I am the poet of the body, and I am the poet of the soul. The pleasures of heaven are with me, and the pains of hell are with me. The first I graft and increase upon myself, the latter I translate into a new tongue. I am a poet of the woman, the same as the man, and I say it is as great to be a woman as to be a man, and I say there is nothing greater than the mother of men. I chant the chant of dilation or pride. We have had ducking and deprecating about enough. I show that size is only development. Have you outstripped the rest? Are you the president? It is a trifle. They will more than arrive there every one, and still pass on. I am he that walks with a tender and growing night. I call to the earth and sea half held by the night. Press close, bare bosomed night. Press close, magnetic, nourishing night. Night of south winds, night of the large-view stars.  Smile of voluptuous cool-breath earth, earth of the slumbering and liquid trees, earth of departed sunset, earth of the mountains misty-topped, earth of the vitreous pore of the full moon just tinged with blue, earth of shine and dark mottling, the tide of the river, earth of the limpid gray of clouds, brighter and clearer for my sake, far-swooping elbowed earth, rich apple-blossomed earth, smile for your lover comes, prodigal you have given me love, therefore I to you give love, oh unspeakable, passionate love. End of poem. This recording is in the public domain. O Span of Youth, ever pushed elasticity, O manhood, balanced, florid and full. My lovers suffocate me, crowding my lips, thick in the pores of my skin, jostling me through streets and public halls, coming naked to me at night, crying by day, ahoy, from the rocks of the river, swinging and chirping over my head, calling my name from flower beds, vines, tangled underbrush, lighting on every moment of my life, bussing my body with soft balsamic buses, noiselessly passing handfuls out of their hearts and giving them to be mine. Old age superbly rising, oh welcome, ineffable grace of dying days. Every condition promulgates not only itself, it promulgates what grows after and out of itself, and the dark hush promulgates as much as any. I open my scuttle at night and see the far sprinkling systems, and all I see, multiplied as high as I can cipher, edge but the rim of the father's systems, wider and wider they spread, expanding, always expanding, outward and outward and forever outward. My son has his son and round him obediently wheels. He joins with his partners a group of superior circuit, and greater sets follow, making specks of the greatest inside them. There is no stoppage and never can be stoppage. If I, you, and the worlds, and all beneath or upon their surfaces were this moment reduced back to a pallid float, it would not avail in the long run. He would surely bring up again where we now stand, and surely go as much farther, and then farther and farther. A few quadrillions of eras, a few octillions of cubic leagues, do not hazard the span or make it impatient. They are but parts, anything is but a part. Be ever so far, there is limitless space outside of that. Count ever so much, there is limitless time around that. My rendezvous is appointed, it is certain. The Lord will be there, and wait till I come on perfect terms. The great camarado, the lover true, for whom I pine, will be there. I have filled them, emptied them, and proceeded to fill my next fold of the future. Listener up there, what have you to confide to me? Look in my face while I snuff the sidle of evening. Talk honestly, no one hears you. I stay only a minute longer. Do I contradict myself? Very well, then I contradict myself. I am large, I contain multitudes. I concentrate towards them that are nigh. I wait on the door slab. Who has done his day's work? Who will soonest be through with this supper? Who wishes to walk with me? Will you speak before I am gone? Will you prove already too late? I too am untranslatable. I sound my barbaric yop over the roofs of the world. The last scud of day holds back for me. It flings my likeness after the rest, and true as any on the shadowed wilds. It coaxes me to the vapor and the dusk. I depart as air. I shake my white locks at the runaway sun. I effuse my flesh in eddies and drifted in lacy jags. I bequeath myself to the dirt to grow from the grass I love. If you want me again, look for me under your boot-soles. You will hardly know who I am or what I mean, but I shall be good health to you nevertheless, and filter and fiber your blood. Sailing to fetch me at first, keep encouraged, missing me one place, search another. I stop somewhere, waiting for you. I celebrate myself and sing myself, and what I assume you shall assume, for every atom belonging to me as good belongs to you. I loathe and invite my soul. I lean and loaf at my ease, observing a spear of summer grass. My tongue, every atom of my blood, formed from this soil, this air. Born here of parents, born here from parents the same, and their parents the same. I, now thirty-seven years old in perfect health, begin, hoping to cease not till death, creeds and schools in abeyance, retiring back a while, suffice at what they are, but never forgotten. I harbor for good or bad. I permit to speak at every hazard, nature without check, with original energy. This recording is in the public domain. Song of Myself, Section 2, by Walt Whitman.  The shelves are crowded with perfumes. I breathe the fragrance myself and know it, and like it. The distillation would intoxicate me also, but I shall not let it. The atmosphere is not a perfume. It has no taste of the distillation. It is odorless. It is for my mouth forever. I am in love with it. I will go to the bank by the wood and become undisguised and naked. I am mad for it to be in contact with me. The smoke of my own breath echoes, ripples, buzzed whispers, love root, silk thread, crotch and vine. My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs. The sniff of green leaves and dry leaves, and of the shore and dark-coloured sea rocks, and of hay in the barn. The sound of the belched words of my voice loosed to the eddies of the wind. A few light kisses, a few embraces, are reaching a round of arms. The play of shine and shade on the trees as the supple bows wag. The delight alone or in the rush of the streets or along the fields and hillsides. The feeling of health, the full noon trill, the song of me rising from bed and meeting the sun. Have you reckoned a thousand acres much? Have you reckoned the earth much? Have you practised so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me, and you shall possess the origin of all poems. You shall possess the good of the earth and sun. There are millions of suns left. You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books. You shall not look through my eyes either, nor take things from me.  I have heard what the talkers were talking. The talk of the beginning and the end. But I do not talk of the beginning or the end. There was never any more an inception than there is now, nor any more youth or age than there is now, and will never be any more perfection than there is now, nor any more heaven or hell than there is now. Urge and urge and urge. Always the procreate urge of the world. Out of the dimness opposite equals advance. Always substance and increase. Always sex. Always a knit of identity. Always distinction. Always a breed of life. To elaborate is no avail. Learned and unlearned feel that it is so. Sure as the most certain sure, plumb to the uprights, well entreated, braced in the beams, stout as a horse, affectionate, haughty, electrical, I and this mystery here we stand. Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen, till that becomes unseen and receives proof in its turn. Showing the best and dividing it from the worst age, vex's age. Knowing the perfect fitness and equanimity of things while they discuss, I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean. At an inch nor a particle of an inch is vile, and none shall be less familiar than the rest. I am satisfied. I see, dance, laugh, sing. As the hugging and loving bedfellow sleeps at my side through the night, and withdraws at the peep of the day with stealthy tread, leaving me baskets covered with white towels swelling the house with their plenty. While I postpone my acceptation and realization and scream at my eyes, that they turn from gazing after and down the road, and forthwith cipher and show me to assent exactly the value of one and exactly the value of two, and which is ahead. End of poem. This recording is in the public domain. Long of Myself, Section 4, by Walt Whitman. People I meet, the effect upon me of my early life, or the ward and city I live in, or the nation. The latest dates, discoveries, inventions, societies, authors old and new. My dinner, dress, associates, looks, compliments, dues. The real or fancied indifference of some man or woman I love. The sickness of one of my folks, or myself, or ill-doing, or loss, or lack of money, or depressions, or exaltations, battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events. These come to me days and nights, and go from me again. But they are not the me myself. Apart from the pulling and hauling stands what I am. Stands amused, complacent, compassionate, idle, unitary. Looks down? Is erect, or bends an arm on an impalpable certain rest? Looking with side-curved head, curious what will come next? Both in and out of the game, and watching and wondering at it. Backward I see in my own days where I sweated through fog with linguists and contenders. I have no mockings or arguments. I witness and wait. Read for LibriVox.org by Alan Davis Drake. I believe in you, my soul. The other I am must not abase itself to you, and you must not be abased to the other. Life with me on the grass, loose the stop from your throat. Not words, not music or rhyme I want, not custom or lecture, not even the best. Only the lull I like, the hum of your valvud voice.  Swiftly arose and spread around me the peace and knowledge that pass all the argument of the earth. And I know that the hand of God is the promise of my own, and I know that the spirit of God is the brother of my own, and that all the men ever born are also my brothers, and all the women my sisters and lovers, and that the kelson of the creation is love, and limitless are leaves stiff or drooping in the fields, and brown ants in the little wells beneath them, and mossy scabs of the worm-fence, heaped stones, elder, mollan, and pokeweed. A child said, What is the grass, fetching it to me with full hands? How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green-stuff woven. Or I guess it is the handkerchief of the Lord. A scented gift and remembrance are designedly dropped, bearing the owner's name somewhat in the corners, that we may see and remark and say, Whose? Or I guess the grass itself is a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyph. And it means, sprouting like broad zones and narrow zones, growing among black folks as among white, canuck, tuck-a-ho, congressman, cuff, I give them the same. I receive them the same. And now it seems to me the beautiful uncut hair of graves.  It may be you transpire from the breasts of young men. It may be, if I had known them, I would have loved them. It may be you are from old people, or from offspring taken soon out of their mother's laps. And here you are the mother's laps. This grass is very dark to be from the white heads of old mothers, darker than the colorless beards of old men, dark to come from under the faint red roofs of mouths. Oh, I perceive after all so many uttering tongues, and I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, and the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere. The smallest sprout shows there is really no death. And if ever there was, it led forward life, and does not wait at the end to arrest it. And ceased the moment life appeared. All goes onward and outward. Nothing collapses. And to die is different from what any one supposed. And luckier. End of poem. This recording is in the public domain. Long of Myself, Section 7 by Walt Whitman. Has anyone supposed it lucky to be born? I hasten to inform him or her it is just as lucky to die, and I know it. I pass death with the dying, and birth with the new washed babe, and am not contained between my hat and boots. And peruse manifold objects, no two alike and every one good. The earth good, and the stars good, and their adjuncts all good. I am not an earth, nor an adjunct of an earth. I am the mate and companion of people, all just as immortal and fathomless as myself. I do not know how immortal, but I know. Every kind for itself, and its own. For me, mine male and female. For me, those that have been boys, and that loved women. For me, the man that is proud, and feels how it stings to be slighted. For me, the sweetheart, and the old maid. And for me, mothers, and the mothers of mothers. For me, lips that have smiled, eyes that have shed tears. For me, children, and the begatters of children. Undrape, you are not guilty to me, nor stale, nor discarded. I see through the broadcloth and gingham, whether or no. And I am around, tenacious, acquisitive, tireless, and cannot be shaken away. This recording is in the Public Domain. Song of Myself, Section 9, by Walt Whitman. The big doors of the country barn stand open and ready. The dried grass of the harvest-time loads the slow-drawn wagon. The clear light plays on the brown, gray, and green, intertinged. The armfuls are packed to the sagging mow. I am here, I help, I came stretched to top of the load. I felt its soft jolts, one leg reclined on the other. I jump from the crossbeams, and seize the clover and timothy.  End of poem. This recording is in the Public Domain. Song of Myself, by Walt Whitman, Section 10, Read for LibriVox.org by Alan Davis Drake. Alone, far in the wilds and mountains, I hunt. Wandering amaze at my own lightness and glee. In the late afternoon, choosing a safe spot to pass the night, kindling a fire and broiling the fresh-killed game, falling asleep on the gathered leaves with my dog and gun by my side. The Yankee clipper is under her sky sails. She cuts the sparkle and scud. My eyes settle the land. I bend at her prow, or shout joyously from the deck. The boatmen and clam-diggers arose early and stopped for me. I tucked my trouser ends in my boots, and went and had a good time. You should have been with us that day round the Chowder Kettle. I saw the marriage of the trapper in the open air in the far west. The bride was a red girl. Her father and her friends sat cross-legged and dumbly smoking.  On a bank lounged the trapper. He was dressed mostly in skins. His luxuriant beard and curls protected his neck. He held his bride by the hand. She had long lashes. Her head was bare. Her coarse straight locks descended upon her voluptuous limbs and reached to her feet. The runaway slave came to my house and stopped outside. I heard his motions crackling the twigs of the wood-pile. Through the swung half-door of the kitchen I saw him limpy and weak, and went where he sat on a log and let him in and assured him, and brought water and filled a tub for his sweated body and bruised feet, and gave him a room that entered from my own and gave him some coarse, clean clothes, and remember perfectly well his revolving eyes and his awkwardness, and remember putting plasters on the galls of his neck and ankles. He stayed with me a week before he was recuperated and passed north. I had him sit next to me at table. My firelock leaned in the corner. The butcher-boy puts off his killing-clothes or sharpens his knife at the stall in the market. I loiter, enjoying his repartee and his shuffle and breakdown. Blacksmiths with grime than hairy chests environ the anvil. Each has his main sledge. They are all out. There is a great heat in the fire. From the cinder-strewed threshold I follow their movements. The lithe shear of their waists plays even with their massive arms. Then the hammer swing, overhand so slow, overhand so sure. They do not hasten. Each man hits in his place. The Negro holds firmly the reins of his four horses. The block swags underneath on its tied-over chain. The Negro that drives the long dray of the stoneyard, steady and tall, he stands poised on one leg on the string-piece. His blue shirt exposes his ample neck and breast and loosens over his hip-band. His glance is calm and commanding. He tosses the slouch of his hat away from his forehead. The sun falls on his crispy hair and mustache, falls on the black of his polished and perfect limbs. I behold the picturesque giant and love him. I do not stop there. I go with the team also. In me the caressor of life wherever moving, backward as well as forward slewing, to niches aside and junior bending, not a person or object missing, absorbing all to myself and for this song. Dockson that rattle the yoke and chain or halt in the leafy shade. What is that you express in your eyes? It seems to me more than all the print I have read in my life. My tread scares the wood-drake and wood-duck on my distant and day-long ramble. They rise together. They slowly circle around. I believe in those winged purposes and acknowledge red, yellow, white, playing within me and consider green and violet and the tufted crown intentional, and do not call the tortoise unworthy because she is not something else. And the jay in the woods never studied the gamut, the look of the bay mare shames silliness out of me. End of poem. This recording is in the public domain. Song of Myself, Section 14, by Walt Whitman. The wild gander leads his flock through the cool night. Yahonk, he says, and sounds it down to me like an invitation. The pert may suppose it meaningless, but I, listening close, find its purpose and place up there towards the wintery sky. The sharp hooved moose of the north, the cat on the house-sill, the chickadee, the prairie dog, the litter of the grunting sow as they tug at her teats, the brood of the turkey hen, and she with her half-spread wings. I see in them and myself the same old law. The press of my foot to the earth brings a hundred affections. They scorn the best I can do to relate them. I am enamored of growing outdoors, of men that live among cattle, or taste the ocean or woods, of the builders and stirrers of ships and the wielders of axes and mauls and the drivers of horses. I can eat and sleep with them week in and week out. What is commonest, cheapest, nearest, easiest is me. Me going in for my chances, spending for vast returns, adorning myself to bestow myself on the first that will take me, not asking the sky to come down to my good will, scattering it freely, for ever. The Poets Delay by Henry David Thoreau Read for LibraVox.org by Alan Davis-Strake In vain I see the morning rise. In vain observe the western blaze, who idly looks to other skies, expecting life by other ways. Amidst such boundless wealth without, I only still am poor within. The birds have sung their summer out, but still my spring does not begin. Shall I then wait the autumn wind, compelled to seek a milder day, and leave no curious nest behind, no woods still echoing to my lay? End of poem, this recording is in the public domain. Salmon Brook by Henry David Thoreau Read for LibraVox.org by Alan Davis-Strake Salmon Brook, Pinnachook, Ye sweet waters of my brain, When shall I look or cast the hook in your waves again? Silver eels, wooden creels, These the baits that still allore, And dragon fly that floated by, May they still endure, End of poem, this recording is in the public domain. I am the autumnal son by Henry David Thoreau. Read for LibraVox.org by Alan Davis-Strake Sometimes a mortal feels in himself nature, not his father, but his mother stirs within him, and he becomes immortal with her immortality. From time to time she claims kindredship with us, And some globule from her veins steals up into our own. I am the autumnal son with autumn gales my races run. When will the hazel put forth its flowers, Or the grape ripen under my bowers? When will the harvest or the hunter's moon Turn my midnight into midnight? I am all seer and yellow, And to my core mellow. The mast is drooping within my woods, The winter is lurking within my moods, And the rustling of the withered leaf Is the constant music of my grief. End of poem, this recording is in the public domain. LONG OF MYSELF, SECTION TWENTY-TWO, by Walt Whitman Read for LibraVox.org by Alan Davis-Strake You see! I resign myself to you also. I guess what you mean. I behold from the beach your crooked inviting fingers. I believe you refuse to go back without feeling of me. We must have a turn together. I undress. Free me out of sight of the land, Cushion me soft, rock me and billowy drows. Dash me with amorous wet. I can repay you. Sea of stretched ground swells, Sea breathing broad and convulsive breaths, Sea of the brine of life, And of unshoveled yet always ready graves, Howler and scooper of storms, Capricious and dainty sea. I am integral with you. I too am of one phase and of all phases. Partaker of influx and efflux, I extoller of hate and conciliation, Extoller of amies and those that sleep in each other's arms. I am he a testing sympathy. Shall I make my list of things in the house, And skip the house that supports them? I am not the poet of goodness only. I do not decline to be the poet of wickedness also. What blurt is this about virtue and about vice? Evil propels me, and reform of evil propels me. I stand indifferent. My gate is no fault finders or rejectors gate. I moisten the roots of all that has grown. Did you fear some scrawfula out of the unflagging pregnancy? Did you guess the celestial laws are yet to be worked over and rectified? I find one side a balance and the antipodal side a balance. Soft doctrine as steady help as stable doctrine. Thoughts and deeds of the present our rouse and early start. This minute that comes to me over the past desillions, There is no better than it and now. What behaved well in the past or behaves well today is not such a wonder. The wonder is always and always how they


Okay. So I call this meeting to order due to the provisions of the governor's executive order in 2520 and in 2920, which suspend certain requirements of the Brown Act in order of the health officer of the county of Sonoma to shelter in place to minimize the spread of COVID-19. The Art and Public Places Committee will be conducting today's meeting in a virtual setting using Zoom webinar. Committee members and staff are participating from the remote locations and practicing appropriate social distancing. Members of the public may view and listen to the meeting as noted on the city's website and as noted on the agenda. Members of the public wishing to speak during item three, public comment or during our public hearing items will be able to do so by utilizing the raised hand feature or pressing star nine on their phone. Then they will be giving the ability to address the committee. The recording secretary will take roll call. Eileen? Eileen, I think you're on mute. Sorry about that. No worries. You're okay. For the record, all members are present with the exception of Jeff Robinson. Great. Thank you. Okay. For public comments, if you wish to make a comment via Zoom, again, please select raise your hand. This is for the public. If you're dialing via telephone, please press star nine to raise your hand. Each speaker has three minutes. A countdown timer will appear for the convenience of the speaker and the viewers. Please make sure to mute yourself when you're invited to do so. Your microphone will be muted at the end of the countdown. Do we have any public comments from the public who wish to make a comment on the Art and Public Places items that are not on the agenda? Comments will be heard on specific agenda items at the time the item is called. There are no hands raised at this time. Okay. Okay. Great. We'll move on to the next item, approval of minutes. Copies of the November 2, 2020 meeting minutes have been distributed for your review. Are there any additional additions or corrections to the minutes? If not, do I have a motion to approve the minutes as written? I'll make the motion to approve the minutes as written. I second. I have a second. Okay. All in favor? Meeting minutes approved as written. Moving on to 4.2 copies of November 9, 2020 special meeting minutes have been distributed for your review. Are there any additions or corrections to the minutes? If not, do I have a motion to approve the minutes as written? I move that we accept the minutes as written. Do I have a second? I second. Okay. All in favor? Minute meetings approved as written. Moving on to the next item on the agenda. Number 5, 5.1 imagine art in old courthouse square. Staff will present the recommended artist identified through a comprehensive selection process. The presentation will include background and information on project development, goals, timeline, budget, selection process, selection criteria, and community engagement. Community members please hold any and all questions until the end of the presentation. Tara. Great. Thank you, Lisa. I'm actually going to have David Ward, a public art project manager who's been the project manager for this project. I'm sorry, there's too many words with peas in them. So David has been working on this project since he joined our team last December. So he's going to leave and start up the presentation and I will chime in on certain background areas and answer any questions at the end of the presentation. So David, thank you and take it away. I'll run the. Thank you, Tara. I'll start as soon as I see the presentation. Great. Hello, Art and Public Places Committee. My name is David Ward. I'm the public art project manager for Imagine Art in Old Courthouse Square. And today as a member of staff with the City of Santa Rosa Public Art Team, we'll be presenting an overview of Imagine Art in Old Courthouse Square and make a recommendation of the selected artist that the project selection panel is determined from the selection process. Next slide. Old Courthouse Square gets its name from the first courthouse on site dedicated by General Vallejo in 1884. The 1906 earthquake destroyed the building in much of Santa Rosa. Another courthouse was built on site in 1908 and served as the county courthouse for another 58 years before being demolished in 1966. From 1967 to 2016, the square was bisected by a major thoroughfare connecting Santa Rosa Avenue and Mendocino Avenue. Old Courthouse Square was reunified in 2017. The granite slabs that served as the steps of the 1908 courthouse were saved and incorporated to form the frame around the lawn, which is representative of the footprint of the original courthouse on the square. Reclaiming the public square in the center of downtown Santa Rosa was a statement by the community of its value on the importance of a communal public gathering space. It also offers a chance to make a statement about how art plays a specific role in reflecting the community's identity and in inspiring its aspirations for the future. Santa Rosa is the largest city in Sonoma County with an estimated population of 177,586. The city operates as the county seat and serves a wider population of 500,000. Next slide. Project Development. Beginning in August of 2019, the City of Santa Rosa Public Art Team formed an advisory committee to determine the project's criteria, goals, site considerations, selection criteria, and community engagement components. The project's first public survey was initiated to gather project goals, Santa Rosa values, and use patterns of the square. These results created the project's request for qualifications and project plan, including the project's budget, which was approved by the APPC in November of 2019. Tara, is there anything else you wanted to add about them? No, the advisory committee was formed before you joined our team, David, and so I think we had talked about a little bit of background on the outreach we did with that group. It was essentially formed of various stakeholders, including arts and culture, institutions, professionals with arts backgrounds, businesses in the downtown, and property owners in the downtown, as well as architect professionals. So there was a wide range of folks involved with that, really to exactly what you said, look at project goals, site considerations, and help us form the selection criteria for the project, as well as some of the public outreach components. So they were really a central part of the project development process, and really tied it to the specifics of this site, and brought a lot of value to that part of the development. So I just wanted to share a little bit more background on that, but please continue. Next slide. Data from Survey One, that was the first public survey that was launched in fall of 2019, and it asked a variety of questions about the use of Courthouse Square and other elements that define the public view of Courthouse Square. There were eight questions, and they involved how often do you frequent the square, and the most popular answer to that question was a few times a week or once per week. Question two was, which of the following have you participated at Courthouse Square, and the most answered response was a special event such as Wednesday Night Market, or to eat or meet up with friends. Question three asked participants to share what Santa Rosa means to you. Popular answers contain subjects and phrases like community, home, work, hometown. Also rural meets urban and center of wine country and tourist destination. It was also described with words such as potential and aspiring. Question four was what community values could be represented by this project. Top answers were number one was diversity, second was excellence and originality, and third was playfulness. Question five, which goals for this project are important to you? Most important to you, I should say. Top answers were one, to create a sense of place for Courthouse Square. Two was create a gathering space, and three was create a visual landmark or gateway, and all of those scored over 50% from our participants. Question six asked what the greatest benefits for a community to gain from a centrally located public space? The top answer was access to cultural offerings and to help support the local economy. Question seven was to provide any additional comments about the planning for the project, I should say. Popular results included responses on subject line of public utility and for interactive nature, service and safety. Also the quality of art using terms like boldness, sophistication, aiming high or inspiring. And then the last question was if participants lived within Santa Rosa City Limits, which 85% of the survey participants did. Next slide, please. Project budget, the project's approved budget is set at $300,000, and that's the approved budget and $280,000 of the budget is selected for the selected artist, which is an all inclusive of design and construction, along with any city costs such as artists honorariums, marketing and outreach, community engagement and site prep contingency. The project's source of funding is the public art fund, a combination of the required 1% of construction budget for the square and in lieu fees from private development required to meet the city's public art in private development ordinance, which these sources of funding can only be used for the purposes of public art. Next slide. The project timeline notes the different stages of the project's process. We have changed the timeline a few times. The RFQ was extended from its original deadline to support our submitable online submission system, which is a new submission system that helped us expand and open up an online submission form. Other things that affected our timeline or COVID-19 project hold, which held the project until July 1st when we officially resumed the project. Other extensions that we had to make for this were to switch our public engagement timeline to accommodate for online surveys. We also extended timeline for the RFP to be displayed online, and then also there were delays from the glass fire in fall of 2020. Next slide, please. The project goals of Imagine Art in Old Courthouse Square are to provide the entire Santa Rosa community with a prominent artistic symbol that reflects the uniquely Santa Rosa values of innovation and cultural inclusivity. This art installation should inspire people living in and visiting our city to reflect on what is special about our community and encourage them to gather downtown to experience it firsthand. The artist or artist team selected for this project will create a dynamic public art installation that contributes to a vital thriving space to connect with each other and with the space. The public art should be forward-thinking and express the innovation, diversity, and engagement of the community. The public art should help create a sense of place for Old Courthouse Square. Next slide. The request for qualifications. We received 148 submissions from across the U.S. This is by far the most responses the program has ever received for an RFQ and includes some of the nation's most international and most famous public artists. Approximately 60 of the 140 artists are from California and of those 14 from Sonoma County and 20 from New York. The remaining come from various parts of the country including Texas and Oregon. Next slide. For community engagement, as mentioned earlier, there have been several opportunities to allow the public to engage with the project's process and stay up to date with the project's status, including through the city's website. The two public surveys have helped determine the project's goals and development of criteria. The second public survey provided an opportunity for the public to view the finalist's proposals and voice their support for their favorite project and the best and most appropriate proposal that fits the project's goals. Tara, did you want to expand on any of those other public engagement? I think that both surveys were a very important part of this process and were even more so important given the kind of conditions with COVID and not being able to do the in-person engagement activities we had planned. We used other city tools to make sure that the word was out there to take the surveys, to learn about the artists who had final designs under consideration. So the City Connections newsletter, the City and out there, Santa Rosa social media handles. There were two press Democrat articles and of course, aren't public places meetings are public meetings that the public can participate in. I think that's it, but the public comments we gathered through both surveys were tied in very closely with the development of the project and the final selection of the final artist. Thanks, Tara. If you want to move to the next slide. Selection process. So one of the first parts of the selection process was forming our selection panel. Selection panel members, we chose eight members to represent the Santa Rosa public. Leslie Graves, event producer and organizer in Santa Rosa and she's also a downtown resident. Jeff Nathanson, executive director of the Museum of Sonoma County and also Art and Public Places committee member. Pierre Lavelle, Santa Rosa based architect and professor at Santa Rosa Junior College. Rob Sen, Santa Rosa based entertainment and creative industries business consultant. Charles Evans, a downtown property owner. Lisa Fuentes, City of Santa Rosa Public Art and Public Places committee chair. Andrea Ballas, a downtown business owner and CEO. Gloria Rubio, Santa Rosa based artisan and creative business professional small business owner. And of these, the 10 highest scoring RFQ submissions were identified by our selection panel for closer examination and they were selected. That was, we were able to select this finalist for the RFP section of the project. The selection panel was formed. Selection panel was formed representing arts professionals, downtown business and property owners, downtown residents and members of the APPC. Finalists were provided the data from the first public survey to aid in the development of the proposals. Next slide please. The selection process was developed based on the project goals and input from the advisory committee public surveys which created the artist qualifications portion of the project. Those sections are the artistic quality, originality and innovation as evidenced by representations of past work in photos provided. Appropriateness of the artist's medium and style for this project. Experience developing artwork for public outdoor environments. Experience success and or interest in creating public artworks in collaboration with an active stakeholder group including community outreach. And finally, excuse me, experience with projects of similar scope and scale or comparable professional experience to handle the requirements of working in the public sector. And finally, availability to participate in the design approval and implementation of the project and complete installation by the deadline. Next slide please. And then that using those criteria were five finalists were identified to move on to the RFP portion of the project. First finalist was Laura Haddad and Tom Drugan based out of Seattle, Washington, their proposal titled Valley of the Moon. Next slide. Next was Blessing Hancock based out of Tucson, Arizona, her proposal entitled Unum. Next slide. Next would be Gordon Cuther based out of Napa, California. Project or proposal was called the Dome. Next slide. Ned Khan, Sebastopol, California. Proposal named Air Arbor. Next slide. And lastly, Benjamin Ball based out of Los Angeles, California. His proposal entitled The Tie That Binds. Next slide. And then the final selection criteria was developed based on the project goals, advisory committee input and public survey for artwork proposals, artistic excellence, originality and innovation as evidenced by quality of proposal for this project, appropriateness of the artist medium or proposed medium style and project concepts, demonstrated understanding and incorporation of the stated goals of the project. Proposed artwork should be suitable and permanent for outdoor placement and address durability, maintenance and public safety concerns. Proposed artwork should be an effective balance of size and scope of design and choice of materials to ensure that the finished installation is of sufficient prominence to capture the positive attention of the public. Proposal includes description of how collaboration with an active stakeholder group, including public outreach might occur, demonstrated sensitivity to address the potential impact of the project on public citizens and finally availability to participate in the design approval and implementation of the project and complete the installation by the deadline. Next slide, please. And that brings us to the second public survey that we launched. And that was spring of 2020. We received 752 total responses and out of all those results, it seemed like the dome by Gordon Huter and Unum by blessing Hancock were the two highest scoring from the public data across a few different categories. The questions were formulated using identified project goals. The questions included which design best reflects the Santa Rosa values of innovation and cultural inclusivity, which design most effectively brings life to courthouse square as a multi-purpose centralized community gathering space, which design do you think gives courthouse square a sense of place that speaks to Santa Rosa as a unique diverse and resilient community, which design best acts as a visual landmark or gateway to Santa Rosa's downtown and artistic community, which design would encourage you to spend time attend events and gather downtown. And then also we asked participants which design do you like the most with the follow-up question where they were able to leave a public comment about why a certain design was their favorite. And all this data collected was part of the final decision by the panel. The results were given to the selection panel to incorporate into their final decision. Next slide, please. The selection panel decided to have the top two artists respond to follow-up questions about elements that they may need to further develop or consider in their proposals. The two artists that were identified submitted their responses to the panel feedback using any method they felt appropriate of renderings, images or written responses that were necessary to further clarify their design components and process. The two final proposals included in these responses by the artists were scored one last time by the selection panel to determine the selected artist. The selection panel met to confirm this selection as the recommended artist that is presented to you today. Next slide, please. And that brings us to the recommended artist which is Blessing Hancock. The selection panel was very thoughtful and thorough with the entire selection process and especially with the final decision taking into account the artist's responses to their final selection questions, also including the public opinion gathered through the surveys and finally with the project selection criteria kept in mind. Next slide, please. More about the recommended artist Blessing Hancock, the description of her proposal which is entitled Unum, which is Latin for oneness is a signature artwork that places emphasis on innovation, diversity and engagement as leading values of Santa Rosa inspired by the unified old courthouse square. The sculpture embraces themes of welcoming and inspiration while also relaying the Santa Rosa values of innovation and cultural inclusivity through its text which will be collected through a community engagement process that speaks values inherent to Santa Rosa. During the day this sculpture casts shadows of the words onto the square using sunlight whereas in the early mornings and evening hours it will be illuminated by LED light fixtures mounted within the sculpture creating a soft diffused glow within the structures form. Community engagement will be text on the sculpture that will be collected through a public engagement opportunity, hopefully in collaboration with the APPC to identify the selected words that represent inherent values to Santa Rosa. The dimensions are approximately 12 feet in height and 15 feet in diameter. The materials used are water cut or water jet cut stainless steel and LED lights. Next slide. Some of Blessing Hancock's past works. These are examples of summoning blessings past works with similar budgets size and stakeholders as imagine art in old courthouse square. Blessing Hancock has works in Portland, Oregon, Tucson, Arizona, Florida, Colorado, and Palo Alto, California. And some members of the selection panel were able to actually visit Palo Alto Art of Veterans Hospital to view the work which is presented to you on the top right of this slide. Next slide, please. The project timeline and next steps. The project timeline including today's meeting are on here. Timeline is subject to change and indicates our next steps and projected timeline. Next slide, please. And that brings us to the recommendation which is to approve the recommended artist for imagine art in old courthouse square's public art project. And thank you for your time. Staff is here to answer any clarifying questions. Thank you so much, David. Lisa, you are muted. I am. I just realized that. Thank you. Thank you, David. Did you have anything else, Tara? No. I'm happy to chime in and answer questions as if the committee members would like to start there. Okay. Do we have any committee members that have questions for Tara, David, regarding this item? If so, please. You know what? I will go ahead and go through all committee members that are here. And how about, and if you can pass if you'd like, I'll start with Monica. You're on mute, Monica. I think it was a great presentation and what good work everyone has done. I do have a question, though, about is it just sitting on the ground or is there any kind of like thing that is that it's on? I mean, or how is it secured? Anyway, I just couldn't see that in the pictures. But that's okay. Yeah. Thank you for the question. So her proposal does not go into elaborate detail on that pending the final design phase that we will work with her on once she's approved by the committee and we enter into an artist services agreement with her. At that point, we work with our ADA access coordinators, our risk management department, our other staff within the city to make sure that we are doing everything that's required for accessibility and safety. And at that point, we would get more details on the actual citing or footing of the piece. And those types of details can be shared back with the committee once they're solidified. But her design or her intention is for it to look like it is resting on the ground. But of course, it would be done in a safe and secure way. Okay. Thank you. Thank you, Monica. Kristen? Thank you, David and Tara for a very thorough presentation on the process. I understand there were a couple of hiccups along the way to do with COVID and our ability to have these regular meetings. It can take quite a bit of coordination. So I appreciate your guys's hard work to put these meetings together and organize such a thorough overview of these art pieces and how they could impact the courthouse square. I don't have any questions at this point. Having sat on the other side of that selection panel process, I know the work that goes into it and want to appreciate staff. Thank you, Kristen. Melanie? I do not have any questions. Thank you. Nina? Yes, I'd also like to echo Kristen's comments. Great job. I do have three questions. One, I was curious. There were two finalists, Gordon Hoothor, being the other. And I looked at the notes that you had where he got a lot of very high scores and in some cases higher than Blessing Hancock. I was curious if you could tell us a little bit about the questions that were asked to both of the final artists and what was it about Blessing's responses or lacking in Gordon's that led you towards selecting the one that was important? Nina, are you talking about the survey? Because the survey Gordon did, the public survey, but not with the panelists. The panelists actually had Benjamin Ball and Blessing Hancock as the two finalists. Oh, okay. I guess I was curious how we got to this point in the final analysis. Okay. The survey, those answers and those comments Tara does have a list of them. So I'm taking a refer to the panelists and the two, Benjamin Ball and Blessing Hancock. Okay. Yeah. Okay. So that is Tara, did you want to? I'm happy to jump in. Yeah, I think I just want to clarify what it sounds like the question is how did the panelists narrow down the, sorry, how did the panelists narrow down from the five finalists to the two, Benjamin Ball and Blessing, or how did Blessing get chosen over Benjamin, which I'm just not sure what your question is. Your second question. Yeah. Okay. David, do you want to talk about the general conversation, the selection panel had weighing those two proposals? Sure. Yeah. Thanks for the question, Nina. And yes, I did mention in the presentation and maybe I wasn't very clear about it, but the dome by Gordon Heuther and Blessing Hancock's piece, Unum, were the highest scored in the public survey. But when it came down to selection panel and them filling out their rubrics and scoring each one of the proposals, it was Blessing Hancock in the tie that binds by LA artist Benjamin Ball that were identified. And those, it was a, I guess it was a consensus of some sort that they were the top two scoring artists and in a variety of categories, they, some of them scored much higher than the other. And so the selection panel wanted to see the two artists respond more acutely at some of the needs of the project that maybe were overlooked or not fully considered in their proposal. So the process of generating questions that were specific to their proposals and how they fit the project's needs a little bit better were generated. And then we packaged those questions from the selection panel and Tar and I sent them directly to the artists and they were given, I believe it was about three, three weeks to respond to those questions. And I think if I have them up right here, and I think it was about five or six questions for each artist. Does that answer the question pretty well? I just want to add onto that. I think that the, the general conversation that took a lot of time for the selection panel to consider and to think through and look at from every angle was really looking at all the selection criteria. So, you know, I think that like one artist might have scored higher than the other on one criteria, but then it was flip flopped on the other criteria. So it was a conversation about weighing the importance of, you know, how it filled the space, the material, the scale versus the concept, the meaning of the artwork versus the community engagement components. And so there were, there was a lot of conversation about the need for community engagement. And my sense from the selection panel on how they score things as blessings proposal included a very, very rigorous community engagement component by, by essentially committing to working with the public art program, with this committee, with other stakeholders, with artists locally in the community to gather the words that will be laser cut into the side of the piece. And to be honest with you, I don't think any of the other proposals came close to that type of community engagement. And I think that that was a major deciding factor, not the only but a major deciding factor in the final decision. Thank you. I really appreciate having that information in case I'm asked, you know, and I just, I mean, it's a great piece, but I just was curious how you got to the final selection. Then do you know about how many words or characters will be able to be in the text on there? That's a good question. I actually don't. We didn't calculate that with her. I think there's room for quite a bit, but I, so I'm going to say in the hundreds, but I don't know exactly the right number to tell you. So it will be of sufficient size that it can be easily read. Yes, definitely. I think she has a preferred size, height of the lettering based on her past projects.  And so I think she she talked about that. I can't remember the exact size. It's four inches maybe something like that. She's very thoughtful in her process for making sure that she has meaning in the process she uses to to choose the words as well as the readability translation into other languages, if that's a part of our desire. So it's it will be quite a process to design that community engagement portion with her and others. So is it going to be all in English or other languages too? I believe there's an interest to see other languages as well. And what about maintenance and vandalism has been discussed at all? Yes, you want to talk about that one, David? Yeah, let me see if I could find Rowan's report. Yeah, while he's looking for that, I can share that we had a part of the selection process was to have our contracted art conservator look at the finalist proposals and have her give essentially a report on her thoughts about materials, maintenance, safety, and cost estimates for taking care of them as a part of our permanent collection. And so there was discussion about the type of steel to be used, the lighting components, having access panels like hatches within the piece so that a conservator could unlock, would essentially be invisible to the public, but a conservator would know where to unlock the hatch to get inside of it to clean it out and do other repairs. So there's definitely there was definitely a conversation about that. David, do you want to add anything? I'm just looking through the maintenance notes that our conservator made during the presentations and noted potential things that will need to be addressed, including corrosion and light gray staining from on the powdery surface that could cause corrosion and then also replacing lamps from age and damage. LEDs tend to last longer, but there's consideration of that. And then I'm just trying to see, oh, yes. And then her total estimate was $4,812 per year for maintenance. And there's a full report too that she provided to us and the selection panel as well. And David too, I just want to state to for what I remember, her cost or the cost of that piece was relatively the same of all the others or even a slightly less than many of the others, correct? That is correct. Yeah, it's the same if not on the lower end of the five RFPs that we received. Okay, thank you. So that's excellent that we had the conservator weigh in at the very beginning. It's great. So that money for ongoing maintenance doesn't come out of the project cost. That comes out of just the general budget for art and public places over the years. Correct. Great. Okay. Thank you very much. Thanks, Nina. Jeff? Thanks, Lisa. I was a member of the committee. I was a panelist, as you heard. And I will share that it was a rigorous process and we saw a lot of good proposals. I was impressed with the number of sculptors who, public artists who gave us their qualifications from around the country. And I'm familiar with a lot of them. And in the end, the five finalists included two who were very local, which I thought speaks well of our region that we have makers of that caliber. But in the end, it really, I think, was clear to me that we had a very keen interest as Tara was very correctly stating that community engagement was a major component. And Blessing has a very strong track record of making durable public artworks that have a significant presence in the public spaces they occupy. But in addition to that, also has a track record of community engagement. And I've been fortunate to work on a number of projects over the years that have included language and community involvement and interaction in creating text or other kinds of language components. So I think it's an opportunity for Santa Rosa. This is the one artist out of all of them who actually proposed that we have this engagement process so that we can actually get community input and then the words are going to reflect that process. So the potential for that from my experience is really tremendous. So I think we made a good choice. I hope you agree. And the one question that we really had that kind of a concern for me and a few other panelists was the scale and its appropriateness to the space. And we resolved that and I feel that it will have a significant presence. And if all goes according to plan should barely be a great addition to Old Courthouse Square. Anyway, thank you. Thanks, Jeff. I'm going to go on to Nathan and from there, Kristen didn't want to say something. So after Nathan, I'll go to Kristen and then go on to public comment. Nathan? Yeah, I don't have any questions. Thank you. Okay. Thank you. Kristen, you're on mute. You're so on mute. Kristen, there you go. So I had a quick question. I know a couple of the selection panel committee representatives went to go see some of her works. Blessing Hancock's works and Pal Alto. And I wondered if any of them had shared with your committee, your team, about any words that kind of stuck out from the other projects that she had done there. I'm not sure if you guys, if anyone had been, I'm looking at Lisa online and it's quite powerful. Yeah, thanks, Lisa. You can share what you experienced in Pal Alto, but I wanted to chime in really quickly and state that for each of the projects Blessing has done like this with the words, there has been a separate and different explicit goal for the project and what the words are supposed to capture. And so each project isn't the same, essentially. For Santa Rosa, she would work with us to develop what the prompt is when asking for input from the community. So there's a lot of ways that that could go, but that is a big part of the next phase of working with her on this is to figure out what we want to ask people when asking for what words should go on there, not just what words should go on there. I think it's like looking to the future, what will Santa Rosa look like? Looking to the past, what's an important lesson to learn? I don't know what that prompt is, but those are the types of things we need to think about when moving forward with this. And so, yeah, I just wanted to throw that out there because not all the projects are going to be the same, but I know that Lisa was able to go see the ones in Palo Alto. Yes, yes, I did. I went down to the Palo Alto. It was the public library and then also the community center there where she had multiple pieces that lit up and I went there during the day and at night to see what they looked like then. And the text consisted of many different languages. Some of them I recognized, some I didn't. And then the ones in front of the library were passages of, you know, some words from familiar books. I knew a few people around there did recognize the sentences that were on there that went all the way around to what books they were. I didn't, unfortunately, but I thought that was great for in front of the library to have that. And you could, there was some kind of interaction with it because you're reading them, you're looking all the way around them. And then I'm not sure what was being said in the other languages across the way by the community center, but it was, it made it made the community center and made that area welcoming to everyone. I mean, it really just says, you know, you are all welcome here by having just a variety of like that. And I really appreciated it being there and being surrounded by that. Monica, you have one more question?  I'm sorry. Yes, I am done. Thank you for making that in-person experience. Yes. I am just curious about the appearance of it. In the pictures it looks sort of golden, but it's a stainless steel and I'm wondering about it. I think that golden is just what the light is. There is, we're looking into, we're exploring the possibilities of having different color lights. And as the ones in Palo Alto have, they do have a button that you can push on them. And each time you push the button, it changes color. The light does. So we're looking into that with her at the moment. Tara, I'm not sure. Yeah, I was just going to add that the surface is stainless steel. So it would have a silver gray appearance. It will look very different in daylight versus at nighttime because at nighttime it would be illuminated from the inside with the light coming out through the laser cut words. And the images that she put in her proposal show a golden light. That's her favorite light and she felt like that was a good fit for Santa Rosa, given our golden hills nearby. But she was open to the idea of different color lights or incorporating a button that the community members could push. Thank you, Monica. And right at this moment, I'm going to move on and I'm going to move on to see if we have any public comments regarding this item. And it looks like Candice. Yes. Hold on just one moment. Excuse me. Candice, you have raised your hand. Are you there? Hold on, Lisa. Hold on, Lisa. Eileen will facilitate that. She has to get the timing up. So just hold on a second. Okay. Yeah, no worries. No worries. Candice, please confirm that you can see the timer and choose, confirm your name if you so choose. I'm going to go. You are able to talk at this time. Hi, Eileen. Thank you. I can see the timer and this is Cadence Hinkel-Allinson. Good afternoon, Chair Puentes and members of the committee. I am the executive director of the Santa Rosa Downtown District and I just wanted to express our support for the process and the work that went into the whole project. It was inclusive and thorough and Tara and David provided many opportunities for engagement from the beginning of the process with the creation of the call for artists all the way through the selection. And we really appreciate the ability to participate in the discussion as well as seeing how transparent and inclusive the project was. The district, we've been working really hard to bring the square and the downtown area of life. And this installation is going to be really critical to that work. So I just wanted to say thank you to all of you, to the committees involved and especially to the staff for their hard work in bringing this project to fruition. Very excited to see it installed in the next couple of years. Thank you, Cadence. And I just want to apologize for mispronouncing your name the first time. Okay. Do we have any other public comments? No, we have no additional hands raised at this time. Okay. Thank you, Eileen. So I'm going to go ahead and go on. Let's see. Is there a motion to approve this recommended artist? So moved. Monica, you're on mute. Sorry. I move that we accept this project, approve of this project. Okay. Do I have a second? Second. Okay. The discussion is now opened. Committee members wishing to comment, discuss, please physically raise your hand. Okay. Nina. I was, when you talked about the lighting, it made me wonder, so it sounds like the sculpture will be lit from within. What's the ambient lighting like on the square at that location? Will there be exterior lighting provided by the city or what? There are already several light fixtures near the north end of the square. That area of the square has a certain amount of light in the evening. I think it will not diminish the internal light source from this piece. It will still glow and you will see light emit from it, but I believe it will also have an environment where it will not be pitch black all the way around it. Given the lighting from within, we are not going to light it specifically with external lights. It is meant to be lit from within rather than externally. Great. Thank you, Nina. Kristin. I wanted to just comment on the internal lighting. So if Blessing Hancock shows the amber or the golden light as her preferred color, I just want to call out that there will be considering of this piece in relation to the already light installations in the square that are changing colors. So I want to be conscious of that when discussion goes forward about what color to illuminate the piece. I think that the golden would be a nice compliment, but want to make sure that it is not too distracting from what is already there. Thanks, Kristin. I want to respond to that really briefly just by saying that the same programming software that those lights run through are probably what would be used for Blessings. So there is actually the ability to combine them on one DMX programmer which would allow for coordination of colors not necessarily match, you know, sinking them up completely. But anyway, we are looking at making sure that that is a part of our consideration when working with her on designing the lighting. Great. Great. Thanks, Kristin. Thanks, Tara. Melanie. Is the current panel going to be continuing to work on the final installation? Will they continue to work on through with the artists or how does that work? That's a great question. We spoke about that at our last selection panel meeting and I put it out there that I would welcome involvement by the members in some capacity when we work on the design process for the community engagement because they have kind of an investment in the history and they've invested a lot of time with looking at this proposal already. Of course, I would be asking for more of their time but I would include and invite them to be a part of that for sure. Anything else, Melanie? Did I answer your question? I think so. Okay. Thanks, Melanie. Jeff. Actually, I'll just add one other thing to what Tara just mentioned in addressing your question, Melanie, which is that I volunteered the museum to be engaged in that process of public outreach and I don't know if we'll be able to gather but certainly if we were able to gather at some point during the process of getting people to contribute language words that we would certainly host something like that and help get the word out and I just think that with the APPC and members of the committee and I know Kaden sent the downtown group that she runs plus outreach through schools and other organizations, I think we can really get a lot of people involved with talking about what words are going to be on the sculpture and how that reflects the community. I think it's going to be a full court press by all of us to try to really make this the best process possible. Great. Thank you, Jeff. Nathan, do you have any comments for you? You're on mute, Nathan. No, this all sounds good. Thank you. Thank you, Nathan. Do I have any more comments or Nina? Will there be any kind of survey to gather the words or how is it too early to ask how the community engagement will be facilitated for this? I think some of that was mentioned in the preview that David was going over. Yeah, it will be a process that we start early next year. So it will definitely involve a design process to really design the community engagement. So I think surveys are a useful tool if we know what we're asking. I think that it's going to take some time to develop that and then to develop our outreach strategies. It would be lovely to be able to have in-person events where people can gather and participate in community in person. But if that is something that we still cannot do, then we will definitely be using surveys for some component of that. And you mentioned that the selection committee would be involved in helping review that will art and public places be involved? Yes, for sure. Art and public places will be involved. We will need, like Jeff said, we'll need to cast a wide net to make sure we're touching as many parts of our community as possible through this process. So, you know, nonprofit partners, business partners, art and public places, partners, arts institutions, educational institutions. I mean, there's a service industry. There's a variety of contacts. I believe we will need to make and ask for help in reaching, you know, getting the input, getting words submitted from everybody. Thank you. All right. I have one other question, but I'm looking for the budget here. So the $20,000 that is not going to the artist is going for... Let me find my thing. Yeah, that's a great question. I was going to clarify that when David went over that slide, just to specifically say that the difference of the approved budget and the artist budget is $20,000. And that budget goes towards things that are the city's responsibility. We've already paid out some of that through honorary and payments to finalists, artists. Some of it goes towards community engagement type cost, printing, marketing, things like that. Some of it would go towards some kind of an event if we could ever have an event, either for the community engagement part of it or for some kind of grand opening celebration. Other costs include site improvements that the city is responsible for to prepare the site for the artwork. So there's a fine line between the artist's responsibility for installing the art, but then certain things that the city is responsible for. So we budget all of that out. It also includes a contingency. So there's a variety of things that that that will cover. So we can have a good marketing plan for the rollout of this project. I mean, there's money to do it. Yeah. Yes. Anything else, Melanie? That's it. Okay. Thanks, Melanie. Appreciate it. So let's at this point, I would like to move on and I would like to call a vote to approve the recommended artists and approve the artwork design as presented. All in favor. Hi. Hi. Okay. Any opposed? None? So are we passing this anonymously? Looks like. All right. I just wanted to see. All right. Great job. Great. Thank you. Thank you very much, everyone. Thank you all for this. I think the city will love this. I do too. I'm excited. Okay. So let's see. Next item on the agenda. See, we got 5.2 project updates. Tara will present an update us on current projects besides this one, of course. Yes. I know after this, I don't have much to say. You can see where I've been spending my time. So I do have a few very brief updates just on some of the lingering open and out projects that you may have seen downtown. The open and out program has kind of morphed and transitioned into the winter lights or the winter themed installations that you can see downtown now. While public art funds from this committee weren't used farther than what I presented to you earlier this fall, there are still more art pieces that you can see downtown that have been added through the winter lights activities. So I encourage you to take a stroll down there at some point and check them out. There's also some of the open and out pieces that finally got installed that were kind of the last ones to be installed. And they include the pillars, the welcome Santa Rosa, or they just say downtown Santa Rosa. They're large pillars and pots, planting pots at the end of 4th Street at East Street. And then there's another set down at B Street and 4th Street. Those are the tall ones are now painted by an artist Alex Cole with the kind of abstract landscape design. So that's a new addition since I presented last time. We also, through a partnership with the Snowman County Museum, we hung, helped to hang some pieces by participating artists in open and out. They were given the opportunity to hang one piece in the window front display at the museum. So you can see that on the corner of 7th Street and B Street. There's a poster that talks about that they were part of open and out. So that I wanted to let you know about. And then I think last time I can't remember if I shared our ongoing conservation and maintenance with our conservator preservation arts. They, they had worked on tuberosity in Olive Park and that piece is now freshly painted and cleaned up. And we are working on identifying the next round of pieces that they would start working on. Some of the pieces that they had on their list we have had to kind of hold on, given the activities with the road closures downtown, the open and out program, and the outdoor dining spaces have kind of cramped some of the areas where they were going to work. So the next item on their list was the woman with water jug fountain, the kind of near Russian River brewery on 4th Street. But there's, there was too much activity there for them to be able to get their cleaning equipment in there and to have water access at this time. So we will do that soon. And I think that's really all I was going to report on today. But if there's any questions that you have on other projects that you're curious about, I'm happy to try to answer. I just have a question on, you know, since now we have this new shelter in place, will the outdoor eating areas where a lot of the artwork is currently visible, will those still stay in place or what's the plan there? Yeah, that's a good question. I don't know if the plan is to completely take them down or to leave some of them up for when it's allowed again. As you know, the current stay at home order goes through January 9, I believe. So I have not, that's something that I can check on working with Cadence and others in downtown to see if there's a timeline for that. My sense is that most restaurants that can leave them up will leave them up. But that is because right now we have an agreement to have that set up as is through the end of January, I believe. And so that may be the timeline at this point. But things change very quickly. And we try to adapt and support as much as we can. Thank you, Smellany. All right. So we're going to move on to the, Nina, you had a question? Okay. Yeah, I got the question from a community member today about what's art and public places committee doing improving new art when the Ruth of the Zawa fountain hasn't been reinstalled. So what kind of comment, what can you tell me about the status of that? I knew that was going to come up today. So we are working on it. It is getting closer. I can provide a more detailed report to you. Actually, I have an item to bring to the committee at some point in the new year regarding the fountain. But the status is that we're working with our art conservators and art handlers to assess its condition and work on the best way to reinstall the piece on the fountain. We are trying to align our timing with the actual construction of the fountain, which has not started yet. So there was private funding secured and kind of a donation from Hugh Futrell Corporation to build the fountain. And so there's still an agreement being processed within the city for that work. And there's not quite, I believe, a timeline for when that construction will begin, but it should be soon. And we are hoping to make sure the artwork is put back on the fountain safely in an appropriate timeline. So it's in process. It's making progress, but it's not to a point where I can give you any dates at this point. So I know you can't give any dates, but can you give an off the cuff estimate of do you think that this new sculpture will be installed before the fountain? I actually think the fountain will be built before the new sculpture is installed. Yay! I don't know if the art panels will go back up, but the fountain will be built. There's two components to the project. So the fountain has to be built. The art panels have to go up. I think we're on a good timeline to see both the art panels and the fountain be built before the new artwork goes in in early 2022. That gives us essentially a whole year to work on that. But a lot of those components are out of my control, so I cannot promise. It should just put up an informational sandwich right there in that spot so that people that are curious can go there and look and see what's happening. Kristen? I had a follow-up question to Melanie's about the open and out program. I'm interested on when, I know that was extended, but I'm wondering about where to find more information about it potentially being voted on again or what committee would be having that discussion? So yeah, the downtown subcommittee gets regular updates from cadence at their monthly meetings, which are the first Thursday of the month. I believe they're at 8.30 a.m. on Zoom. That would be a good place to hear updates. You can also go to the website, which I'm going to have to remind myself I believe is openandoutsr.com, and that will give you a sense of what's going on with that. I'm not sure if it's fully updated today, but that is the website for the project. So I think that those are the two places that I would check for more information on what's going on with the closures and open and out. Great. Thank you. Great. Anyone else? Alrighty, then we'll move on to the next item on the agenda. Let's see here, community member reports. Do you need the committees to make a report at this time? If so, please raise your hand. You don't have anything? Okay. I don't see any hands raised, so I'm going to go ahead and move on to number seven. Tara, for department reports, do you have anything for department reports? I do not at this time. Thank you. Okay. All right. So that leaves German. So the next regular meeting of Art and Public Places committee is scheduled for Monday, January 4th, 2020, and this meeting is now adjourned. Thanks, everyone. Thank you, everybody. Thanks, everybody. Happy holidays. Yes, you too. Thank you. Bye for real. Always muted now. A great meeting to end the year on. Thank you.


Patriot Prime Reviews is a channel for adult collectors and may not be suitable for children under 13 years of age. Viewer discretion is advised. Hey, what's going on guys? Patriot Prime here once again with another toyhacks.com sponsored review. But before we get started, I need you guys to do me a favor. If you're watching this video right here and are not a subscriber of Patriot Prime Reviews, please hit that subscribe button right now. It won't cost you a thing, but will help me and my channel out tremendously. Now, on to the decals. And the set we're looking at in this video is the decals for the War for Cybertron Earthrise Military Patrol, consisting of bombshock and growl. Now the decals come on a sheet of foil backing, and it looks like we got a few different options for the figures, and I think this one's going to be a lot of fun to put on. So now without further ado, let's take a look at the military patrol both before and after toyhacks decals. And welcome to Patriot Prime Reviews. In vehicle mode, straight out of the packaging, the Siege MicroMaster Military Patrol really doesn't look that bad. We'll go ahead and take a look at bombshock first. Bombshock has a lot of nice molded detail all over his tank mode. I love the attention to detail this little tiny figure has, especially down here with the wheels and the tank treads. Though I do wish it was painted in black in between the wheels, but what are you going to do? But that's really about all there is to him. He's green, silver, and gray. Lots of molded details, but really not much color. Now taking a look at Growl, I really like how Growl looks. He's just a big, beefy looking vehicle. He's got this silver grill here on the front. The black windows, the rest of him is a brown collar with lots and lots of details. And I love this silver chrome looking gun that he has mounted up on top. Really nice looking vehicle, but just like bombshock, not much coloring. So there is one final look at both bombshock and Growl before and after. Now let's take a look at bombshock once again first. Bombshock gets blue decals right here above the tank treads. He also gets a new decal right there around the gun barrel and decals right there on the front. He's got Decepticon insignia and a little bomb graffiti artwork panel. Now there is some options here. You can do WFCE4 or a bomb with a fuse, but I went with the Decepticon logo and that one right there. I think that's really cool. He also has the WFCE4 right there. Maybe he's a War for Cybertron specialist. Right here on front, he also gets these decals that look like hatches or panels. He gets headlights and on the back of the vehicle, there's also more silver decals and tail lights along with a new decal right here that will go over more in robot mode. And he gets a little decal right there on the tip of the barrel of the cannon. So that looks really, really cool. Now let's take a look at Growl. I do like how Growl looks. I love the Decepticon logo right there. Once again, you do get an option. You can have more of a military star, but I always go for the insignia and I really like how that looks. He also gets a decal right there on the tip of the cannon. New decals right here on the side and there on the back. So it really adds to both of the vehicle modes and I think they look great. So there's one final look at the military patrol in vehicle mode after. In robot mode, straight out of the packaging, both Bombshock and Growl get a few more paint applications to enhance their look. Now taking a look at Bombshock once again first, Bombshock has a nice blue helmet with yellow painted in eyes. He gets a Decepticon logo right there on his chest, though I do wish that was purple and he gets a blue midsection. The coloring carries over very well from the tank mode. You've got the silver right there on the arms and that's about it. He looks really good. I do like his robot mode. Another robot mode I'm fond of is Growl. I love the look of this guy. He just looks badass. Now his new colors include this black helmet with an orange visor, some silver right there on the arms. A very shiny, if the light can catch it, midsection almost looks like chrome in hand with a purple Decepticon logo right there. The black windows do carry over from vehicle mode, making his robot mode also look really, really good. There you go guys. One final look at Bombshock and Growl in robot mode before and after. Once again we'll kick things off with Bombshock first. Bombshock gets a brand new decal right there on his chest. You did see this decal in vehicle mode, but it's primarily for robot mode and I think it looks really cool. You do get a couple of options. You can get this one right here with the faded Decepticon logo or you can get this one right here with a faded WFCE4. As usual I always go for the logo. He also gets a new decal right there for the crotch, the hatch or panel decals carry over from vehicle mode. But the ones I really like are the decals hidden in his arms. He gets a Gatling gun or mini gun right there under the right arm and some bombs or shells under the left. And I think that looks really cool. These decals really help make Bombshock stand out just a little bit more. Now for Growl. Growl really doesn't get that many decals in robot mode. He gets this decal right there in the middle of his chest. He gets these little silver highlights on top of the shoulders. The panels carry over from vehicle mode and here underneath his fist he gets these little decals that I maybe think can be blades. I'm not sure but that's pretty much it for Growl. I mean it's something. It helps breaks him up just a little bit. So there you go guys. One final look at the military patrol in robot mode after. The design team at Toyhacks once again really impresses me with the details that they can put on these smaller figures. I think this is a great set though I do believe Bombshock benefits a lot more. I think he gets more details in both vehicle and robot mode than Growl does. Growl all of his is mainly in the vehicle mode which is not that bad because I love his vehicle mode. But all in all this is a great set and highly recommended. Not only is a good set to enhance your figures. This one is a challenge to put on as well. Now guys if you enjoyed the video don't forget to like, don't forget to subscribe and don't forget to hit that bell icon to get notified when I upload new reviews. Once again this is Patriot Prime signing out.


Why don't we just build pyramid structures like the ancients did? We could tap into the knowledge and power that existed before time as we know it begun. You may be surprised to learn that pyramid structures could actually be around you in everyday life. The Russians have been building them for a quarter of a century now. This can actually be traced back to the 1890s when the great Nikola Tesla began to tap into wireless energy. He envisioned a world where everyone had free energy. He was ridiculed and tormented for this in his day. Maybe the power hungry rich at the time saw it as crazy. Maybe he was ahead of his time in an era that did not understand. When Tesla died in New York, all his work was seized by the American government. The world he envisioned did finally evolve, but not as a free energy rich world. It came with greed and a price. And it is the world we live in today. The Russians actually have tried to replicate ancient pyramid technology as a source of free energy. And there have been some conclusive results. So the success of the Russian effort at building ancient technologies may be greatly overlooked by the Western world. But they have built 20 large pyramids in 4 separate locations at a cost of equivalent of $100 million US. Have you ever heard about this? The research has been going on since 1990 and there have been some stunning claims about the results. Wait till you hear this. All the Russian pyramids are made of fiberglass with the largest standing and incredible 144 feet high tall and weighing in at over 55 tons. This Russian pyramid is a modern wonder. Many different experiments are being done using these pyramids. They include studies in medicine, ecology, agriculture, physics and health sciences. What is significant about this work is that it is being carried out by top scientists in Russia and Ukraine and not fringe elements or unknown inventors. Some of the amazing pyramid power research being done is showing great promise for all mankind. You may find this hard to believe, but some of the results include water inside the pyramid that will remain liquid to minus 40 degrees Celsius but freeze instantly if bumped in any way. There are reports of spontaneous charging of capacitors. Seismic activity near the pyramid research areas are reduced in severity and size and even to a non-existent point in some areas. Violent weather also appears to decrease in the vicinity of the pyramids and there has also been a study into improved regeneration of tissue in humans and amazingly they have built one of these things where there was a hole in the ozone and it appears to have fixed it. The Egyptians knew some of this when they designed the great pyramids at Giza. However with modern science research techniques it is now becoming possible to gain even more insight and benefit from Russian pyramid power. A study was done on over 5,000 prisoners who ingested salt and pepper that had been exposed to the pyramid energy field. The test subjects exhibited results ranging from sudden changes in behavior for the better to many wanting to spend more time reading and learning. This is significant work and it really could change humanity but are the elite of society ready to loosen their grip on the world? For the results from the Russian pyramids include the pyramids constructed in southern Russia appear to have a positive effect on oil production with oil becoming less viscous by 70% and the yield of the oil wells increased according to tests carried out by the Moscow Academy of Oil and Gas. Now we know that sounds crazy but it might be crazy enough to be true. Amazingly, seeds stored in the pyramids for 1-5 days showed a 100% increase in yield could this actually lead to a cure for hunger? If the research being carried out in Russia is truly for all humankind then surely this has to tear history to shreds. We must be pointing in the right direction guys. Some of us know the truth and for those who don't then we must go forth and multiply. No longer are humans accepting happiness just at the thought of existing on earth. No longer are we accepting just chains and labor. There is a great power hidden all around us and the fact that there is poverty where there are riches says it all. You have to wonder how much longer so few can have control over so many. We hope you will stay tuned as we continue our research small shot waves can have a massive impact after all, right? Thanks for watching and remember the ways by which we arrive at knowledge are hardly less wonderful than the discovery of these things themselves.


The rising global demand for minerals and metals, including those used in the technology sector, has caused a renewed interest in exploring mineral resources located on the ocean floor. These resources include polymetallic sulfide deposits near hydrothermal vents, cobalt-rich crusts on the flanks of seamounts, and fields of manganese nodules on the abyssal plains. Additionally, there is interest in extracting methane from gas hydrate deposits on continental slopes and ridges. Many of these regions have been identified as vulnerable marine ecosystems, VMEs, making them especially susceptible to damage for mining activities. To date, the International Seabed Authority, ISA, has issued 27 contracts for mineral exploration, covering a total area of over 1.4 million square kilometers. Meanwhile, some seabed mining operations are already underway within the continental shelves of certain countries, while other operations are in various stages of development. The first commercial venture, set to begin in 2019, will target mineral-rich sulfides in water depth. This article was offered by Catherine A. Miller, Kirsten F. Thompson, Kirsten F. Thompson and others. We are article.tv, links in the description below.


Their description. Combat observation lacing team, but they know each other as Colt. What makes us the Colt is the FS3 behind us, which is attached to the vehicle. Pretty much lazes a grid so that anywhere we call for fire, they know where it is. Today, team members check their vehicle and equipment, getting ready for Operation Full Eagle. South Korea's premier training exercise, Private Justin Bradford and his Colt team's objective is real simple. Find a target so their counterpart can destroy it. The ground units consisted of U.S. Marines and Republic of Korea units. This is my first time actually doing CCA missions. We coordinate with the Marines so I listen to what they say and then I try to do what they do. Army Sergeant Chris Garver, Rodriguez Range, Korea.


So I'm gonna do an updated video to talk a little bit more in depth about DNS over TLS and DNS over HTTPS and what the two use cases are for these. So with, let's say your home or business network and you have your own PF sense router, I bring PF sense up because I know it supports DNS over transport layer security. This is kind of a really basic network setup. You have your laptop, desktop, your computers of your local network or whatever devices you may have on there. And hopefully if you're going to a majority of websites they do support HTTPS. So we know the website is secure and the traffic between your endpoint and the internet is encrypted via HTTPS. But for many people, the out of the box default settings is what they leave on there. And that means your unencrypted DNS comes from your workstation through your router and out to the internet unencrypted. Well, then we go in PF sense and we turn on DNS over TLS and we choose a supported DNS server that does support this as well. Now we've encrypted everything leaving our network to the greater internet. Now not every workstation is going to support encrypted DNS. Matter of fact, many of your IoT devices will not have this facility built in as of right now that's changing in the future as more devices get this way. So we're just going to assume that most of the time you're using standard DHCP and acquiring whatever DNS servers are given to you on your local network. But as I said, that's unencrypted traffic. But when you're at your home or office, generally speaking, you trust this network not to be messing or monkeying with the DNS or doing anything you don't want done with it. Therefore it should work and you are secure in this. Then we look at the other method here. Let's go to a coffee house or somewhere that has publicly available wifi. You then have encrypted HTTPS, which is great because years ago when there was not HTTPS on many things it was really easy to sniff passwords or anything at any publicly available wifi. With HTTPS that's become much, much more difficult but you would do so by monkeying with the DNS because your unencrypted DNS requests go out to go through the router here at the coffee house. They can see your DNS. They can also manipulate the DNS. This is sometimes what they do to get you to go to those sign in pages. They create redirections and get you to sign into their proxies or would agree with their terms and conditions but because you're passing it back along to the internet it comes out over here unencrypted and this is where more concerns can happen. The reason you may want to run DNS over TLS in your PF sense is to block your ISP from knowing what DNS queries you're making because they don't just go out unencrypted. They go out completely available and logged many times by ISPs because this is more data that they can sell. They already have your personal information like where you live and details about you and what internet packages you may have purchased from them and then they can now have a list of websites that you go to based on the DNS queries even though they're only collecting essentially metadata because they can't see into these encrypted HAPS streams they know you went to this website, that website so on and so forth. But where the real risk comes in is with unencrypted DNS and they monkey with it here where are they sending you? But she in a public setting. Now this is a scenario and this is from Impravva, I'll leave a link here. They did a little write up on this to kind of talk about DNS spoofing but let's say this is the public WiFi scenario. So we have a client issues a request to a real website, the attacker or whoever owns the router who is providing free WiFi, injects fake DNS entries and it resolves to a fake website and gets you to the wrong place. So this scenario is obviously very problematic and it's one of the reasons that a lot of people recommend using whenever you're in a public setting like this you would do a VPN. That way you're encrypting the traffic all the way here and kicking it down the road and saying that you trust the VPN provider. I say that because once again if you're still using unencrypted DNS, they can't. Now this is the goal to be solved with DNS over HTTPS is I go in, I change to DNS over HTTPS and instead of just using unencrypted DNS, I'm using TLS, encrypted DNS via HTTPS. And this is the video I did the other day. So if you have TLS encrypted DNS over HTTPS then now the entire layer is going to be transported over here and now there's no more visibility. The can see can change goes away. They just see TLS traffic and this does not allow them to sync all the DNS and does not allow them to monkey with it so to speak and it breaks the attacker scenario of trying to inject or change to the DNS servers. But as someone pointed out and I was slightly incorrect about how it worked but we're gonna bring over pop OS over here an install I have and we're going to show that I took this network TRR mode modified integer two. This is what switches the DNS over HTTPS on in Mozilla's under about config and then the network URI the default one is HTTP Mozilla dot cloudflare dash DNS.com slash DNS query but the part I made a mistake on is it was caching the request. I currently have DNS blocked on this and I can confirm if you block DNS from a reboot so it has no chance to cache the lookups it will not resolve with this. So I did find this to be a little bit of a problem but there's a couple of mitigations you could do. One, you could figure out what the DNS is this and add a host entry so it has a static entry in the system so you can still keep from requesting DNS or you can use DNS but it's gonna do one query here and as long as it gets to this proper website you're good. I did wanna point out for people that had the comments on that that you are correct that it was caching it I just didn't check it so we're gonna go ahead and here and show there's no DNS queries on this I'm gonna go ahead and unblock it into firewall rules. So now I've grayed out that rule right there so it can have DNS queries again and Google starts resolving and lots of DNS queries again. So for those wondering if you were correct about that you were it was my mistake for when I turned off DNS to show that you can once resolved you can turn off DNS again and it will continue working once it's resolved, I don't know why I typed that. I'm already on Google. So we're gonna go back over here to the firewall and re-enable the rule, apply.  All these DNS requests will die but it'll hold on to the cache and then continue to work like it did in my other video. So once it resolves that one. So like I said, if you wanted to continue using this you could mitigate that. Now I do not have a list because someone had asked if there's other places that support this. I don't have a list at the moment of who all supports DNS over HGS queries but that list would be your 11 if I made it in a video because there's probably always more companies doing it. And as of right now to my knowledge it is not supported in PF sense. So standing up your own at this moment isn't available but I'm sure soon enough as this becomes a more popular standard it'll be easy enough to stand up your own DNS over HGAPS so you can do this. But I do like this as a methodology because you're encrypting the DNS queries and everything at that level. Granted there's still the operating system level that needs to at least first resolve the domain before it can pass the rest of the domains over that but it's still interesting. It's still effective. It's still a methodology that does help mitigate the attack of DNS spoofing and anything that helps block some of the attack spoofing or doesn't give our ISPs one way to monetize this because I'm not gonna discount for it. So if that's a concern of yours this does at least block a lot of that visibility that your ISP would have into there or the other option as I said before is using a VPN when you're on a public wifi so you encapsulate more of your traffic. And that's really what it's about is encapsulating your traffic in encryption layers via VPN or DNS for each of these. Both are ways you want to avoid things like DNS spoofing or people messing with data streams because encrypted data streams much, much harder to mess with than an unencrypted one. All right, hopefully this is helpful. This is the follow up for that particular video I did the other day. So this is kind of part two of that. Thanks for watching. If you liked this video, give it a thumbs up. If you want to subscribe to this channel to see more content, hit that subscribe button and the bell icon and maybe YouTube will send you a notice when we post. If you want to hire us for a project that you've seen or discussed in this video, head over to laurancesystems.com where we offer both business IT services and consulting services and are excited to help you with whatever project you want to throw at us. Also, if you want to carry on the discussion further, head over to forums.laurancesystems.com where we can keep the conversation going. And if you want to help the channel out in other ways, we offer affiliate links below which offer discounts for you and a small cut for us that does help fund this channel. And once again, thanks again for watching this video and see you next time.