So let's call the meeting to order. And there's Rhea. And per the electronic participation policy, we should be actually doing the roll call. So I'm just going to run through the list of board members. If you would just like raise your hand when I, or I can just look at everybody. Maybe I'll just do it that way since I can see all of you right now. So I see Dale and Chris and Tom, myself, Eve, Lacey, and Rhea, and Callie, all in attendance. And Megan and Brydon, as well as City Councilwoman, Hidalgo Ferring, are not here tonight. So we'll call that our roll call. We don't have any public today. So the next thing would be to approve the minutes from last month. Does anybody have any questions or concerned about the minutes? No, I move to approve the minutes. Do I have a second? I second.  Yes. Thank you. So Callie has second. Chris moved. And so we need to do our roll call thing again. I think we can do it the same way. So all in favor, if you just hold up your hand and then we'll walk through. Tom, are you in favor of the minutes? Yes. Would you hold? Thank you very much. So I see Dale, Chris, Thomas, me, Eve, Ria, and Callie. So all opposed. There isn't anyone else. So that passes unanimously. Great. Thank you. Eric, would you present the accessions, the proposed accessions, please? All right. I will share my screen. So can everyone see the April 2021 accessions? So we've got a number of items. The first thing that is up is actually in addition to an accession from an earlier meeting, 2021.005. This is part of a collection of papers from the noble and Adams families of Longmont. The tin type and an ambrotype of Jacob Blake Adams, who came to Longmont, or came to this area in the 1860s. And then a New Testament, that's the item at the bottom. And then inside of that, there is an envelope, no letter, but just an envelope that was mailed from the American Expeditionary Force. The New Testament was given to him in August 1918, just shortly before he headed out for World War I. So definitely ties into our World War I related items. And the two photographs are documenting an early resident in the St. Brain Valley. Any questions about that? I just have one question, Eric. I don't know. What's the difference between a tin type and an ambrotype? So a tin type is actually on metal. It's not actually on tin. It's actually on iron. But they are done with essentially the same process. It's just the tin type is printed onto a dark colored metal. The ambrotype is printed on the glass. Both of them are actually negative images, which means in order to get the ambrotype to show up, you have to put a black piece of paper or black cloth behind it. So that's why most of the time, ambrotypes are found in these little cases. Tin types are a little more rare to be found in the cases. They're often just a sheet of metal. And it's really obvious that that's what it is. It's just a piece of metal that the photo has been printed on. Very early types, 1850s, early 1860s, is typically when these were found. And then once they develop better technology to print onto paper, that became the standard. Great, thank you. Our next item continues our contemporary collection related to COVID. This is a painting. It is actually, although it looks a little bit like a watercolor, it's actually acrylic that's been thinned down and painted on a drawing paper. It is by a Longmont artist, Bessia Christ. It was done in May of 2020. Miss Christ did donate these to several area hospitals. And this was one that she was not able to find a home for. And so she approached the Longmont Museum. She's actually, since this photo was taken, framed it so it is in a nice white frame now. But it acknowledges the frontline workers for their service, kind of a composite portrait, not of any particular frontline worker, but acknowledges the struggle that they've been going through over the last year. Any questions on this? Excession. Eric, what size is this painting? It is basically about 11 by 17. OK. I thought I had a tablet size. Thank you. All right. Moving on. The next collection, I'm sure, Eve will be delighted to know that there are more electric meters. Eve helped us catalog some earlier electric meters we got in some years ago. These actually come directly from the Longmont Power Department. They, over the years, have accumulated a large number of historic electric meters. And we're doing some rearranging and couldn't house these any longer. So they approached us. Many of them do have dates on them. And almost all of them say city of Longmont. So we know that they were used by the city electric utility. There's also a couple of fuses that are just interesting examples of early electric fuses that also were in the electric department. So basically, we're documenting this. It's a pretty complete representation of electric meters used by the city for the first roughly 50 years of the city's operation of electric utility and includes both commercial and residential meters. Any questions on this discussion? Eric, are any of these duplicates of ones that we already have, or are they all unique? They are all unique. The ones we have are somewhat similar but different enough that we were able to accept them all. Thanks. And then we have one more accession. This is an envelope from the Pratt Agency. Again, nothing inside the envelope. They actually found an entire box full of these envelopes, most which apparently had been written on, used as scratch paper and so forth. But they found this one that had not been written on. And so donated it to us. The Pratt Agency, in case you know, is kind of the first iteration of what would become Pratt properties that developed a large part of Longmont, primarily under the two-digit Kin Pratt, from Kinpratt Boulevard is named. But his grandfather, Marion Pratt, founded the Pratt Agency as a real estate firm, was later run by Harold Pratt. And then Kinpratt started in that before kind of spinning off Pratt properties as a related company. So something that kind of documents a fairly significant business in Longmont. Any questions on this? OK, that's all of the accessions, right, Eric? There's all the accessions. Yeah, so we could have a discussion on whether to accept those, and then I'll move on to the two potential donations and get your sense on that. OK, so is there a motion to accept all of these accessions? I move that we accept them. Eric, you did answer my question about what is the significance of the valuable paper's Pratt Agency, because the question not a little bit. And I'm assuming we need more electric equipment, and that's why we want to go ahead and have all the utility equipment there. But knowing that you feel like these are important to the museum, I would still make my motion to accept these accessions. Thank you, Chris. Is there a second? This is Rhea. Second. Rhea, great. Thank you, Rhea. So we have a second. So we're going to do the vote thing again the way we did before. So all in favor, please hold up your hand. And if you keep holding them up, I just, I guess that's all of us. Let me make sure. Oh, there's Callie. OK, thank you. All any opposed? You can put your hands down. Anybody opposed? I see no hands. So that is unanimous for, let me just read through the list for Joanne, Dale, Chris, Tom, Eve, Rhea, and Callie. So thank you very much. That was unanimous. The accession is accepted. So then we have two items for potential donation. Again, we don't have these physically in our possession. So we won't be voting on accepting them, but just wanting the board's sense of before the donors go to the trouble of sending them or, in one case, trucking them across the country that they think these would be appropriate had to the museum's collection. So the first is three items. There is a large steam engine. It's about three feet tall, three feet wide. Was built by George Madison Forbus in Hygiene, Colorado in 1889. It actually does still operate, although that is not something we would ever do. Steam engines are actually quite dangerous to operate. But it is a well cared for and interesting artifact from early agricultural history. Also on the bottom of this page is a dump wagon. This was patented, again, by George Madison Forbus of Hygiene. And this model is what he created. So something that you could use to dump something like sugar beets or other items. And so a local individual is patented. And then the third item, again, Hygiene, known actually for dairying in that area, these are butterworking tools that were used by that family. So any discussion or thoughts on the appropriateness of adding these to the museum's collection? I had a question, Eric. What is the size of the steam engine? I can't, I don't see any frame of reference. And I think of steam engines as being room size or something. This one, unfortunately, is not that big. It's about three feet tall and about three feet long. Was it actually used or is it a model? It was actually used. Yeah, the farmer who did it was mostly he built it, I think, out of curiosity, but did use it to run equipment on his farm. Any other questions or concerns about any of these? I guess I'd just sort of like a sense from the board whether we should proceed. Well, that's what I was going to ask, Eric. What's been a relatively new board member? What's the process now if the board feels that those are acquisitions that we should take on? So the plan, I've been contacted by the donor. His family is coming to Colorado in May. May 17th. And so they would actually bring out these items on a truck when they come in May. And so you would then see them at the either May or June advisory board meeting for official acceptance into the collection. But my assumption being we have a quorum if we get a sense that everybody feels like, yes, this is something we would add that the donor would feel pretty assured that we wouldn't have the awkwardness of, no, it's turned down.  Because obviously these are very important things to the family and they would not. One of the things we have done in the past is we request if people do not wish the items returned, then we find them in another home or something. But these would be difficult to return to Wisconsin where they're going to be housed. Are these items that we would see on display in the museum or put into the archives or the storage? So right now it would be a mix. We are actually assuming they are approved. We are planning to put both the steam engine and the dump wagon into the Longmont 150 exhibit as examples of technology and innovation in Longmont. The butterworking tools would go into our storage for future use whenever we have an exhibit that would fit with those. So do you want us to, Eric, I guess we can get a vote. Does anyone have concerns about their feelings that we would not want to bring these in? Or is everybody positive on these are things we'd like to acquire? I think it makes sense for these to be things that we pursue bringing in. OK, great. Yeah, I would agree. OK, I do too. So there you go, Eric. All right, thank you very much. Appreciate the feedback. And then we have one more item. Again, this is agro items. These are in California. And the donor has offered to ship them to the museum. But again, I felt like it made sense to bring it to the board and have you all's sense of whether they're appropriate before asking him to incur that expense. So these relate to very early history of this area. The earliest items, these two sort of comma-shaped pieces, these are oxen shoes. And oxen shoes will be different than horseshoes, but they serve the same purpose. And they were supposedly worn by the oxen that brought Mary Allen to Old Burlington in 1863. So these would be some of the first items we have that really have a very clear definitive provenance to Old Burlington, which was the precursor community to Longla. So that's kind of exciting for me. Burlington has been a tough place for us to find anything. We've got some documents, but almost no artifacts from Old Burlington. The spurs are a little bit later. They would have belonged to Mary Allen's son, Alonzo H. Allen. He was a cowboy most of his life. We have a biography written from some of his writings he wrote down, reminisced in later years. I wanted to be a cowhunter. And he grew up in Burlington and in Longmont and then traveled around up in Wyoming and Colorado for much of his life. And in 1877, when he would have been 17, he and his brothers hunted a large buffalo and those horns are what the donor is holding in the lower picture. So it's written on the back that these horns were perma buffalo and 1877 by Alonzo Allen and his brothers. So again, all of these items, some of the earliest examples we would have in our collection, we don't have any horns in very good condition. We've got some that are just on a very weathered skull in the collection, but nothing really in displayable condition and certainly nothing with a strong provenance to a well-known local family. Interestingly enough, Alon's Park is named for the Alon family. So a strong connection there as well. Thoughts from the board on these items? Eric, where is Old Burlington? So Old Burlington was a settlement that was very spread out. The center of Old Burlington was basically where the St. Brain River and Highway 287 cross. So there's Las Palmeras Mexican restaurant and the Burlington Square, Burlington Village shopping center is there now as well as a couple of historical markers. It was a community though that extended as far east as what is now Sandstone Ranch and as far west really as the foothills. And it was basically tied together because there was a post office more or less where the Burlington Village shopping center is now. And so all of the families that lived in that area would come in. And there were a few businesses and so forth and kind of a downtown around that crossroads. And that's where Mary Alon's hotel was as well and it was a state stop. So she was one of the earliest business women in Longmont. She's featured in our new Innovative Women of Longmont tour that will be coming out here in a couple of weeks. Great, thank you. I have a question. Eric, I'm certainly not questioning the authenticity of this stuff but it did raise a question with me about how you all maybe authenticate is not the word but how you figure out how strong the provenance for something is.  I mean, for instance, is this a descendant of the Allen? Yeah, so the donor is a great grandson, I believe, of Alonzo H. Allen. And I was able to trace in our genealogy information to his father, Margaret Lindbrun's genealogy database lists this donor's father. I don't think it lists the donor himself but it seemed to be a pretty strong connection. And he's provided as well a lot of background information and other genealogy information as well. So it seemed like, you know, he's not just saying, yeah, I found these and I've decided they must have been from- Yeah, no, I wasn't certainly questioning the authenticity. It just raised that question with me. I think it's really, they're really exciting things to have in the collection. I would agree. I mean, you know, just hearing a little bit more about the history of Old Burlington and, you know, knowing the history of these artifacts, I think they would be great additions to the museum. I agree too. Anybody have any concerns about it that they wouldn't want to add these? No, okay. All right, good to go. I will stop sharing and let the donor know to go ahead and send them. Great. Okay, so let's have the report for Kim. Hi, everybody. Hope you're having a good evening. You've gotten the director's report and kind of as I usually do, I'm gonna go through some highlights but not read every word. So stop me if you have any questions along the way or cause I'm gonna be looking over here. So yell at me if you have any questions. The first few items I feel like are like really cool kind of strategic planning things that we've been working on that we've been able to sort of come to fruition. So they're kind of, you know, feathers in our cap, if you will. We've extended an offer that, I should back up just one second to say that this report was put together a couple of weeks ago. So some of the language here is a little bit off in terms of timing. So I'll try to correct that as we go through but we've actually extended an offer to the fund development manager, Megan Peters and she has accepted the position and she's passed all of her background checks. And so she is gonna be joining us as of May the 10th. So we've got a new fund development director on board. We're super, super excited about that. It's really gonna be a game changer for the organization cause we'll be able to really, we'll have a full-time position focusing on fundraising and fund development. So this is a very, very big deal for us. So we're super excited about that. We're also working on our master development plan which is essentially a sort of site analysis and some schematic renderings of what an expansion might look like at the museum. And I think I mentioned at the last meeting that we had been working with a different architect and there were some challenges in terms of the city, not with us, but in terms with the city, with that particular architect. So we had to get this new architect and we love them. Like they are so thorough and so really meticulous at their approach to this that I'm actually excited that we had to change architects. They've been really, really good to work with. And so they are as of tomorrow. In fact, we're gonna be looking at some really preliminary schematics of things that some design proposals that they have for us for some museum expansions. And I think I've also mentioned that some of the things we're looking at are an additional gallery space, maybe a cafe on site, expanding some of our storage spaces and exhibit spaces. So we're hoping really that with an expansion we can just do a better job of meeting our mission and being able to meet our potential. So I'm super excited about this because it really gets us all excited that we kind of get behind how we might be able to look at the future. And then we've also got a museum consultant on board, Beth Kaminsky, who is helping us work on an interpretive plan. And she's really gotten pretty far in terms of interviewing staff and trying to solidify some ideas behind really focusing our attentions on themes and the way that we are delivering messages and the way that we are delivering the interpretation of the things that we do and how we are able to explore our mission statement in a really relevant way. And I think that that project is going forward really, really well as well. And then I think you guys might have heard that we got a million dollar donation from the Stuart Family Foundation. And so yeah, very good. We're super excited about that as well. They have not yet given us any direction on how they want us to spend that money. And what I think is true, if I were to read between the lines is that they're looking forward to seeing this master development plan to understand better what our needs and what the costs associated with those needs might be because that's part of what we expect to see with this master development plan is how much is another gallery space gonna cost us? How much is an expansion of the lobby gonna cost us? Et cetera, et cetera. So I'm excited to see kind of how those things progress that we'll be able to share the Stuart Family Foundation, a kind of opportunities for museum expansion and what they think they might want to contribute to and support. So we'll see how those conversations go. Then in March, we sold or renewed 60 memberships and seven giving club memberships. So that's pretty good, especially given our weird condition of still operating in restricted capacity. We have been, as of last Friday, we moved to blue. So things expanded a little bit more for us then. And we think that as of the 15th of May, we're gonna be moving to clear. That's not yet solidified, but that's kind of what we've been hearing. And so once we move to clear, then all of our restrictions go away. And so we're trying to figure out, what does that mean? We're all sort of freaked out by what does that mean? So we are trying to figure out, how do we open ourselves up in a very safe way? And we're trying to have pretty thoughtful conversations around that. I'm gonna skip down just a little bit under education. Our summer camps have opened up and as of this report, we have 264 camp participants and then nine out of the 36 camps are full. 30 out of the 36 have met or exceeded their minimum enrollment. And I suspect that suspected that's even more since this was written. We do have in our summer camp offerings, we basically have three levels that we've got completely virtual. We've got in-person, inside, spread out, and then we've got outdoor summer camps. So as we were planning for this season, we were really trying to offer, everybody's comfort level, depending on where they were. And I think that that is revealing itself in the registrations. We're getting really good registrations for that.  Like I'm done. Like, yeah. So yeah, we're trying to meet some parents' needs too. We've also been working through the discovery days and man, have we been super popular? We've got these kits that we've been making and distributing and those clearly have been in demand. So we've been really doing a great job in terms of our discovery days program. And I think that that will just translate to the next season that we have. And then of course, moving on to collections. Eric has been doing a ton of work in terms of trying to pull together really a survey of things going on with the collections area of Longmont 150. So there were lots of sort of pieces of the puzzle that we didn't have represented in our collection. And so he's been working with collectors and working with different people in the community to try to get some collections that actually represent some of those themes that we're trying to unpack. So kudos to Eric, that he's been really, really working hard on that. He's mentioned breweries and distilleries and cideries. So that's some sneak peek into the exhibit there. We also have our online tours that we've been working on. So the Latino History Tour and then Eric mentioned the Women's Histories Tour. And so those are gonna be really promoted coming up here shortly. The Latino History Tour has got the Spanish language perspective. And I'm proud to say that we had some collaborators who really helped put that together and helped record the Spanish translations for that. So we've got some really great partners in pulling these things together. And then we've talked about the land acknowledgement a couple of times in our meetings. And so I just wanna recognize that Eric's been doing a ton of work to try to figure out exactly what is the best approach to pulling together the land acknowledgement. And then let's scoot to the next page if my computer will cooperate. And Justin lists all of the programs there for March and April. And I just wanna point out that he in the pandemic especially, I think that his sort of wings have spread that he has pulled in these really intriguing and engaging programs. And I'm excited to see some of the work that he's done and they have everything to do with inclusivity and diversity and the programming he's been able to pull together and then post on our virtual platforms has been really amazing. And we've gotten a lot of fantastic feedback about that as well. And our rental programs is starting to ramp up. There's a couple listed here. We've got the Boulder Youth Orchestra and the Longmont Symphony Orchestra. But I think that we're getting now a lot more inquiries. And so I think that our rental program is gonna start really ratcheting up here soon given the fact that some of the restrictions are being relaxed a little bit. And so I have a feeling that there's gonna be a little bit of pent up kind of go through the roof and probably attendance and stuff like that as well. And then there under the visitor services, you see some of the data that we've got. So the recent public health orders have allowed us to boost our numbers just a little bit. And so we've seen as of this report 737 visits during March and on Saturdays, our attendance is really strong. We're basically selling out on Saturdays all of the time tickets. So 176 visits even when we had the weekend of snow day.  The response in terms of our gift shop has been really good for Impressionism. So we've sold over $3,000 just in the month of March. And it's so fantastic because our poor gift shop just tanked with all of this COVID stuff. And so we're very, very pleased. Well, you know what? I should back up. It tanked during COVID. And then when Eric's book was released, it just went like this. So take that into consideration. And then the last piece of the report is really about art in public places. So I thought I would just turn it over to Angela when she gives her presentation to talk more about art in public places. And so I just wanted to stop there and see if you guys had any questions for me. You guys, I wanted to say that the staff has been doing such an amazing job. And I am so thrilled with what we've been able to accomplish during this time. And also the kind of behind the scenes strategic work that we've been doing. It's all really meaningful and necessary. And quite honestly, it probably wouldn't have been possible without this kind of break with coronavirus. So in some ways there's some silver lining to that. But that doesn't stop them from doing, you know, the programmatic staff and the visitor focused stuff. And all of the things that we would have done if our doors were open fully, the staff has been absolutely amazing. Great. Anybody have questions? I'll look at Eve. Anybody have questions for Kim before we go to Angela? Cause I don't have a report. Nope. Angela, are you there? Would you like to finish the director's report? And then I think you're going to give us a presentation. Yeah. So I think I'll just allow the presentation to speak for itself. And I do have to say it's very nice to of course meet all of you. You've probably seen me because Joanne and I are tag teaming on the hosting. So Joanne is the facilitator for Art and Public Places board. And then I'm with you. And it's actually really wonderful to hear in that just report of everything that my colleagues are doing because they're amazing people. And I'm really lucky to be a part of this team. So I'm going to share my screen if I can. If I can. Get back to the beginning. Here we go. Oh, but you don't see that. One would think that we would be savvy, savvy. Let's see. How's that? Whoop. You can give me a thumbs up, Eve. Good. Okay. And can you hear me all right? Thumbs up. So I'm Angela Brill. And I'm the newish, I guess you could say, Art and Public Places administrator. I've been in this position more in the era of COVID than not. We, I had just joined the team and things were ramping up and we were really gaining some momentum and then COVID hit. So, you know, and that's actually been an interesting, an interesting way to come about this. My background is in art history, theory and criticism and education. And my predecessor was in this position for 20 years. So it's kind of an interesting time for change and assessment. So we'll just get on to it that Art and Public Places, also called AIPP, you might have heard AIPP, is a 15 person city council appointed commission, all citizens of course of Longmont. And our funding comes directly from a 1985 charter, 1442, which implements 1% of almost all CIP. So that's construction, city improvement projects, construction costs. And those are allocated to collecting, installing and then maintaining public art collections and public art collections makes our city so dynamic. And right now, as the present moment, we have 76 pieces in the permanent art collection and then an additional 50 some shock art boxes, which are the mural electric boxes that you see around town. The program is overseen of course by the museum. And so I fall and the program falls under all of the strategic planning and processes that we're going through. And we actively partner and collaborate with many community organizations and cross pollinate with many city divisions of course. So, and I'm really excited and could talk about Art and Public Places all day long, but I didn't time this presentation, but I'm just gonna kind of cruise right through it. So the way I like to think about public art is really from a traditional standpoint, which is you start thinking about public art in commemorative or monumental pieces. And so here's the face and the toes of the Statue of Liberty, right? 1885 in New York City. And in Longmont, we have commemorative pieces as well. Kensington Park's Unity, our own replica of the Statue of Liberty that was donated by the Boy Scouts of America in the 50s. Roosevelt in bronze of course, from the, at the corner there. And then this recent mural that we collaborated with Tony Ortega to commemorate 20 years of Dia de los Muertos. The Goose, of course the Goose project, you will remember this commemorates the sister cities partnership and also Florida Lano, which is one of those monumental pieces when you're coming into town from high 25. So that's a traditional way of of course, thinking about public art, but there's also defining your sense of place. And so if you're ever in Philadelphia, you see Robert Indiana's 1976 love sculpture and you can't help but know you're in Philadelphia when you see that. And we have that too in Longmont. When you're going on the diagonal highway and you see, come on, you know that you've arrived. It's a gateway piece that it's a sense of place and that you, that you're here, but that exists in smaller projects too, such as this mural that's in Kenamoto Park that was executed by students from Front Range Community College with a local artist, Miguel Vasquez. But public art is also morphing as the world is changing too. We're finding, of course, that the more dynamic pieces are storytelling, right? And it's about our creative culture. It's what's happening right now and this is telling our story. And I love this example because you have, of course on Wall Street, on Bowling Green, the charging bowl from 1989 that's been there forever and almost a dynamic piece of what's happening on Wall Street. And then in 2017 for International Woman's Day, Fearless Girl by Kristen Visbell was installed and all of a sudden the place changes, the context changes. And this is kind of the world that we're in. We still have commemorative and monumental pieces, but we're really talking about where, about belonging and where you are. And we have that too along the St. Brain Greenway in 2013 when the flood came through. There was a number of pieces and plant life along the river that had to be taken out, including these two cottonwood trees. And so the city arborist came to the public art program and said these would be great places to hang or hold art. And so the city arborist and art and public places work together. And so now we have this public art installation that sneaks up on you if you're along the Greenway and it's made from upcycled VW hood from a bug. That's the shell, I guess, of the ladybug with kickstands for legs and drivers for antenna. And this beautiful dragonfly that has cogs of a bicycle as the lace of the inside of the wings, a thorax that's made from a Honda hood from a motorcycle. So we have that in Longmont. And art and public places is actively investigating how we can continue to tell our story and to make sure that the voices and the opportunities are available to everyone, to our residents in Longmont. So we're doing a lot of investigation, a lot of asking questions, working very hard with our development folks and our planners to make smart integrated projects. So that's some of what we do. There's also the very not as attractive but equally as important maintenance and conservation aspect of art and public places. And so some of the things that we're working on in the present moment with the construction of the Civic Center is an assessment of colorful poetry in the middle pages by Louise Kotis. And this was installed in 1994, the project started in 1992. And so because there are solar panels that have to go up onto the roof of where these pieces are, they'll inevitably have to come down in the fall. And at that time, the commission is going through our policies and processes of understanding if they're viable, are they torn, are they ripped, do they need conservation? Is it time that something else goes up instead? And so the commission is working through that. On the left side, you'll see the listening stone that's along St. Brain Greenway. And when the flood happened, the orientation and the trajectory of the way that the river flows, of course, has changed. And so as our partners and natural resources go through and fix and go and redevelop some of those spaces, that piece as well will have to be uprooted and moved. And so that's one of the things that we know that will happen in the future and is a big part of what we do. And then in the bottom left-hand corner, I just put the plaque that you will find along any art and public places piece. And we're looking to revamp those pieces, looking to do bilingual work on those and change the look and feel. So it's consistent with city branding. So those are some of the things that we're working on there. We do have two very longstanding programs specifically that are supportive of active working artists. The first is Art on the Move, where we borrow five to seven works of art from regional artists and place them around town. And those change every year. And we pay each artist a stipend to lend those pieces to us. And sometimes the community will fall in love with them and we investigate commissioning or rather acquiring those for the city collection. But it's a really interesting way to enjoy public art and see something new. We also have the very popular shock art program. And shock art, any artist, even an up and coming artist is invited to submit a mock-up of a box. And so then a successful piece that has gone through a community vote and selected by the community and then is translated into the larger piece itself. And so it is an opportunity for younger artists to get involved. And we pay a very fair stipend to participate that way. We have over again, 50 shock art boxes and they're all throughout the city. So you'll run into them all of the time and we have a map of course, if you wanna go find them. And we want you, well, not you because you're already serving on the museum advisory board but we want your friends.  So maybe when a museum advisory board terms are up and you want to stay involved and do something different, also involved in collections and also involved in the creative juices of Longmont. We have place, it's a very active board and it's a lot of fun. So that was in a nutshell, the really fast and dirty art in public places and what we're up to but happy to answer questions. And yeah, is there anything you love to see around town? Upsharing so I can see you.  No, that was great. I really liked your connection to other pieces around the country and kind of what the role is with AIPP. I was a member of AIPP for about 10 years. So very familiar with the pieces. I had a question. I haven't seen a newer updated map of where all the pieces are located. I didn't know. I know in the past we've had it incorporated with the bike map. And so I didn't know if there has been an updated version within the last few years. There is. So there's a 2019 bike map and that came out in December of 2019 and it's often done every other year. They went to a larger format and I don't think that that was actually preferable for Ben or Lauren in functionality sake. So when we do it again, either in 2021 or 2022 it'll go back to the smaller size. If you're interested in one, we have one at the museum. It was never, it wasn't digitized or created to be digital. So the next time we go about it I think we need to make a more printer friendly or mobile. Yeah, having it be mobile friendly I think would be really helpful because there's just so many pieces that like if you're on the bike trail, right? Or even a walking tour and just having it where it's not just this big map that you're trying to figure out but actually have something that's mobile friendly I think that would be really helpful for people. And that's one of the things too that we're investigating with the new plaque kind of thought process is our QR codes going to live long enough and be assist or maybe even a QR code sticker that eventually over time if it becomes obsolete, we can remove them. So thinking about ways that not only can we be in English and Spanish and then possibly looking into Braille but trying to come about access from lots of different ways. So yeah. Yeah, I love the QR code idea. We were just down in Denver this past weekend because I absolutely had to see, I'm a fashion major so I had to go see the Veronica and Gregory Peck exhibit which was amazing if you haven't been down to see it but they've incorporated quite a bit with the QR codes down at the dam as well and that was kind of nice to be able to see that read about the different even more about the pieces. So something like that might be kind of exciting that you could do more from anywhere to be able to pull up a QR code for the different pieces. So I like that. So Angela alluded to this but just so you know we do plan to add an AIPP tour to our mobile app. And so right now the ones that we have online are Eric's downtown walking tour and then we're about to launch the Hispanic, no I'm sorry the Latino history tour and then the women's history tour and that we will add another AIPP tour and that's basically how you access it is that you would be able to essentially walk the route and there's a QR code that you could aim your phone at. Yeah so the content is done from the intern. We just didn't make the deadline for and they have three so they have plenty to do. So we're all queued up for that but it is interesting too about how those tours function and if it's a walking tour that you go directionally for our public places it tends to be a little bit different because you're deciding your route if you're on your bike or you're deciding your route if you're just driving and want to know something. So kind of playing with that a little bit and looking at the data and feedback of how people are using it in different contexts. Cool, thank you so much. Does anybody have other questions for Angela? Okay, well thank you. I know more about AIPP than I ever did. So this was great. Kim, are you waving? Can I just want to add one other thing. Angela's been spending a lot of time working on trying to pull together a creative cultural plan that would essentially be for the whole city. And it would incorporate the museum, art and public places, the creative district, all those kind of creatives that work in Longmont and produce in Longmont. And as part of that conversation, one of the things that we can like, wow, here's an aha moment is that I do believe that it would be really helpful and important for the Art and Public Places Commission to meet with the advisory board and then also our friends of the Longmont Museum Board. I think that it would be at least once, but maybe in a more intentional way to have the museum's three boards interact with each other. And so I just kind of throw that out there as sort of food for thought. I do think that the creative cultural plan will be a platform for us to really think about this. For there to be a longer-term relationship between these three boards. And maybe it's the chairs go to each meeting or something along those lines. In some way that we can make sure that this information is kind of cross-pollinated and that we're sharing things among all of these different boards. And so I just wanna make sure that that is out there for you guys to think about because eventually in the not too distant future, Angela is gonna be tapping you guys on the chair to participate in some of these cultures. And I didn't say this, but it just reminds me that also for our master development plan we'll be tapping you on the shoulder to chime in to give us your feedback about building expansion as well. I just wanted to just add to when you said food, you know, when we're actually able to open maybe we have like a little mini social for like the three boards to get together or something. So just throwing that out there. That sounds like a great idea. Cool. Anything else on AIPP? Okay. So the next thing on the agenda was a discussion of the land acknowledgement statement. And Eric, if you don't mind, I'd like if you would speak to that because some things have changed since the last meeting when we first talked about this. So yes, yes. And I appreciate everyone's feedback and thoughts about this. I think it's been a really good process to begin discussing land acknowledgement. About a week ago, I got a notice that there was a museum conference, virtual conference that was actually starting today and their keynote speaker were actually three members of the Southern Ute tribe, specifically talking about land acknowledgements. And I was like, oh wow, that's perfect timing. So I just attended that this afternoon and it was a really powerful discussion of kind of the process that they recommended going through. And now they recommended that it's important to make sure you get some connections, some relationships going with the tribes that you're referencing in your land acknowledgement. That's kind of part of the process of writing one is developing those relationships if you don't already have them. And we do certainly have some of those, but it felt like it probably made sense rather than going ahead and adopting it or moving ahead with it right now is to take a little time to make sure that we really have those connections and those relationships developed a little bit better. So that's my thought. And again, I'm sorry to kind of bring this up just in the meeting, but it was literally at four o'clock the session ended. So didn't have a lot of time to communicate it with the board beforehand. But certainly if people have questions about the statement as it exists or other thoughts. And again, I really appreciate everybody looking through it and making suggestions. I think we are in the midst of developing it and we wanna think as well about kind of our intent as an institution in what is it that we really wanna do with this land acknowledgement? What purpose does it want to serve and making sure that we're doing that in the most synthetic and sensitive way possible? Great, thanks Eric. So based on that, I think what we'll do is we will wait until whatever that time is Eric, when you feel that some of those things have been lined up. So it's probably not next month or the month after, but something for the future. I can't. Well, yeah, I just wanna mention that and I can't remember you guys, sorry if I am blanking on a conversation, but the city of Langmont has worked with the Northern Arapaho for a couple of years now on trying to formalize a sister city relationship and I think that it's finally supposed to be formalized in September if I remember correctly. And so there has been some development for kind of outside of the museum in relationship with the Northern Arapaho, but there has been a lot of groundwork that's been laid with the Northern Arapaho tribe. So I do feel like there's an opportunity that we could kind of plug into the work that has already happened and really kind of dovetail with some of those relationships that have already been formed. So I really am leery of kind of throwing the baby out with the bathwater. I think that we just need to bring these conversations together and that would feel very authentic to the process. That's it. Okay. Well, I think Chris, I wish you could see what we see. I thought it's like, can you tell my son walked in the room and said, let me have that. Funny. Well, maybe what we'll do is we'll just table the land acknowledgement statement discussion for today anyway, and then we'll just look for it when it's an appropriate time to bring that back. If that sounds okay to everybody. Okay. Then the only other thing that I have, unless there's new business is we had talked last time about the bylaws, how we were gonna update the bylaws with the electronic participation policy. And the board actually did approve that addition. But in reviewing it, I'm working with Joanne. We think that there might be a few other updates that we would like to include. So rather than bringing that back right now, we wanna look at some other things. So just so you have an idea of what we're talking about, as you're all aware, there's a conflict of interest disclosure. I think Joanne had sent that out to everybody just so we're all aware of it, what to do or what not to do. There's an open meetings law reference in our bylaws, but it would be, we've just decided that perhaps we need to modify it slightly so that it refers to the, what am I trying to say? That the reference is more accurate. And also, I think the only other thing was the reference of the posting meeting agendas, looks like it's different in our bylaws than in some other city things. So we just thought we would try to, and when I say we, I mean, Joanne's gonna do all the work, work through this and try to make sure that our bylaws reflect the references to the city are accurate and that we've included all the different types of addendums that we need so that it's the best that it can be. So I just wanted to, that's just a preview. We'll bring that back maybe next month or maybe in a future meeting, but so that's why you didn't get a new copy of the bylaws this time. So is there any new business? Anybody have anything that they want to bring up? Go ahead, Tom. You need to unmute. Tom, can you unmute yourself? We can't hear you. Is that better? Okay, sorry. I was just wondering if we had any position of support or opposition or neutrality with the recent release of the Longmont Performing Arts Center and if we are supportive of that or not or do we think it's gonna be an impact on the steward? I mean, it's a different type of venue, certainly, but I was just wondering about that. Kim. I am, thank you so much, Tom, for asking the question. Oh, I'm sure, yeah. I will share, because I've actually been involved with the committee that has been looking at the, that worked with the consultants and the way that they were doing the assessment. And so the, I don't know if you saw, but a couple of weeks ago, they actually gave their presentation to city council. And then there were two motions that happened after. One was to accept the report and then the second was basically to have staff investigate whether or not we could do it. I will say that I am supportive of this endeavor. I think that a Performing Arts Center in the city of Longmont would be an asset to the city and we would all benefit from it. I, like you, am very concerned about what it will mean for the museum. I will say that I am of the opinion that if our museum is not co-located with the Performing Arts Center, that they will impact our visitation and we will impact their visitation. That the way that we add value to one another is if we are co-located. That's my opinion. You guys are free to have your own opinions about this. But what I also think is true is that the, I'm not exactly sure how to say this politely, but I just don't feel like the museum's interests have actually been well considered in this conversation. So I encourage you guys to talk about it. That's what I will say. Well, I have a question about that because, I mean, gosh, we've been talking about this for 20 years in Longmont, right? And the need to have Performing Arts and what does that look like? And the land that is near the museum has been talked about. And then it's, no, that's gonna be a new Hilton or no, that's gonna be a whatever, right? So is that, I mean, honestly, I participated in strategic planning for Longmont, like I kid you not, I think it was like 20 years ago when we talked about like this whole, I mean, originally that whole, where the museum is in the rec center and all that, originally that was even talked about having like front range community college there when we were gonna look at having this campus and everything was right there. And then they were like, nope, there's not enough land, but the wetlands. And then there's just been so many different discussions about it. So where is, is that in that plan, I'm not up to date enough with kind of where, I heard about the proposal, but that's as far as I've gotten with what's going on with that. So the consultants gave a recommendation for the location that they felt like a Performing Arts Center should be located. And it is, they call it the steam area. And it is basically a kind of along the river corridor where it's just right there by downtown. And the whole campus of steam is sort of just conceptually speaking, supposed to be this kind of cultural corridor that it would include again, some kind of higher ed. They're talking about a maker space in the library. There's the Performing Arts Center, some different housing and multi-purpose kind of architecture that would be down there. The idea is that it really would be a kind of central core for culture in Longmont. However, what I would say is that the conversations at least so far don't include the museum, that we would stay where we are and that we would act as a anchor on the south side of town. It's a little unclear what's happening at Quayle campus because they're on that west side of the property, that is private property. And there is a proposal in the planning department for a hotel and some... 10 years, 10 plus years. Well, I think that it's been renewed. That's my understanding is that it's been renewed and that there's like retail and a hotel there. And then the bigger question that is kind of still out there to be resolved is that in the Quayle campus master plan at the northeast corner right now is Pool and Ice. And as you may recall, focusing recreation at that one campus. And so almost definitely there will not be Pool and Ice at Quayle campus. So there's nothing yet identified to fill that void. So they're not looking at doing the hockey, like they were gonna have the ice pavilion, they're not looking to do that anymore, okay? When you talk about the steam location, Kim, are you talking about west of Maine across from the barn? Okay. Yeah. No. East. East of Maine. Yeah. East of Maine. Between where? I think. Between where? Maine and Martin, between Maine and Martin. Oh, where the construction is down. So east of 300 suns brewing and they've got that land down there. So are we talking about? So the, there is a website and I, I'm sorry, I'm not gonna be able to direct you there immediately. It's okay. I'm just trying to think about how it all fits together with what you were just saying with the museum. And I think I have to see that. So yeah. So the city doesn't own that land yet though. There are, I think some small portions that the city owns, but right now it's actually private property. So they don't own that land yet. So that's part of the conversation. So in addition, if you, if you watch that presentation by the consultants, they were talking very much about construction costs and a little bit about operating costs, but mostly that though, they were talking about one time expenses that did not include land acquisition. Well, it's helpful to be where it stands right now. Yeah. Where it stands right now is that there was a motion to have staff investigate the possibility of this actually happening and really digging into the numbers that were part of that report because they presented both sort of construction costs and then operating costs and revenue costs. So they were also looking at a, essentially a convention center. So meeting spaces that were part of this to try to offset some of the expenses. And so there are lots of projections that are written into that report. And so those were the figures that really, I think staff is now tasked with really validating. Thanks for asking, Tan. Great, anybody else have comments or questions? Tan. Unrelated to the Performing Arts Center. I wondered if we have any projection in time for in-person meetings or will we continue on Zoom? That's a good question too. I've not gotten any updates in terms of when we might be able to meet in-person. The last update that I did get was basically plan for meeting virtually for the foreseeable future. And Angela might be able to speak to this too in terms of the AIPP commission. But I think that if and when we do start to meet in-person again, that there will be the possibility of kind of virtually chiming in that you could be in-person or virtual. That's kind of my understanding. Yeah, that's at least what I'm planning because we have so many folks with 15 people in-person still maintaining distance even if we get to a clear point is the challenge. And then of course, making sure that the museum has the infrastructure to provide that added opportunity of a hybrid. So I'm ending again the same. For foreseeable future, obviously city council, it sounds like from a city clerk's office is first and they're chomping at the bit to be certain and then it'll roll out kind of down. But we have, we need to be able from an infrastructure point of view to meet at the museum, but then also to provide that hybrid opportunity. Okay. Do you guys want to meet in person? Thank you, I would just... Go ahead, Ty. Well, no, I was just saying, I'm on a few other committees in the county and some of them are starting to just meet again in-person. And I was just curious what our future might hold. Would you guys be comfortable meeting in person sometime soon? I think so. Well, I'm a hundred percent vaccinated. Me too. I will be by my mother's side. Yay. So I don't know. I guess what we really have to wait and it's the city's gotta make the decision. Unfortunately, we can't, but it would be nice to be in the same room with everyone.  That would be great. Cool. Well, if there aren't any other questions or other business, would someone please make a motion so that we can adjourn? I'll make a motion to adjourn. Great. Thank you, Rhea. Second? I'll second. Thanks, Chris. For a second. All in favor, please raise your hand. Okay, I see Dale, me, Callie, Rhea, Tom and Chris. So any opposed? I don't see any opposition. So that passes unanimously. So we are adjourned at 5.51. So we'll hope to see all of you guys soon.


My name is Sarah Tmoti. I work with the CCCM Unit in Ireland, Nigeria. Over the years, I have worked as a camp manager overseeing daily site operations. I was the focal point for camp closure and relocation of IDPs to new sites. Presently, I serve as the focal point for all reception centre activities. Daily, we receive new arrivals at our reception centre of which the majority are women and girls. To ensure they are protected from gender-based violence, we organise awareness campaign on gender equality to all site residents. We organise women's participation in all site activities and decision making. We also train women committee on GBV prevention and mitigation. We ensure wash facilities are segregated and well secured. Effective complaint, feedback and referral mechanisms are in place. We also train partners on GBV, PACE in order to create awareness and protected sites residents, especially women and girls from exploitation and abuse.


Hello, before we start, I have an idea on who here has the right to work to get open for you. Ok, not that many people, so you might learn something today. The magic of each year are my dresses. So, my name is Anthony Acoubois, I work for EXEC as a protocol designer and smart contract expert, but I'm also trying to be a simpler yet useful tool for these communities. This might be one of those. So, who has the dresses? Wallets and smart contracts. You might know both of those, they look very similar. They are actually the same thing from an Indian point of view, but they are completely different. The address of a wallet is basically the hash of the public key, the end of the hash of the public key. So it comes from the private key. So if you have a private key, you've got your address. And this address is very ordinary. This means that you can use your address on next day and main it seamlessly. But the smart contract is different. When you deploy a smart contract, you've got basically the hash of the creator's address and the creator's address. So if the creator is a wallet, then just the norm is important. But if the norm is not the same between different production, then the address is different. Also, the actual code is not part of the address, so if you have a wallet and a norm, you could deploy any contract regardless of the code the address can credit. And knowing this can save your day. So this guy was a hero just because he wrote a yellow paper. Tokens were sent to an address that was a loss of contract on the testnet, but using main net assets. And knowing that he was able to put a contract to recover the phone at the right address. Because you can send tokens or value to an address that doesn't exist. This is how you interpret the different. So how to have the same address on all the network? You could use ENS and stuff like that. But if you want at an exact same level to the same address, you need to deploy using the same wallet. And make sure everything is in sync between the network. And so you have to do everything very carefully. And if the creator is like a factory smart contract, this is very dangerous because if users try to create accounts and they're doing one network but not on the other, then the network goes out of sync. And there is no way they're going to have the same address for the wallet account on another network. So hopefully there is a new thing. There is more. There is create2. And create2 is an app code that allows smart contracts to deploy older smart contracts. A wallet cannot use create2, but a smart contract can use create2. And how create2 works is that the address is not computed using the nodes. We can get out of sync between chain, but using the creator's address, the deployed code and the sort. And the sort is useful if you want to deploy the same code twice but at different addresses. And this is very interesting because it can be predicted like previously. But the address basically contains a code. So if you're deploying another smart contract, another code, you're never going to get the same address. Also, it doesn't consider the nodes. So if you were to deploy the same deployed code with the same sort on multiple blockchain, you will have the same address in the end provided that the contract that does the deployment has the same address in the first place. And we know that we can do that using the previous technique, which is kind of difficult, but we don't only have to do it once. So basically that's what I did. I built a very generic creative factory. It's a smart contract. The only thing it does is call create2. So you can use it to deploy any smart contract. And if you give it the same bytecode and the same sort on all the blockchain, you will end up with the same smart contract on all the blockchain. We just have to deploy this factory to as many blockchains as possible with the same address. And that's what I did. So this is the address right here. It's live on Mainnet, on Robson, on Ringby, on Cova, on Gordy, on Luxo. And I'm going to give away to everybody sign transaction for all the chain IDs from 1 to 16K or 64K so that you just have to find the wallet that uploads that. You run that transaction, and this will deploy the factory to any sidechain you want. And that way, this factory can act as the root of a multiple tree of smart contracts between all of the same address. That way, we never have to worry about sending tokens to a contract that has the wrong address because we can make sure that our current contract has the same address on all the network. So thank you for Isaac and Dimosex for financing that. And if you want to know more, just contact me.


So, rather than starting first with who is the school staff who can help the student in this classroom or other school activity, let's think about first whether the student can participate on his or her own. And if they can participate independently, maybe they don't need an educational assistant to be right by their side as they're participating in that class. Or maybe if the student was given the right technology or some adaptation, they'd be able to participate more independently. So for some students with complex support needs, it may be that they just need a communication device or a switch that can allow them to participate in an ongoing class activity. And if so, then they don't need an educational assistant to do things for them. Maybe if they have the right technology, they still need some additional instruction or some guidance on how to participate in the activity. And so as a teacher, you might provide some additional skill instructions so they know what to do when they're working with their peers in a class. If a student can't do it on their own or the right technology isn't sufficient, we might look at how we pair peers up with a student to help with some of the supports a student might need. What we're really encouraging educational teams to do is rather than starting with the first line of support being an adult, we start to think about this more hierarchy of can they do it independently? Can they do it with technological supports? Can they do it with peer supports? And if the answer is no to all of those questions, then we start to think about more individualized one-to-one support from an adult. Thank you.