
to
try
to
try
to
do,
but.
C
B
I
mean
what
diane
said
about
the
context
of
where
it's
going
like
you
know,
people
are
going
to
want
to
know
things
and
they're
going
to
have
to
you
know
that
pace
is
going
to
be
important
to
keep
people
interested
so
yeah
I
mean,
I
think
you
know
normally
looking
at
a
film
proposal.
I
would
you
know
I
would
want
to
kind
of
see
a
film
treatment
and
kind
of
more
specifics,
but
also
seeing
what
you've
done
and
that's
the
that's.
G
A
B
B
We
talked
about
kind
of
allowing
the
the
artist
to
have
an
idea
of
where
they
wanted
to
put
what,
depending
upon
how
the
building
was
situated
and
and
the
design
of
it
to
try
to
hit
both
sports
a
little
bit
and
we
set
a
thousand
dollars,
and
I
put
october
first
and
you
can
see
the
dimensions
and
the
photos
for
the
concession
stand:
storage,
restrooms.
I
guess
it
is.
G
That
looks
good
to
me.
Excuse
me.
I
just
want
to
confirm
that
what
we're
doing
is
we're
asking
for
only
the
first
side
for
the
one
thousand
dollars.
That's.
B
Not
the
way
I
walked
out
here,
the
last
time
I
I
understood
that
we
were
going
to
put
it
out
there
for
a
thousand
dollars
and
see
what
we
got
back
with
some
ideas.
So
I
you
know
it
may
break
down
into
multiple
projects
potentially,
but
I
think
that
that
was
the
mission
I
was
given
the
last
time
I
left
there
from
the
july
meeting.
G
A
G
F
B
B
A
Okay,
just
a
point
of
clarification
for
nick
and
viva.
One
of
the
issues
we've
had
in
the
past
with
commissioning
work
was
the
insane
cost
of
liability,
insurance
and
market
projects
determined
that
yesterday.
A
B
F
F
F
B
F
B
Just
to
eliminate
that
south
face
right,
you
know
the
soliciting
original.
A
Great
all
in
favor,
any
opposed
need
opposed.
Okay
motion
passes,
okay
project
updates,
okay,
diane
and
I
will
do
a
tag
team
on
this
one,
the
black
heritage
project.
I
received
an
email
from
stephen
oliver
that
he
has
been
in
touch
with
diane
about
the
contract,
he's
signed,
notarized
and
mailed
back
two
copies
to
the
city
clerk
which
diane
confirmed
were
received.
A
He
has
an
insurance
quote
that
he
will
activate
upon
the
signing
of
the
contract,
he's
been
in
touch
with
his
material
suppliers,
and
I
have
been
sending
him
little
news
clips
and
various
informational
pieces
about,
like
the
the
city,
received
a
a
grant
for
a
project
in
the
union
academy
neighborhoods,
which
is
where
one
of
the
sculptures
is
going
to
be
located.
A
So
I've
been
sharing
that
information
with
him,
which
is
permitted
so-
and
I
did
ask
him
to
just
on
gp,
to
keep
me
and
diane
informed
prior
to
each
one
of
the
pac
meetings,
because
we'll
be
doing
a
monthly
update,
so
diane.
H
So,
like
john
said,
the
clerks
did
receive
his
notarized
contract
that
was
drawn
up
by
our
city
attorney
tom
trask,
and
so
now
it's
in
mark's
la
course's
hands
and
he
has
scheduled
it
for
the
august
23rd
board
of
commissioners
meeting.
B
H
I'm
going
I'm
actually
before
I
came
here
today.
I
was
writing
the
memo
background
memo
memo
for
that
meeting,
form
city
manager,
of
course,
and
I
will
also
contact
mr
oliver
and
make
sure
that
he's
available
for
that
meeting.
So.
A
H
Have
we
done
it?
No,
we
have
not
no.
G
I'll
need
to
reiterate
that
we
should
send
it
to
the
local
colleges
and
schools,
as
well
as
the
normal
places.
I
think.
H
H
But
not
the
lower
the
middle
or
elementary.
F
F
G
B
C
I
see
up
there.
Okay,
I
don't
really
have
any
input,
I'm
just
kind
of
learning
and.
C
A
Okay,
basically,
it's
a
pretty
efficient
system.
The
sides
of
the
art
boxes
are
30
by
30
inch
vinyl
panels,
and
we
now
have
an
extra
complete
set
of
panels
when
the
images
are
selected
from
the
submitted
ones
by
us.
We
select
30,
it's
just
40.
Now
right,
there's
you
know,
each
box
has
two
different
images:
we've
been
using
a
local
tarpon
springs
printer
and
what
he
does
is
he
will
make
a
decal
of
the
image.
A
And
backlit:
okay,
it's
got
a
solar
powered
panel,
so
they
don't
need
wiring
and
the
inside
the
frame,
there's
a
string
of
leds
so
and
they're
on
a
light
sensor.
So
when
it
gets
dark
enough,
the
the
sensors
come
on
in
the
boxes.
So
what
happens
now
is
when
we
change
the
images
out
now
that
we
have
all
the
extra
panels.
We
didn't
get
them
the
first
time
around,
because
we
couldn't
the
vinyl
panels
were
in
high
demand
as
coveted
barriers,
so
they
were
like
just
totally
unavailable.
A
So
we
were
lucky
to
get
what
we
did
so
now
that
we
have
the
extras
we
can
send
the
images
I
usually
drop
it
off
on
a
thumb,
drive
or
dianda's
and
obviously
it's
a
square
format,
so
whether
it's
square,
horizontal
or
vertical
they'll
all
fit.
You
know
with
some
kind
of
border
and
so
he's
going
to
print
them,
put
them
on
all
the
panels
and
then
now
he
can
at
the
same
time
you
can
take
out
the
old
one
and
just
slide
in
the
new
one.
A
They
just
slide
in
and
out
just
like
a
little
hinged
side
on
the
bottom.
C
So
then
this
becomes
a
call
to
artists
to
submit,
and
this
can
be
I
mean
it
sounds
like
it
you'd
be
able
to
do
photography.
You
know
not
just
you
know,
paintings
and
and
things
but.
A
Right
and
the
each
accepted
image
is
a
hundred
dollars.
The
artist
retains
the
piece,
because
all
we
need
is
the
image
and
diane
posts.
The
you
know
like
a
directory
of
sorts
on
the
tarpon
arts
website.
You.
B
A
A
You
know
people
that
might
just
be
starting
out.
It's
it's
really
nice.
I
know
I
had,
I
think,
the
first
round
of
boxes,
this
woman
bicycled
all
the
way
up
from
dunedin
with
her
husband
to
there's
my
there's,
my
painting,
you
know
in
one
of
the
art
boxes,
so
you
know-
and
you
know,
we've
been
getting
some
very
impressive
submissions
and
then.
A
We've
been
changing
them
out
like
once
a
year
right
there,
yeah
yeah,
you
know
it's.
Usually
we
try
to
get
them
up
before
the
season
starts.
Sure.
So,
there's
you
know
a
new.
A
A
C
A
F
Well,
I
think
I
think
disagreement
the
the
nature
of
where,
where
it
is,
you
you're
almost
have
a
theme
anyway
built
into
the
thing.
It's
just
sort.
B
F
A
A
A
B
A
B
B
A
H
A
A
C
A
G
A
A
100
100
and
they
get
their
picture
taken
with
the
mayor
and
the
pelican.
We
do
a
little
press
release
and
there's
going
to
be
a
plaque
next
to
x,
pelican.
C
A
A
Where
the
yeah.
B
E
G
E
E
E
I've
included
a
rough
map
for
you
and,
if
you're
holding
it
so
that
the
white
building
is
at
the
bottom,
that's
the
shopping
center
and
then
this
red
triangle
across
the
trail
from
it,
is
roughly
the
parcel
we're
talking
about
the
parcel
is
actually
much
bigger
than
the
than
the
red
triangle
parameter
in
the
gis
department
is
working
on
giving
us
a
gis
map
of
that
parcel
to
go
along
with
the
call
for
artists
and
she'll
have
changes
in
elevation
as
well
as
dimensions.
E
My
first
question
to
you
is
whether
to
make
this
a
request
for
qualifications
from
artists
or
a
request
for
actual
proposals
joan
when
you
directed
the
black
heritage
project,
you
asked
for
actual
proposals,
correct
right
and
got
a
pretty
good
number.
41
was
no.
We
got
14.,
oh
14.,.
E
A
E
The
other
approach
and
I've
had
a
conversation
with
barbara
sinclair
at
creative
pinellas
about
this.
She
is
a
proponent
of
asking
artists
for
to
submit
their
qualifications,
including
similar
projects,
portfolio.
E
A
That
makes
a
lot
of
sense,
and
I
see
the
word
jury,
so
I
am
assuming
that
we
are
going
to
put
a
selection
panel
together,
like
we
did
for
the
black
heritage
project,
and
I
assume
you're
going
to
chair
it.
E
And
I'll
be
I'll,
be
soliciting
any
of
your
recommendations
for
people.
E
You
know
arts
professionals,
they
don't
have
to
be
from
tarpon,
but
they
do
need
to
have
qualifications
in
either
public
art.
Our
special
landscaping
category
that
we've
worked
into
the
new
ordinance
ordinance.
B
E
And
I've
described
that
here
in
this
proposal.
So
all
right,
so
are
you
suggesting
requests
for
qualifications.
A
I
think
in
this
instance
it's
appropriate.
I
think
the
black
heritage
project
was
more
interpretive,
so
I
think
an
rfp
worked
for
that,
but
I
I
agree
with
you
100
on
this
one.
Okay,
it's
got,
I
think
we
already
have
the
site
and
I
think
it's
a
little
more
technical.
A
You
know
what
you're
looking
for
in
terms
of
you
know
creating
this
this
piece,
you
know
you
know
you
kind
of,
I
think,
know
what
you
want.
You
just
want
to
find
somebody
who's
capable
of,
as
you
said,
first
accomplishing
it
and
then
yeah
you
know,
so
I
think
that
would
okay,
no,
I
was
I
was
thinking
you
know
you're
this.
This
is
this
is
moving
along.
Well,
so
I
think
that,
maybe
by
the
september
meeting
you
could
come
back
with
the
selection
panel
and.
E
The
process
we
would
follow,
then,
is
that
the
jury
would
look
at
at
all
of
these
qualified
entrants
pick
up
to
three
of
them
and
give
them
a
working
budget
of
twelve
hundred
dollars
to
come
back
with
more
fleshed
out
design
well
with
design
concepts
period,
because
we
won't
have
seen
their
ideas
at
that
time.
Okay-
and
you
know
the
jury
may
decide
to
go
with
just
one,
but
we
would
budget
for
up
to
three
with
say
a
twelve
hundred
dollar
budget.
How
does
that
sound?
Okay,.
E
A
F
That
sounds
great
and
the
the
request
for
qualifications.
I
think
you
you
get
people
who
are
more
prepared
for
this
instead
of
somebody
having
to
stop
and
designed
something
out
of
the
blue.
F
A
lot
of
these
people
who
are
going
to
respond
to
this
are
going
to
be
responding
to
20
others.
You
know
so
you
you
want
to
really
have
as
wide
a
an
attraction
as
you
can
have,
I
think,
and
the
the
other
process
of
of
a
a
panel
that
that's
run
by
lucian
and
and
professional
people.
F
E
E
And
her
first
and
overriding
message
to
me
was:
why
are
you
calling
this
a
gateway?
You
know
that
immediately
for
an
artist
clues
portal
arch,
you
know
gateway
over
the
trail
and
yet
it's
over
on
the
side,
with
no
real
portal
kind
of
kind
of
meaning.
So
I
dropped
the
gateway,
but
carol
also
suggested.
I
talk
to
the
county
and
see
whether
there
is
any
possibility
of
the
project
intruding
over.
E
The
county
and
the
part
of
the
county
that
is
responsible
for
the
trail
did
work
with
creative
pinellas
on
the
the
murals
that
are
on
each
of
the
tunnels
and
there's
been
some
press
coverage
on
that.
A
May
I
just
ask
diana
a
question
before
you
go
on
diane?
Is
it
within
our
purview
to
solicit
possible
commercial
contributors
or
sponsors?
Like
a
sports
warehouse,
you
know
sporting
goods,
company
or
a
bike
company.
I.
A
We
can
that's
another
thought
we
might,
I
think
a
good
place
to
start
might
even
be
with
you
know:
eddie
milali,
in
the
bike
shop
on
the
on
the
trail.
E
Beer
for
the
committee,
I
need
your
help
in
the
project
goals.
This
is
one
of
the
areas
that
carol
said
needed
to
be
worded
in
a
way
that
gives
some
kind
of
visual
prompts
to
an
artist
who
would
be
responding.
E
H
You're
going
to
do
a
selection
committee
lucian,
I
think
this
is
just
a
suggestion,
but
in
order
to
kind
of
like
qualify
this,
you
know
very
specifically
because
you
might
want
to
get
different
people
on
your
selection
committee
like
a
landscape,
architect
or
you
know,
different
and
then
maybe
together
in
your
first
meetings.
You
know
maybe
come
up
with
some
of
these.
You
know
defining
this
a
little
bit.
You
know
more
from
their
perspective
and
their
expertise.
It
might
help
you
know
with
the
call
to
artists.
H
You
know,
I
don't
know,
because
I'm
I
don't.
If
I
was
an
artist
and
I
was
reading
this
now,
I
would
be
a
little
confused
still
on
what
you're
looking
for.
So
that's
why
I
was
thinking
if
you're
going
to
get
a
selection
committee
together,
you
might
want
to
have
them.
You
know
help
you
help
define
some
of
these
project
goals
and
considerations,
and
things
like
that.
That's
just
a
suggestion.
A
That's
kind
of
what
we
did
with
the
black
heritage
project.
Actually
there
was
a
good.
You
know,
I
mean
you
know
there
were
you
know,
historians,
and
you
know
people
from
the.
You
know
union
academy,
neighborhood
and
you
know
artists
and
museum
people.
So
you
know
that's
you
know
if
you
get
a
good
good,
strong
selection
panel,
that
would
they'd
probably
be
able
to
give
you
the
guidance.
E
A
Right
again,
if
anybody
I'm
obviously
not
a
bicyclist,
but
you
know,
but
people.
H
What
I
think
that's
such
a
bit:
it's
such
a
visual
area,
so
you
know
when
I
go
to
winn-dixie
or
something
and
I'm
coming,
you
know
along
it's
like.
I
turn
there
all
the
time
you
know
in
my
car,
so
pretty
good,
dunkin
donuts,
but
but
anyway
you
know
it's
like.
So
it's
not
just
the
bicyclists
and
the
walkers.
It's
people
that
are
driving
too
that
are
going
to
see
this
so.
E
H
H
That
in
mind
you
know,
I
don't
know
you
know
it's
just.
It
seems
like
it's
a
great
opportunity,
but
then
to
flush
out
like
what
kind
of
media
or
it's
like
what
you're
you're
looking
for
and
that's
where
I
think,
if
you
have
like
somebody
on
the
committee,
that
you
know
his
good
with
architecture,
landscape
and
different
things
or
and
other
artists,
I
don't
know
yeah.
E
I
I've
been
searching
for
projects
in
earth
art
and
not
not
finding
too
many.
Oh
good
will
really
be
original.
It's
back
in
my
youth.
B
Bill
the
pragmatic
side
of
me,
just
when
I
look
at
that
plot
of
land,
there's
a
large
drainage
swale
there
so
and
we
have
to
and.
B
A
G
An
art
project-
that's
half
swamp-
is
just
totally
appropriate.
I
I
think,
on
the
on
the
goals:
lucianth,
the
introducing
national
national
natural
elements
essential
to
the
community,
for
example,
native
flora
and
water.
I
think
that
that
is
going
to
be,
to
my
mind,
is
absolutely
key.
G
G
And
I
kind
of
like
the
idea
of
having
the
you
know,
as
robert
mentioned
before,
about
having
you
know,
perhaps
berms
and
additional
dirt
brought
in
there
and
having
it
built
up
a
little
so
that
perhaps
you
know
people
can
sit
on
that
county
provided
bench
and
look
at
it.
H
E
F
F
F
Yeah,
you
don't
want
one
of
those
there,
because
people
just
go
go
right
by
it.
I
mean
it's
called
drive
by
art.
You
know,
and
you
know,
drive
by
art
projects
are.
Are
I
don't
think
what
we're
looking
for
with
this
now
we're
looking
for
something
where
people
probably
want
to
be
there
for
a
little
bit.
They
want
to
linger,
I
mean
they
want
something,
and
but
it's
really
hard
to
do,
I'm
thinking
of
a
piece
in
saint
pete
that
is
very
different
than
what
they
expected.
F
I
think
it
was
for
the
courthouse
building
and
it's
a
series
of
12
chairs,
12
red
painted
chairs,
different
sizes,
different
type
of
chairs.
You
know
and
the
whole
thought
is
you
know
in
a
perfect
world.
Oh
people
go
sit
on
this.
No,
they
don't
all
right,
because
he
wants
to
sit
on
something
like
that
in
the
middle
of
a
hot
day.
There's
no
shade!
There's
no!
F
You
know
there's
nothing
other
than
just
the
chairs
you
know,
and
so
so,
whatever
whatever
goes
there,
I
think
has
to
be
inviting
to
be
there
once
you're
once
you
want
to
be
there.
It's
not
just
a
gate
to
go
under
or
or
go
by.
I
think
it's
something
that
hopefully
we
can
stop
somebody.
You
know,
like
you
know,
hot
dog
standards,
I
don't
know
you're
going
to
have
those
along
separate
they're
developing.
F
I
mean
that's
kind
of
going
to
keep
getting
more
and
more,
and
but
this
whole
idea
of
how
do
we,
you
know,
invite
somebody
to
stay
there.
It
needs
to
be
inviting
to
to
sort
of
you
know.
I
I
think
everybody
else
has
sort
of
been
talking
about
this
little
way,
but
it
needs
to
be
enticing
to
what
tarpon
springs
means
and
what
it
is
and
what
it
promises.
F
You
know
it's
it's
and,
and
it
ties
in
with
the
history
of
of
tarpon
springs.
It
has
to
in
some
way.
But
you
know
how
do
you
make
that
I
mean
that's
where
the
call
for
qualifications
they're
going
to
teach
us
eventually,
you
know
like
those
people
who
are
are
doing
it,
and
and
now
that
I'm
talking
about
it,
it
sort
of
takes
away
from
call,
for
you
know,
call
for
projects.
You
know,
because
people
are
going
to
throw
you
some
really
weird
ideas
about
what
they
could
do
with
this.
F
F
And
you
know
I
I'm
just
thinking
of
the
places
in
new
york
and
washington
dc
and
out
in
california,
places
that
have
done
this.
F
Unfortunately,
there's
a
couple
more
numbers:
there's
a
couple
of
more
crooked
numbers
in
the
budget.
E
F
Points
yes,
the
qriket
numbers
in
the
decimal
points.
Those
things
are
are
going
to
bring
in
a
whole
different
realm
of
people.
Who
do
do
this?
I
mean
I
I've
done
a
project
in
toronto,
where
somebody
had
made
their
living
doing
sculptures
of
storm
drains
physically
making
the
storm
drain
and
and
cities
would
commission
this
person.
They
would
be
art
pride,
the
water
would
spiral
down
in
certain
ways
and
also
so
so
there
was
sculptural.
This
is
back
70s,
you
know,
but
how
do
you?
How
do
you
call
for
that?
F
F
Yeah
interactive
can
break
down
a
lot
of
time
or
be
broken
right,
purposefully
and
stuff
like
that.
I
mean
there
is,
and
the
the
thing
about
creating
a
place
is
you're,
creating
a
a
like
a
kind
of.
C
B
F
In
lawsuits,
and
so
so
we
aren't
doing
that
in
a
way
and
any
any
big
sculptural
project
is
going
to
have
that
element
of
danger
in
it
that
can
climb
it
and.
F
Well
place
making
is
one:
yes,
yes,
and-
and
that's
that's
a
key
word
for
a
lot
of
people
in
in
that
there,
that
that
you're,
not
necessarily
looking
for
a
statue
or
a
arbor.
You
know
something
like
that.
You
know
so
place.
Making,
I
think,
is
a
really
opens
it
up
to
a
lot
of
other
kinds
of
things
place,
making,
including
earthwork
landscape
design.
Things
like
that.
H
And
maybe
for
your
selection
committee,
you
look
for
an
urban
planner
who
who
go?
Who
are
specializing
in
place,
making
you
know
kind
of
thing,
because
you
know
you've
got
that
big
retail
area
right
behind
it.
That
is
going
to
be
eventually
beautiful,
but
people
yeah.
I.
C
H
Eventually,
but
but
keep
in
mind
that
you
know
people
are
going
to
be
there
shopping
and
in
this
area
you
could
have
a
piece
of
artwork
that
the
kids
could
play
on.
You
know
their
families,
you
know
or
whatever,
so
I
mean
that
whole
place.
Making
thing
is
so
hot
now
and
I
would
love
to
see.
Tarpon
springs
get
into
some
of
that
yeah.
C
And
all
perhaps
all
you
could
really
hope
for
that
is
to
just
to
make
it
more
attractive
than
it
is
now
I
mean
it
may
only
be
landscaping,
it
may
only
be
it
is.
Does
it
have
utilities
there?
Will
there
be
available
electric
and
water?
Would
that
be
an
option
for
whoever
takes
on
the
project?
I
mean
I'm
just
thinking
of
the.
C
C
B
A
C
H
C
You
know
you're
more,
creating
a
feeling
and
and
something
that
this
is
nice
as
opposed
to
a
piece
of
art
or
something
going
there.
I
mean
that's
just
the
yeah
my
feelings
and
then
the
you
know
the
the
little
low
spot
there
that
I
see
you
know
again
if
we're
creating
a
beautiful
landscape
of
something
that
can
be
part
of
the
you
know,
part
of
it.
You
know
water
and
all,
but
well.
C
F
B
No-
and
I
was
thinking
the
same
thing
because
I
was
confused
as
to
whether
or
not
we
were
looking
for
a
piece
of
art
or
a
place.
You
know
those
are
the
things
that
were
going
through
my
head
too.
So
I'm
glad
that
that
you
know
starting
to
get
clarified
and
I
think
that's
really
what
this
needs
is
more
thought
in
that
direction
and
more
you
know
in
the
call
to
be
more
specific
to
gear
it
towards
you
know
what
you
want
rather
than
leaving
it.
B
A
G
I
think
it's
him
again.
Excuse
me.
I
think
it's
important
to
stress,
though,
that
you
know
we're
we're
not
looking
for.
G
G
You
know
where
the
road
goes
through
and
you've
got
all
these
little
mock
greek
statue,
and
you
know
that
anybody
like
that
would
just
be
dis,
disqualified.
You
know
that
we
are
looking
for
as
as
as
robert
says,
some
place
that
you
would
find
attractive.
That
makes
you
stop
instead
of
cycling
or
walking
or
driving
past,
and
you
know,
invites
you
to
start
learning
about,
tarpon
springs
and
it's
environs.
A
B
The
current
balance
as
of
july
31st
is
232
573
dollars.
This
includes
a
new
developer
contribution
that
was
made
in
july.
The
owner
is
island
center
core
incorporated
and
they
develop.
They
contributed
24
474.53.
B
A
Okay,
thank
you
very
much.
The
cra
mural
project.
There
are
no
submissions.
The
ordinance
edits
review
the.
G
A
Oh
there's
nothing
happening
with
the
library.
Do
you
want
to
give
it
one
more
try
to
maybe
reach
out
to
carrie?
I'm
kind
of
I
tried
diane
and
I
had
a
meeting
with
carrie
and
and
todd
eisner.
I
just
can't
get.
I.
A
A
H
A
A
Okay,
new
business,
glenna
goodacre,
the
story
time
bench
diane
and
I
had
a
conversation
about
possibly
replacing
the
the
wooden
existing
wooden
bench
with
a
metal
bench
and
if
we
decide
to
do
that,
would
this
have
to
be
custom
made?
Would
we
where
would
we
get
it
from?
And
I
had
another
interesting
thought
on
my
way
over
here.
A
H
Well,
the
the
whole
issue
is
the
fact
that
this
wooden
bench
is
really
not
designed
to
be
in
the
elements
it
was
originally
in
a
showroom,
and
so
you
know
they
tried
to
go
ahead
and
put
all
kinds
of
varnish
and
everything
on
it.
H
You
know
how
long
it
was
gone
and
you
know
for
the
curing
process
and
everything,
but
they
use
the
you
know
maritime
you
know
stuff
and
and
when
I
was
over
at
the
cultural
center
I
I
periodically
go
and
look
at
it
and
it's
just
with
the
sun
beating
down
on
it
and
that
western
exposure,
it's
just
it's
looking
rough.
You
know,
I
remember
when
they
took
the
bench
when
they
took
they
had
to
go
ahead
and
store
the
sculpture
over
there
at
the
cultural
center,
and
it's
very,
very
heavy.
H
B
H
Just
something
it's
sitting
on:
it
could
be
a
rock.
It
could
be
a
you
know
whatever
you
all
want,
but
I
just
feel
if
we
leave
it
there.
You
know
unless
somebody
walks
up
to
it
and
it's
you
know
and
examines
it.
They're
not
gonna,
know
that
it's,
but
I
can
see
it
and
it's
not
the
color
that
it
was
when
they
first
put
it
there.
So
I'm
just
thinking
you
know,
I
don't
think
it's
worth
you
spending
the
money
to
try
to
refinish
it
again,
because
it's
really
was
never
designed
for
that.
A
Okay,
would
it
be
possible
to
research
what
a
replacement
bench
and
or
seat
would
cost
and
then
bring
it
back
to
us,
because
I
don't
think
we
have?
Does
anybody
feel
the
need
to
settle
on
this
today?
Okay
and
we're
getting
like
graham.
G
Yeah,
I
would
suggest,
rather
than
something
metallic,
which
is
going
to
require
maintenance
of
some
sort.
How
about
stone.
G
A
Yeah
well:
listen
while
we're
in
the
topic
of
benches
you're,
you're,
a
metal
worker,
one
of
the
issues.
It's
we
haven't,
had
any
incidents.
Yet
there's
no
one
to
see
now
pete
the
pelican
is
on
a
metal
bench.
That's
also
in
the
sun
and
there's
always
been
a
concern
about.
You
know
people
sitting
on
this
hot
metal.
A
G
C
C
A
A
A
C
As
far
as
alternatives
to
wood,
I
mean
you
know
the
the
the
products
I'm
trying
to
think
what
it's
called.
You
know
the
people
and
do
their
stairs
and
rails.
C
I
C
I've
used
it
in
some
of
the
projects.
I've
done,
you
know
the
houses
we
built
down
with
the
sponge
docks
and
seem
to
work.
You
know
hold
up
pretty
nicely
way
better
than
the
wood
and
no
maintenance.
You
know,
I
know,
there's
different
levels
of
quality,
I'm
trying
to
think
trex,
I
think,
was
one
brand
and
I
can't
think
of
the
other,
but
they
made
significant
leaps
in
the
technology.
A
Nick,
could
you
take,
could
you
take
this
on.
A
It's
you
know
the
the
bench
issue.
A
A
Okay
staff
committee,
public
comments
and
announcements,
I'm
going
to
kick
this
off.
I
was
at
a
the
board
of
commissioners
meeting
last
night
and
they
annexed
the
new
car
wash
on
the
corner
of
klostermann
and
19..
A
Okay,
my
question
is:
is
if,
if
something
like
that
which
was
recently
developed,
they
demolished
the
existing
structure
that
was
on
that
property
which
had
been
it
was
mike's
car
wash
and
a
small
used
car
showroom
and
built
this
elaborate
new
car
wash
and
it's
it's
being
annexed
back
into
tarpon
springs.
Where
does
that
leave
us
in
terms
of
a
public
art
contribution?
A
A
B
It
probably
depends
on
the
permit
if
the
permit
was
pulled
through
the
city.
You
might
have
some
legs,
but
if
it
wasn't
no.
G
I'd
say
this
was
definitely
a
case
for
the
ordnance
edits
falling
down
on
the
job
and
not
including
that.
A
Well,
that's
exactly
reading
my
mind.
No
that's
one
of
the
reasons
I
pursued
it
because
diane
I'll
forward
you
the
email,
okay,
okay
and
then
you
could
send
it
out
to
everybody,
because
it's
as
I
said
before,
I'm
meeting
with
the
city
manager,
of
course,
on
the
18th.
G
G
G
B
H
And
the
pelican
and
different
ones
that
we've
had
in
the
past
remember
the
publicity
I
gave.
G
H
G
No,
you
know
I
joined
about
a
year
ago
and
I
just
hadn't
seen
anything
but
then
you
know
I
don't
always
read
it
from
cup
to
cover
you
know
and
it
it
does
come
email
side.
It
escapes.
G
Eventually,
the
this
is
number
two.
Eventually,
the
commission,
the
boc
are
going
to
meet
and
discuss
the
ordinance
changes
that
we
want
and
no
doubt
if,
if
we
get
everything
that
we're
asking
for
in
that,
then
there's
going
to
be
a
lot
of
people
at
that
public
meeting.
Who
are
going
to
be
against
it
because
they
don't
want.
G
They
probably
won't
want
the
lower
limit
right
brought
down
from
a
million
dollars
to
250
000
and-
and
I
was
thinking
that
it's
never
too
soon-
to
get
your
ducks
in
a
row
and
that
we
might
all
want
to
think
about
not
only
attending
that
meeting
but
also
having
some.
A
Well,
I
already
know
that
there
has
been
opposition
by
staff,
so
that's
the
first
thing
we're
going
to
have
to
deal
with.
That's
that's,
who
I'm
going
to
be
meeting
with
on
the
18th.
So
if
you
have
any,
you
know
thoughts
about
that,
maybe
send
them
to
diane.
I.
E
I
would
say
the
clearest
thought
is
that
that's
a
policy
area
and
that's
within
the
purview
of
the
commission
and
its
advisory
bodies.
G
Yeah,
but
I
think
we're
going
to
have
to
get
up
and
speak
because
otherwise
our
voices
would
be
drowned
out
by
the
people
who
are
going
to
go
there
and
speak
against
it.
A
And
yeah
person
to
person-
and
I
guess
the
the
bottom
line
is
that
you
know
as
a
group
or
we
cannot
discuss
among
ourselves
something
that's
going
to
come
up
for
a
vote
among
ourselves,
because
it's
considered
collusion
like.
G
A
G
Number
three:
okay,
sorry,
there's
published
on
the
city
of
tarpon
springs
website
is
the
the
budget
for
the
2023
financial
year.
G
It's
there
in
two
forms,
one
in
interminable
detail,
which
is
very
hard
to
read
and
the
other
in
a
sort
of
summary
form
which
is,
for
you
know
normal
people
to
read
and-
and
I
pulled
out
some
pages
from
it,
which
I
thought
were
were
kind
of
interesting
and
the
public
art
fund.
Actual
revenue
for
2020
was
25.
903
for
2021
was
852.
G
And
the
budget
for
2022
was
147
500
that
we're
expecting
to
receive
as
revenue
and
the
budget
for
2023
is
50
000,
I'm
not
sure
where
they
get
the
147
500
or
the
50
000
from,
but
the
the
fund
balance
projections
for
23,
24
25.
G
Show
a
beginning
fund
balance
in
23
of
213
000,
which
seems
about
right
to
me,
but
it
it
has
anticipated
revenues
for
each
year.
That
is,
contributions
from
developers
of
thirty
thousand
dollars
for
23
24
25
with
the
as
we
we
went
through
that
planning
thing
the
other
day
and
we
discovered
then
that
we're
expecting
5
000
new
people
in
tarpon
springs
over
the
next
five
to
10
years.
G
That
means
there's
going
to
be
a
lot
of
development
here
over
the
next
five
to
10
years
and
and
it
struck
me
that
budgeting
or
anticipating
that
revenues
from
development
for
public
art
of
30
000
a
year
is
kind
of
a
little
weird
and
extremely
low,
and
it
also
shows
us
spending
only
forty
thousand
dollars
a
year
on
public
art.
Those.
H
Are
all
just
you
know,
they're
not
set
in
stone?
That's.
G
No,
no
they're
fun
balance.
Projections
is
what
it
says
and
they're
obviously
not
set
in
stone
because
they're
projections
I
agree,
but
I'm
just
wondering
where
they
get
those
numbers
from
and
why
they're
so
low.
I
don't
expect
anybody
here
to
give
me
an
answer,
because
I
don't
think
anybody
here
knows
not
even
well.
H
Haven't
just
been
through
the
budget
in
my
department,
I
could
just
tell
you
that
you
know
I
guess
they're
looking
at
like
the
developments
that
they
see
down
the
pike
you
know
and
what
they're
anticipating
for
those
now
when
new
ones
come
up.
Of
course,
that
number
will
increase
and
it's
probably
already
changed
with
that
24
grand
that
you
know.
C
H
Got
it's
just
like
and
that
projection
was
usually
done.
You
know,
gosh,
you
know
back
in
march
when
we
first
get
our
first
numbers
like
in
my
budget.
Some
of
mine,
are,
you
know
we
anticipate
this
does
if
we
exceed
it
awesome
you
know,
but
you
know
that's
just
something
that
we
are
all
trying
to
to
go
from
for
planning
circumstances,
but.
G
You
know
I
do
things
like
read
financial
statements
for
fun
and
you
know
I'm
weird
I
know,
but
you
know
I
look
at
special
program
funds
revenue
summary
on
page
204
of
this
thing
and
it
says:
budgeted
financial
year,
2023
public
art
fund
is
expected
to
get
fifty
thousand
dollars
in
revenues
and
then
I
look
at
the
fund
balance
projections
and
it
shows
that
the
the
total
revenues
for
the
public
art
fund
in
2023
are
30
852.,
and
I
start
you
know
looking
at
the
detail,
because
I
can't
figure
out
why
somebody
has
this
two
different
numbers
for
the
same
thing.
G
H
B
G
A
G
G
If
we
shouldn't
have
another
project
just
to
keep
us
busy
and
off
the
streets.
G
Well,
you
know:
we've
got
lots
of
stuff
commemorating
the
you
know,
art
commemorating
the
greeks
in
tarpon
springs.
We
have
the
black
heritage
project,
we
don't
really
have
an
original
settlers
project
and
we
don't
have
a
florida
cracker
project
just
to
name
a
couple,
and
I
was
wondering
if
there'd
be
any
support
for
another
project.
I
mean
obviously
it'd
be
in
the
very
early
planning
stage.
A
E
I
A
H
A
F
I
I'd
have
to
really
look
into
what
what
would
be
a
project
that
would
be
appropriate
for
for
this
and
not
cost
a
gazillion
dollars.
What
I
want
to
think.
A
C
A
A
A
A
A
Right,
you
know
christine
kept
using
the
phrase
shine
a
light
on.
I
think,
that's
what
we
want
to.
E
A
H
We
have
a
our
new
seasons,
kicked
off
and
so
megan's
going
to
give
you
all
our
brand
new
brochure
and
we
have
a
big
kickoff
event
on
saturday
from
1
to
5
p.m,
with
a
great
live,
entertainment
all
kinds
of
fun
stuff.
So
please
try
to
come,
join
us
and
take
a
look
at
the
brochure
you'll
see
that
mr
jones
has
a
kickoff
event
for
us
in
september
yeah.
I
want
to
get
two
six
packs.
A
So
weird
shakespeare
in
the
dark
who
thought
of
that?
What
a
crazy.
E
B
H
That
fa
pap-
that
graham
was
talking
about
tarpon
arts,
is
a
member
of
that
too,
and
I
would
suggest
you
all
go
on
their
website,
because
they've
got
a
lot
of
really
good
information
on
there.
So
maybe
send
us.