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From YouTube: Public Art Committee March 8, 2023
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A
A
We
have
a
new
member
appointed
by
the
board
of
commissioner
Sonya.
Mcgrath
is
an
alternate
who
will
be
on
board
in
April
Megan?
Can
you
call
the
roll
please?
Yes,
Mr.
A
And
I'd
like
to
note
that
Bieber
is
absent
and
I
believe
this
is
the
fourth
out
of
six
meetings.
She's
missed.
So
we
have
two
guests.
Today
we
have
Miss
Elizabeth
Indiana
and
Miss
Tina
bukobalis,
okay,
meeting
minutes
from
February
8th
do
I
have
a
motion
to
accept
this
submitted.
C
A
Okay,
is
there
any
discussion,
any
comments,
corrections
to
the
minutes,
you.
A
Okay,
all
in
favor
of
accepting
the
minutes
is
submission,
as
submitted.
Please
say:
aye
minutes
accepted
old
business.
Current
project
updates,
since
we
have
Miss
Indiana's
here
today
with
her
video
I'm,
going
to
suggest
that
we
move
the
order
up.
Okay,.
D
A
Megan,
do
you
want
to?
As
you
all
know,
the
public
art
committee
approved
a
film
Project
based
on
Miss
Indiana's
mural,
that's
in
the
cultural
center,
so
it's
complete
and
she
brought
it
in
for
us
to
view
today.
So
this
is
the
premiere
this
one
I
wanna
I
wanna
swag
bag.
E
Growing
up
in
Florida,
starting
around
the
age
of
eight,
it
was
always
my
mother's
dream
to
come
to
Florida,
and
so
we
traveled
a
family,
a
bunch
of
kids
traveled
to
Florida
as
an
exploration
in
an
old
green
station
wagon,
we
came
and
we
lived
a
variety
of
places.
E
My
parents
bought
some
property
and
from
then
on,
it
was
Florida
with
all
the
things
you
kind
of
can
imagine
living
on
a
dirt
road
walking
around
without
shoes,
seeing
a
lot
of
snakes
getting
stabbed
with
a
point
of
a
palmetto
frond,
and
it
was
raw
wild
Florida
in
a
way
that
I
think
is
somewhat
conveyed
a
little
bit
in
this
mural.
E
Florida,
like
many
states,
has
a
complicated
history,
there's
a
lot
to
deal
with
it's
a
harsh
environment
and
you
can
imagine
the
harshness
of
those
first
settlers
that
came
here
in
the
you
know.
1800S
1900s
I
can
imagine
what
it
must
have
been
like
for
the
Indians
indigenous
here
to
learn
how
to
live
in
Florida
and
there's
also
the
history
of
racism,
Indians
being
forced
to
leave
their
home
and
find
another
place.
There's
just
so
many
influences
I.
Imagine
the
explorers
and
I
did
in
the
play
this
blessed
plot.
E
Is
a
magical
place
because
of
its
history
in
spite
of
its
history?
Sometimes
it's
a
complicated
history
and
I.
Yes,
in
a
way,
we
don't
really
know
enough
about
it.
Some
of
us
do
when
historians,
but
I
think
it
I
think
it
helps
give
the
overview
to
people
coming
to
this
state
to
know
what
we're
about
you
know.
It's
like
in
some
ways:
it's
bragging
rights
to
Florida,
because
people
love
it
so
much,
but
also
what
have
been
the
hurdles
to
making
this
place
work,
and
what
do
we
do
about
it
now?
E
E
I
got
an
early
impression
of
Tarpon
Springs
when
I
was
I,
think
10
years
old,
my
parents
lived
in
South,
Florida,
West
Palm,
Beach
area,
Lake,
Worth
area
and
five
children
a
lot
of
children-
and
you
know
Sunday-
was
a
special
day.
It
was
get
in
the
car
day
and
we're
gonna
go
for
a
little
ride.
Well
that
little
ride,
one
of
those
little
rides
was
all
the
way
to
Tarpon
Springs
five
hours
later
and
eating
the
food
and
feeling
all
at
once.
E
With
my
Greek
background
so
at
home
in
the
city,
there
was
just
something
about
it
like
I'd,
been
here
before
it
had
a
special
magical,
meaning
to
me
I,
don't
know
why
I
don't
know
why
that
is,
but
it
did
and
then
later
I
returned
to
graduate
school.
So
there
are
a
lot
of
influences
in
Tarpon,
Springs
indigenous
people,
who
were
here
seminals,
who
were
here
other
other
Pioneers
who
came
in
here.
E
E
E
Still
there
many
years
ago,
when
I
was
artist
in
Residence
in
this
community,
I
got
to
know
people
I
got
to
know
people
who
were
have
been
here
for
a
long
time.
I've
been
part
of
Tarpon
Springs,
history
and
I
began
talking
to
them
and
hearing
their
stories
and
what
was
important
to
them
kind
of
like
the
history
of
Tarpon
Springs.
E
You
know,
and
there
was
a
a
book
written
by
Gertrude
stouten
about
the
history
of
Tarpon,
Springs
and
I
came
to
experience
all
those
different
people
and
what
their
lives
were
like,
and
it
eventually
became
my
life
as
well.
So
to
tell
a
story
from
1500s
to
the
present
seems
appropriate
and
I.
Think
partially.
It
has
to
do
with
if
you,
if
you
listen
to
the
historical
examples
I
have
here,
their
voices
start
to
speak.
They
did
to
me
anyway,
as
I
was
painting
these
characters.
E
I
was
also
kind
of
hearing
how
they
might
talk
and
hearing
what
they
might
say
and
I
think
that
maybe,
if
you
wanted
to
view
them
as
ghosts,
they
always
have
a
way
of
communicating
to
us
and
telling
us
their
history
as
a
secure
connection
to
the
present
in
the
future.
So
don't
forget
us,
don't
forget
us,
you
might
hear
from
these
characters
and
with
that,
if
we
don't
forget
them,
we
kind
of
know
the
direction
that
we
might
aspire
to
go
in
the
future
while
we're
in
the
present.
E
The
public
art
committee
approved
this
historical
mural
and
then
it
you
know
that
took
a
couple
years
to
do
to
get
that
through
and
passed
and
approved
by
the
the
commission
and
the
powers
that
be.
And
then,
when
you
had
to
prepare
the
wall,
which
I
did
and
right
after
preparation
of
the
wall.
E
So
those
were
difficult
times,
I
I,
remember
walking
in
here
setting
up
my
paints,
putting
a
little
sign
that
the
city
had
public
art
project
and
then
leaving
it
with
nothing
paints.
Here
the
wall
prep
and
I.
Remember
leaving
and
thinking
I,
don't
know
if
I'm
going
to
come
back
here,
I,
don't
know
if
anybody's
Gonna
Come
Back,
but
we
did
come
back.
So
if
everything
shut
down
in
March
by
the
end
of
May,
June
I
was
back
in
with
cultural
center
and.
E
You
know,
if
you
think
of
it
as
a
movie
or
play,
or
so
you
know
how
to
pick
the
face,
the
outfit
the
the
position
of
every
one
of
these
characters
was
huge,
so,
for
example,
the
Florida
panther
on
the
left-hand
side
or
the
alligator
haters
with
the
birds
there
are
hundreds
and
hundreds
of
choices
I
could
have
made
and
struggled
to
make
to
know
which
was
going
to
be
cast
in
this.
E
That's
a
whole
different
thing
with
cars
whizzing
by
on
Tarpon
Avenue,
as
opposed
to
being
in
this
giant
Gallery,
really
where
people
are
close,
where
children
are
going
to
see
things
had
to
happen,
animals
had
to
face
Their
audience
as
opposed
to
just
look
to
the
side.
Characters
had
to
face
Their
audience
or
have
more
significant,
meaning
than
just
briefly
seeing
a
flutter
of
a
mural
as
you're
driving
on
the
road
so
who
got
cast
for
these
parts.
E
Through
my
research
and
saying,
okay,
you
got
the
part
once
I
have
my
sketch
worked
out
and,
like
I
said,
I
had
to
really
do
a
lot
of
creative
adaptations
from
30
years
ago,
whatever,
when
I
painted
the
first
one
and
so
I
after
the
drawings,
which
took
a
long
time
to
do,
became
definite,
then
I
did
take
pictures
of
one
half
and
then
the
other
half,
and
this
was
right
before
everything
closed
down
I
remember
there
was
a
performance,
I
think
a
Shakespeare
going
on
in
the
theater
there
and
I
came
while
they
were
rehearsing,
turned
all
the
lights
off
and
projected
the
first
time
I
projected
it
was
a
mess,
because
the
wall
was
not
the
wall
that
you
see
here
now
it
was
not
a
smooth
surface,
it
was
stucco,
it
was
bumpy
and
it
started
to
peel.
E
So
I
spent
one
you
know
I
spent
a
while
doing
that.
First,
drawing
and
I'm
like
this
is
not
going
to
work.
It
will
never
happen
in
here,
and
so
the
wall
then
had
to
change,
and
we
had
to
have
people
come
in
and
and
resurface
it
and
do
it
and
then
I
did
a
second
time
of
projecting
it
and
then
I
had
the
drawings
on
the
wall,
but
even
though
they
were
on
the
wall,
some
things
weren't
right,
like
I,
mentioned
the
Indian
chief
I
thought
he
has
to
be
bigger.
E
So
that's
how
that's
how
I
did
it
I
drew
it
and
refined
it
and
refined
it
and
projected
it
and
it
refined
it
as
I
was
drawing
on
the
wall
and
began
began
painting
in
one
little
corner,
I
sat
on
the
floor
and
the
first
thing
I
painted
was
that
alligator
Virgil's
eyeball
and
then
as
I
started,
painting
him
and
he
got
big
toothy
grin
I
called
my
friend
Susie
gablik
on
the
phone
I
said:
I
am
painting
virtual
right
now
and
she
said
to
me
because
she
was
blind
at
this
point.
E
She
said
just.
Does
he
have
a
big
toothy,
grin
I
said?
Oh
yeah
he's
got
a
big
toothy,
grin
because
that's
how
we
saw
him
and
then
I
just
jumped
around
I,
think
I
I
painted
part
I
painted
Virgil
and
then
I
ran
over
and
painted
Gigi
raccoon
and
then
I
went
back
and
forth
and
back
and
forth
when
I
got
I
had
Scaffolding.
In
here
the
public
art
committee
did
purchase
some
scaffolding,
and
so
that
enabled
me
that
was
set
up
here
in
this
room
on
Wheels.
E
So
I
could
move
that
scaffolding,
wherever
I
needed
to
I,
could
climb
up
to
the
middle,
get
up
to
the
top
and
lock
the
wheels
down,
and
just
do
that,
so
it
was
up
and
down
up
and
down
then
sit
back
and
look
and
see
what
I
have
then
up
and
down
up
and
down
from
there
on
out
I
did
not
paint
anything
else.
Imagine
nothing
else
is
here
these
other
things
after
came
after
and
then
I
went
way
over
here
to
the
other
side
to
paint
Gigi
raccoon,
so
I
sat
here.
E
I
did
have
scaffolding,
but
here
I
am
you
know,
sitting
on
the
floor
and
in
a
with
a
chair
and
painting
this
beautiful
little
raccoon
and
then
started
writing
a
story.
Well,
after
I
painted
Virgil
I
started
right,
you
know
I
kept
a
diary
and
started
I
guess
riding
the
play
in
retrospect
now
I
realize
it
and
then
wrote
about
Gigi
raccoon
and
how
she
was
so
devilish
and
whatnot
and
I.
E
Think
from
there
I
started
to
paint
the
blue
heron,
which
I
consider
Gigi,
raccoon's,
mother
and
just
started
taking
on
the
different
characters.
I'd
have
to
look
at
some
of
my
pictures,
but
but
it
might
have
been
I
started
on
the
Indian
afterwards,
meaning
the
chief
indigenous
Chief
and
felt
like
I
had
to
get
the
faces
right.
E
It
might
have
even
been
the
princess
I,
don't
recall,
but
I
started
with
these
characters.
First,
after
those
two
animals
and
redrew
it
and
redrew
it
and
and
yes
I
projected
it.
But
then
it
was
the
wrong
size
and
kept
getting
him
bigger
and
bigger
and
used.
You
know
wanted
to
get
the
details
right,
but
he
had
to
have
the
right
headdress.
E
What
headdress
was
that
going
to
be
and
I
think
that
part
of
the
reason
why
I
painted
that
headdress
was
I
had
seen
pictures,
but
then,
when
it
came
time
to
write
the
play
and
to
work
on
costumes,
well,
I
had
to
find
this
and
we
had
to
create
a
likable
translation
for
that
for
most
all
of
the
characters
actually
I
really
enjoyed.
When
I
got
to
this,
this
alligator
I'd
already
painted
Virgil.
E
It
gave
myself
license
to
go
even
a
little
bit
more
expressive
and
Abstract.
So
these
these
little
scales
and
this
claw,
which
I
just
love
this
claw,
became
explosively
abstract,
as
did
some
of
Virgil's
virtual
details
like
I,
liked
keeping
this
abstract
and
not
having
color
in
there.
In
fact,
somebody
asked
me:
well,
aren't
you
gonna?
Aren't
you
gonna
fill
that
in?
Did
you
miss
a
spot?
I
said
I
didn't
miss
a
spot,
that's
exactly
how
I
wanted
it
to
be,
and
it
gave
me
so
much
license
those
areas
to
do
these.
E
Like
the
Pelican
I
thought.
Oh,
this
guy,
this
guy
was
cast
out
of
a
zillion
Pelicans
I
liked
the
way
he
looked
I
like
the
way
he's
looking
kind
of
and
I
like
the
way
how
he's
harboring
and
not
really
hasn't,
landed
yet
with
his
big
feet,
but
I
thought.
Oh
and
all
these
feathers
I
don't
want
to
sit
here
and
do
realistic
stuff.
E
You
know
to
where
it's
like
a
Audubon
Society,
but
he's
so
expressive
and
the
feathers
work
so
exciting
I
found
a
way
to
make
a
translation
for
each
of
these
feathers
in
a
way
that
excited
me
more
than
if
I'd
sat
there
and
like.
Let
me
take
10
years
to
paint
the
Pelican.
The
expressiveness
of
it
is
exciting
to
me.
Here's
another
alligator.
Again,
we
have
some
parts.
Are
you
know
these
squares?
These
dots
stand
for
that.
E
E
I
give
myself
the
license
to
to
zoom
in
and
zoom
out,
zoom
in
and
zoom
out,
things
can
be
they're
good
enough
in
places
and
then
there's
places
where
the
storyline
has
to
carry
has
to
carry
on
a
lot
of
the
faces
have
to
get
those
right.
The
details,
let's
say
in
the
chief:
oh,
how
could
I
miss
those
the
feet
of
the
chief
as
I
was
working
on
his
his
boots
and
things
I
thought?
Oh
I,
really
love
how
if
I
cross
hatch,
it
looks
like
a
comic
book
drawing
you
know.
E
I
didn't
need
to
put
bling
on
the
jeans
of
the
cowboy
you
know
so,
and
I
did
want
to
get
Annie
Debs
Dress
when
I
first
took
pictures
of
her
I
believe
she
had
that
dress
on
my
first
meeting
with
her
many
years
ago
in
a
cemetery
before
this
was
a
mural
and
before
this
was
a
play,
I
just
took
pictures
of
her
and
I
thought
that
dress
was
important,
so
I
wanted
to
get
the
details.
E
The
actress
wore
her
dress,
so
those
things
were
nostalgically
important
to
me,
foreign
says:
all
distinctions
between
past
present
and
future
are
an
illusion
if,
but
a
tough
one,
so
it's
necessary
that
we
understand
those
distinctions
are
an
illusion
to
be
open
to
what
is
said,
I
think
and
I
think
what
I
take
away
from
my
lessons.
Having
painted
this
and
also
written
the
play
is
that
many
of
these
characters
had
a
really
hard
time.
We
all
have
a
hard
time
hard
time.
E
Oh,
they
had
really
tough
times,
but
they
also
I
can
imagine
had
glorious
times
every
single
character
here
from
the
Conquistador
to
the
to
the
indigenous
peoples
and
the
African-American
peoples
and
the
Greek
immigrants
and
Pioneer
families.
You
know
such
is
life.
There
is
a
there's
goodness
and
there's
Challenge
and
we
were
talking
earlier
about.
E
Yes,
it
can
be
really
reality
in
humanity
is
tough,
but
as
long
as
we
know
that
we're
going
to
try,
then
that
gets
us
up
in
the
morning
that
we
are
the
moral
Arc
of
the
universe,
bends
towards
Justice
or
to
doing
the
right
thing.
Then
I
think
those
voices,
those
ghosts
and
you
know
have
something
to
add
to
the
conversation
I
know
they
did
for
me,
painting
this
in
lockdown
in
Coven
for
a
whole
year,
isolated
and
by
myself.
E
Those
were
tough
times
for
all
of
us
back
then,
when
we
didn't
know
what
was
going
to
happen,
were
we
even
going
to
continue
I
mean
everything
was
in
lockdown
I
had
no
idea
where
we
were
going
to
go
with
this
pandemic
thing
and
not
to
dwell
on
it.
But
these
are
the
voices
that
spoke
to
me
and
got
me
through
it
by
the
mere
sheer
fact
that
I
was
here,
bringing
them
back.
So
they
found
a
way
to
speak,
to.
E
I
didn't
expect
that
that
would
happen,
but
it
did
happen
so,
as
I
started,
painting
I
quickly
took
notes
and
typed
up
notes
and
kept
a
diary
of
the
day-to-day
things
and
the
thoughts
that
would
come
to
me
and
before
long
there
were
dialogue
was
coming
to
be
Virgil.
The
alligator
was
saying
things
to
me:
the
characters
just
jumped
kind
of
onto
the
page
off
the
wall
and
onto
the
page,
so
as
a
multi-disciplinary
artist.
E
That's
just
the
way
I've
always
worked,
and
you
know
it
used
to
be
a
problem
years
ago,
because
you
had
to
either
pick
you're
an
artist
or
you're
a
playwright
you're
one
or
the
other
I've
been
I've.
Written
four
plays
and
with
each
play,
I
have
a
collaboration
with
Michael
Amish
who's,
the
composer,
and
we
just
get
going,
and
you
know
we
start
hearing
it
and
seeing
it
and
all
the
senses
come
into
being
at
once.
F
E
We
had
a
lot
of
hurdles
because
we
were
in
a
pandemic
and
it
was
a
challenge
every
day
I
mean
I
didn't
know.
None
of
us
knew
day
to
day
if
we
were
going
to
be
able
to
do
the
performance.
That
being
said,
sir,
must
have
been
some
special
Guiding
Light
over
us
that
that
made
it
happen,
but
we
never
knew
from
one
day
to
the
next.
Who
was
going
to
get
covid?
Who
was
going
to
drop
out?
E
Would
actors
even
want
to
come
and
do
this,
given
that
it
was
such
a
treacherous
kind
of
Journey
to
do,
but
we
did
and
I'm
still
kind
of
amazed
at
that
it
was
just
a
miracle.
That's
all
I
can
say
for
all
of
us.
I
still
have
to
pinch
myself
to
to
adjust
to
the
fact
that
we
did
it.
F
E
H
A
D
E
So
what
do
you
know
and
it's
when
you
look
from
left
to
right
here
you
are
the
only
person
who
is
the
real
person
to
hear
it.
H
E
Longer
around
okay,
so
they
stand
for.
This
is
Billy
bow
legs
and
the
Spaniards.
D
E
E
D
D
E
The
the
title
is
this:
blessed
plot
this
Earth,
that's
the
title:
it's.
E
Actually
yeah,
so
you
did
yeah.
It's
amazing
that
Annie
was
here
for
the
performances
she
did
also
come
to
rehearsals
when
she
could
and
every
time
there
was
a
rehearsal
and
her
lines
were
spoken
by
a
wonderful
actress
and
during
the
performances
and
rehearsals
she
was
always
transported,
moved
to
tears.
I
would
say
because
she
was
hearing
these
her
words
and
her
life
and
her
heart,
so
to
speak
and
the
inroads
to
that
again
and
again,
I.
E
Don't
think
she
ever
thought
possible
that
that,
what's
going
to
happen
to
her
I,
remember
one
person
telling
me
that
their
ability
it
was
Lynn
Whitelaw,
former
director
of
the
Lipa
Ratner
Museum,
said
when
I
looked
across
and
there
was
Annie
and
I
saw
her
face.
I
felt
like
and
the
whole
experience
really
of
the
play
I
was
transported
in
that
I
didn't
just
feel
like
I
was
watching
history,
as
an
outsider.
I
felt
like
I
was
in
history
as
it
was
happening.
E
So
that's
a
big
time
time,
Jump
and
I
think
Annie
kind
of
secured
that
spot.
You
were
watching
history
unfold
in
her
I
mean
yes,
she's
on
the
she's
painted
on
the
mural
in
a
dress
that
I
asked
her
to
bring
to
the
actress,
so
she
could
wear
it
in
the
play
the
shoes
and
everything
she's
on
the
wall
for
as
long
as
this
wall
stands
she's
in
the
play
for
as
long
as
this
play
can
be
seen
in
in
a
movie
film.
E
Thank
you,
but
people
have
walked
away
with
experiences
saying
they
will
never
forget
being
there
as
history
was
unfolding
as
they
watched
her
face,
heard
her
story
that
felt
her
feel
her
story.
I
think
one
of
the
well
the
choreographer
Paula
Nunez,
said
to
me
as
we
watch
this
and
we're
always
tearful.
When
we
watch
this
this
her
story
being
told
in
rehearsals,
she
turned
to
me
and
she
said:
you've
made
her
life
now
I
I,
don't
want
to
say
you
know.
I
did
something
like
that,
but
you
could
see
that
it
was.
H
E
I
can't
help
but
reflect
on
the
mission
that
I
was
given
20
in
my
20s,
which
was
to
come
here
to
the
city
to
further
enhance
and
Define
the
identity
of
Tarpon
Springs
I
did
a
lot
of
projects
in
doing
that.
I
wrote,
All
My
plays
here
in
the
city
did
a
lot
of
public
art
projects
which
includes
the
mural
that
was
and
murals
throughout
the
city.
E
There's
the
starburst
there's
a
lot
of
different
things,
but
now
that
it's
here
you
know,
I'm
I'm
grateful
for
the
message
that
I
think
people
may
walk
away
with
that.
We're
still
here
personally
I
feel
like
well
I.
Hope
I
did
my
part
to
convey
that,
for
these
characters,
a
big
responsibility
and
I
remember
telling
actors
you
are
bringing
this
person
back
to
life.
E
You
have
a
responsibility
they're
talking
through
you,
you
know
well
I'm
talking
through
them
and
also
the
mission
that
I
was
given
early
as
a
young
person
to
come
here
and
I.
Remember,
do
I,
remember
a
good
wonderful
guy,
Edward
Hoffman,
who
was
on
the
historical
society
and
did
a
lot
of
wonderful
things
in
this
town
and
when
I.
First
met
him
right
out
of
graduate
school,
I
was
in
graduate
school
at
the
time,
while
I
moved
here,
he
said
to
me:
Elizabeth.
E
E
A
D
E
It
was
you
know,
a
great
honor
and
means
a
lot
to
me
having
come
here
like
I,
probably
said
too
many
times
as
a
young
person,
now
I'm
an
old
person,
older
person,
and
so
it's
really
kind
of
a
pinnacle
moment
that
you
all
help
to
facilitate
thanks
to
Joan
Jennings
for
early
on
spearheading
this,
along
with
with
Diane
wood
and
those
some
members
that
are
even
aren't
even
on
this
committee
anymore,
but
I'm
just
grateful
and
really
appreciate
it.
So
thank
you.
E
A
J
I
I
A
Okay,
we're
going
back
to
the
agenda
and
we
have
Mr
Oliver
here:
black
heritage
project,
okay,
I've,
been
told
by
our
city
manager
that
the
next
meeting
of
the
Board
of
Commissioners
is
going
to
be
an
artsy
one,
because
there's
going
to
be
a
lot
of
art
topics
on
the
agenda,
one
of
which
is
the
location
of
Mr
Oliver's
sculptures
the
location
on
the
Sponge
Docks
and
at
the
Union
Academy
neighborhood
in
front
of
the
Cap
Center
will
be
up
on
the
agenda
for
approval
at
the
next
meeting
of
the
Board
of
Commissioners
Stephen.
A
G
A
Things
are
things
are
percolating
along:
okay,
thank
you.
Okay,
the
Riverside
field,
mural
project
and
I'm,
going
to
turn
this
over
to
Dawn,
who
did
three
great
drafts
of
quotes.
Artists,
yeah,.
K
So
I'm
Diane
was
nice
enough
to
send
a
cult
artist
with
a
comprehensive
information
about
it,
but
we
wanted
to
put
together
a
couple
of
ideas
with
a
little
less
information
that
might
people's
interest
and
then
direct
them
to
a
website
for
more
information.
That's
more
detailed,
so
I've
put
together
three
options:
one
with
more
information,
that's
marked
a
halfway
in
between
is
B
and
C
has
the
least
amount
of
information.
K
All
of
them
would
include
a
QR
code
to
send
them
to
the
website
for
additional
information,
so
I've,
given
everybody
these
options,
I
just
chose
a
couple
of
generic
tennis
and
soccer
images,
just
to
kind
of
let
people
visually
know
what
what
the
mural
is
about.
So
we,
you
know
picture
was
worth
a
thousand
words.
So
if
anybody
has
any
comments
on
a
b
or
c
their
preferences.
A
I
think
a
general
comment
on
all
three
of
them
under
compensation
was
that
we
were
going
to
put
a
parenthesis
s,
because
we
might
have
two
artists
doing
right:
the
murals
and
we're
going
to
delete
whose
design
is
so.
The
artists
chosen.
Okay,
yes,.
C
I,
do
the
A
and
B
with
the
the
two
images
as
they
are
and
compared
to
C
with
the
image
in
Reverse
I.
Don't
like
the
reversal
of
the
image
at
all:
okay
I
think
it
it
detracts,
but
the
but
a
and
a
and
b
I
like,
whichever
one
anybody
else
wants.
I'd
be.
K
C
I,
like
them,
both
I,
think
it's
they're,
both
very
pleasing
to
the
eye
and
hopefully
there'll
be
attractive
enough
to
an
artist
to
get
their
attention.
I.
K
F
L
Robert
are
you
as
far
as
the
the
three
calls
to
artists
the
the
number
a
or
number
eight
yeah.
L
K
L
All
right,
so
it's
a
then
okay
I'm,
just
saying
that
whenever
again
I'm
looking
at
these
things,
the
other
thing
I
look
first
thing
I
look
for
is
what
the
price
is.
You.
L
K
Yeah
so,
depending
on
where
these
are
sent
out,
that
we
can
include
more
information
or
less
information
if
we
wanted
to
have
this
two-sided
or
whatever
we
could
put
more
detailed
information,
I
think
it
was
just
my
concern
that
if
you
hand
you
know
if
this
is
just
laying
on
a
counter
nobody's
going
to
take
the
time
to
read
all
of
this
information-
and
this
might
get
their
attention
and
draw
them
in
enough
to
then
go-
seek
out
additional
information
right.
But
you
know
obviously
I'm
open
to
everybody's
suggestion.
K
Anybody
who
thinks
it
needs
more
information
on
there
we
I
can.
Certainly
you
know
we
could
do
two
sides
or
whatever
so
yeah,.
C
While
I
understand,
if
I
may
can.
D
C
While
I
understand
Robert's
concern
about
seeing
the
location
and
having
that
information
readily
available
to
the
artist
I
also
understand
what
you're
saying,
because
there's
nothing
more
likely
to
turn
me
off
than
an
ugly
building.
You
know,
but
you
know
the
ugly
building
is
the
thing
we
want
to
get
rid
of.
You
know
why
would
we
put
that
on
the
front
page?
It's.
C
So
so
perhaps
for
things
that
are
going
to
be
handed
out
or
made
available
for
pickup,
maybe
we
can
have
some
additional
information
on
the
back,
make
it
a
two-sided
thing.
Another
thing
is
that
QR
codes
are
absolutely
wonderful.
They
confuse
some
people
if
we
can
also
have
a
URL
on
there.
C
Code,
that
would
be
a
of
assistance.
It
doesn't
have
to
be
the
the
entire
detailed
one.
Just
you
know,
topping
out
slash
public
art,
sure.
K
Know
go
ahead
and
put
Nick.
I
I
I
prefer
the
a
only
because
it
does
have
a
little
more
information
as
an
artist.
You
know
and
I
pick
it
up.
I
mean
I
can
see
kind
of
everything
right
here
and
I
don't
have
to
do
any
more
work.
You
know
to
find
out
more.
You
know
that
it's
you
know
the
submission
compensation
and
the
project
yeah.
D
A
C
L
C
No
I
think
androgynous
figures
wearing
you
know.
Sports
clothes
are
fine
by
me.
A
A
Yes,
yeah
because
I
know
that
when
we
did
the
murals
at
Sizzler
field,
we
did
the
you
know
the
baseball
murals
and
there
was
some
rumpus
from
the
people
who
used
the
field
saying
that
the
girls
also
played
softball
there.
So
we
have.
A
Balance
between
you
know,
teams
of
different
Sexes
so
well.
K
I
will
tell
you
that-
and
this
is
something
that
I've
run
into
quite
frequently
in
the
last
years,
but
going
to
look
at
particularly
free,
graphics,
online.
It's
really
hard
to
find
diversity
right
of
any
kind
right.
There's
a
lot
of
white
men
and
there's
a
lot
of
men
and
there's
a
lot
of
well
some
white
women
and
everything
else
is
kind
of
sprinkled
in
there.
So
I
will
poke
around
and
see
if
I
can
find
something.
A
little
less
yeah.
K
K
A
A
Okay,
so
I
don't
think
we
need
to
take
a
vote
on
this,
but
it
seems
that
a
was
the
overwhelming
choice
of
the
committee
yeah,
okay,
okay,
so
Duan.
Thank
you.
You.
K
Did
a
great
job
absolutely
what
I'll
do
is
I'll
make
edits
to
this
next
week
is
spring
break,
so
I
won't
be
teaching,
so
I
will
have
next
week.
D
K
K
D
D
A
C
J
A
A
K
This
yeah
and
and
I
can
certainly
work
with
you
on
some
sort
of
graphic
or
something
for
the
website.
If
you,
if
you
want
or
work
with
somebody
on
putting
stuff
on
the
website,
I'm
familiar
with
with
WordPress
so
happy
to
work
with
you
on
doing
that,
and
we'll
just
kind
of
go
with
this
theme
and
get
the
information
out
there,
however,
sure
you
guys
decided.
A
A
K
F
K
I
noticed
there's
a
lot
of
area
there.
I
definitely
think
it
should
be
in
that
area
with
Pete
the
Pelican,
but
I
think
there's
plenty
of
room
there
to
have
it
off
a
little
bit,
because
the
sign
is
going
to
kind
of
draw
attention
to
it
like
it's
not
going
to
get
lost.
You
know
in
the
area,
but
definitely
near
near
the
Pete,
the
Pelican
yeah.
Okay,
in
that
same
Gravelly
area,
Nick.
I
Yeah
I
agree
with
Don.
You
know,
I
was
just
down
there
and
it's
sort
of
like
a
little
mini
Park
yeah.
B
F
I
I
I
To
have
the
catheter,
but
you
know
you'd,
need
to
you,
know:
foot
high
pedestal
some.
I
D
I
All
but
I
was
just
thinking
there
that
bench,
because
it's
going
to
not
just
be
the
cat,
it'll
be
the
cat
and
a
sign
behind.
A
K
C
I'll
move
to
place
the
Sylvester,
the
Cat
statue
next
to
near
the
bench
neck
near
the
Pelican,
beat
the
Pelican
statue
I.
Think
that's
much
better.
Okay,.
B
A
Right
any
opposed.
Okay
he's
going
next
to
the
the
Pelican
well,.
F
A
C
D
A
It's
in
your
backup
materials-
and
it
was
a
long
time
coming.
It's
a
lot
of
he's
very
labor
intensive,
not
to
mention
all
of
the
Committees.
It
had
to
grind
its
way
through,
but
it's
done.
J
A
B
Sydney,
prusso's
reimbursement
went
through
Kyle,
Pierce's
payment
went
through
and
there's
just
a
little
bit
of
Interest
game
and
there
are
no
projects
in
the
works.
Okay,.
A
K
But
again,
I've
I've
gone
to
a
couple
of
places
on
the
weekend
when
I
had
time
and
was
not
able
to
speak
to
an
owner.
So
next
week,
I'm
gonna
go
during
the
week
instead
of
on
a
weekend
and
hopefully
be
able
to
right
snag
some
people.
Okay,.
A
I
know
that
John
Stamper
was
just
before
the
Heritage
preservation
board
and
I
think
he
indicated
that
carmelitas
is
that
the
name
of
the
the
Mexican
restaurant
there
I
think
that's
going
into
its
final
permitting
and
things
so
we
should
get
a
fee
from
that.
I
would
think
and
I
know
that
he's
indicated
that
he
was
interested
in
doing
a
mural.
A
K
A
D
A
I
did
have
a
meeting
with
the
city
manager
and
we
were
kind
of
looking
around
at
various
locations,
and
things
like
that
and
I
was
also
part
of
looking
at
the
Sponge
Docks
location
for
Steven's
piece.
A
But
a
while
ago
we
had
talked
about
doing
some
kind
of
landscape
piece
along
the
bike
trail,
and
that
was
the
the
northernmost
part
of
the
trail
at
that
point,
which
is
Safford
and
Live
Oak
was
originally
going
to
be
pickleball
courts
and
that's
no
longer
the
case,
and
so
we
had
that
had
been
a
prime
location
for
us
to.
You
know,
look
at
doing
a
landscape
feature,
you
know
kind
of
maybe
even
a
respite
type
idea,
an
artistic
respite,
things
for
the
bicyclists.
D
A
So
I
was
talking
to
Lucian
Robinson,
who
had
kind
of
spearheaded
that
to
see
whether
she
might
be
still
interested
in
you
know
thinking
about
doing
something
there
and
she
mentioned
that
the
that
the
carriatids
were
production
pieces.
So
my
ordinance,
we
can't
do
anything
with
production
pieces,
okay,
okay,
Diane!
You
want
to
take
the
next
one:
consideration
of
public
art
and
green
Consultants.
J
J
Mayor
vaticotis
had
brought
up
at
one
of
our
meetings
that
it
might
be
a
good
idea
to
do
a
have
a
consultant
kind
of
look
over
everything
that
you
know
we're
wanting
to
accomplish
in
Tarpon,
Springs
and
our
public.
You
know
buildings
and
things
like
that
and
come
up
with
help.
J
J
You
know
we're-
probably
not
going
to
do
it
at
this
time,
but
now
that
I've
been
on
the
committee
for
quite
a
few
years
now
and
watched
a
lot
of
people
come
on
and
off
the
public
art
committee,
and
then
you
know
having
the
presentation
that
we
had
months
ago
with
the
Tampa
public,
art
administrator
I,
just
thought
to
myself.
It's
like
well,
maybe
we've
gotten
to
the
point.
J
We
matured
to
the
point
where
it
might
not
be
a
bad
investment
just
because
it
seems
like
a
consultant
can
kind
of
hone
things
and
then
you
know
create
a
blueprint
so
that
whatever
Committee
Member
comes
on
and
off.
You've
got
a
plan
that
you're,
following
you
know,
kind
of
thing,
no
matter
who's
on
the
committee
at
a
certain
time.
J
You
know
whether
it's
a
Five-Year
Plan,
you
know
a
10-year
plan,
so
I
asked
the
woman
who,
who
is
the
tarpon
I
mean
the
Tampa
public,
art
administrator
and
she
had
had
talked
about
Ann
weichel
I
had
met
her
years
ago
when
I
was
many
years
ago,
she's
in
Saint,
Pete
and
I,
think
she's
retired
now,
but
I'm
not
sure
what
her
capacity
is
or
she
could
even
do
that.
J
C
I've
I've
had
some
thoughts
on
this,
not
particularly
on
hiring
a
consultant
that
hadn't
occurred
to
me.
Although
I
know
a
number
of
other
cities
do,
it
was
observing
the
the
the
planning
process
for
connect,
tarponent
and
so
on.
That
went
on
last
year
and
and
and
looking
at
the
way
that
the
city
is
intending
and
his
ass
Through
The
Ballot
Box
for
the
citizens
to
get
involved
in
planning
on
a
cyclical
basis
for
the
city
for
the
future.
For
future
years.
C
D
L
You
don't
know
I'm
I'm
thinking
that
well,
what
are
what
our
position
is,
as
as
the
the
public
art
committee
are,
we
are
we,
the
public
art
design
committee,
you
know
and,
and
are
we
you
know,
are
we
responsible
for
coming
up
with
projects
and
things
to
do
or
are
we
here
to
accept
and
and
comment
and
and
facilitate
help
facilitate
the
public
art
that's
proposed
to
us,
and
the
whole
question
comes
around
what
what
is
that
role?
L
I
think
we've
we've
discussed
it
earlier
a
year
ago
or
something
like
that
about
what
what
is
our
duty?
What
is
our
responsibility
to
the
to
the
city
of
Tarpon
Springs
and
one
is
we?
We
can
only
make
suggestions
and
recommendations
to
the
to
the
council,
and
so
so
they
have
the
ultimate
decision
making
on
them.
So
we're
still
in
an
advisory
position.
You
know
yes
and.
D
L
That
sounds
like
we're
more
in
a
policy
position
and
I
I
could
see
that
I
can
see
how
that
would
be
beneficial
in
a
way,
but
is,
is
that
what
our
you
know?
What
our
strength
is,
what
our
duty
is,
you
know
and
do
do
we
have
a
vision
of
what
Tarpon
Springs
should
look
like
is.
L
Is
that
what
this
would
end
up
being
you
know,
sort
of
like
meeting
with
the
public
and
and
having
everybody
come
and
talk
about
all
the
art
they
want
and
all
that
kind
of
stuff,
and
everybody
goes
away.
We've
been
to
those
right,
not.
F
L
F
D
L
The
restaurant
out
there,
but
you
can't
have
garbage
trucks
going
out
there.
So
so
you
know
it
it's
great
to
have
all
that
public
feedback
and
I.
You
know,
I
I
think
that
would
be
interesting
to
have
public
feedback
here.
Are
we
open
to
that
sure
we?
Never
ever
anybody
beating
us
back
so
I
I,
don't
know.
I
could
see
us
going
into
being
more
policy.
Oriented
I
guess
is
what
what
you're
saying
based
on
what
the
public
might
want,
but
you
know,
but
what
you
know
the
public
wants
a
lot
of
different
things.
Well,.
J
One
of
the
things
that
I
think
that
the
committee
has
maybe
struggled
with.
Sometimes
when
certain
you
know
projects
have
come
forth,
is
the
location
of
it
right.
You
know
and
that
I
thought
that's
where
a
consultant
could
really
kind
of
vet.
You
know,
are
these
locations
actually
viable?
J
You
know
kind
of
thing,
but
I
I
do
agree
with
getting
you
know
the
public
and
especially
the
city
officials,
who
you
know
it's
like
you
can
come
up
with
and
say:
well,
okay,
we
need
a,
we
need
something
for
this
cat
and
we
want
it
done
right
away,
but
they
may
have
five
projects
ahead
of
you.
You
know
kind
of
so
it's
like
coordinating.
You
know
coming
up
with
a
way
to
coordinate,
you
know
not
only
the
location
of
them,
but
maybe
the
installation,
and
what
in
can
and
cannot
be
done.
You
know.
D
J
Think
that's
some
of
the
things
we
we
faced
with
Steven's.
You
know
project,
especially
since
it
was
such
a
large
project
and
you
know
moving
ahead
and
it's
just
like
with
all
these
people.
You
know
different
people
coming
on
and
off
the
committee.
It's
like
some
of
you
have
been
on
a
committee
for
months.
You
know
you're
aware
of
what's
going
on,
but
newcomers
are
you
know
it's
hard
to
catch
up.
You
know
so
there's
all
these
different
Visions
coming
on
at
different
times
and
not
understanding,
The
Back
stories.
J
Know
it's
just
a
matter
of
I
was
just
trying
to
come
up
with
and
we
have
a
master
plan,
but
we
don't
really
ever
look
at
that.
You
know
kind
of
thing,
but
it
was
more
about
what
locations
are
really
acceptable
and
then
you
know
the
projects
that
come
up.
What
are
the
boundaries
for
maintenance
and
for
keeping
them
up
and
things
like
that?
It's
like
it's
not
like.
Okay,
let's
place
this
piece
of
art,
but
then
you
know
who's
going
to
be
the
keeper
to
tell
us
when
something
has
to
be.
L
Continue
with
this,
this
sounds
like
almost
like
an
administrator.
J
More
of
a
a
blueprint,
I
was
thinking,
but
I
mean
it's
like
I
know:
Dunedin
has
done
it,
you
know
they
they
have,
they
had
a
consultant
come
in,
but
it
was
many.
Many
years
ago,
I.
D
L
Time
too,
and
and
or
you
know,
a
particular
period
of
development-
of
something
that
that's
all
right,
but
who
is
it
would
that
person
be
part
of
the
public
art
committee?
Would
they
be
part
of
your
your
I.
J
L
D
I
The
you
know
consultant,
you
know
how
does
this
work
and
all
you
know
you
would
prefer
somebody
with
local
knowledge.
You
know
an
experience
here
in
Tarpon
Springs.
You.
D
I
A
Know
to
help
us
well
the
answer.
Sorry,
the
answer,
Robert's
question
about
whether
you
know
we,
you
know
suggest
projects
or
vet
projects
would
kind
of
do
both
what
we
have
over
the
years-
and
you
know
there
is
a
master
plan
that
was
worked
on.
You
know
quite
a
bit.
Maybe
we
should
just
revisit
that
and
bring.
You
know
some
comments
on
the
master
plan
back
to
the
next
meeting,
because
you
know
we
could
be
just
Reinventing
the
wheel
at
this
point
and
you
know
I
think
take
another.
A
Also
another
look
at
the
revised
ordinance
and
you
know
we
also
have
a
five-year
plan.
That's
probably
you
know
maturing
at
this
point,
so
maybe
if
we
could
go
back
and
look
over
some
of
the
existing
documents
already,
but
you
know,
if
you
look
at
the
mission
statement
in
the
ordinance,
you
know
we're
responsible
for
the
way
the
city
looks.
The
appearance
of
the
city
beautify,
the
city,
Graham
I,
know
you're
championing
at
the
bid
here.
C
We're
constrained
considerably
by
the
sunshine
laws
correct,
which
means
that
members
of
the
committee
cannot
discuss
anything
outside
of
committee
meetings
unless
they
are
in
committee
Workshop
meetings,
and
this
is
why
I
was
suggesting
that
we
have
a
workshop
meeting.
We
can
get
together.
We
can
have
a
series
of
them,
I
think
the
very
first
one
should
be
a
review
of
any
plans
that
exist
at
the
moment
to
go
over
so
that
all
members
of
the
committee
are
up
to
date
on
on
those
plans.
C
We
can
then
move
forward
from
there
as
to
whether
we
want
to
revise
the
plans
whether
we
want
to
do
completely
new
ones,
whether
we
want
to
hire
a
consultant
to
help
us
whether
we
want
to
you
know,
throw
it
open
to.
You
know
other
people
to
come
and
help
us
or
what.
But
the
I
think
the
very
first
first
thing
that
we
have
to
do
is
is
in
a
in
a
setting
where
we
can
discuss,
but
don't
have
to
worry
about
voting
I.E.
A
workshop
is
that
we
should
get
together
and
talk
about
this.
I
C
D
C
I
I
said
because
it's
when
we're
here,
I
can
speak
to
issues
in
the
abstract
right
when
we're
all
there
together.
I
can
walk
and
kind
of
show
you
what
I'm
talking
about
and
kind
of
give
you
an
experience.
You
know
what
my
experience
is
and
all
because
you
know
I
grew
up
down
there
from
you
know.
I.
I
And
all
in
the
sponge
Boats
were
all
tied
off
of
bow
in,
but
I
mean
I
can.
If
we
can
have
workshops
in
the
locations
almost
if
we're
talking
about
something
it
just
makes
it
a
lot
easier.
Particularly
you
know
the
that
area
and
and
all
just
because
you
know
I
can
kind
of
give
you
my
experience
and
all
and
then
you
can.
You
know
and
we're
not
talking
in
the
abstract,
but
we're.
Actually,
you
know
right.
C
J
Let
me
find
out
I
believe
that
the
Sunshine
Law
applies
primarily
to
things
that
you're
voting
on.
D
K
I
just
wanted
to
say
back
to
the
you
know
the
original
discussion
about
consultant
or
plan
or
what
our
role
is
and
all
that
kind
of
stuff,
as
as
kind
of
new
to
it.
I
am
playing
catch-up
and
it's
super
exciting
and
I.
K
Look
at
the
city
when
I'm
driving
around
with
a
whole
different
eye,
which
is
neat
but
I,
will
say
that
before
I
signed
up
to
be
on
a
totally
different
committee
and
I
was
looking
at
signing
up
for
committees,
I
didn't
even
know
there
was
a
public
art
committee,
so
had
I
known
I.
Probably,
would
have
been
here
a
lot
sooner,
but
I
learned
about
it
through
doing
those
workshops
on
the
city
plan
and
some
of
those
plans
involved.
Public
art
on
some
of
the
big
crosswalks
and
I
got
very
excited
about
that.
D
K
C
K
I
had
no
idea
that
this
was
even
a
thing,
so
you
know
I,
think
there's
a
time
and
a
place
for
the
public
input,
but
I
do
look
forward
to
getting
together
on
a
workshop
and
really
diving
into
exactly
our
roles
and
how
we
want
to
approach
it
and
plan
for
it
and
final
note:
if,
if
there
are
some
great
places
for
artwork
and
we
don't
have
a
plan
for
it,
the
void
will
be
filled.
K
You
know
maybe
with
something
not
so
nice
so
because
I
see
that
driving
around
too
I'm
like
oh,
that
would
have
been
really
nice
yeah.
A
A
We
don't
end
up
with
something
outrageous
right,
but
watching
the
last
meeting
from
my
Hospital
band
last
month,
you
were
talking
about
you
know
murals,
on
the
back
of
the
buildings.
You
know
that
you
know
that
elephant
Avenue.
We
did
an
extensive
project
like
that
about
five
years
ago
and
I
was
I'm
sitting
there
going
so
you
know,
but
it
it.
It
didn't
work
for
a
number
of
reasons,
primarily
because
of
the
issue
of
liability
insurance.
A
So
you
know
in
fact,
some
of
the
buildings.
You
know
we
even
had
designs
for
them.
I
mean
that's
how
far
along
it
was
wow
and
but
you
know
that's
something
we
can
definitely
revisit
because
I
know
they're
doing
the
cohatch
building
now
and
you
know
so.
A
Kind
of
things
yeah
I'm
strongly
in
favor
of
it,
but
as
I
said
Diane,
you
can
do
a
little
homework
for
us
and
find
out
what
we
can
do
and
how
we
can
do
it,
and
you
know
it's,
as
I
said,
fact-finding
information
sharing.
You
know
the
the
Sunshine
laws
really
come
into
place
because
you
know
I
mean
we're
just
we're
just
looking
for
feedback
from
the
community,
not
necessarily
something
to
vote
on
right.
So
I
think
we
can
we're
pretty
clear,
okay.
So,
anyway,
Tina
would
you
like
to
say
something?
M
All
right,
so,
of
course,
I
came
to
talk
about
the
carryoutids
today,
which
now
seems
to
be
off
your
table,
but
I
think
the
comments
that
I
had
had
to
make
are
something
that
this
that
this
group
should
hear
anyway
in
case
there
are
future
projects
and
I
also
have
a
couple
more
questions
for
you
about
that
project.
Does
that
mean
that
those
things
are
now
going
to
be
decided
by
the
Board
of
Commissioners
or
some
other
group?
Yes,
which
one
I
don't
know?
Okay,
who.
A
Donated
them,
I
wasn't
given
the
name
of
the
individual
I
just
got
an
email
from
the
mayor
saying
that
an
individual
had
donated
them.
It
wasn't
specified
who
the
donor
was.
Okay,.
M
Well:
here's
here's
what
I
wanted
to
say
about
them.
Unfortunately,
and
I'm
going
to
read
part
of
this,
because
I
have
no
memory.
M
The
20-foot
questionable
reproductions
have
nothing
to
do
with
local
culture,
but
they
are
truly
brilliant
examples
of
Greek,
American
schlock
wrought
Something
Right
Out
of
My
Big,
Fat,
Greek
Wedding
and
paying
thousands
of
dollars
to
transport
them
to
Tarpon.
Springs
is
a
waste
and
here's.
M
Why,
in
terms
of
historic
preservation,
it
is
considered
a
best
practice
to
highlight
the
community's
authentic
building
our
cultural
traditions
and,
to
the
best
of
my
knowledge,
no
ancient
Greeks
ever
lived
in
Tarpon
Springs
Nar
did
people
hear
build
in
Greek,
Architectural
Traditions,
whether
ancient
or
modern,
and
that
includes
these
kind
of
pillars,
except
perhaps
for
the
highly
modified
neo-byzentine
style
of
Saint
Nicholas
cathedral,
which
is
done
with
Florida
brick.
M
Another
thing
that
you
want
to
consider
is
that
Greek
identification
with
its
ancient
culture
largely
collapsed,
with
the
Advent
of
the
Christian
Byzantine
Empire,
in
about
300
something
A.D
Greeks,
even
called
themselves
Romy
Romans
until
the
early
19th
century,
and
the
reason
they
changed
to
calling
themselves
helenes
are
alinus
is
because
they
wanted
the
Western
Powers,
who
revered
ancient
Greek
civilization,
to
help
them
win
against
the
ottoman
Turks,
and
so
they
suddenly
started
adopting
the
identification
with
ancient
Greek
culture.
But
underneath
Greek
culture
is
no
longer
ancient
Greek
culture.
M
There
are
survivals,
of
course,
here
and
there,
but
it's
not
the
same
thing.
There
are
Regional
cultures
in
Greece.
There
is
some
pan
Greek
culture
too,
but
ancient
culture
is
not
what
is
considered
Greek
culture
and
certainly
is
not
the
culture
of
the
people
who
came
here
so
in
case
you're
wondering
why
you
should
might
want
to
listen
to
my
opinion.
I
worked
in
the
Bureau
of
historic
preservation
for
13
years,
the
director
of
the
state
Folklife
program
co-authored
one
of
the
only
comprehensive
books
on
Florida's.
M
M
M
Conflict
of
interest,
but
and
what
we,
the
person
we
have
right
here,
is
a
National
Endowment
for
the
Arts
fellow,
the
only
living
one
in
Tarpon
Springs
for
his
diving
helmets,
which
are
closely
associated
with
local
culture
and
they're,
not
just
functional,
diving
helmets,
just
Maritime
craft
they
have
been
taken
now
to
an
art
form
the
city
doesn't
have
any
Nick
is
lending
one
to
our
to
our
Museum.
M
A
G
Put
education
I
appreciate
it
actually,
yeah
I
will
I
really
like
the
idea
of
the
more
comprehensive
working
in
the
committee
and
I
think
you
highlighted
there's
a
lot
of
Dimensions
to
it.
I'll
just
say
from
my
perspective,
I've
kind
of
I
see
that
I
see
a
lot
of
potential
in
the
process
of
working
on
this
project.
G
With
you
all
I've
I've
seen
on
a
couple
of
layers
on
a
couple
levels,
one
of
them
is,
you
know
we
were
kind
of
trying
to
find
the
site
versus
a
wild
goose
chase,
I
actually
stepped
back
and
realized.
Hey
wait
a
minute.
What
I'm
doing
here
is
a
survey
so
and
that's
actually
valuable
information.
G
It's
been
valuable
and
to
me
growth,
wise,
but
I,
see
like
layers
of
okay
signage,
and
what
do
you
have
now
and
when,
when
there
was
the
the
site
seem
like
up
for
grabs,
they
went
and
surveyed
the
whole
sponge
box,
just
because
I
like
I'd
rather
know
and
have
give
you
an
alternative.
If,
for
some
reason
the
commissioner
was
or
you
know,
the
the
city
manager
wasn't
going
to
allow
that
site,
but
in
the
process
I
did
a
survey
so
I'm,
like
you,
know
all
the
and
then
I
was
looking
on
a
different
scale.
G
A
Thank
you,
okay,
looking
forward
to
the
completion
of
your
your
pieces
and.
A
Is
there
any
other
committee
or
staff.
J
Comments,
Diane
yeah
I
just
wanted
to
mention
that
at
the
cultural
center
on
Saturday
March
11th
Tarpon
Arts
is
partnering
with
sages,
who
do
wonderful
place,
for
you
know,
seniors
and
we're
partnered
with
them
for
three
of
their
plays,
and
so
the
first
one
is
a
March
11th
at
two
o'clock
in
the
community
theater
and
it's
called
phony
baloney.
So
it's
kind
of
Graham
was
talking
before
the
meeting
about
you
know
the
scams
that
a
lot
of
seniors
are
facing.
J
You
know
with
Medicare
and
and
different
subjects,
and
so
they
are
going
to
kind
of
it's
kind
of
an
education.
It
is
an
educational
play
that
will
kind
of
hope
to
raise
awareness.
You
know
of
some
of
the
pitfalls
and
things
that
to
be
aware
of,
but
in
a
really
fun
way
and
the
police
department
is,
you
know,
part
of
it
too.
So
it'll
be
lots
of
fun.
So
I
know
that
everybody
is
probably
focused
on
the
Fine
Art
Festival
this
weekend
too.
J
D
J
I
also
wanted
to
tell
you
that
there's
amazing
things
going
on
at
the
Heritage
Museum:
we
are,
walls
are
going
up
and
lots
of
things
are
being
done.
So
you
know
we're
we're
still
in
construction
phase,
but
things
are
happening
so
stop
by
sometime
and
see
all
the
wonderful
things
that
are
going
on
very
excited
about
the
renovations
that
we
really
need
and
the
cultural
center
is
going
to
have
to
be
next.
J
K
K
I
just
wanted
clarification.
I
know.
At
the
end
of
the
last
meeting
we
were
talking
about
maybe
an
alternate
site
for
the.
D
K
Piece
with
the
Conch
Shell
and
all
that
of
Stevens
and
maybe
a
different
site
other
than
the
Sponge
Docks,
was
that
decided
I.
D
K
C
I
think
the
the
general
feeling
was
that
until
we
have,
or
until
we
hear
a
concrete
Proposal
with
dollars
attached,
then
we
really
didn't
have
anything
to
talk
about
gotcha.
C
A
Well,
you
know,
the
thing
is
you
know:
I
did
some
site
visits
with
the
city,
manager
and
I
think
once
he
saw
the
location
I
think
what
had
happened
was
I
think
he
mixed
up
the
two
pieces
and
he
thought
the
crowl
was
going
to
be
the
piece
that
was
going
to
be
on
the
waterfront
and
he
was
concerned
about
blocking
the
water
views
and
everything.
D
A
A
And
right
in
terms
of
the
The
Conch
Shell,
when
we
had
the
competition
for
the
for
the
black
heritage
project,
the
runner-up
was
Louis
marcoya
and
he
had
a
lenticular
of
a
sponge
that
basically
looked
like
you
know
an
African-American
head.
It
was
quite
beautiful.
Oh.
D
A
C
M
I
was
on
that
committee
and
and
I
I'm,
not
sure
it
came
out
very
highly
rated
just
to
let
you
know.
A
Well,
I
think
it
came
down
to
McCoy
and
Stephen.
J
G
So,
okay,
my
rough
schedule
here
so
I
am
in
deep
into
design
and
I've,
been
doing
a
lot
of
site
analysis
to
kind
of
double
and
triple
check
things,
and
within
a
week
to
two
weeks,
I'll
be
doing
some
Fabrication
in
my
studio,
be
a
weaker.
After
that
it
should
be
some
probably
some
initial
site
work.
Then
we
have
to
actually
order
these
resin
panels.
G
It's
a
big
deal
because
they're
a
lot
of
money,
so
I
have
to
get
that
right
and
that's
going
to
be
a
bunch
of
about
a
lead
time.
So
I'm
looking
at
installation
starting
towards
the
end
of
April,
the
actual
on
the
site,
the
you
know
like
starting
to
put
things
together
down
there.
There
will
be
some
probably
some
things
initially,
because
that
if
I
get
some
things
initially,
it'll
go
speedier
on
the
other
end
and
then,
although
again,
the
contract
I've
got
till
September
20th
I'm,
trying
to
finish
my
mid-june.
G
Well,
you
know
the
way
it's
worked
out
with
the
sort
of
a
little
bit
of
delay,
I'm
going
to
be
well
I'm,
going
to
be
doing
some
metal
fabrication
simultaneously
and
just
in
advance
in
advance
and
because
the
graphics
have
to
be
designed,
and
it
kind
of
ordered,
I
kind
of
need
to
do
those
together
right
plus
what
I'm
finding
is
that
the
work
is
they're
talking
to
one
another,
all
the
things,
all
the
all
the
different
people
who
have
weighed
in
the
public
works
yourself
to
this.
G
All
that
stuff
is
actually
feeding
it
and
funny
enough.
It's
like
you
know
you
in
the
the
designer
hat
is
really
you
know
like
the
artist's
hat
is
like:
okay
has
one
idea,
and
then
the
designer
had
interprets
these
things
is
like
oh
wait
a
minute.
This
is
actually
better.
So
it's
designed
the
work's
gotten
better.
Because
of
that
you
know
anyway,
that's
the
that's.
J
The
basic
system,
if
you
would
just
keep
me
kind
of
like
in
the
loop
about
when
you
know,
you're,
going
to
be
at
the
different
sites,
because
our
public
works.
G
G
The
key
thing
is
to
get
the
the
plinth
pour
there
and
that's
not
my
I
mean
make
sure
nobody
does
anything
in
the
concrete,
but
that's
a
the
only
real
risk
right.
There
is
just
if
I
have
any
exposed
mechanical
stuff
to
fasten
it.
G
I
don't
want
anybody
falling
on
that,
so
that
it's
relatively
minor
but
that's
and
then
the
other
one
I'm
actually
going
to
start
strategically
so
I'm
going
to
actually
be
able
to
retain
some
of
that
and
that
fence
is
a
barrier
initially
so
and
then
once
that
once
that
that,
once
that
chain
link
comes
down,
then
I'll
start
with
actually
a
a
safety.
You
know
fencing,
but
I'll
coordinate
with
that
with
public
works
too
wonderful.
J
C
Sure
Graham
yeah
now
that
I'm
this
week
or
this
month,
rather
I'm,
not
the
the
neutral
person
in
charge.
C
I
just
want
to
throw
out
there
that
the
the
whole
thing
about
the
the
the
mural
on
Riverside
Drive
being
rejected
by
whoever,
whichever
nameless
person
it
was,
that
rejected
it.
That
works
for
the
city.
Just
I
wasn't
able
to
say
this
last
time,
but
it
burned
me
up
because
it
was
rejected
with
an
apparent
rejection
of
artistic
Merit
and.
C
If,
if
that
is
going
to
be
the
case,
that
projects
proposed
by
the
public
art
committee
being
rejected
by
city,
employees
or
officials,
and
because
of
perceived
lack
of
artistic
Merit,
then
what
the
heck
are
we
doing
here,
I'm.
C
A
It
makes
you
feel
slightly
better
when
we
were
working
when
the
subcommittee
or
committee
was
working
on
the
black
heritage
project.
We
actually
voted
that
when
a
decision
was
made
that
our
decision
would
be
the
only
one
that
would
go
to
the
Board
of
Commissioners
that
they
would
not
have
a
choice.
So
it
was
our
our
decision
as
a
public
art
committee
as
to
what
project
was
being
put
forward.
So,
but
no
I
I
agree
with
you.
It's
as
we
all
know.
Art
is
very
subjective,
and
you
know
we
sit
here
with.
A
You
know
credentials.
Yes,
you
know
it's
just
like
people
who
are
Engineers
or
you
know,
Carpenters
or
Public
Works
people.
You
know
the
very
fact
that
you
know
we
got
on
the
committee
was
because
we
met
certain
criteria.
D
C
D
K
K
Once
I
found
out
that
it
was
the
only
submission,
then
I
was
a
little
less
upset
about
it,
but
you
know
I
wasn't
in
on
it
from
the
beginning,
so
you
know
I,
don't
I
don't
have
as
much
skin
in
the
game
as
you
do,
but
I
understand
what
you're
saying,
because
it
sets
a
dangerous
precedent.
As
far
as
you
know,
what
do
we
do
in
here.
A
D
D
D
A
Yeah,
you
know,
which
was
a
very
logical
request,
which
we
responded
to
yeah
so
but
no
I
agree
with.
Graham
it's
yeah,
you
know.
If
you
have,
you
know
a
panel
of
experts
as
they
call
you
know,
or
even
somebody,
that's
you
know.