* This transcript was created by voice-to-text technology. The transcript has not been edited for errors or omissions, it is for reference only and is not the official minutes of the meeting.
          [00:00:05]
          START WITH ROLL. 
          I KNOW WE HAVE ANOTHER COMMISSIONER, UM, COMING ON, BUT THIS IS THE REGULAR MEETING OF OUR ARTS COMMISSION. 
          THE DATE IS AUGUST 19TH, 2024. 
          IT IS 6:02 PM UH, WE WILL START IN THE ROOM. 
          YEAH. 
          OH, WHAT DO WE HAVE? WE, OH, I GUESS WE WILL WAIT. 
          SORRY. 
          FAZER, WE HAD A COMMISSIONER STEP OFF THE DAIS. 
          UM, SO IF YOU NEED A MINUTE, FEEL FREE TO TAKE IT. 
          I DON'T SEE ANY OTHER COMMISSIONERS ON RIGHT NOW. 
          I DO SEE SOME SPEAKERS, BUT NO COMMISSIONERS YET. 
          OKAY. 
          TAKE TWO. 
          IT IS 
          [CALL TO ORDER]
AUGUST 19TH, 6:05 PM UH, WE ARE HERE FOR THE REGULARLY SCHEDULED MEETING OF THE ARTS COMMISSION. 
          I'M GONNA START WITH ROLE IN THE ROOM. 
          COMMISSIONER HOUSTON HERE. 
          COMMISSIONER GRAY HERE. 
          COMMISSIONER CHARLA. 
          AND THEN ONLINE WE HAVE COMMISSIONER CHENEY HERE AND COMMISSIONER KY. 
          AND I AM COMMISSIONER AMAN. 
          HERE. 
          HERE. 
          UM, WE'VE GOT ONE 
          [PUBLIC COMMUNICATION: GENERAL]
PERSON SIGNED UP FOR PUBLIC COMMUNICATION THAT IS MIRIAM CONNOR OF CREATIVE POLICY. 
          MIRIAM, YOU ARE WELCOME TO SPEAK. 
          YOU HAVE THREE MINUTES. 
          MICROPHONE CHECK. 
          ALL RIGHT. 
          HI, I AM MIRIAM CONNOR WITH CREATIVE POLICY, AND I'M HERE TO TELL Y'ALL ABOUT AN ART SHOW. 
          UH, I'VE BEEN WORKING WITH THE TRAVIS OR THE TEXAS AFTER VIOLENCE PRO, UH, PROJECT, AND WE ARE PUTTING TOGETHER A SHOW THAT IS WITH INMATES FROM TRAVIS COUNTY CORRECTIONAL FACILITY. 
          THEY HAVE BEEN GOING THROUGH WORKSHOPS ABOUT MEMORY, AND SO WE ARE PRESENTING AND THEIR ARTWORK AND THEIR CONTENT, UH, AT, AT CANOPY ON AUGUST 30TH AND 31ST. 
          UH, SO COME CHECK IT OUT. 
          PARTICIPATE, UH, THERE WILL, THERE WILL BE COMMUNITY PARTICIPATION, AND ALL OF THIS WILL BE PUT INTO A ZINE THAT THEN WILL BE SENT BACK TO THE INMATES. 
          SO COME TALK ABOUT YOUR MEMORIES ABOUT ARCHIVES. 
          UM, THE SHOW TITLE IS, ARCHIVES IS A SACRED WORD. 
          AND AGAIN, THIS IS ON AUGUST 30TH AND 31ST AT CANOPY. 
          MORE INFORMATION AT TEXAS AF AFTER VIOLENCE PROJECT.COM. 
          COOL. 
          THANK YOU. 
          THANK YOU. 
          [00:05:02]
AND WE HAVE A COMMISSIONER JOINING US ON THE DAIS. 
          I THINK. 
          UM, LET'S GO AHEAD AND MOVE ON 
          [APPROVAL OF MINUTES]
TO THE APPROVAL OF THE MINUTES FROM OUR JULY MEETING. 
          WE HAVE A MOTION TO APPROVE. 
          SO, MOTION BY COMMISSIONER CNI, SECONDED BY COMMISSIONER ESKY. 
          ALL IN FAVOR OF APPROVAL OF THE MINUTES. 
          I ABS, UM, ALL IN AGREEANCE WITH THE EXCEPTION OF COMMISSIONER GRAY, WHO WAS NOT PRESENT FOR THE MEETING. 
          OKAY. 
          AND COMMISSIONER GARZA HAS JOINED US ON THE DAAS. 
          UM, NEXT WE HAVE THE 
          [2. Discussion of Chair’s Report on Impacts from July by Chair Zisman]
DISCUSSION OF THE CHAIR'S REPORT OF IMPACTS FROM JULY BY CHAIR ZIMAN. 
          THAT'S ME. 
          HI, MY NAME IS SELENA ZIMAN. 
          MY PRONOUNS ARE THEY, SHE, I AM THE BROWN PERSON OF COLOR, UM, SITTING BEFORE YOU WITH BROWN HAIR AND A WHITE SHIRT. 
          UM, FOR THOSE OF YOU THAT WERE HERE LAST MONTH, UM, WE CAN NOTE THAT WE HAD A VERY, UH, ACTIVATED MEETING AND THERE WAS A LOT OF COMMUNITY INPUT, WHICH IS ALWAYS WELCOMED IN THIS SPACE. 
          IT GOT A LITTLE UNORTHODOX TOWARD THE END OF THE MEETING, AND THE TENSION WAS HIGH. 
          I FEEL LIKE OVERALL WE DID A REALLY GOOD JOB OF CREATING SPACE FOR EVERYBODY TO BE HEARD. 
          AND WHILE, UH, DECORUM, QUOTE UNQUOTE, WAS NOT ADHERED TO IN, IN REGARDS TO WHAT IS REQUIRED BY, UH, ROBERT'S RULES AND PARTICIPATING IN A CIVIC SPACE OF THIS MATTER, I DO FEEL THAT IT WAS CRITICAL FOR US TO HEAR ALL VOICES AT IN THAT MOMENT. 
          UM, I DO WANT TO GO AHEAD AND READ FROM AN EMAIL THAT I RECEIVED FROM THE CLERK'S OFFICE REGARDING, UM, BEHAVIOR AND EXPECTATIONS FROM THEM SO THAT WE CAN ALL BE ON THE SAME PAGE MOVING FORWARD. 
          UM, I THINK ESSENTIALLY THE THING IS, UH, THE THING TO KEEP IN MIND IS THAT I, AS THE CHAIRMAN RESPONSIBLE FOR MAINTAINING ORDER. 
          AND WHILE MY PERSONAL FEELINGS MAY NOT, UH, BE IN PARALLEL WITH THE REQUIREMENTS THAT I HAVE TO ADHERE TO, UM, I ESSENTIALLY WOULD BE REQUIRED TO SHUT DOWN A MEETING MOVING FORWARD, UM, SHOULD OUTBURSTS, UM, HAPPEN THE WAY THAT THEY DID LAST MEETING. 
          UM, BUT I FEEL STRONGLY THAT, UM, WE NEEDED TO CREATE THAT SPACE IN THAT TIME AND TO PREVENT FUTURE CONFLICT. 
          REALLY CREATING, UH, ARENA FOR OUR AUDIENCE AND OUR COMMUNITY MEMBERS TO VOICE THEIR CONCERNS IS CRITICAL. 
          UM, BUT I'M GONNA GO AHEAD AND JUST READ FROM CITY CODE, WHICH IS VERY EXCITING. 
          SO, STRAP IN CITY CODE TWO DASH ONE DASH 48 REQUIRES THAT ANYONE ATTENDING A MEETING SHOULD OBSERVE DECORUM. 
          THIS INCLUDES NOT PERMITTING ANYONE TO SPEAK OUT OF TURN, INCLUDING MEMBERS OF THE AUDIENCE. 
          ADDITIONALLY, THE TOMA AND ESTABLISHED RULES OF THE CITY OF AUSTIN CODE ALLOW FOR MEMBERS OF THE PUBLIC TO REGISTER SHOULD THEY WISH TO SPEAK AT A MEETING, ALLOWING A MEMBER OF THE PUBLIC TO SPEAK WHEN THEY HAVE NOT APPROPRIATELY REGISTERED. 
          NOT ONLY VIOLATES THE STANDARD POLICY FOR THE CITY AS A WHOLE, BUT SETS A CHALLENGING PRECEDENT WHERE ANYONE AT FUTURE TIME, AT A FUTURE TIME MAY REQUEST AND WOULD HAVE TO BE ALLOWED TO SPEAK AT ANY POINT DURING A MEETING. 
          REQUIRING PRE-REGISTRATION ALLOWS THE BOARD TO MAINTAIN ORDER, PROVIDES AN EXPECTATION OF HOW LONG THEIR MEETING MIGHT RUN, AND PROVIDES GUIDANCE TO THE PUBLIC OF HOW AND WHEN THEY WILL BE ABLE TO PARTICIPATE. 
          NOT ONLY IN THIS BOARD, BUT IN ALL CITY BOARD AND COMMISSION MEETINGS, MANAGING DISCUSSIONS ON AN OPEN MEETING. 
          THE PUBLIC MAY OBSERVE THE OPEN PORTION OF A MEETING. 
          HOWEVER, THE ATTORNEY GENERAL HAS CONCLUDED THAT THE ACT DOES NOT ENTITLED THE PUBLIC TO SPEAK ON ITEMS CONSIDERED AT AN OPEN MEETING. 
          THAT RIGHT ONLY EXISTS IF A SPECIFIC STATE LAW THAT REQUIRES A PUBLIC HEARING OR HEARING REQUIRES PUBLIC COMMENT TO BE ALLOWED ON AN ISSUE. 
          A LOCAL UNIT MAY ALLOW MEMBERS OF THE PUBLIC TO SPEAK ON AN ITEM AS LONG AS THE EN THAT ENTITY HAS ADOPTED REASONABLE RULES REGULATING THE NUMBER OF SPEAKERS ON A PARTICULAR SUBJECT, AND THE LENGTH OF TIME ALLOWED FOR EACH PRESENTATION. 
          IF A LOCAL ENTITY DOES ALLOW PUBLIC INPUT, THE RULES MAY BE APPLIED EQUALLY TO ALL MEMBERS OF THE PUBLIC. 
          IF MEMBER OR MEMBERS OF THE PUBLIC CAUSE A DISTURBANCE, THE PRECI, THE PRESIDING OFFICER, UH, OR THE GOVERNING BODY AS A WHOLE MAY ASK THAT THE INDIVIDUAL MEMBERS BE REMOVED. 
          WHAT CONDUCT CAN BE CONSIDERED DISORDERLY IS A FACT ISSUE FOR THE BODY TO CONSIDER. 
          THE BODY'S ATTORNEY MAY BE ABLE TO PROVIDE GUIDANCE ON WHAT ACTIONS MAY CONSTITUTE DISORDERLY CONDUCT. 
          SO THAT BEING SAID, UM, WE WILL FOLLOW THE RULES. 
          WE WILL DO OUR BEST TO MAINTAIN ORDER AND DECORUM. 
          AGAIN, MY PERSONAL FEELINGS ASIDE, I DO WANT TO ADDRESS THE ACTION THAT HAS BEEN TAKEN SINCE OUR LAST MEETING. 
          UH, COMMISSIONER SCHACH AND I SAT DOWN WITH THE ORGANIZERS, UM, OF TRO 
          [00:10:01]
AND HAD A VERY PRODUCTIVE MEETING ABOUT THEIR EXPERIENCE AND HOW WE CAN BEST MOVE FORWARD. 
          WE'VE ALSO, WE HAD ROBUST CONVERSATIONS WITH COUNCIL STAFF, NOT JUST AROUND OUR BUDGET REQUESTS, BUT AS, UH, WHICH INCLUDED TRANSLATION SERVICES, BUT MUCH MORE DEEPLY WITH OUR D THREE CITY STAFF MEMBER WHO WHILE HAS, UH, NO REMEDY FOR THE, THE ISSUE IS COMMITTED TO, UH, WORKING TOGETHER TO FIND A RESOLUTION, UM, OR A, A SOLUTION TO THE PROBLEMS THAT WE'RE FACING AS A COMMUNITY. 
          SO, JUST AN UPDATE ON, UM, THE VERY HEATED AND IMPORTANT CONVERSATIONS THAT WE WERE HAVING LAST MEETING. 
          UM, I DID WANT TO MENTION, I, UH, A RESOURCE THAT IS AVAILABLE FOR OUR SPANISH SPEAKERS. 
          IT IS NOT DIRECTLY RELATED TO CITY PROGRAMS, BUT IT IS SOMETHING THAT'S OFFERED BY THE AUSTIN PUBLIC LIBRARY FOR FREE. 
          THERE IS A BOOK, A LIBRARIAN SERVICE. 
          IT GIVES YOU AN HOUR OF A LIBRARIAN'S TIME THAT CAN BE DONE IN SPANISH. 
          YOU JUST NEED TO SCHEDULE TIME IN ADVANCE, AND THEY WILL SIT DOWN WITH YOU AND WORK THROUGH AN APPLICATION. 
          I DON'T KNOW THE DETAILS OF THAT. 
          I DO HAVE CONTACT INFORMATION FOR SOMEBODY THAT WE COULD REACH OUT TO, TO SORT OF GET A BETTER IDEA OF WHAT THAT COULD ENTAIL. 
          BUT WE'RE DOING THE WORK HERE, AND WE'RE TRYING TO FIND ALTERNATIVE SOURCES FOR TRANSLATION SERVICES SPECIFICALLY, SINCE THAT'S WHAT WE'RE SEEING IS A MAJOR NEED. 
          UM, WITH THAT, WE CAN MOVE ON. 
          THANK YOU FOR EVERYBODY'S TIME. 
          UH, NEXT IS 
          [3. Report of the Art in Public Places Liaison concerning actions taking during the August 5, 2024 meeting of the Art in Public Places Panel by Commissioner Maldonado ]
THE REPORT OF THE ART AND PUBLIC PLACES LIAISON CONCERNING ACTION TAKEN DURING THE AUGUST 5TH MEETING, UH, 2024 MEETING OF THE ART AND PUBLIC PLACES PANEL WITH COMMISSIONER MALDONADO KUSH. 
          MALANO IS NOT HERE. 
          THEY WERE TRAVELING, UM, AND NOT FEELING WELL. 
          UM, WE HAVE A LOT OF FOLKS OUT TODAY. 
          UM, I ATTENDED, I AUDITED. 
          UM, I DON'T NECESSARILY FEEL PREPARED TO GIVE A REPORT, BUT I WILL TAKE THIS OPPORTUNITY TO REMIND OUR COMMISSION THAT AUDITING AN, UH, ARTS AND PUBLIC PLACES MEETING IS A REALLY SIGNIFICANT ACTION THAT YOU CAN TAKE TO DEMONSTRATE, UM, COMMITMENT TO THE CAUSE AND UNDERSTANDING WHAT ALL OUR WORK UMBRELLAS. 
          UM, IT'S A REALLY INCREDIBLE GROUP OF PEOPLE, EXTREMELY TALENTED AND, UM, EXPERTS IN THEIR FIELD, AND IT WAS VERY EDUCATIONAL. 
          UM, AND FOR THOSE THAT CAN, I REALLY STRONGLY RECOMMEND SITTING IN ON A MEETING IN PERSON OR JOINING VIRTUALLY, UM, IT'S IMPORTANT WORK THAT THIS TEAM DOES. 
          AND OUR ART AND PUBLIC PLACES PANEL ARE ALSO VOLUNTEERS JUST LIKE US. 
          SO I THINK, UM, HAVING A SYMBIOTIC RELATIONSHIP WITH THEM WOULD DO US, UH, ALL WELL IN TERMS OF STRENGTHENING THE COMMUNITY. 
          UM, NEXT IS 
          [4. Update on actions taken at the June 26, 2024 Downtown Commission meeting by Commissioner Mok ]
THE UPDATE ON ACTIONS TAKEN. 
          JUNE, JUNE 26TH, 2024, DOWNTOWN COMMISSION MEETING WITH COMMISSIONER MOCK. 
          COMMISSIONER MOCK IS ALSO, UH, RECENTLY COMING BACK FROM TROUBLE. 
          I THINK SHE LANDED TODAY FROM AN INTERNATIONAL FLIGHT AT FOUR O'CLOCK. 
          SO SHE'S NOT WITH US TODAY. 
          WE WILL MOVE, UH, THAT TO NEXT MONTH, OR WAIT FOR AN UPDATE TILL NEXT MONTH. 
          CHAIR IS ESMAN. 
          YES. 
          UH, JUST REALLY QUICKLY, I, I JUST LOOKED AT THE BOTTOM OF THE MINUTES FROM LAST MEETING AND IT SAYS THAT COMMISSIONER GRAY ADJOURNED THE MEETING. 
          OH, THANK YOU. 
          GOOD CATCH. 
          . 
          I KEPT READING THAT GOING THAT, WAIT, WHAT? THAT'S NOT RIGHT. 
          THAT, THAT'S, THAT DOESN'T SEEM RIGHT, SO JUST, WE'LL HAVE TO GO BACK AND CHECK THAT. 
          THANK YOU. 
          COMMISSIONER HOUSTON, DO WE NEED TO, CAN WE MAKE THAT AMENDMENT WITHOUT HAVING TO VOTE AGAIN? OR WHAT'S PROTOCOL FOR THAT SAFE SIDE? VOTE. 
          SAFE TO BE ON THE SAFE SIDE. 
          VOTE. 
          JUST VOTE. 
          OKAY. 
          ALL IN FAVOR OF AMENDING THE MINUTES TO REFLECT THE CORRECT, UH, PERSON WHO CLOSED THE MEETING. 
          OH, UNANIMOUS. 
          THANK YOU. 
          UNOFFICIAL COMMISSIONER CASTILLO. 
          UM, THANK YOU, COMMISSIONER HOUSTON. 
          ALL RIGHT. 
          WITH THAT WE'RE ON TO STAFF 
          [5. Staff update on Art in Public Places recently approved RFQs and Artist Information Session Schedule by Jaime Castillo, Art in Public Places Program Manager]
BRIEFINGS, STAFF UPDATE ON THE ART AND PUBLIC PLACES, RECENTLY APPROVED RF, QS AND ARTIST INFORMATION SESSIONS. 
          UH, SCHEDULE BY JAIME CASTILLO, ART AND PUBLIC PLACES PROGRAM MANAGER. 
          YAY. 
          GOOD EVENING. 
          CASTILLO ART IN PUBLIC PLACES, PROGRAM MANAGER. 
          UH, AND HERE'S OUR PRESENTATION FOR THE RF QS THAT WE'RE, WE WILL BE RELEASING, UH, LATER NEXT MONTH. 
          UH, YOU RECEIVED THIS IN THE BACKUP. 
          UM, SO YOU HAVE THE, THE HISTORY OF, OR THE BACKGROUND ON EACH PROJECT, BUT I WANTED TO POINT OUT A COUPLE OF THINGS FOR YOU. 
          UH, FOR THE ELIZABETH NAY OPPORTUNITY, I WANTED TO GO OVER THE PROJECT GOALS. 
          UH, OF COURSE, WE WANT ARTWORK THAT'S REDEEMING VALUE THAT ENHANCES THE, A AESTHETIC QUALITY OF PUBLIC PLACES. 
          BUT I WANTED TO POINT OUT THE, THAT OUR SECOND GOAL IS TO HONOR THE ELIZABETH NAYS ART HISTORY AND LEGACY. 
          UH, OF COURSE, UH, CONCEPTUALIZING A STRONG ARTWORK THAT INTEGRATES WITH THE SITE AND THE SURROUNDING NATURAL ENVIRONMENT THAT'S EASILY MAINTAINED AND VANDAL RESISTANCE 
          [00:15:01]
AND HAS A EXPECTED LIFESPAN OF AT LEAST 20 YEARS. 
          I'D LIKE TO POINT OUT THAT THIS ELIGIBILITY, UH, WITH THESE GOALS IN MIND, THE ELIGIBILITY IS LOOKING FOR, UH, A THREE DIMENSIONAL ARTWORK THAT'S SUITABLE IN AN EXTERIOR ENVIRONMENT. 
          THIS IS, UH, ELIGIBLE FOR AUSTIN BASED VISUAL ARTISTS WITHIN THE SEVEN COUNTY REGION. 
          UM, JUST AS A REMINDER, THE AUSTIN METRO AREA INCLUDES TRAVIS COUNTY, HAYES COUNTY, WILLIAMSON COUNTY, BASTROP COUNTY, CALDWELL COUNTY, BERNARD COUNTY, AND BLANCO COUNTY. 
          UH, THROUGH THE SELECTION PROCESS FOR THIS PROJECT, WE ARE EXPECTING A FIVE MEMBER SELECTION PANEL COMPOSED OF VISUAL ART PROFESSIONALS AND COMMUNITY REPRESENTATIVES. 
          AND OUT OF THIS PROCESS, WE EXPECT ONE ARTIST OR ARTIST LED TEAM, AND ONE ALTERNATE TO BE RECOMMENDED FOR THE COMMISSION. 
          AS YOU CAN SEE HERE ON THE MAP LOCATION OF THE ELIZABETH NAME MUSEUM, THE BUDGET IS A HUNDRED THOUSAND RESIDES. 
          UH, THE PROJECT RESIDES WITHIN COUNCIL DISTRICT NINE PARKS AND RECREATION IS OUR SPONSORED DEPARTMENT. 
          AND WE DO HAVE A TENTATIVE SCHEDULE AFTER, UH, YOUR APPROVALS TONIGHT. 
          OUR SECOND PROJECT, UH, JOHNNY MORRIS ROAD AND ROS ROADS, UH, SUBSTANDARD STREETS, UH, THEY'RE THE, HOW THESE ROADS ARE IDENTIFIED, RIGHT? THESE ARE STREETS THAT NEED IMPROVEMENTS TO MAKE SURE THAT THEY'RE CONSISTENT WITH ROADWAYS ACROSS THE CITY. 
          AND SO WE HAVE TWO OPPORTUNITIES. 
          ONE ON JOHNNY MORRIS ROAD BETWEEN LOYOLA AND MLK, AND THAT'S, UH, CENTRAL EAST AUSTIN. 
          AND THEN THE SECOND OPPORTUNITY IS ROSS ROAD IN SOUTHEAST AUSTIN NEAR, UH, DELL VALLEY HIGH SCHOOL. 
          I WANTED TO POINT OUT, UH, THE GOALS AND PROJECT GOALS. 
          AGAIN, ARTWORK OF REDEEMING QUALITY, ENHANCING AESTHETIC QUALITY OF PUBLIC PLACES. 
          UM, A STRONG ARTWORK THAT, UH, INTEGRATES WITH THE SITE AND THE NATURAL ENVIRONMENT EASILY MAINTAINED AND VANDAL RESISTANT EXPECTED LIFESPAN OF 20 YEARS. 
          THIS ONE IS ALSO EX, UH, ELIGIBLE FOR A A THREE DIMENSIONAL ARTWORK, EXPECTING IT TO BE IN EXTERIOR ENVIRONMENTS. 
          AUSTIN METRO AREA, WITH THE SEVEN COUNTIES THAT I LISTED PREVIOUSLY. 
          UH, THIS SELECTION PANEL PROCESS WILL BE, UH, FIVE MEMBERS. 
          AND WE'LL, UH, WE'LL IDENTIFY A SHORT LIST OF SIX ARTISTS OR ARTIST LED TEAMS THAT WILL THEN PROCEED TO, UH, AN INTERVIEW STAGE, AS WELL AS, UH, RECEIVING A PRELIMINARY DESIGN CONCEPT OF $1,000 WE EXPECT TO IDENTIFY, OR, YEAH, TWO ARTISTS. 
          WE EXPECT TO IDENTIFY TWO ARTISTS OR ARTIST LED TEAMS, AND THREE ALTERNATES FOR THIS COMMISSION. 
          UH, AS I MENTIONED, THERE ARE TWO DIFFERENT LOCATIONS, SO WE WANNA BE ABLE TO HAVE, BE ABLE, ABLE TO IDENTIFY ARTISTS FOR EACH LOCATION AND HAVE GOOD, UM, BACKUP ARTISTS IN CASE, IN CASE THEY'RE NEEDED. 
          UH, THE BUDGET FOR THE JOHNNY MORRIS ROAD IS 190,000, WHILE THE BUDGET FOR ROSS ROAD IS 330. 
          JOHNNY MORRIS IS IN COUNCIL. 
          DISTRICT ONE ROSS ROAD IS IN CONS, DISTRICT TWO. 
          AND BOTH OF THESE PROJECTS ARE SPONSORED BY THE TRANSPORTATION PUBLIC WORKS DEPARTMENT, AND AGAIN, TENTATIVE SCHEDULE AFTER, UH, AFTER TONIGHT'S APPROVALS. 
          OUR THIRD PROJECT IS FOR RED BUD, IS PROJECT GOALS ARE SIMILAR ARTWORK OF REDEEMING VALUE ENHANCING AESTHETIC QUALITIES OF PUBLIC PLACES. 
          BUT I DID WANT TO DRAW YOUR ATTENTION TO GOAL NUMBER TWO, LINKING TOGETHER THE VARIED HISTORICAL STORIES ABOUT THE ISLAND, INCLUDING THE NEARBY DAM, THE FLOODING, AND THE CURRENT USE OF THE SITE AS A DOG PARK. 
          GOAL THREE IS TO CREATE A PEACEFUL, CALM, AND SERENE SETTING FOR VISITORS OF ALL AGES AND SPECIES. 
          THAT'S FOR BOTH OUR CAT AND DOG FRIENDS. 
          UH, GOAL FOUR, UH, THIS IS WORDED PRETTY PARTICULARLY, SO I, I WANNA MAKE SURE THAT ARTISTS UNDERSTAND THAT WE WANT TO INTEGRATE THE ARTWORK WITH THE SURROUNDING ROCKS, TREES, WATER, FOLIAGE, FISH, BIODIVERSITY, AND ALL THE BEAUTIFUL NATURAL SURROUNDINGS. 
          GOAL FIVE IS TO HAVE AN ACCESSIBLE AND PHYSICALLY ACCESSIBLE PHYSICALLY AND CONCEPTUALLY BY VISITORS OF ALL AGES AND ABILITIES TO THE PARK AND STANDARD MAINTAIN AND BUNDLE RESISTANCE. 
          EXPECTED LIFESPAN OF 20 YEARS. 
          THIS IS ALSO A 3D OPPORTUNITY IN THE EXTERIOR ENVIRONMENT, ELIGIBLE FOR AUSTIN ARTISTS IN THE SEVEN COUNTIES PREVIOUSLY LISTED. 
          UH, THIS SELECTION PROCESS WILL BE FIVE MEMBER PANEL. 
          WE ARE EXPECTING TO SHORT SHORTLIST THREE ARTISTS OR ARTIST LED TEAMS, AND INTERVIEW THEM IN AN INTERVIEW ROUND AND, UH, PROVIDE A PRELIMINARY, HAVE THEM PROVIDE A PRELIMINARY DESIGN CONCEPT FOR A FEE OF $2,000. 
          WE WILL IDENTIFY ONE ARTIST OR ARTIST LED TEAM AND ONE ALTERNATE, UH, RECOMMENDED FOR THIS COMMISSION 
          [00:20:04]
LOCATION HERE ON THE, ON THE WEST SIDE OF AUSTIN. 
          UH, UH, ON THE RIVER, THE BUDGET IS 625,000. 
          IT, UH, I GUESS IT, UH, IT MUST, UH, I FORGET THE TERM, I'M FORGETTING THE TERM NOW, BUT IT, IT, UH, IS IN BOTH, IT BORDERS BOTH DISTRICT EIGHT AND DISTRICT 10. 
          AND THIS IS AGAIN, SPONSORED BY THE TRANSPORTATION PUBLIC WORKS DEPARTMENT WITH SIMILAR TENTATIVE SCHEDULE AFTER APPROVALS TONIGHT. 
          OUR FOURTH PROJECT TONIGHT IS, UH, WALTER E. LONG AND JOHN TRAVINO PARKS. 
          HE'S PER STANDARD GOALS, ARTWORKS OF REDEEMING VALUE ENHANCING AESTHETIC QUALITY OF PUBLIC PLACES, A DESIGN THAT INTEGRATES WITH THE SITE AND SURROUNDING NATURAL ENVIRONMENT, UM, EASILY MAINTAINED VANDAL RESISTANT EXPECTED LIFESPAN OF 20 YEARS. 
          AGAIN, THIS IS THE THREE DIMENSIONAL ARTWORK OPPORTUNITY FOR EXTERIOR ENVIRONMENTS AVAILABLE FOR THE AUSTIN METRO, THE SEVEN COUNTIES THAT I LISTED PREVIOUSLY. 
          THE SELECTION PROCESS FOR THIS IS, IS EITHER THREE TO, OR THREE TO FIVE, NOT EITHER THREE TO FIVE. 
          MEMBER SELECTION PANEL, UM, SHORT, UH, YEAH, SHORTLIST THREE TO FIVE ARTIST OR ARTIST TEAMS FOR INTERVIEW, UNLESS WE CAN IDENT THEY CAN IDENTIFY, UH, ONE APPLICANT AND ALTERNATE IMMEDIATELY. 
          UM, BUT IF WE GO IN THROUGH THAT, INTO THAT INTERVIEW ROUND, UH, WE EXPECT ONE APPLICANT TEAM TO BE RECOMMENDED FOR THE COMMISSION WITH, WITH AN ALTERNATE. 
          UH, YOU'LL SEE THE LOCATIONS HERE BOTH ON, ON EAST AUSTIN. 
          UH, THIS IS A, A, A COMBO COMBO DEAL. 
          SO ARTISTS WILL APPLY. 
          THE BUDGET FOR BOTH OF THESE IS A HUNDRED THOUSAND $100. 
          SO IT'S A SINGLE COMMISSION, BUT WE'RE EXPECTING TWO ARTWORKS BECAUSE THERE ARE TWO LOCATIONS, UH, AVAILABLE WITH THIS OPPORTUNITY. 
          PARKS AND REC DEPARTMENT IS OUR SPONSOR DEPARTMENT, AND YOU'LL SEE OUR TENTATIVE SCHEDULE. 
          FINAL PROJECT FOR THIS EVENING IS THE ARMADILLO WATER TANK MURAL. 
          THE GOALS ARE SIMILAR ARTWORK OF REDEEMING VALUE, UH, ENHANCING AESTHETIC QUALITY OF THE PUBLIC PLACES IN RELATION TO ARMADILLO PARK AND ITS COMMUNITY. 
          SO REALLY, REALLY SITE SPECIFIC FOR THIS GOAL OF STRONG ARTWORK THAT INTEGRATES WITH THE SITE, REFLECTS THE CORRESPONDING FEELINGS AROUND THE SURROUNDING NA NATURAL ENVIRONMENT. 
          GOAL THREE IS TO CELEBRATE THE HISTORICAL FABRIC OF SOUTH AUSTIN, INCLUDING THE LEGACY OF THE ARMADILLO WORLD HEADQUARTERS AND THE VIBRANT SPIRIT OF MUSIC, ART, AND CREATIVITY THAT DEFINED THE AREA AND HELP SHAPE AUSTIN'S CULTURAL IDENTITY. 
          EXPECTED LIFESPAN OF 20 YEARS, EASILY MAINTAINED AND VANDAL RESISTANT. 
          UH, THIS IS A TWO DIMENSIONAL OPPORTUNITY, UM, BUT IT WILL BE IN THE EX IN THE EXTERIOR. 
          SO, UH, EXPOSED TO THE ELEMENTS. 
          UH, AGAIN, AUSTIN METRO SEVEN COUNTIES. 
          SELECTION PROCESS FOR THIS IS ALSO A, UH, A THREE TO FIVE MEMBER PANEL. 
          UH, THREE TO FIVE ARTISTS OR ARTIST TEAMS WILL BE INVITE SHORTLISTED, INVITED FOR AN INTERVIEW, AND THEN WE EXPECT ONE, UH, APPLICANT TO BE SELECTED FOR THE COMMISSION. 
          LOCATION OF THE WATER TANK IS IN SOUTH AUSTIN, UH, JUST NORTH OF WILLIAM CANNON. 
          IF I'M NOT MISTAKEN, IF I'M READING THIS MAP CORRECTLY, I SEE IT ALL THE TIME. 
          I JUST, THAT'S WHAT I'M GOING WITH. 
          WILLIAM CANNON . 
          UH, THE BUDGET IS 133,000. 
          IT'S IN COUNCIL DISTRICT FIVE. 
          AUSTIN WATER IS OUR SPONSOR DEPARTMENT, AND YOU'LL SEE OUR TENDO SCHEDULE HERE. 
          UH, OUR A IPP PROJECT COORDINATORS, UH, BRIANNA IIA IS THE COORDINATOR TO ASK QUESTIONS REGARDING ARMADILLO WATER TANK AND THE WALTER ELONG AND JOHN TRAVINA PARKS, UH, PROJECTS. 
          AND LINDSEY HUTCHINS WOULD BE YOUR CONTACT FOR THE ELIZABETH NAY RED BUD IS AND THE JOHNNY MORRIS ROSS ROAD PROJECTS. 
          I DID WANNA MAKE YOU AWARE OF OUR 10 TENTATIVE SCHEDULE. 
          UH, WE'RE GONNA DO, UH, SOME STRONG OUTREACH FOR THESE OPPORTUNITIES. 
          YOU'LL SEE THAT AS EARLY AS SEPTEMBER 19TH, WE'RE GONNA BE OUT IN THE COMMUNITY, UH, TALKING ABOUT A IPP, BUT ALSO THESE, UH, THESE OPPORTUNITIES. 
          UM, AND THEN ALSO TAKING ADVANTAGE OF AUSTIN MUSEUM DAY, SETTING UP A TABLE WITH, UH, AT THE ELIZABETH NA POINTING OUT TUESDAY, SEPTEMBER 24TH IS WHEN THE CALLS OPEN FOR ALL FIVE OF THE PROJECTS THAT I LISTED. 
          WE ARE PLANNING, UH, OF COURSE, VIRTUAL OFFICE HOURS. 
          AS USUAL, WE'D BE ABLE TO, UH, CALL IN OR SIGN UP TO 
          [00:25:01]
ASK QUESTIONS AND, AND WE'LL PROVIDE INFORMATION REGARDING THE PROJECTS. 
          UH, WE DO HAVE SOME ARTIST INFO SESSIONS IDENTIFIED WHERE WE WILL HAVE SPANISH LANGUAGE SUPPORT. 
          UM, THAT'S ON THE 29TH AS WELL AS THE, THE THIRD. 
          AND I THOUGHT THERE WAS ONE MORE ON THE 14TH. 
          UH, VIRTUAL O OFFICE HOURS IN OCTOBER. 
          AND AGAIN, ANOTHER TABLING OPPORTUNITY AT THE ELIZABETH NAY ON OCTOBER 12TH. 
          DELL VALLEY WILL HAVE, UH, OUR, OUR LAST SPAN SPANISH LANGUAGE SUPPORT, UM, INFO SESSION AT DELL VALLEY HIGH SCHOOL, AND THEN CLOSING OUT WITH VIRTUAL OFFICE HOURS ON, ON 20 SECONDS BEFORE THESE OPEN CALLS CLOSE ON TUESDAY, OCTOBER 22ND. 
          THANK YOU. 
          AND IF I REMEMBER CORRECTLY, WE DID VOTE TO PASS, APPROVE ALL OF THESE. 
          WE JUST REALLY WANTED THE PRESENTATION. 
          CORRECT. 
          COOL. 
          ALRIGHT. 
          UM, THANK YOU FOR WALKING US THROUGH THOSE. 
          REALLY IMPORTANT TO SEE THE ARTIST INFO SESSIONS, PARTICULARLY THOSE WITH SPANISH SUPPORT. 
          COMMISSIONER GRAY, I DO ACTUALLY HAVE A QUESTION. 
          I WOULD LOVE TO HEAR IT. 
          I HAVE A QUESTION, JUST SET OF CURIOSITY. 
          UM, TRANSPORTATION PUBLIC WORKS. 
          WHERE DOES THAT FUND, WHERE DOES THE MONEY COME IN FOR THE THOUSAND OR $2,000? UM, UH, PRE A DESIGN FEE FOR THAT FIRST PHASE, WHICH I WAS REALLY HAPPY TO SEE. 
          I WASN'T HERE IN THAT MEETING, BUT IS IT BECAUSE IT IS A, A WORD, I MEAN A WORD. 
          HELLO. 
          IT'S WORKING ON A, A PUBLIC TRANSPORTATION. 
          IT'S PART OF A, OF THE CONSTRUCTION OF THE WORD, THE WORD. 
          WHY I KEEP SAYING THAT THE ROAD  BEING, UH, WORKED ON. 
          DOES THAT ALL MAKE SENSE TO YOU? YES, THANK YOU. 
          IT IS, UH, IT IS PART OF OUR, OUR PRACTICE OF IDENTIFYING THE OPPORTUNITIES. 
          AND SO IN SETTING UP, IN BEING INFORMED OF THE ELIGIBLE PROJECT AND THE ELIGIBLE FUNDS COMING OUT OF THE CONSTRUCTION BUDGET, RIGHT? WE, I, WE HAVE THOSE CONVERSATIONS. 
          WE IDENTIFY HOW, UM, INTENSE OUR INVOLVEMENT IS GOING TO BE IN IDENTIFYING A RECOMMENDED ARTIST. 
          GOTCHA. 
          AND FOR, FOR BOTH OF THE PROJECTS THAT HAVE FEES FOR, FOR FINALISTS MM-HMM. 
          , THAT DISCUSSION WAS HAD AND WAS IDENTIFIED THAT WE WOULD, WE WOULD, UM, WE WOULD NEED TO ENGAGE WITH THESE POTENTIAL ARTISTS AND HAVE THEM DO A LITTLE BIT OF WORK AND WE DON'T WANT THEM TO WORK FOR FREE. 
          SO IN THAT INITIAL SETUP OF, OF THESE PROSPECTUS OF PROSPECT, I, MM-HMM, , WE IDENTIFIED THAT AND, AND ALLOCATED THAT, THAT FUNDING ACCORDINGLY. 
          OKAY. 
          AND IT, AND IT, IT IS IN, ARE THOSE THE ONLY OPPORTUNITIES THAT HAPPEN WITH THE TRANSPORTATION AND PUBLIC WORKS DEPARTMENT, OR ARE THOSE OPPORTUNITIES AVAILABLE IN THE FUTURE FOR THE OTHER DEPARTMENTS? YOU MEAN THE, THE FEE LIKE PARKS AND REC OR WATER WORKS? YEAH. 
          IF WE TYPICALLY, IF WE DO SHORTLIST OF, UH, AND NEEDING TO DO INTERVIEWS, THAT'S PART OF THE CONVERSATION WAS LIKE, IF WE'RE GONNA INTERVIEW THESE ARTISTS, DO WE PAY THEM FOR THEIR TIME? DO WE GOTCHA. 
          DO WE PAY THEM FOR A, A, A SKETCH OF WHAT THEY MIGHT CONSIDER DOING FOR THESE PROJECTS? MM-HMM. 
          . 
          SO IT, IT'S REGARDLESS OF WHAT SPONSOR DEPARTMENT IT IS, WE HAVE THOSE CONVERSATIONS WITH THE SPONSOR DEPARTMENT AND, AND EXPLAINING WHERE THE MONEY'S GONNA GO IN TERMS OF ARTISTS BEING PAID, ANY ADMINISTRATIVE FEES, UM, AND ANY ADDITIONAL COSTS, UH, UTILITY SUPPORT OR WHATEVER. 
          BUT THE, ALL THOSE GET NEGOTIATED WHEN WE'RE TALKING WITH THE SPONSORED DEPARTMENT. 
          THAT MAKES SENSE. 
          I GUESS THAT WAS JUST NEW FOR ME, BEING THAT I HAD BEEN ON A IPP, BUT I GUESS I DIDN'T NOTICE THAT THOSE FEES HAD PERHAPS HAPPENED BEFORE. 
          YEAH, IT ALL, ALL THE PROJECTS TEND TO BE, UH, I DON'T WANNA SAY UNIQUE, BUT THEY ALL HAVE DIFFERENT ELEMENTS THAT NEED TO BE CONSIDERED. 
          YEAH. 
          AND SO THAT IS ONE WAY THAT WHERE WE ARE ABLE TO, UM, MAKE THE USE OF BE OF EVERYONE'S TIME. 
          THAT'S AWESOME. 
          THANK YOU SO MUCH AB YOU'RE WELCOME. 
          COMMISSIONER GARZA. 
          HEY. 
          HI. 
          HOW ARE YOU DOING TODAY? DOING ALL RIGHT. 
          I WAS LOOKING AT YOUR, UH, ARTIST INFORMATION SESSIONS, AND I'VE NOTICED THAT SIX OF THEM ARE DURING TYPICAL WORK HOURS AND THREE ARE IN THE AFTERNOONS OR IN THE EVENINGS AFTER WORK HOURS. 
          IS THERE A REASON FOR THAT? THAT WE'RE TRYING TO REACH OUT TO NEW ARTISTS? YEAH. 
          WE, WE DID OUR BEST TO SCHEDULE, UH, AT DIFFERENT TIMES OF THE WEEK, DIFFERENT TIMES OF THE DAY TO MAKE SURE THAT, YOU KNOW, IF THERE ARE ARTISTS WITH, YOU KNOW, THAT ARTISTS THAT ART, THEIR ART JOB IS THEIR FULL-TIME. 
          MM-HMM. 
           THAT THEY HAVE OPPORTUNITIES, MAKE SURE THAT WE, UH, ARE AVAILABLE ON THE WEEKENDS WHEN THEY MIGHT HAVE A NINE TO FIVE. 
          YEAH. 
          I NOTICED YOU HAVE THREE WEEKEND SESSIONS. 
          THAT'S PRETTY GOOD. 
          LET ME ASK YOU, HOW DOES A PUBLIC ARTWORK VEN RESISTANCE? 'CAUSE I'VE SEEN MURALS TAGGED, I'VE SEEN ARTWORKS SET ON FIRE AND RUN OVER BY VEHICLES WHATNOT. 
           HOW, WHAT, WHAT IS, UH, VANDAL RESISTANT MEAN? UH, YOU KNOW, IF WE'RE TALKING, IF WE'RE TALKING 2D MURALS, YOU KNOW, WE DO THE BEST PRACTICES OF MAKING SURE THAT THERE IS, THAT, THAT PROTECTIVE COATING ON THEM. 
          IT'S NOT A HUNDRED PERCENT RESISTANT, NO OR NOTHING, BUT IT DOES HELP. 
          AND THEN, UH, SIMILARLY WITH, UH, ANY SCULPTURAL WORKS, WE MAKE SURE 
          [00:30:01]
THAT, UM, YOU KNOW, IF SOMEONE DOES WANT TO RUN IT OVER WITH A CAR, THAT IT'S NOT THAT EASY TO, TO ACTUALLY GET TO IT. 
          UM, YOU KNOW, DISCOURAGING CLIMB ABILITY, UH, YOU KNOW, WE DO CONSIDER ALL THOSE THINGS. 
          OKAY. 
          AND IT JUST BEST PRACTICES IN TERMS OF INDUSTRY-WIDE. 
          SO BASICALLY IT JUST MEANS SHIELDED AS BEST YOU CAN FROM MANY AL WORKS. 
          YEAH. 
          I MEAN, I, I COULD, I COULD REFER BACK TO SOME OF OUR WORK ON, ON THE DOWNTOWN STREETS WHERE, YOU KNOW, SKATEBOARDERS YEAH, YEAH. 
          CAUGHT WIND OF THEM AND THEY STARTED RIDING FENCES AROUND IT. 
          SO WE, WE DO OUR BEST. 
          YOU KNOW, EACH ARTWORK IS, IS, IS DIFFERENT. 
          SO WE HAVE TO FIGURE OUT WHAT ARE THE BEST PROTECTIONS THAT WE CAN PUT IN PLACE. 
          OKAY. 
          THANK YOU. 
          YOU'RE WELCOME. 
          COMMISSIONERS. 
          ANY OTHER QUESTIONS FOR JAIME? OKAY. 
          THANK YOU SO MUCH. 
          YOU'RE WELCOME. 
          WELCOME TO THE TEAM. 
          THANK YOU. 
          ALL RIGHT. 
          AND WITH THAT, YOU'RE NOT MOVING, SO I 
          [6. Staff update on Art in Public Places recent community engagement as part of the Longhorn Dam “Wishbone” Bridge Capital Improvement Project by Jaime Castillo, Art in Public Places Program Manager ]
HAVE A FEELING YOU'RE NUMBER SIX AS WELL. 
           STEP UPDATE ON THE ART AND PUBLIC PLACES RECENT COMMUNITY ENGAGEMENT AS A PART OF THE LONGHORN DAM, WISHBONE BRIDGE CAPITAL IMPROVEMENT PROJECT BY JAIME CASTILLO, ART AND PUBLIC PLACES PUBLIC MANAGER. 
          WELCOME BACK. 
          GOOD EVENING. 
          THANKS FOR HAVING ME BACK. 
          THIS IS THE, JUST WANTED TO CELEBRATE, UH, COMMUNITY ENGAGEMENT THAT WE CONDUCTED. 
          UM, MY FIRST WEEK ON THE JOB, SO THIS IS THE LONGHORN DAM BRIDGE WHERE WE, UH, COMMISSIONED REGINALD ADAMS TO, TO DO ARTWORK. 
          AND HE CAME OUT AND CAME OUT TO THE MENDEZ. 
          YEAH. 
          RUDY MENDEZ RECREATION CENTER. 
          UH, HE'D HELD A, A DAYTIME ENGAGEMENT WITH, UH, SUMMER CAMP PARTICIPANTS. 
          UH, EXCELLENT, EXCELLENT JOB. 
          UH, THE, EVERYONE WAS HAPPY ALL AROUND. 
          UH, AND REG REGGIE DID A EXCELLENT JOB OF ENGAGING WITH THE KIDS AND, AND THEIR CAMP COUNSELORS. 
          AND THEN HE HAD A, UH, A VISIONING WORKSHOP IN THE EVENING, WHICH I WAS ABLE TO ATTEND, WHERE HE WAS ABLE TO, UM, ORIENT, UH, THE ADULT PARTICIPANTS AND, AND HELP, HELP THEM GUIDE HIM IN WHAT THIS ARTWORK MIGHT LOOK LIKE. 
          AND, UH, AGAIN, ACT ACTIVE PARTICIPATION, GREAT CONVERSATION THAT EVENING. 
          AND AS PART OF THAT ENGAGEMENT, UH, REGINALD'S TEAM PUT OUT A SURVEY AND, UH, WERE GATHERING ADDITIONAL FEEDBACK, THE SAME QUESTIONS THAT WERE ASKED DURING THE WORKSHOP, UM, JUST MAKE SURE THAT WE HAD A BROADER REACH. 
          UM, AND SO, YEAH, SO THAT WAS, UH, THEY'VE BEEN COLLECTING THOSE, THOSE, UH, THOSE SURVEY RESULTS AND THEY'LL USE THAT. 
          UH, REGINAL WILL EXPLAIN THIS TO EVERYONE AT THE WORKSHOP. 
          HE'S GONNA USE THAT TO, TO START BRAINSTORMING AND, AND, AND SKETCHING OUT WHAT, WHAT IT IS THAT, THAT HE HEARD. 
          AND THEN, UH, LATER THIS YEAR, WE'LL BRING BACK, UH, WE'LL COME BACK AND PRESENT ANOTHER WORKSHOP TO, TO PRESENT WHAT, WHAT HE LEARNED FROM, FROM HIS LISTENING SESSIONS. 
          THAT IS DEFINITELY SOMETHING TO CELEBRATE. 
          WILL HE COME OR, UH, IN PERSON TO PRESENT, OR WILL THAT JUST BE STAFF? NOT JUST, BUT, UH, THAT WHAT I MENTIONED WAS ANOTHER WORKSHOP. 
          SO IN THE COMMUNITY HE WAS GONNA PRESENT. 
          OKAY. 
          BUT WHEN HE COMES TO PRESENT HERE AT MID DESIGN, WE CAN HAVE THAT CONVERSATION, BUT I JUST DIDN'T KNOW IF TYPICALLY THE PLAN WAS FOR HIM TO PRESENT TO US. 
          WE JUST LIKE A DOG AND PONY SHOW, YOU KNOW WHAT I'M SAYING? YEAH, YEAH. 
          WE'LL SEE WHAT WE CAN DO. 
          I'LL TAKE A COUPLE SNAPSHOTS. 
          THAT'S FINE. 
          WE'LL ACCEPT IT. 
          OKAY. 
          VERY COOL. 
          UM, OH, A REMINDER, THE , THE PROJECT IS 190,000. 
          IT'S IN COUNCIL DISTRICT THREE AND OTHER TRANSPORTATION PUBLIC WORKS PROJECT. 
          UH, YEAH, PLEASE FOLLOW UP COMMUNITY ENGAGEMENT LATER THIS FALL AND ARTS COMMISSION NEXT SUMMER. 
          OKAY. 
          SO WE'LL MARK OUR CALENDARS. 
          YEAH. 
          COMMISSIONERS. 
          ANY QUESTIONS? I'LL WAIT TILL I SEE MY ONSCREEN IN THE ROOM. 
          ANY QUESTIONS? NO. 
          OKAY. 
          AWESOME. 
          JUST A REMINDER TO COMMISSIONERS ON SCREEN, IF YOU ARE OFF SCREEN, YOU ARE CONSIDERED OFF THE DAIS. 
          SO TO BE CONSIDERED PRESENT, YOU MUST HAVE YOUR CAMERA ON FOR THOSE THAT ARE THERE. 
          OKAY. 
          THANK 
          [7. Staff update on Art in Public Places Artwork Loans and Deacessions by Jaime Castillo, Art in Public Places Program Manager]
YOU SO MUCH. 
          SIMON, ARE YOU, DO WE GET YOU ANOTHER ONE? WE DO STEP UPDATE ON ART AND PUBLIC PLACES, ON ARTWORK, LOANS, AND DIA SESSIONS BY JAIME CASTILLO, A IPP PROGRAM MANAGER. 
          I HEARD YOU'RE MISSING ME, SO I NEEDED, I NEED TO FACETIME WITH Y'ALL. 
          I KNOW. 
          I'M REALLY MAKING UP FOR LOST TIME HERE. 
          . 
          ALRIGHT. 
          UM, SO I WANTED TO REMIND THE COMMISSION COMMISSIONERS THAT, UH, WE DO HAVE A DES SESSIONING PROCESS, AND THAT COMES ABOUT WHEN, UH, WITH THE OPTIONS AND THE POLICY, SO I DON'T HAVE TO REMIND, REMEMBER THEM OFF THE TOP OF MY HEAD. 
          UM, SO IF WE NEED TO RELOCATE AN ARTWORK, UM, OR WE HAVE TO GIVE THE ARTIST OPPORTUNITY TO BUY BACK THE WORK, UH, YOU KNOW, WE SEEK APPRAISALS FOR THE, UH, FOR THE SALE OF THE WORK. 
          WE GIVE THE ARTIST THE OPPORTUNITY TO RECOVER THE WORK, UH, OUR 
          [00:35:01]
OTHER OPTIONS TO DISPOSE OF THE WORK THROUGH OUR SURPLUS THROUGH PROPERTY PROCEDURES, AND REMOVE THE ARTWORK FROM PUBLIC DISPLAY AND PLACE IT IN STORAGE. 
          UM, WE CONSIDER THESE OPTIONS WHEN, WHEN AN ARTWORK HAS JUST COME TO THE POINT WHERE, UM, IT IS, UH, HAS, HAS DETERIORATED IN SOME WAY, WHETHER IT'S EXPOSURE TO THE ELEMENTS OR, OR, OR TO VANDALISM, UH, WHERE, UH, IT HAS EX EXCEEDED ITS 20 YEAR EXPECTED MILESTONE OF, OF BEING, UH, ACTIVE ARTWORK IN OUR COLLECTION OR IN THIS, IN THIS INSTANCE WHERE WE KNOW THAT, UH, THE AUSTIN CONVENTION CENTER IS GOING THROUGH A RENOVATION. 
          THAT THERE ARE A NUMBER OF ARTWORKS THAT ARE, UM, I DON'T WANNA SAY THREATENED, BUT THEY NEED VULNERABLE. 
          WE NEED THEY'RE VULNERABLE. 
          EXCELLENT. 
          THAT'S AN EXCELLENT WORD. 
          YEAH. 
          AND SO WE NEED TO CONSIDER THESE POLICIES WITH THOSE, UH, PIECES. 
          AND I'M BRINGING THIS TO YOUR, YOUR ATTENTION BECAUSE WE WILL NEED TO FORM, UH, A DEES PANEL, UH, PRETTY QUICKLY. 
          UH, WE'VE AL WE'RE ALREADY IN THE PROCESS OF NOTIFYING THE ARTISTS AND, AND THERE IS A CERTAIN TIMEFRAME THAT NEEDS TO, THAT NEEDS TO OCCUR. 
          AND SO, UM, THAT, THAT'S THE PROCESS DOWN BELOW. 
          WE NEED TO GET OPINIONS LETTERS OUT TO THE ARTISTS WE'RE PRESENTING TO THE, TO Y'ALL IN OCTOBER. 
          AND SO WE NEED TO GET THAT, THAT PANEL, UH, FORMED. 
          AND THEN THAT WAY Y'ALL, WE CAN COMPILE IN EVALUATION, IN EVALUATION FOR COUNCIL BY THE END OF THE YEAR. 
          I WANTED TO MAKE YOU AWARE THAT THESE ARE THE, THE WORKS THAT, THAT WE'RE CONSIDERING IN THE CONVENTION CENTER BE CUT DUE TO THE REMODEL. 
          WE HAVE THE WALL CREEK SHELLS BY DAMIEN PRYOR RIFFS AND RHYTHMS BY JOHN YANCY, INDEX FOR CONTEMPLATION BY MARGO SAWYER AND MACRO MICRO BY ROLANDO . 
          UM, ALSO AFFECTED, NOT IN THE INTERIOR, BUT UH, ON THE STREETSCAPES, UH, ON SECOND STREET, WE HAVE AQUIFER BY, BY LAMA VENTURES. 
          AND NOBODY WRITES POETRY ABOUT THE TRINITY BY MARK SHAZ. 
          AND SINCE WE'RE GOING THROUGH THIS PROCESS WITH CONVENTION CENTER, WE'VE ALSO IDENTIFIED OTHER, THERE'S A LOT OF CONSTRUCTION HAPPENING AT THE AIRPORT. 
          SO WANTED TO POINT OUT THAT TRANSITION FOUR BY JAMES TALBOT, UM, IS READY FOR DEES. 
          AND WE HAVE, UH, ANOTHER PROJECT, UM, THE NORTH AUSTIN COMMUNITY GARDEN. 
          UM, THE ARTWORK HAS DETERIORATED TO THE POINT WHERE WE'RE JUST DEES FROM, FROM OUR COLLECTION, THE, THE SHED. 
          AND I'M FORGETTING THE OTHER ELEMENT THAT IT'S GOING TO REMAIN, BUT IT'S REALLY THE FENCE PORTION OF THIS ARTWORK THAT HAS DETERIORATED TO THE POINT WHERE, WHERE THE ARTISTS HAVE AGREED THAT DI SESSION IS THE BEST OPTION HERE. 
          UM, SO LIKE I MENTIONED, I'M, I'M GIVING Y'ALL A HEADS UP SO THAT NEXT MONTH WE CAN FORM THE PANEL OR OR THE JURY THAT, THAT WILL LOOK AT THESE AND, AND DETERMINE WHETHER THE EVALUATE THAT, THAT THIS IS THE RIGHT PROCEDURE TO FOLLOW FOR THESE ARTWORKS. 
          ANY QUESTIONS? COMMISSIONER GRAY? UH, WHERE WOULD THE PANEL MEMBERS COME FROM? UH, JUST WITHIN ARTS COMMUNITY COMMISSION. 
          A IPP, THE PANEL? YES. 
          UH, YES. 
          YES. 
          YES. 
          ,  ARTS COMMISSION NEEDS TO IDENTIFY THEM. 
          SO IT WOULD BE, UH, AND THIS, I SHOULD HAVE, I SHOULD HAVE WROTE WRITTEN NOTES FOR THIS, BUT, UH, FROM MY MEMORY OF WHEN I SERVED ON DEACCESSION PANEL, IT WAS AN ARTS COMMISSIONER. 
          OKAY. 
          UH, AN A-A-I-P-P PANELISTS AND A CON CONSERVATOR. 
          GREAT. 
          OKAY. 
          SO THANK YOU, HAN I'LL, I'LL CONFIRM THE, THE, THE COMPOSITION OF THAT PANEL AND UPDATE Y'ALL ASAP. 
          SO A PANEL OF THREE THEN, AT MINIMUM IS, OR AT MINIMUM, CORRECT. 
          AT MINIMUM, YEAH. 
          AND WE, WE IDENTIFY THOSE PARTICIPANTS, BUT IS IT A CONVERSATION WE CAN HAVE, I GUESS IN BETWEEN NOW AND SEPTEMBER HAVING A CONVERSATION AS A COMMISSION VIRTUALLY ONLINE THROUGH OUR LIAISON? UM, NOW THAT WE'RE HERE AND HEARING THIS OPPORTUNITY, SO IF PEOPLE WANNA SPEAK UP, LIKE WE DON'T HAVE TO WAIT UNTIL THEN. 
          I GUESS MY QUESTION IS IN SEPTEMBER, DO YOU WANT THE LIST PRESENTED TO YOU, OR IS THE CONVERSATION TO HAPPEN IN SEPTEMBER? BOTH . 
          BOTH. 
          SO BE PREPARED. 
          I, I, YEAH. 
          I, AND I'M, I'M SAYING BOTH BECAUSE I, I BELIEVE I WOULD PROBABLY LEND A HAND OF LIKE GIVING, PROVIDING A SHORT LIST FOR Y'ALL TO CONSIDER AND Y'ALL TAKING ACTION AT THE NEXT MONTH'S MEETING. 
          THAT'S OKAY. 
          GREAT. 
          GREAT. 
          THAT'S MY QUESTION IS LIKE, IS THIS A CONVERSATION WE'RE HAVING, WE'RE IDENTIFYING PEOPLE IN REAL TIME, OR CAN WE BEGIN THIS CONVERSATION AS A COMMISSION? WE HAVE COMMISSIONER MALALA WHO'S OUR LIAISON. 
          RIGHT. 
          IF SHE'S AVAILABLE, IT MAKES SENSE THAT THAT WOULD BE HER. 
          WE ALSO HAVE A PREVIOUS LIAISON. 
          WE HAVE PEOPLE THAT ARE VERY ENTHUSIASTIC ABOUT PUBLIC ART. 
          UM, ABSOLUTELY. 
          AND I IMAGINE THE CONVERSATIONS 
          [00:40:01]
HAPPENING IN THE PANEL MEETINGS TOO, THAT THEY'RE SORT OF PRIMING THEMSELVES AND, AND READYING FOR THE IDENTIFYING THEMSELVES AS A PART OF THIS. 
          MM-HMM. 
           AND THEN THE CONSERVATOR. 
          IS THAT SOME, AGAIN, PART OF THE RECOMMENDATION LIST THAT YOU WOULD PROVIDE? CORRECT. 
          OKAY, GREAT. 
          AND I WANNA PROVIDE AS, AS MUCH SUPPORT AS POSSIBLE. 
          SO I WANT TO GET THE CONVERSATION STARTED FOR YOU. 
          I FEEL SUPPORTED. 
          UM, MY QUESTION IN TERMS OF THE PANEL, THE DUTY IS TO IDENTIFY THE BEST COURSE OF ACTION. 
          WILL EACH ARTWORK HAVE A RECOMMENDATION SORT OF PUT FORTH BY STAFF? LIKE, WE FEEL LIKE COMPLETE D SESION BECAUSE IT'S DETERIORATED IS THE BEST COURSE OF ACTION? OR WE, OR THE, WOULD THE, EXCUSE ME, THE, UM, THE D SESION PANEL ALSO BE IDENTIFYING THE BEST COURSE OF ACTION FROM THAT LIST OF OPTIONS FOR D SESSION? WE HAVE A PRETTY GOOD IDEA OF WHAT THE COURSE OF ACTION IS. 
          OKAY. 
          BUT AS THE D SESSION PANEL, THEY WILL HAVE THE OPPORTUNITY TO DISCUSS AND IDENTIFY. 
          I, I BRING AS EXAMPLE, WHEN I DID SERVE ON THE DSES PANEL, WE HAD A PROJECT THAT WAS IDENTIFIED TO DSES AND THE PRO, THE SPONSOR DEPARTMENT ATTENDED AND WAS ABLE TO WORK OUT A, A, A DIFFERENT SOLUTION TO KEEP THE ARTWORK. 
          SO, RIGHT. 
          UM, BUT DUE TO THE NATURE OF, OF WHY THESE PROJECTS ARE BEING PUT FORWARD FOR THE ASCENSION, IT SEEMS UNLIKELY. 
          OKAY. 
          CONVENTION CENTER BEING RIGHT RENOVATED. 
          ABSOLUTELY. 
          UM, AND THEN I HAD, DOES ANYBODY ELSE HAVE A QUESTION WHILE I'M COMMISSIONER GRAY? UM, I REMEMBER BEING INVOLVED IN A D SESSION, UH, CONVERSATION A COUPLE OF YEARS AGO ABOUT THE, I THINK IT WAS LANCE ARMSTRONG, THE, THE BIKE THING. 
          IS THERE LIKE A REPORT, A POST, A POST ACTION REPORT OF WHAT HAPPENS TO THIS ARTWORK IN THE PAST? NOT, YOU KNOW WHAT I'M SAYING? LIKE THIS IS WHAT HAPPENED. 
          YEAH. 
          UH, WE HAVE PROJECT SUMMARIES, UH, AT THE END OF, OF EACH PROJECT. 
          UH, I, I HATE TO PULL THIS CARD THAT I'M NEW HERE, BUT NO, NO, NO. 
          I UNDERSTAND. 
          I UNDERSTAND. 
          BUT IT IS ACCESSIBLE IF SOMEBODY IS INTERESTED IN FINDING OUT WHAT HAPPENED TO THE ARTWORK, IF IT WENT BACK TO THE ARTIST, IF IT WAS AUCTIONED OFF OR IF IT WAS DESTROYED. 
          I WANT TO GIVE YOU A TENTATIVE YES. 
          OKAY. 
          YES. 
          OKAY. 
          DIFFERENT OPTIONS. 
          BECAUSE THAT MEAN THE, THE BIKE THING ONE I'M THINKING ABOUT IN THAT FENCE IS THE OTHER ONE THAT, THAT I'M RECALLING. 
          AND I'M JUST WONDERING. 
          YEAH. 
          THANK YOU SO MUCH. 
          THE IWE WAY BIKE PIECE. 
          PARDON? THE IWE WAY? NO, NO, NO, NO. 
          ARMSTRONG BARK BIKEWAY YELLOW ELEMENTS. 
          GOT IT, GOT IT, GOT IT. 
          COOL. 
          LIKE THAT ONE WAS, YOU'RE WELCOME. 
          UH, ANY OTHER QUESTIONS ABOUT D SESSION? MY ONLY QUESTION IS, ARE THE ARTISTS INVOLVED IN THESE CONVERSATIONS? ABSOLUTELY. 
          WE, WE REACH OUT TO THEM FIRST, FIRST, I GUESS SECOND AFTER LEGAL. 
          BUT LIKE, WE'RE WE'RE, WE TELL THEM LIKE, HEY, WE, WE PLAN ON DESCENSION, LIKE THIS IS THE SITUATION. 
          DO YOU AGREE WITH THIS? GIVE THEM AN OPPORTUNITY TO, TO RECLAIM THE ARTWORK IF THEY WANT TO. 
          SO YEAH, ABSOLUTELY. 
          ALL THE ARTISTS ARE, ARE NOTIFIED. 
          AND THEN MY LAST QUESTION IS ARTS REMOVED, DOES THAT MEAN THAT THERE'S A BUDGET TO REPLACE IT WITH NEW ART WITH A 20 YEAR LIFESPAN? IS THAT, IS THAT NOT BUILT IN? IT'S NOT BAKED IN, NO. 
          SORRY. 
          OKAY. 
          JUST OUR BUDGETS ARE OFF OF NEW CONSTRUCTION. 
          OKAY. 
          OH, THAT'S COOL. 
          ALRIGHT, LAST CALL FOR QUESTION 'CAUSE HE'S LEAVING US AFTER THIS ITEM, Y'ALL. 
          OKAY. 
          YOU'RE FREE. 
          THANK YOU. 
          HI MAN. 
          THANK YOU COMMISSIONER SIMON. 
          NEXT WE 
          [8. Staff briefing regarding an update on the Hotel Occupancy Tax by Laura Odegaard, Acting Cultural Arts Division Manager ]
HAVE ITEM EIGHT STAFF BRIEFING REGARDING AN UPDATE ON THE HOTEL OCCUPANCY TAXED BY LAURA ODEGAARD, ACTING CULTURAL ARTS DIVISION MANAGER. 
          HEY, LAURA. 
          HELLO. 
          GOOD AFTERNOON EVERYONE. 
          EVENING, I'M LAURA ODEGAARD, ACTING CULTURAL ARTS DIVISION MANAGER, PRESENTING OUR HOTEL OCCUPANCY TAX FOR JULY IN THREE SECONDS. 
          IT WILL BE UP HERE ON THE BOARD. 
          ALL RIGHT, NEXT SLIDE. 
          OH, I HAVE A CLICKER. 
          JUST JOKING. 
          I WILL GO TO NEXT SLIDE MYSELF. 
          ALL RIGHT. 
          SO OUR JULY HOTEL OCCUPANCY TAX COLLECTION NUMBERS, OUR TOTAL COLLECTIONS WERE $37,955,335, WHICH MEANS OUR CULTURAL ARTS FUND PORTION OF THAT FOR JULY WAS $2,507,777. 
          UH, WHICH BRINGS US TO 96% OF OUR WAY TOWARD OF OUR APPROVED BUDGET. 
          UH, AS A REMINDER, THERE IS ALWAYS A DELAY WITH THE HOTEL OCCUPANCY TAX, UH, NUMBERS. 
          SO THIS PRESENTATION IN AUGUST IS SHOWING FUNDS COLLECTED IN JULY FOR HOTEL STAYS IN JUNE. 
          SO HERE YOU CAN SEE THIS IS THE SLIDE THAT SHOWS THE TOTAL, UH, GROWTH TOWARD OUR APPROVED BUDGET BY MONTH THIS YEAR. 
          SO RIGHT NOW WE HAVE $13,895,522 IN OUR HOTEL OCCUPANCY TAX CULTURAL ARTS FUND IN THE BANK. 
          UM, 
          [00:45:01]
AND AS A REMINDER, FUNDS COLLECTED THIS FISCAL YEAR, WE'LL FUND PROGRAMS THAT ARE IN NEXT FISCAL YEAR FY 25, WHICH BEGINS IN OCTOBER. 
          AND I'M CLICKING NOT AIMING AT THE RIGHT PLACE, MAYBE. 
          OH, ALL RIGHT. 
          THANK YOU. 
          UH, AND THEN THIS SLIDE, UH, AS A REMINDER, THIS JUST SHOWS THE PAST FEW YEARS BY QUARTER TO SHOW WHERE WE ARE IN COMPARISON TO PREVIOUS YEARS. 
          UM, JUST AS AN FYI WE ARE RIGHT NOW $679,000 BELOW WHERE WE WERE THIS TIME LAST YEAR. 
          ANY QUESTIONS? WE STILL HAVE TWO MORE MONTHS TO GO. 
          YEAH, I WAS JUST GONNA SAY, SO WE'VE GOT TWO MORE, EVEN THOUGH NEXT MONTH IS SEPTEMBER. 
          WE HAVE TWO MORE MONTHS BECAUSE WE HAVE JULY REPORTINGS AND AUGUST REPORTINGS. 
          COMMERS. 
          ANY QUESTIONS FOR LAURA AND SEPTEMBER AND THE MONTH OF SEPTEMBER? COMMISSIONERS? ANY QUESTIONS FOR LAURA? NO, DON'T. 
          I, I LOVE, I DO. 
          PLEASE. 
          ANY GOOD IDEA OF THE 600,000? IT'S LIKE, JUST TOTAL, JUST NO IDEA. 
          , YOUR GUESS THIS IS AS GOOD AS MINE, I THOUGHT. 
          YES. 
          LIKE THOUGHT, I THOUGHT MAYBE SOMETHING YOU, WE NEED AN ECONOMIST ON THE YEAH. 
          RIGHT PANEL SO THAT WE CAN, UM, HAVE A LITTLE BIT OF CLARITY. 
          OKAY. 
          NO QUESTIONS FOR LAURA. 
          YOUR BEAUTIFUL GRAPH REMINDED ME THAT IT'S PRIDE MONTH, SO HAPPY PRIDE FOR AUSTIN. 
          KEEP THE, KEEP THE COLORS ON THERE. 
          OKAY. 
          THANK YOU SO MUCH. 
          ARE YOU HANGING OUT WITH US? NO, WE HAVE JESUS. 
          NEXT. 
          I'M, I'M STAYING. 
          OH, YOU'RE STAYING SWEET. 
          JESUS IS GONNA JOIN ME, BUT I'M STAYING. 
          OH, RIGHT. 
          TEAM EFFORT. 
          OKAY. 
          SO WITH NO MORE QUESTIONS FOR ITEM EIGHT, WE'RE MOVING ON TO ITEM NINE. 
          [9. Staff update on the Cultural Arts Funding Programs by Laura Odegaard, Acting Cultural Arts Division Manager and Jesús Pantel, Cultural Funding Supervisor]
STAFF UPDATE ON THE CULTURAL ARTS FUNDING PROGRAMS BY LO, AUTO GUARD, ACTING, CULTURAL ARTS DIVISION MANAGER, AND JESUS PENTEL, CULTURAL FUNDING SUPERVISOR. 
          ALRIGHT, CONTINUED. 
          GOOD EVENING. 
          THEN EVERYONE, UH, I'M JUST GONNA START THIS PRESENTATION OUT AND THEN JESUS IS GOING TO FINISH IT UP. 
          UM, IT'S BASICALLY THE SAME AGENDA THAT HE'S BEEN PRESENTING THE PAST FEW MONTHS WHERE WE TALK ABOUT CONTRACTS AND PAYMENTS, UPCOMING OPPORTUNITIES. 
          UM, WANTED TO DO A LITTLE THRIVE AND ELEVATE UPDATE FOR YOU ALL. 
          I KNOW I'VE BEEN SHARING EMAILS, BUT JUST WANTED TO SHARE THAT INFORMATION PUBLICLY. 
          UM, AND THEN TALK ABOUT WHERE WE ARE WITH THE INTERIM SUMMARY FROM THE PREVIOUS THRIVE COHORT. 
          TALK A LITTLE BIT ABOUT LANGUAGE SUPPORT, UH, AND THEN UPCOMING GRANT FUNDED ACTIVITIES. 
          SO HERE YOU'LL SEE BASICALLY THE SAME, UH, SLIDE THAT JESUS HAS SHARED THE PAST FEW MONTHS. 
          THAT JUST IS BASICALLY AN ONGOING, UM, VISUAL OF CONTRACTS AND PAYMENTS ACROSS ALL OF OUR PROGRAMS. UM, I JUST WANTED TO DRAW YOUR ATTENTION TO THE FINAL PAYMENTS FOR EACH OF THESE PROGRAMS BECAUSE EACH GRANT HAS A SLIGHTLY DIFFERENT REPORTING DEADLINE. 
          UM, AND SO THE FINAL PAYMENTS ARE ISSUED UPON SUCCESSFUL CLOSEOUT OF THOSE FINAL REPORTS. 
          SO FOR ELEVATE, AS AN EXAMPLE, THE FINAL REPORTS AREN'T DUE UNTIL THE END OF OCTOBER, BUT YOU CAN SEE THAT WE'VE ALREADY RECEIVED 54, UM, FINAL REPORTS THAT STAFF HAS REVIEWED. 
          AND THOSE 54 FINAL PAYMENTS, PAYMENT NUMBER THREES HAVE BEEN ISSUED FOR SOME OF OUR ELEVATE AWARDEES. 
          UM, SIMILARLY WITH THE ARTS ED RELIEF, WE ARE WRAPPING THAT PROGRAM UP AND WE HAVE TO DO OUR FINAL REPORT FOR THE NATIONAL ENDOWMENT FOR THE ARTS IN THE NEXT FEW MONTHS. 
          UM, AND SO WE HAVE 13 OF THOSE 19 GRANTEES THAT HAVE ALREADY COMPLETED THEIR FINAL REPORTS AND HAVE RECEIVED THEIR FINAL PAYMENTS. 
          WITH THAT BREAKDOWN, IT WAS JUST TWO PAYMENTS. 
          AND SO THAT'S WHY THAT ONE IS CIRCLED IN RED. 
          THAT'S THEIR FINAL PAYMENT. 
          UM, FOR THRIVE. 
          YOU'LL SEE THERE IS 0% THERE. 
          THAT'S BECAUSE THE THRIVE GRANT LASTS THROUGH DECEMBER OF THIS YEAR FOR THIS FIRST COHORT. 
          AND SO FINAL REPORTS WILL BE DUE IN JANUARY OF NEXT YEAR. 
          AND SO THAT'S WHEN WE CAN EXPECT TO SEE THOSE, UM, FINAL PAYMENTS BEING ISSUED FOR THAT GROUP. 
          SO JUST WANTED TO KIND OF DRAW YOUR ATTENTION TO THE FACT THAT THEY'RE ALL A LITTLE BIT DIFFERENT. 
          SO IT'S OKAY IF SOME OF THE, THE SPEND DOWNS, UM, AREN'T ALL AT 100%, FOR EXAMPLE. 
          THEN I JUST WANTED TO SHARE SOME UPCOMING OPPORTUNITIES THAT YOU ALL SHOULD HOPEFULLY KNOW ABOUT ALREADY. 
          UM, ONE IS THE, OUR FUTURE 35 ARTIST IN RESIDENCE PROGRAM THAT WE'RE DOING WITH TRANSPORTATION AND PUBLIC WORKS. 
          MM-HMM. 
          . 
          AND SO THIS APPLICATION CLOSES TOMORROW AT MIDNIGHT. 
          OH. 
          UH, WE HAVE SEVERAL APPLICATIONS ALREADY, WHICH IS GREAT, BUT THIS CLOSES TOMORROW AT MIDNIGHT. 
          SO IF THERE'S ANYONE OUT THERE IN THE UNIVERSE LISTENING TO THIS OR THAT YOU WANTED TO ENCOURAGE TO APPLY, UH, THE LINK IS HERE AS WELL AS ON OUR WEBSITE. 
          UM, AS YOU ALL KNOW, OUR FY 24 NEXUS FALL WINTER APPLICATION PERIOD IS OPEN RIGHT NOW. 
          AND THAT CLOSES NEXT TUESDAY, AUGUST 27TH AT 7:00 PM SO PRETTY MUCH FOR ALL OF OUR PROGRAMS, THE OPENING TIMES ARE TUESDAYS AT 10:00 AM AND CLOSING TIMES ARE TUESDAYS AT 7:00 PM THE 
          [00:50:01]
OUR FUTURE 35 ARTIST IN RESIDENCE IS THE ONLY EXCEPTION TO THAT WHERE IT'S OPEN UNTIL 1159. 
          UM, WE JUST HAD, UH, A NEXUS WORKSHOP THIS PAST WEEKEND ON SATURDAY. 
          WE HAD 18, UM, FOLKS ATTEND IN PERSON AT THE RU LIBRARY. 
          UM, WE HAD SPANISH LANGUAGE, UM, ASSISTANCE, BUT NO ONE, UH, THAT WAS A SPANISH SPEAKER, ATTENDED THE WORKSHOP JUST AS A, AS AN FYI. 
          UM, AND WE DO HAVE UPCOMING WORKSHOPS THIS COMING SATURDAY, UM, AS WELL AS DROP-IN ASSISTANCE ON TUESDAY, THE DAY THAT THE APPLICATION CLOSES. 
          UH, AND THEN JUST THINGS TO THINK ABOUT FOR THE FUTURE. 
          WE'LL HAVE THE HERITAGE PRESERVATION GRANT OPENING AT, I GUESS, EARLY-ISH SEPTEMBER. 
          UH, AND THEN AS JAIME JUST TALKED ABOUT, WE'LL HAVE SIX ART AND PUBLIC PLACES OPPORTUNITIES THAT WILL OPEN AT THE END OF SEPTEMBER. 
          UH, ONE THING THAT I JUST WANTED TO KIND OF GO OVER, I KNOW WE'VE DONE THIS IN THE PAST, BUT I THINK IT'S KIND OF HELPFUL TO HAVE A REMINDER ABOUT THE RESOURCES THAT WE DO HAVE AVAILABLE ON OUR WEBSITE FOR DIFFERENT PROGRAMS. UM, BECAUSE SOMETIMES CITY WEBSITES ARE A LITTLE BIT OVERWHELMING AND IT'S HELPFUL JUST TO KIND OF HAVE THINGS POINTED OUT WHERE YOU CAN GO FOR WHAT SERVICE. 
          UM, SO ON OUR NEXUS PAGE, WHICH IS LINKED AT THE BOTTOM OF ALL OF THESE SLIDES, UM, JUST WANTED TO POINT OUT BOTH THE GUIDELINES AS WELL AS THE APPENDIX CAN BE FOUND IN ENGLISH AND IN SPANISH. 
          WE ALSO HAVE A LOT OF APPLICATION ASSISTANCE LISTED. 
          SO THERE ARE THE VIDEOS WHERE YOU CAN WATCH THE VIDEOS IN ENGLISH WITH A SL INTERPRETATION AND SPANISH. 
          UM, WE ALSO HAVE, THIS IS WHERE ALL OF THE LINKS FOR THE VIRTUAL OPEN OFFICE HOURS ARE, AS WELL AS FOR OUR PUBLIC PROGRAMS. IF YOU WANT TO REGISTER AHEAD OF TIME FOR ANY OF THOSE. 
          UM, AS WELL AS THE CONTACT INFORMATION. 
          THE SCREENSHOT HERE IS LOOKING A LITTLE BLURRY IN THIS, UH, IN THIS VERSION OF THE PRESENTATION. 
          BUT, UH, YOU CAN GO TO THE WEBSITE AND GET ALL OF THE ACTUAL, UH, EMAILS FOR OUR COMMUNITY NAVIGATORS AND OUR THIRD PARTY AND ALL OF THE STAFF SUPPORT AS WELL. 
          UM, FINALLY, ANOTHER THING THAT I THINK IS HELPFUL TO SEE ON HERE, YOU KIND OF HAVE TO SCROLL A LITTLE BIT FURTHER DOWN, BUT IT HAS AN IN-DEPTH BREAKDOWN OF HOW THE APPLICATION IS SCORED. 
          AND SO YOU CAN VIEW THIS IN ENGLISH AND IN SPANISH, AND SO IT HAS THE POINTS BREAKDOWN FOR THIS PROGRAM. 
          WE HAVE THESE FOR ALL OF OUR PROGRAMS AS WELL AS HOW THEY'RE SCORED. 
          SO FOR AN EXAMPLE HERE, IF THERE IS A QUESTION THAT HAS A 20 POINT CATEGORY, A 14 POINT CATEGORY, AN EIGHT POINT AND A ONE POINT, IT GIVES EXAMPLES OF WHAT WE EXPECT TO SEE IN A 20 POINT ANSWER VERSUS WHAT WE EXPECT TO SEE IN A ONE POINT ANSWER. 
          SO THIS IS A REALLY, REALLY HELPFUL TOOL FOR APPLICANTS TO GET A SENSE OF WHAT KIND OF THINGS THE PANEL IS LOOKING FOR WHEN THEY'RE SCORING AN APPLICATION. 
          THAT IT IS NOT A COMPLETELY SUBJECTIVE THING, IT IS A VERY SPECIFICALLY LAID OUT. 
          SO I THINK THAT'S HELPFUL TO SEE FOR APPLICANTS. 
          UH, AND FINALLY, JUST AS A REMINDER, YOU CAN APPLY IN ENGLISH AND IN SPANISH. 
          UM, AND THESE ARE DIRECT TRANSLATIONS, NOT AUTO TRANSLATIONS. 
          ALL RIGHT. 
          AND THEN THESE ARE THE UPDATES FOR THRIVE AND ELEVATE THAT JUST RECENTLY CLOSED. 
          UM, SO I'M GONNA BE REFERRING THIS TO THIS AS FY 25 THRIVE BECAUSE THIS NEXT ROUND OF THRIVE WILL BE PAID FOR BY FY 25 FUNDS, 3.8 MILLION AND FY 26 FUNDS FOR THE SECOND YEAR. 
          UM, SO JUST KEEPING THINGS IN MIND. 
          WE'RE GONNA TRY TO BE BETTER ACROSS ALL OF EDD ABOUT KIND OF CALLING OUT WHAT FISCAL YEAR THE PROGRAMS COME FROM BECAUSE THERE CAN BE NO CROSSOVER BETWEEN LIVE MUSIC FUND AND CULTURAL ARTS FUND. 
          SO WE JUST WANNA BE REALLY, REALLY CLEAR ABOUT HOW WE'RE CALLING THE DIFFERENT PROGRAMS. SO FOR FY 25 THRIVE AND FY 24 ELEVATE, WE HAD 514 TOTAL APPLICATIONS. 
          SEVEN WERE IN SPANISH, AND 507 WERE IN ENGLISH. 
          AS A REMINDER, WE'RE GONNA BE AWARDING 260 GRANTS FROM THIS APPLICATION POOL TOTALING $13.1 MILLION. 
          SO OF THIS 514, UM, APPLICATIONS RECEIVED, 488 OF THEM WERE ELIGIBLE. 
          SO 95% OF THESE APPLICATIONS WERE ELIGIBLE. 
          UH, WE HAVE A BREAKDOWN OF THE 26 INELIGIBLE APPLICATIONS. 
          THERE WERE 13 INDIVIDUAL CREATIVE BUSINESSES, 12 NONPROFIT ORGANIZATIONS, AND ONE WAS A DUPLICATE. 
          AND THEN THE PRIMARY REASONS FOR IN ELIGIBILITY WERE NOT BASED, UM, IN THE AUSTIN MSA, IF THEY WERE NOT IN ARTS OR A CULTURE BASED NONPROFIT ORGANIZATION, OR IF THEY DID NOT HAVE A HISTORY OF ACTIVITIES IN THE CITY. 
          SO THEN THIS IS AGAIN, JUST KIND OF BREAKING THINGS DOWN EVEN MORE. 
          SO WE HAD 155 ELIGIBLE NONPROFIT APPLICATIONS IN THRIVE, AND THIS WILL BE FOR 35 
          [00:55:01]
GRANTS. 
          AND AS A REMINDER, THRIVE, YOU HAVE TO HAVE BEEN BASED AND DOING THE WORK IN AUSTIN FOR AT LEAST FIVE YEARS, AND YOU HAVE TO HAVE A 5 0 1 C NONPROFIT STATUS AT THE TIME OF APPLICATION. 
          SO WITH THESE NUMBERS, WE'LL HAVE A 23% ACCEPTANCE RATE FOR THE PROGRAM. 
          THE INVESTMENT IS, LIKE I SAID, IS 3.85 FOR TWO YEARS. 
          UH, AND THE ACTIVITIES FOR THIS PROGRAM ARE JANUARY 1ST, 2025 THROUGH DECEMBER 30TH, 2026. 
          AND THEN A THING THAT IS IMPORTANT TO NOTE THIS TIME AROUND THE 125 NONPROFITS THAT DO NOT RECEIVE THRIVE WILL THEN ROLL OVER TO COMPETE FOR ELEVATE FUNDING ALONG WITH THE 54 APPLICATIONS THAT ONLY APPLIED FOR ELEVATE. 
          AS A REMINDER, YOU COULD APPLY FOR BOTH OR YOU COULD APPLY FOR JUST ONE. 
          UM, AND SO WE HAD 120 THAT, OR 155 ELIGIBLE FOR THIS PROGRAM. 
          SO THEN WE ROLL THOSE THAT DIDN'T GET THRIVE IN WITH THE 54 ONLY ELEVATE, AND WE HAVE 174 ELIGIBLE NON-PROFIT APPLICATIONS IN ELEVATE. 
          AND THIS IS FOR 125 GRANTS WITH AN INVESTMENT OF $7 MILLION. 
          AND SO THIS MEANS IT'LL BE A 72% ACCEPTANCE RATE IN THIS PROGRAM, WHICH IS ACTUALLY PRETTY GOOD BECAUSE THE NEA HAS AN ACCEPTANCE RATE FOR ARTS PROJECTS AT 48%. 
          SO I THOUGHT THAT WAS A GOOD COMPARISON TO KIND OF UNDERSTAND, UM, HOW WE'RE INVESTING IN ARTS AND CULTURE NONPROFIT ORGANIZATIONS. 
          AND THEN WE LOOK AT THE 279 ELIGIBLE INDIVIDUAL AND CREATIVE BUSINESS APPLICATIONS IN ELEVATE. 
          AND THESE WILL COMPETE FOR 100 GRANTS. 
          AND SO THERE WILL BE A 36% ACCEPTANCE RATE FOR THIS, UH, CATEGORY OF THIS GRANT. 
          ALL SEVEN SPANISH LANGUAGE APPLICATIONS FELL INTO THIS CATEGORY JUST AS A REFERENCE. 
          AND THE INVESTMENT HERE IS GONNA BE $2.25 MILLION. 
          UH, SO WE ARE IN THE PROCESS OF GEARING UP FOR OUR PANEL MEETINGS. 
          ALL 112 PANELISTS HAVE BEEN, UH, TRAINED. 
          THEY'VE COMPLETED TRAINING, THEY'VE REVIEWED AND ARE CURRENTLY REVIEWING APPLICATIONS. 
          UM, EACH PANEL GROUP, UH, EACH PANELIST HAS BEEN ASSIGNED TO ONE OF 19 PANEL GROUPS, AND EACH GROUP WILL REVIEW ROUGHLY 25 APPLICATIONS EACH. 
          AND SO EACH APPLICATION WILL BE REVIEWED AND SCORED BY FIVE TO SIX PANELISTS. 
          UH, THE PANEL MEETINGS BEGIN ON MONDAY, AUGUST 26TH. 
          THE SCHEDULE WAS JUST POSTED TODAY ACTUALLY ON OUR WEBSITE. 
          UM, AND SO THERE'S A LIST BY DATE OF WHAT APPLICATIONS ARE GOING TO BE REVIEWED ON WHAT DAY, AS WELL AS THE LINK TO WATCH, UH, THE PANEL MEETINGS. 
          UH, NOTIFICATION IS ALSO GOING OUT TO ALL APPLICANTS. 
          UM, AS A REMINDER, UH, IF NOT TODAY, THEN TOMORROW I BELIEVE. 
          SO THAT IS HAPPENING SOON. 
          SO IF YOU ARE LISTENING OR WATCHING THIS, UM, AND YOU APPLIED FOR THESE AND YOU HAVEN'T BEEN NOTIFIED YET, UH, PLEASE STAY TUNED THAT THAT WILL COME VERY SOON. 
          UM, AND THEN JUST AS A ANOTHER REMINDER, THAT AWARD NOTIFICATIONS TO EVERYONE WILL GO OUT IN LATE SEPTEMBER. 
          AND WE HAVE THE UNIVERSAL GRANT ACCEPTANCE DATE, WHICH IS THE HARD DEADLINE WHEN YOU HAVE TO EITHER ACCEPT OR DECLINE YOUR AWARD OF SEPTEMBER 27TH, UH, 2024. 
          AND SO THIS WOULD BE IF SOMEONE APPLIED FOR LIVE MUSIC FUND AND FOR ELEVATE AS AN EXAMPLE, AND MAYBE THEY RECEIVED LIVE MUSIC FUND, BUT THEY WERE WAITING TO SEE IF THEY ALSO RECEIVED ELEVATE. 
          THEN THEY HAVE TO CHOOSE WHICH ONE THEY'RE GOING TO ACCEPT BECAUSE YOU CANNOT ACCEPT BOTH AWARDS. 
          UM, SO WE WANTED TO HAVE A UNIVERSAL GRANT ACCEPTANCE DATE TO TRY TO, UM, ALLEVIATE ANY OVERLAP THERE. 
          UM, AND THEN FINALLY, BEFORE I PASS IT OVER TO JESUS, UM, ONE OF THE THINGS THAT WE TALKED ABOUT LAST MONTH OR THE COMMUNITY TALKED ABOUT LAST MONTH, UM, WAS WHAT IS AUSTIN DOING IN COMPARISON TO OTHER CITIES AS FAR AS OUR SPANISH LANGUAGE ACCESS? UM, SO STAFF DID SOME RESEARCH, UM, AND REACHED OUT TO DIFFERENT CITIES ACROSS THE COUNTRY THAT HAVE A VERY LARGE SPANISH SPEAKING POPULATION. 
          UM, AND SO WE JUST WANTED TO POINT OUT, UM, THAT WE ARE ACTUALLY THE ONLY CITY, UH, WHERE AN APPLICANT CAN APPLY FOR A GRANT IN SPANISH. 
          UM, WE ALSO HIGHLIGHTED HOUSTON AND FORT WORTH. 
          UM, THEY'RE PRIMARILY THE, THE OTHER TWO CITIES THAT HAVE HUMAN TRANSLATIONS AND NOT JUST GOOGLE TRANSLATIONS FOR THEIR WEBSITE OR FOR THEIR APPLICATION MATERIALS. 
          UM, AND OF NOTE, THERE'S A LITTLE ASTERISK THERE NEXT TO HOUSTON AND FORT WORTH. 
          UM, THESE ARE BOTH NON-PROFIT ORGANIZATIONS MANAGING THE CULTURAL ARTS GRANTS ON BEHALF OF LOCAL CITY GOVERNMENTS. 
          UM, SO THIS WAS JUST IN RESPONSE TO YOU ALL'S QUESTIONS LAST MONTH ABOUT WHAT WE ARE DOING IN COMPARISON TO OTHER CITIES. 
          AND NOW I WILL PASS IT OVER TO JESUS TO TALK ABOUT THRIVE. 
          [01:00:03]
THANK YOU, LAURA. 
          GOOD EVENING COMMISSIONERS. 
          JESUS PENTEL, CULTURAL FUNDING SUPERVISOR. 
          UM, I DID WANT TO POINT OUT REAL QUICK ON THE SLIDE, LAURA WAS TALKING ABOUT WITH THE DETAILED SCORING RUBRIC BEING AVAILABLE IN BOTH ENGLISH AND SPANISH, SHE GAVE THE 20 POINT EXAMPLE 20 14 8 AND ONE POINT, UM, IN ADDITION TO BEING HELPFUL FOR THE APPLICANTS TO SEE WHAT WE EXPECT IN A 20 POINT ANSWER VERSUS A ONE POINT ANSWER, LIKE LAURA MENTIONED, THAT'S ALSO THE TOOL THAT WE USE. 
          LAURA WAS TALKING ABOUT, UH, THAT WE'RE TRAINING THE PANELISTS RIGHT NOW, OR WE'VE TRAINED THEM IN THEIR REVIEWING APPLICATIONS. 
          THAT IS PART OF THEIR TRAINING MATERIALS, UH, THAT DETAILED SCORING RUBRIC. 
          SO, UM, THAT IS WHAT THEY'RE USING WHEN THEY'RE LOOKING TO SEE HOW TO SCORE, UM, THE APPLICATION. 
          SO GREAT THAT WE HAVE THAT AVAILABLE IN BOTH, UM, ENGLISH AND SPANISH FOR OUR APPLICANTS. 
          UM, SO NOW THAT, UM, LAURA'S, UH, TALKED A LITTLE BIT ABOUT, UH, SOME OF THE OTHER STUFF, I'M GONNA TALK ABOUT OUR, UH, THRIVE, UH, COHORT. 
          UM, AS LAURA MENTIONED, IT IS A TWO YEAR, UH, CYCLE. 
          UM, AND SO, UH, THIS, UH, FIRST COHORT IS ENDING, UH, DECEMBER 31ST OF THIS YEAR. 
          SO IN JUST A FEW MONTHS, UM, AS PART OF THE TWO YEAR FUNDING CYCLE, THEY DO HAVE TO DO AN INTERIM REPORT IN BETWEEN YEARS ONE IN YEAR TWO. 
          UM, AND SO ALL 36 GRANTEES HAVE DONE THEIR INTERIM REPORT AND ALL, UH, 36, SO 100% HAVE ANSWERED THAT THEY DID EXPERIENCE GROWTH AS A RESULT OF THE THRIVE GRANT. 
          SO THAT WAS SOMETHING, UM, WANTED TO SHARE, UH, WITH YOU ALL. 
          UM, AND THEN 20 ORGANIZATIONS, OR JUST OVER HALF OF THE, UH, 36 GRANTEES, UM, SAW AN INCREASE IN, UH, THEIR AUDIENCES SERVED WITH AN AVERAGE, UH, GROWTH SIZE OF 289%, UM, OF AUDIENCE MEMBERS SERVED. 
          UM, AND WE GIVE SOME EXAMPLES HERE, UH, RANGING FROM 128% ON, UM, AS A PERCENTAGE ON THE LOW END, UM, UP TO, UH, 400%. 
          SO GOING FROM 400, UM, AUDIENCE MEMBERS TO 2000, UH, FOR TORCH, UH, LITERARY ARTS THERE. 
          UM, AT THE BOTTOM OF THE GRAPH, UM, ALSO WITHIN THE THRIVE COHORT, UH, WE KEEP TRACK OF, UH, PERSONNEL, UH, HIRED AND PAID. 
          WE DO THIS FOR ALL OF OUR FUNDING PROGRAMS. UH, BUT SINCE WE HAVE THIS INFORMATION ALREADY FOR THRIVE, WE WANTED TO, UH, GO AHEAD AND SHARE THAT. 
          UM, IN THE BAR CHART ON, UH, THE TWO LEFT COLUMNS, YOU CAN SEE THE NUMBER OF ARTISTS HIRED AS WELL AS THE NUMBER OF ARTS ADMINISTRATORS HIRED. 
          SO WE BROKE IT DOWN, BREAK IT DOWN INTO ARTISAN ADMINISTRATORS, UM, COMBINED, THAT'S, UM, 1,849, UH, PEOPLE THAT ARE HIRED, UM, BY OUR 36, UH, THRIVE, UM, RECIPIENTS. 
          UM, AND THEN THE TWO RIGHT COLUMNS OR BARS ARE THE NUMBER OF SEASONAL OR CONTRACT JOBS SUPPORTED AND THE NUMBER OF PERMANENT JOBS, UH, SUPPORTED. 
          AND SO COMBINED, UM, IT'S 847, UH, JOBS, UH, SUPPORTED BY OUR, UH, 36, UH, THRIVE GRANTEES. 
          UM, AND THEN IN THE CIRCLE GRAPH, UH, THE PIE CHART ON THE RIGHT HAND SIDE, YOU CAN SEE THE AMOUNT, UM, IN ORANGE, UH, THAT IS PAID TO ARTISTS AND THE AMOUNT IN BLUE THAT IS PAID TO ARTS ADMINISTRATORS. 
          UH, SO COMBINED IT'S OVER $1.75 MILLION, UM, THAT IS BEING PAID OUT TO ARTISTS, UM, AND ARTS GROUPS. 
          AND THIS IS THE INTERIM REPORT. 
          UM, SO THIS IS, UM, AS OF YEAR ONE, SO THIS IS JUST FOR, UH, ONE YEAR'S, UH, WORTH OF REPORTING. 
          UM, ALSO WITHIN THE THRIVE COHORT, UH, 16 OF THE 36, UM, ORGANIZATIONS, UH, SAID THAT THRIVE HELPED THEM WITH ACCESS TO ADMINISTRATIVE SPACE. 
          UH, 25 OF THEM SAID THAT IT HELPED THEM WITH ACCESS TO PERFORMANCE SPACE. 
          UM, AND WE'VE GOT QUOTES. 
          I'M NOT GONNA READ THROUGH ALL THE QUOTES, BUT, UM, THEY'RE THERE IF YOU'D LIKE TO READ THEM. 
          UM, IN THE BACKGROUND, UM, WE HAD 19 ORGANIZATIONS SAID THAT THRIVE HELPED THEM TO EXPAND OR TO ADD NEW PROGRAMMING. 
          UM, AND WE ACTUALLY HAD TWO THAT SAID, UH, THE THRIVE GRANT HELPED THEM OFFER HEALTHCARE TO THEIR EMPLOYEES. 
          SO THEY'RE USING A BUNCH, UH, DOING A BUNCH OF AMAZING THINGS, UH, WITH THE FUNDING, UH, WHICH IS THE POINT OF THRIVE. 
          IT'S TO BUILD SMALL AND MEDIUM SIZED NONPROFIT, UM, ARTS ORGANIZATIONS TO BRING THEM UP TO THAT INSTITUTIONAL, UH, LEVEL, SO WHERE THEY CAN DO THINGS LIKE OFFER HEALTHCARE TO THEIR EMPLOYEES. 
          UM, AND THEN, UH, THIS YEAR WE, UH, PARTNERED UP WITH OUR SMALL BUSINESS DIVISION, SO SISTER DIVISION HERE WITHIN THE ECONOMIC DEVELOPMENT DEPARTMENT, UH, TO LAUNCH TRAINING CLASSES, UH, FOR NON-PROFITS, UH, SPECIFICALLY WITHIN THE SMALL BUSINESS DIVISIONS. 
          SO SMALL BUSINESS MAINLY FOCUSES ON, UH, FOR-PROFIT ARTS, BUT THEY, OR FOR-PROFIT BUSINESSES. 
          BUT THEY DO HAVE, UH, CREATIVE STUFF THAT THEY DO AND THEY DO, UM, HAVE STUFF WITH NONPROFITS. 
          AND SO WE TEAMED UP WITH THEM. 
          UH, WE HAD 20 INDIVIDUALS FROM NINE OF THE THRIVE ORGANIZATIONS, UM, ATTENDED TO TAKE, UH, SOME OF THESE CLASSES BETWEEN FEBRUARY AND JUNE. 
          UM, AND THEN FOUR PEOPLE, UH, FROM THREE OF THE THRIVE ORGANIZATIONS ACTUALLY TOOK ENOUGH CLASSES THAT THEY WILL BE RECEIVING A BUSINESS SKILLS CERTIFICATION IN DECEMBER. 
          UM, AND SO THAT'S JUST SOMETHING THAT, UH, WE'VE 
          [01:05:01]
BEEN DOING, UH, WITH THE THRIVE COHORT. 
          SO IN ADDITION TO RECEIVING THE FUNDING IN THRIVE, THERE'S THIS, UM, OPTIONAL COHORT, UM, WHERE PEOPLE CAN TAKE CLASSES WHERE THEY CAN, YOU KNOW, WE'VE HAD, UM, UM, SESSIONS OVER AT OUR OFFICE. 
          UM, JESUS VA, UM, SPEAKS WITH THEM ABOUT THEIR GOALS. 
          UM, AND PART OF THAT WAS WITH THE, UM, INTERIM, UH, UH, REPORTING AS WELL. 
          SO LOTS OF, UM, WORK THAT GETS DONE IN ADDITION TO JUST THE FUNDING, UH, FOR THE THRIVE RECIPIENTS. 
          UM, AND SO THAT WAS THRIVE. 
          UM, I'LL MOVE ON TO OUR TRADITIONAL, UH, UM, FUNDED ACTIVITIES FROM THRIVE, ELEVATE, AND NEXUS. 
          UM, AGAIN, I'M NOT GONNA READ ALL OF THEM JUST, UH, FOR THE INTEREST OF TIME, UH, BUT WE DO HAVE, UM, A FEW COMING UP, UH, BETWEEN, UH, NOW AND THE NEXT, UH, CITY COUNCIL MEETING. 
          UM, MY USUAL CAVEAT, YOU KNOW, WE GET THESE FROM THE, UM, VISIT AUSTIN WEBSITE. 
          SO IF YOU DO HAVE AN EVENT, UM, COMING UP, UM, WITHIN THE NEXT MONTH OR SO AND YOU DON'T SEE IT HERE, PLEASE BE SURE TO POST YOUR EVENT TO VISIT AUSTIN. 
          UM, WE'VE GOT, UH, SEVEN DIFFERENT ELEVATE AWARDEES HAVE, UH, VARIOUS ACTIVITIES COMING UP IN, UH, THE NEXT MONTH OR SO. 
          AND THEN WE ALSO HAVE SOME OF OUR FY 24 NEXUS SPRING, SUMMER, UH, GRANTEES, UM, HAVE EVENTS AND ACTIVITIES THAT ARE COMING UP, UM, WITHIN THE NEXT MONTH. 
          AND THAT IS OUR PRESENTATION, AND WE'RE HAPPY TO TAKE ANY QUESTIONS THAT YOU MIGHT HAVE. 
          THANK YOU SO MUCH, LAURA AND JESUS, JUST WAITING FOR MY SCREEN. 
          UH, COMMISSIONER CHENEY. 
          YES, I HAVE A COUPLE OF QUESTIONS. 
          UM, SO, UM, OF A LOT OF INFORMATION, A LOT OF REALLY GOOD INFORMATION, BUT MAYBE JUST A LITTLE RECAP. 
          SO MY FIRST QUESTION IS, WE KIND OF TALKED ABOUT, UM, LIKE THRIVE, THERE'S X AMOUNT OF APPLICANTS, I CAN'T REMEMBER THE EXACT NUMBER, AND, UM, LIKE 34, SORRY, ALSO CAN'T REMEMBER THE EXACT NUMBER WILL BE AWARDED. 
          RIGHT. 
          AND THOSE THAT ARE NOT AWARDED WILL THEN BE REVIEWED FOR ELEVATE. 
          THIS IS MY QUESTION, SINCE THE REVIEWING IS PUBLIC, UM, YOU KNOW, ON ZOOM, HOW DOES THAT WORK? LIKE, WILL AN ORGANIZATION BE NOTIFIED THAT THEY WEREN'T, UM, SCORED HIGH ENOUGH FOR THRIVE AND THEN THEY'LL MOVE ON AND THEY'LL BE ADDED TO A LIST FOR ELEVATE? OR IS IT SIMULTANEOUSLY HAPPENING? UH, SO THE WAY THAT'LL WORK IS, UH, WE HAVE THREE DIFFERENT, UH, TYPES OF PANELS. 
          SO THERE'S A THRIVE ELEVATE PANEL FOR THOSE WHO ARE ELIGIBLE, UH, FOR BOTH. 
          UH, THERE'S AN ELEVATE ONLY, UH, GROUPING OF PANELS. 
          UM, AND THEN THERE'S AN INDIVIDUALS AND CREATIVE BUSINESS, UH, GROUPING OF PANELS. 
          SO THREE DIFFERENT TYPES OF GROUPINGS OF PANELS. 
          UM, AND SO THE WAY, UH, THE THRIVE, UH, WILL WORK IS SINCE IT'S A THRIVE ELEVATE PANEL, UH, THE, UH, DETAILED SCORING RUBRIC, UH, THAT LAURA TALKED ABOUT, AND THEN I GAVE A LITTLE BIT OF, UM, YOU KNOW, EXPANDED ON, UM, A LITTLE BIT. 
          UM, THE SCORES MAY BE DIFFERENT IN THRIVER AND ELEVATE, BUT THE HIGHEST SCORING AND THE LOWEST SCORING IS STILL THE SAME. 
          SO IN THAT 20 POINT EXAMPLE, IT MAY BE, SAY, 30 POINTS IN THRIVE, I'M MAKING NUMBERS UP HERE. 
          AND SO IT WOULD BE SLIGHTLY DIFFERENT, BUT THERE'S STILL GONNA BE FOUR OPTIONS LIKE THAT. 
          AND SO I MENTIONED ALL OF THAT. 
          SO BASICALLY, UM, TO, UH, COMMISSIONER CHENEY'S, UH, QUESTION, UH, THE THRIVE AND THE ELEVATE, UH, NOTIFICATIONS WILL GO OUT, UH, TOGETHER AT THE END OF SEPTEMBER. 
          IF SOMEONE DOESN'T SCORE HIGH ENOUGH TO RECEIVE FUNDING IN THRIVE, THEY WILL AUTOMATICALLY BE CONSIDERED FOR FUNDING IN ELEVATE. 
          THE PANELISTS DON'T HAVE TO DO ANYTHING, UH, DIFFERENTLY. 
          THEY'RE USING, YOU KNOW, AGAIN, IN THAT 20 POINT EXAMPLE, THE FOUR DIFFERENT, UH, SCORING OPTIONS. 
          AND SO IT'S GONNA BE, EVEN IF THE POINTS ARE DIFFERENT, IT'S GONNA BE THE SAME IN THRIVE OR IN ELEVATE. 
          SO THOSE THRIVE SCORES WILL AUTOMATICALLY BE CONVERTED, UM, INTO ELEVATE SCORES, UM, YOU KNOW, ON THE STAFF END, ON THE BACK END. 
          SO THE PANELISTS WILL NOT HAVE TO DO ANYTHING, AND THEN EVERYBODY WILL GET THEIR, UH, NOTIFICATION EITHER OF, UM, AWARD ACCEPTANCE OR, UH, BEING DECLINED THE AWARD, UM, ALL AT THE SAME TIME. 
          OKAY, GOT IT. 
          SO ESSENTIALLY, LET ME JUST REPEAT IT BACK TO YOU TO MAKE SURE THAT I'M UNDERSTANDING. 
          SO IF I WAS A THRIVE PANELIST, I WOULD BE, YOU KNOW, SORRY, I'M LIKE AT A LOSS FOR WORDS FOR A SECOND. 
          I WOULD, I WOULD SCORE THE GRANT AND I WOULD SCORE THE GRANT AND THE RUBRIC FOR THRIVE, AND THEN I DON'T HAVE TO DO ANYTHING. 
          AND THEN IF THAT SCORE ISN'T HIGH ENOUGH, IT JUST AUTOMATICALLY, IF THAT PERSON'S IN THAT BUCKET GETS PUSHED TO ELEVATE, AND THEN DEPENDING ON HOW THOSE SCORES MATCH UP, THEY'RE EITHER FUNDED OR NOT FUNDED. 
          CORRECT. 
          THEY WILL NOT BE SCORED SEPARATELY IN AN ELEVATE ONLY PANEL. 
          THEIR SCORES WILL, UM, BASICALLY GO OVER FROM THRIVE INTO ELEVATE, AND THEN THOSE SCORES WILL BE COMPARED AGAINST 
          [01:10:01]
THE, THE 54 ELEVATE ONLY, UM, APPLICATIONS TO FIND OUT THE HIGHEST SCORING APPLICANTS. 
          DID YOU ADD SOMETHING? OKAY. 
          WELL, YEAH, I THINK, I THINK THAT MAKES SENSE. 
          I THINK IT, FOR ME, I LIKE TO THINK ABOUT IT AS LIKE A HIGH, MEDIUM AND A LOW SCORE. 
          SO IF I WAS APPLYING FOR THRIVE AND I GOT A HIGH, WHICH IN THRIVE WAS A 20 POINT, AND THEN ON THE BACK END AND I GET MOVED TO ELEVATE, IT WOULD BE A 10. 
          SO IT'S ALL HAPPENING ON THE BACK END, BUT THE, THE, THE SCORES, THE PANELISTS, THEY'RE LOOKING AT THE APPLICATION AND SAYING A HIGH MEDIUM LOW ESSENTIALLY, AND HIGH MEDIUM, LOW EQUALS TWENTY TEN FIVE IN THRIVE, BUT HIGH, MEDIUM, LOW MIGHT LOOK LIKE 5 3 1 IN ELEVATE AS AN EXAMPLE. 
          I DON'T KNOW IF THAT JUST CAUSED MORE CONFUSION, BUT , BUT ESSENTIALLY, LIKE JESUS SAID, IT IS JUST ONE THRIVE ELEVATE JOINT PANEL IF YOU ARE CONSIDERED FOR THE THRIVE AND ELEVATE PIECE OF IT. 
          OR I GUESS, NO, THAT, THAT ACTUALLY IS A REALLY GOOD ANALOGY. 
          A HIGH IS A HIGH IN THRIVE, IT'S A HIGH IN ELEVATE. 
          A MEDIUM IS A MEDIUM AND THRIVE MEDIUM. 
          YES. 
          OKAY, I GOT IT. 
          OKAY. 
          THAT'S, THAT'S REALLY HELPFUL. 
          UM, SO MY SECOND QUESTION IS SPICY, I'M SORRY, BUT I JUST HAVE TO ASK IT. 
          SO, UM, I WAS LOOKING ACTUALLY AT THE, UM, ALL OF THE DIFFERENT ORGANIZATIONS THAT APPLIED FOR THRIVE ELEVATE, UM, AND YOU SAID SOMETHING THAT WAS REALLY HELPFUL JUST NOW, JESUS, YOU SAID THRIVE WAS INTENDED FOR SMALL TO MEDIUM SIZED NONPROFITS TO GET INSTITUTIONAL STATUS, RIGHT. 
          AND I THINK THAT'S, WE CAN ALL AGREE THAT'S KIND OF WHAT THRIVE WAS DESIGNED FOR. 
          WHEN I WAS LOOKING AT THE ELIG OR THE ELIGIBLE NONPROFITS THAT WERE LISTED, I DID SEE SOME REALLY BIG MULTIMILLION DOLLAR NONPROFITS ON THAT LIST, AND IT WAS JUST A LITTLE CONCERNING. 
          AGAIN, THE BIG GUYS GOING AGAINST THE LITTLE GUYS. 
          AND SO I WAS JUST CURIOUS HOW THAT IS HANDLED IN THE SCORING. 
          AND I KNOW IT'S SPICY, I JUST GOTTA ASK, I'M SORRY, . 
          NO, NO, NO. 
          THAT'S WHAT WE'RE HERE FOR. 
          THAT'S A GREAT QUESTION. 
          UM, AND SO WHAT WE DO IS, UM, FOR NONPROFITS, WHETHER IT'S THRIVE ELEVATE OR FOR ELEVATE ONLY, WE DO LOOK AT THEIR BUDGET SIZES. 
          SO EVEN THOUGH WE ADVISE THE PANELISTS NOT TO COMPARE ONE APPLICATION TO ANOTHER, YOU'RE JUST SEEING HOW DOES THAT APPLICANT ANSWER THE REVIEW CRITERIA? WE KNOW IT CAN STILL BE HUMAN NATURE TO DO THAT. 
          SO WHAT WE DO IS WE HAVE ALL OF THE LARGEST SIZED BUDGETS TOGETHER IN, UH, LARGEST SIZED BUDGET ORGANIZATIONS IN ONE PANEL, UM, YOU KNOW, SMALLER SIZED BUDGETS, YOU KNOW, IN, IN ANOTHER PANEL. 
          SO THAT WAY, YOU KNOW, THE PANELISTS ARE, YOU KNOW, LOOKING, UM, AT ALL OF THOSE. 
          UM, AND AGAIN, YOU KNOW, WE GIVE THE CAVEAT OR WE, WE, WE TELL THEM, YOU KNOW, YOU'RE NOT COMPARING ONE APPLICATION TO ANOTHER, YOU'RE JUST SEEING HOW THIS ONE, UM, YOU KNOW, UM, SCORES OR MEETS THE, THE REVIEW CRITERIA. 
          UM, THE OTHER QUESTION, UM, OR, YOU KNOW, MAYBE, I DON'T KNOW IF YOU MEANT TO ASK THIS, BUT PART OF WHAT YOU WERE ASKING ALSO, UM, IS SINCE THRIVE IS FOR, YOU KNOW, SMALL TO MID-SIZE, UH, NONPROFITS, THAT THAT'S THE INTENTION. 
          WE DON'T HAVE A, YOU KNOW, BUDGETARY LIMIT THAT SAYS YOU CANNOT APPLY FOR THIS, BUT THERE IS A CULTURAL INSTITUTION STATUS QUESTION. 
          AND BASICALLY THE WAY THAT QUESTION WORKS IS IF YOU HAVE A LOT OF THE INDICATORS OF A CULTURAL INSTITUTION, YOU'LL ACTUALLY SCORE LOWER ON THAT QUESTION INSTEAD OF HIGHER. 
          UM, AND SO, UM, WHILE THAT WON'T NECESSARILY GUARANTEE THAT, YOU KNOW, THE LARGER SIZE NONPROFITS, UH, WON'T, UH, RECEIVE FUNDING, UM, THEY WILL GET LESS POINTS IN THAT PARTICULAR QUESTION. 
          AND THEN DEPENDING ON HOW, YOU KNOW, I THINK LAURA SAID IT WAS LIKE A 77, 76, 70 3% ELIGIBILITY. 
          UM, NO, IN THRIVE IT'S ONLY GONNA BE 23%. 
          SO THAT LITTLE BIT OF, UM, YOU KNOW, THAT LITTLE BIT OF POINTS, UH, COULD MAKE THE DIFFERENCE IN THEM RECEIVING THRIVE FUNDING, BUT THEY CAN STILL BE CONSIDERED FOR, FOR ELEVATE. 
          GOT IT. 
          I WOULD LIKE, JUST AS JUST MY RECOMMENDATION, AND I DON'T EVEN KNOW IF I'M, AM I ALLOWED TO GIVE YOU A RECOMMENDATION? YES, SURE. 
          OKAY. 
          ALL RIGHT. 
          SO THE TEXAS COMMISSION ON THE ARTS, WHICH I, I KNOW I, I TALK ABOUT THEM WAY TOO MUCH. 
          I DON'T EVEN KNOW A LOT OF PEOPLE THAT WORK THERE, BUT THEY DO HAVE A RESTRICTION ON THEIR GRANT WHERE YOU HAVE TO MAKE, IN ORDER TO GET THE, UH, TCA FUNDING, AND IT'S A TWO YEAR GRANT AS WELL, LIKE THE THRIVE GRANT, IT'S, IT'S FOR MUCH LESS MONEY, BUT YOU HAVE TO HAVE A BUDGET OF AT LEAST $50,000, BUT IT CANNOT EXCEED A MILLION. 
          AND I JUST THINK THAT THAT WOULD BE AN INTERESTING, UM, PILOT PROGRAM IN THE FUTURE, IF THERE'S ANY FEEDBACK FOR THRIVE, SO THAT IT COULD REALLY HONE IN ON THOSE SMALL AND MEDIUM SIZED NONPROFITS, UM, THAT, AND REALLY CATER TO THOSE TYPES OF BUDGETS, IF THAT MAKES SENSE. 
          I CAN 
          [01:15:01]
SEND SOME INFORMATION TOO, UM, OF THEIR GRANT PROGRAM, IF YOU COULD. 
          THAT'D BE GREAT. 
          LAURA AND I ARE BOTH WRITING NOTES, BUT IF YOU COULD SEND SOMETHING THAT'D BE GREAT AS WELL. 
          I THINK ALL OF THAT IS REALLY IMPACTFUL FEEDBACK AND SPICY, BUT TOTALLY NEEDED. 
          AND FOR THOSE THAT MAY NOT BE AWARE, THE SORT OF PITTING AGAINST THE BIG GUY, AGAINST THE LITTLE GUY, UM, IS AN ISSUE THAT WE'VE BEEN TALKING TO COUNCIL ABOUT. 
          AND THAT THESE, THESE REALLY QUITE LIMITED NUMBER OF LARGE INSTITUTIONS SHOULDN'T BE UP AGAINST SMALL TO MIDSIZE INSTITUTIONS FOR THE SAME AMOUNT OF FUNDING. 
          AND THAT THE IMPACT OF THOSE FUNDS IS SO MUCH GREATER WHEN WE'RE LOOKING AT SMALL TO, UH, SMALL TO MEDIUM INSTITUTIONS VERSUS INSTITUTIONS THAT HAVE MULTIMILLION DOLLAR BUDGETS. 
          THAT BEING SAID, THERE IS NO SUPPORT SYSTEM FOR OUR LARGE INSTITUTIONS. 
          WE DO NOT HAVE A PROGRAM THAT SERVES THEM, AND THEY NEED SUPPORT TOO. 
          THEY'RE HURTING JUST AS, JUST AS THEY'RE STRUGGLING ALONGSIDE THE LITTLE GUYS. 
          WE, FOR WHATEVER REASON AS A CITY, DO NOT HAVE BUILT-IN PATRONAGE. 
          AND THAT IS SOMETHING THAT WE NEED TO FOSTER PERSON TO PERSON. 
          GO TO YOUR MUSEUM, PAY THE ENTRANCE FEE, BECOME A MEMBER. 
          UM, WE HAD A BIG MEDIUM HERE LAST MONTH. 
          UM, THEY'RE ON THE CUSP OF CLOSURE ESSENTIALLY, IS WHAT I TOOK OUT OF THAT, UM, PRESENTATION. 
          AND SO, YOU KNOW, I TOTALLY AGREE WITH EVERYTHING YOU'VE SAID. 
          COMMISSIONER CHENEY, I, I LOVE THOSE CONSTRAINTS. 
          I THINK IT REALLY HONES IN ON THOSE WE'RE ATTEMPTING TO SERVE. 
          MY FEAR IS THAT IN DO, IN IMPLEMENTING SOMETHING LIKE THAT WITH THRIVE IS THAT WE LEAVE OUT OUR INSTITUTIONS IN THE COLD BECAUSE THERE'S NO, THERE'S NO, UM, SECURITY NET FOR THEM THAT, AND THEY SHOULD BE RECEIVING CITY SUPPORT. 
          THEY'RE A PART OF OUR CULTURAL VIBRANCY. 
          THEY'RE A PART OF THE TAPESTRY OF, UH, THE CREATIVE COMMUNITY THAT WE RELY ON TO BE A, A METROPOLITAN CITY THAT REALLY PUT US IN, IN THE SPOTLIGHT AS A CULTURAL HUB. 
          UM, SO THERE IS, THERE IS WORK TO BE DONE THERE, AND THAT'S WHY WE'VE BEEN, WHEN WE GO DOOR TO DOOR, COMMISSIONER CHENEY, YOU'VE BEEN THERE WITH US IN THOSE CONVERSATIONS, COMMISSIONER MACH HAS BEEN THERE, UM, AND WE'RE SAYING LIKE, THIS IS NOT A FAIR FIGHT. 
          THIS SHOULDN'T BE THE WAY THAT IT IS. 
          AND I THINK IT JUST COMES DOWN TO A LACK OF FUNDING AND A LACK OF REALLY OWNING THAT CULTURAL INSTITUTIONS DESERVE MUNICIPAL SUPPORT ON AN ONGOING BASIS, AND THEY SHOULDN'T BE COMPETING AGAINST SMALL, UM, INSTITUTIONS. 
          SO, AND I REALLY ENJOY ALL OF THE FEEDBACK AND THE WISDOM THAT YOU HAVE. 
          COMMISSIONER CHENEY, YOU HAVE A TON OF EXPERIENCE IN THIS FIELD, AND I'M, I'M VERY GRATEFUL TO HAVE IT ALL IN THESE CONVERSATIONS. 
          UM, ANY OTHER COMMISSIONERS WITH QUESTIONS? CAN I MENTION A COUPLE OF THINGS, UH, TO WHAT COMMISSIONER CHENEY SAID? UM, SO WE ACTUALLY DID HAVE SOME LIMITATIONS IN THE INITIAL VERSION OF THRIVE. 
          UM, THAT, UM, I FORGET WHAT IT WAS, THE AVERAGE AWARD, YOU KNOW, OR A LIFETIME AWARD COULDN'T BE A MILLION DOLLARS OR THERE WAS SOME KIND OF LIMITATION. 
          UM, BUT WE DID HEAR FEEDBACK, AND SO WE DID AWAY WITH THE LIMITATION, UM, BASED ON THE FEEDBACK, UH, THAT WE HEARD. 
          BUT THAT BEING SAID, THIS IS A PILOT, YOU KNOW, IT'S AN ITERATIVE PROCESS, YOU KNOW, WE'RE ALWAYS HAPPY TO HEAR MORE FEEDBACK AND SEE WHERE WE, UH, GO WITH THAT. 
          UM, THE OTHER THING IS WE DO HAVE A LIMITATION THAT WE KEPT, UH, FOR THE INDIVIDUALS IN CREATIVE BUSINESSES, UM, IN THAT, UH, YOU HAVE TO HAVE A BUDGET OF UNDER HALF A MILLION DOLLARS, UM, SPECIFICALLY FOR INDIVIDUALS IN CREATIVE BUSINESSES, UM, BECAUSE INDIVIDUALS IN CREATIVE BUSINESSES, IT'S ANYBODY WITHOUT 5 0 1 C NONPROFIT STATUS. 
          SO IT'S A TRADITIONAL KIND OF SPONSORED PROJECTS THAT WE HAVE ALWAYS, YOU KNOW, KIND OF, UH, FUNDED IN THE CORE FUNDING PROGRAMS. UM, BUT BY DEFINITION, THOSE ARE FOR-PROFIT BUSINESSES. 
          UM, AND SO WE HAVE A LIMITATION OF A HALF A MILLION DOLLARS BECAUSE WE DON'T WANT LARGE FOR-PROFIT COMPANIES, YOU KNOW, SOUTH BY SOUTHWEST ACL FEST, UH, TO BE APPLYING FOR FUNDING LIKE THIS WHEN, YOU KNOW, THE INTENT, YOU KNOW, FOR INDIVIDUALS IN CREATIVE BUSINESSES, UM, AGAIN, IS FOR, YOU KNOW, MORE OF THOSE, UM, YOU KNOW, THE WORKING AND, AND LIVING ARTISTS, UM, OR THE, THE SMALL BUSINESSES. 
          AND AGAIN, YOU KNOW, WE DID HAVE LIMITATIONS INITIALLY IN THRIVE, UM, WITH, YOU KNOW, SOME OF THE FEEDBACK THAT WE HEARD WE, WE DID AWAY WITH THAT. 
          BUT, YOU KNOW, AGAIN, ALWAYS HAPPY TO HEAR MORE FEEDBACK AND SEE, UH, WHERE THINGS MAY CHANGE AS WE, YOU KNOW, UM, GO INTO YEAR TWO OF THESE PILOT PROGRAMS AND, AND, AND SEE WHAT THEY LOOK LIKE. 
          GREAT. 
          ANY OTHER QUESTIONS? COMMISSIONERS? I DO THINK IT'S WISE TO HAVE APPLES TO APPLES IN THOSE PANELS WHERE YOU HAVE SORT OF THE HIGH END BUDGET ALL BEING LOOKED AT AND THEN IT KIND OF CREATES THAT SENSE OF NORMALCY. 
          YOU KNOW, I THINK IT'S REALLY STRATEGIC, JUST THE PSYCHOLOGY OF THE HUMAN RIGHTS. 
          LIKE, WELL, THIS IS MORE DESERVING IF THEIR BUDGET IS A THIRD OF THE SIZE OF THIS LARGE ONE. 
          SO THAT SEEMS VERY STRATEGIC AND THOUGHTFUL, AND I APPRECIATE, UM, THAT BEING DESIGNED THAT WAY. 
          I DID HAVE A QUESTION ABOUT THE UNIVERSAL ACCEPTANCE DATE. 
          SO IF SOMEONE WAS TO RECEIVE OR BE ACCEPTED FOR TWO DIFFERENT GRANTS AND OBVIOUSLY DECIDES TO TAKE THE LARGER ONE BEING FOR THE LIVE MUSIC GRANT BEING AN EXAMPLE, THOSE HAVE BEEN ANNOUNCED, 
          [01:20:01]
ELEVATE, THRIVE WON'T BE ANNOUNCED FOR A BIT. 
          UM, DOES THEN MORE MONEY GET RELINQUISHED AND IS THERE LIKE AN UNDERSTUDY? ARE THERE RUNNER UPS FOR THAT LIVE MUSIC FUND? SO IF THEY DON'T TAKE THE LIVE MUSIC MONEY AND THEY'RE GONNA TAKE THE LARGER ONE, WILL ANOTHER APPLICANT BE AWARDED, OR WILL THAT JUST BE CARRIED OVER TO THE FOLLOWING YEAR? MY UNDERSTANDING IS THAT IT WOULD THEN ROLL TO THE NEXT PERSON IN LIVE MUSIC TO, TO THE NEXT PERSON. 
          MM-HMM, . 
          GREAT. 
          WONDERFUL. 
          I THINK THAT'S REALLY GOOD NEWS. 
          I KNOW THAT THAT GRANT IN PARTICULAR WAS HIGHLY, UH, SUBSCRIBED TO OVERSUBSCRIBED, UM, WHICH JUST DEMONSTRATES THE NEED. 
          SO WE'RE GONNA KEEP CHUGGING ALONG. 
          UM, I'M SURE I HAD OTHER QUESTIONS, BUT IT WAS JUST SUCH A ROBUST PRESENTATION. 
          REALLY APPRECIATE ALL OF THE WORK TO GO THROUGH, AND IN PARTICULAR, THE COMPARISON FOR SPANISH LANGUAGE SERVICES. 
          AND WE ARE LEADERS IN THE FIELD, BUT THAT DOESN'T NECESSARILY MEAN OUR WORK IS DONE, RIGHT. 
          WE CAN STILL BE DOING MORE. 
          UM, AND JUST BECAUSE OTHER CITIES ARE SORT OF FALLING SHORT OF SERVING THEIR SPANISH SPEAKING COMMUNITIES, DOESN'T MEAN THAT WE CAN'T CONTINUE TO LEAD BY EXAMPLE AND FURTHER THAT SUPPORT. 
          BUT, UM, WITH THAT, THANK YOU ALL VERY MUCH. 
          REALLY APPRECIATE THE PRESENTATION. 
          THANK YOU. 
          THANK YOU. 
          NEXT WE 
          [10. Approve List of Selection Panel & Nominated Artists for the Architecturally-Integrated Art in Public Places Projects for the Austin Convention Center Redevelopment (pending AIPP Panel approval on September 2nd)]
HAVE DISCUSSION AND ACTION ITEMS. UM, ITEM 10, APPROVED LIST OF SELECTION AND NOMINATED ARTISTS FOR THE ARCHITECTURALLY INTEGRATED ART AND PUBLIC PLACES PROJECT FOR THE AUSTIN CONVENTION CENTER REDEVELOPMENT, PENDING A IPP PANEL APPROVAL ON SEPTEMBER 2ND. 
          WELCOME BACK, JAIME. 
          GOOD EVENING COMMISSIONERS. 
          JAIME CASTILE, A IPP MANAGER. 
          UH, WHEN I SAY A IPP, YOU SAY APPROVED . 
          JUST KIDDING. 
          WE'RE NOT GONNA DO THAT. 
          UH, ACTUALLY, UH, WHAT I'M GONNA DO IS I'M GONNA CALL UP SUE LAMB. 
          SHE SHOULD BE ON THE CALL. 
          UM, SHE'S GONNA GO THROUGH THIS PRESENTATION, OKAY? BUT IF YOU WERE A FORMER A IPP MANAGER, YOU SAY WOO, BECAUSE WE GOT THREE OF YOU GUYS IN THE ROOM NOW. 
          EVERYBODY'S GLAD THAT I'M THE CHAIR, EVERYBODY. 
          I CAN'T SEE THAT SUE'S BEEN CONFIRMED TO BE ON, BUT I'M HERE. 
          I'M EXCITED. 
          WE HEAR YOU, SUE. 
          HI. 
          SO, ARE Y'ALL READY? YEAH. 
          READY AND WAITING. 
          AWESOME. 
          SORRY. 
          NEXT SLIDE PLEASE. 
          HELLO, ARTS COMMISSIONERS. 
          I'M REALLY HAPPY TO BE HERE TONIGHT. 
          AS A REMINDER, MY NAME IS SUE LAMB. 
          AS I MENTIONED LAST MONTH, I WAS THE ART AND PUBLIC PLACES PROGRAM MANAGER FROM 2016 TILL 2021. 
          I'M NOW WORKING ON SPECIAL PROJECTS SUCH AS SUPPORTING THIS EXCITING A IPP PROJECT BEFORE YOU TONIGHT, HELPING TO BRING PUBLIC ART OPPORTUNITIES TO ARTISTS IN AUSTIN. 
          SO, AS A REMINDER, THIS PROJECT IS THE AUSTIN CONVENTION CENTER REDEVELOPMENT. 
          THERE IS A TEAM OF, UH, DESIGNERS, ARCHITECTS, ENGINEERS, AND CONVENTION FACILITY SPECIALISTS IN PLACE NOW, AND THEY'RE WORKING ON SCHEMATIC DESIGN FOR THIS PROJECT, I HAVE, UH, PROJECT SUPERVISOR RILEY TRIGGS WITH THE CAPITAL DELIVERY SERVICES DEPARTMENT, AVAILABLE TO ANSWER ANY QUESTIONS ABOUT THE SPONSOR PROJECT. 
          NEXT SLIDE, PLEASE. 
          SO, AT LAST MONTH'S MEETING, THE ARTS COMMISSION APPROVED THE PROSPECTUS FOR THIS PROJECT TO GET ARTIS ON BOARD AS QUICKLY AS POSSIBLE. 
          THEY'RE NEEDED TO PARTICIPATE IN SCHEMATIC DESIGN WITH THE DESIGN TEAM IN ORDER TO CODINE OPPORTUNITIES FOR THEIR 10 WORKS OF PUBLIC ART FOR THE FACILITY. 
          NEXT SLIDE, PLEASE. 
          THE DESIGN TEAM EXPECTS TO COMPLETE SCHEMATIC DESIGN IN JANUARY OF 2025. 
          ON THE SCREEN, YOU SEE A REMINDER OF THE SELECTION CRITERIA AND THE ELIGIBILITY FOR ARTISTS. 
          IT'S NOTABLE THAT THIS PROJECT DELIVERY METHOD ALLOWS EMERGING ARTISTS AND ARTISTS WITH NO PUBLIC ART EXPERIENCE TO BE COMMISSIONED. 
          NEXT SLIDE, PLEASE. 
          HERE ON THE LEFT, YOU SEE THE ACTIVITIES THAT HAVE BEEN ACCOMPLISHED SINCE THE LAST MEETING, AND ON THE RIGHT IS WHERE WE ARE TONIGHT. 
          THANK YOU TO THE ARTS COMMISSIONERS WHO PROVIDED NOMINATIONS OF ARTISTS. 
          REALLY APPRECIATE THAT THE NOMINATION PANEL COMPLETED THEIR TASK. 
          AND AN INTERNAL A IPP PROGRAM. 
          REVIEW OF ARTISTS WAS COMPLETED ENSURING THAT THE ARTISTS GOING FORWARD TONIGHT ARE ELIGIBLE, SUCH AS ENSURING THAT NO NOMINATED ARTIST HAS AN ACTIVE ART AND PUBLIC PLACES CONTRACT. 
          RIGHT NOW, THE LIST OF NOMINATED ARTISTS WAS UPLOADED AS PART OF YOUR BACKUP FOR TONIGHT'S MEETING. 
          NEXT SLIDE, PLEASE. 
          AGAIN. 
          AS A REMINDER, IN SEPTEMBER AND OCTOBER, WE WILL RUN THE STANDARD A IPP SELECTION JURY PROCESS OUTLINED ON THE LEFT SIDE OF THE SLIDE. 
          THE SELECTION JURY WILL BE MADE UP OF LOCAL VISUAL ARTS ARTISTS AND EXPERIENCED PUBLIC ARTISTS, ART AND CULTURAL LEADERS WITH KNOWLEDGE OF, UH, SIGNIFICANT CONTRIBUTORS TO THE AUSTIN'S CREATIVE HERITAGE. 
          NEXT SLIDE, PLEASE. 
          HERE WE HAVE A PROPOSED LIST OF SELECTION PANEL MEMBERS 
          [01:25:01]
WHO WILL BE, WHO WILL RECOMMEND 10 ARTISTS TO BE SELECTED, AND FIVE TO 10 ARTISTS AS ALTERNATES WITH YOUR APPROVAL TONIGHT, THANKS TO THE ARTS COMMISSIONERS FOR YOUR NOMINATIONS FOR THE POTENTIAL SELECTION JURY MEMBERS AS WELL. 
          NEXT SLIDE, PLEASE. 
          HERE'S THIS PROJECT SCHEDULE, WHICH ASSUMES THAT YOU APPROVE THE LIST OF NOMINATED ARTISTS AND THE SELECTION PANEL AND THE SELECTION JURY MEMBERS TONIGHT NOMINATED ARTISTS WOULD UPLOAD THEIR QUALIFICATIONS TOWARD THE END OF AUGUST AND AN EARLY SEPTEMBER, AND SELECTION WOULD TAKE PLACE IN LATE SEPTEMBER AND EARLY OCTOBER. 
          SO THIS LIST OF SELECTION PANEL MEMBERS AND LIST OF NOMINATED ARTISTS IS UP FOR APPROVAL TONIGHT. 
          LET ME KNOW IF YOU'VE GOT ANY QUESTIONS. 
          THANK YOU. 
          THANK YOU, SUE. 
          COMMISSIONERS, ANY QUESTIONS ABOUT THIS PROCESS? I HAVE A QUESTION, PLEASE. 
          COMMISSIONER KEYS. 
          UM, SO I WAS JUST WONDERING, LIKE, WHAT WAS SOME OF THE OUTREACH THAT WAS DONE, UM, FOR, FOR SELECTING THE ARTISTS? JUST BECAUSE I KNOW IT'S BEEN A COUPLE YEARS SINCE I'VE BEEN IN EDD, AND I'M SEEING JUST IN THESE PRESENTATIONS, SOME OF THE SAME NAMES OF ARTISTS THAT I'VE WORKED WITH. 
          AND I, I SEE SOME, UM, OPTIONS FOR EMERGING ARTISTS AND ARTISTS WHO HAVE NEVER HAD ANY OPPORTUNITIES. 
          SO I'VE JUST WONDER WHAT WAS THE OUTREACH TO REACH SOME OF THOSE NEW ARTISTS AND GET THOSE IN THE POOLS FOR CONSIDERATION? UH, THANK YOU FOR THAT QUESTION, COMMISSIONER. 
          UM, GOOD TO SEE YOU HERE. 
          UM, UH, THE SELECTION PROCESS INCLUDED, UM, USING A LIMITED, UM, SELECTION POOL. 
          SO WE, UM, WENT UP TO, UH, SPECIFIC NOMINATORS, UM, FROM THE ART AND CULTURE LEADERS WITHIN THE CITY. 
          UM, A LIST OF 12 PEOPLE WERE INVITED TO NOMINATE ARTISTS. 
          THIS IS ALL BECAUSE WE NEEDED TO MOVE ON A REALLY QUICK, AT A QUICK SPEED FOR THIS PROJECT TO ALIGN WITH THE, UM, SCHEMATIC DESIGN PROCESS FOR THE DESIGN TEAM. 
          SO, UM, THAT LIST OF NOMINATORS IS IN YOUR BACKUP FOR TONIGHT'S MEETING. 
          SO YOU CAN SEE WHO IT WAS, UH, THAT WE INVITED THROUGH THIS INVITATION. 
          WE GOT, UM, ABOUT, UH, I THINK IT WAS ABOUT 75 ARTISTS THAT WERE, UM, NOMINATED. 
          AND, UM, AFTER GOING THROUGH THE PROCESS OF SEEING WHO WAS ELIGIBLE AND, UM, AND, UH, REMOVING THE INELIGIBLE FOLKS, WE ENDED UP WITH ABOUT 65 ARTISTS. 
          AND, UM, I'M IN THE PROCESS OF GETTING THE ARTIST TO SHARE THEIR, UM, THEIR BASIC INFORMATION WITH ME, UM, WHETHER THEY'RE INTERESTED IN, IN ACCEPTING THIS NOMINATION, WHETHER THEY ACCEPT THIS, UH, DELIVERY SYSTEM OR THEY'RE, UM, FOR THE, FOR THIS PROJECT. 
          AND, UM, AND WHETHER OR NOT, UH, OR SHARING THEIR DEMOGRAPHIC INFORMATION. 
          SO I'M GETTING A LOT OF INFORMATION, UM, UH, THAT SH THAT SHOWS THAT WE DO HAVE QUITE A BROAD POOL, AND WE HAVE, UM, PEOPLE WHO HAVE NOT EVER PARTICIPATED IN ART IN PUBLIC PLACES BEFORE. 
          GOTCHA. 
          UM, AND DO WE, WAS THAT NUMBER, UM, AS FAR AS THE NEW ARTIST IN THE POOL FOR CONSIDERATION, WHO'VE NEVER RECEIVED ANY A IPP FUNDING? WAS THAT CONSIDERED IN THE BACKUP AS WELL? I HADN'T HAD A CHANCE TO LOOK AT IT, SO I DIDN'T SHARE THAT NUMBER WITH YOU, BUT I WOULD BE HAPPY TO DO THAT. 
          OKAY. 
          THANK YOU. 
          YEAH, THANK YOU SO MUCH FOR YOUR QUESTION. 
          THANK YOU. 
          COMMISSIONER KEYS, COMMISSIONERS, ANY OTHER QUESTIONS FOR SUE? OKAY, I THINK WE'RE READY FOR A MOTION AND A VOTE. 
          MOTION TO APPROVE COMMISSIONER GRAY MOTIONS TO APPROVE. 
          DO I HAVE A SECOND? COMMISSIONER CHARLA SECONDS. 
          ALL IN FAVOR OF APPROVING OUR LIST OF SELECTION PANEL NOMINATED ARTISTS. 
          I'M SEEING PEOPLE IN THE ROOM. 
          COMMISSIONER KEYS, DO YOU ABSTAIN? I REALLY JUST WOULD LIKE TO, TO HAVE MORE INFORMATION, AND I KNOW I'VE JUST COME ON, SO I YEAH, I, I WOULD THANK YOU. 
          OKAY, WONDERFUL. 
          SO WE'VE GOT COMMISSIONER NEY, COMMISSIONER NUKI, COMMISSIONER HOUSTON, COMMISSIONER GRAY, COMMISSIONER ZIMAN, COMMISSIONER META CHARLIE COMMISSIONER GARZA IN FAVOR, AND, UH, ABSTAINING, UH, WITH COMMISSIONER KEYS. 
          GREAT. 
          SO WE'RE APPROVED. 
          THANK YOU SO MUCH, SUE. 
          THANKS. 
          NEXT, WE HAVE APPROVED THE 
          [11. Approve the Art in Public Places Sites and Opportunities Plan for Austin-Bergstrom International Airport]
ART AND PUBLIC PLACES, SITES AND OPPORTUNITIES PLAN FOR AUSTIN BERGHAM INTERNATIONAL AIRPORT. 
          GOOD EVENING. 
          I HOPE YOU, UH, I FORGET WHAT THE PHRASE IS, BUT GIMME THE OPPORTUNITY TO APOLOGIZE TO THE PUBLIC. 
          I DID RECOGNIZE THAT WE HAD SOME TECHNICAL ISSUES. 
          SO THEY'RE ON THE PUBLIC END. 
          THERE'S DUPLICATES OF, OF BACKUP DOCUMENTS. 
          OKAY. 
          AND THEY AFFECTED MOSTLY, UH, THE AUSTIN CONVENTION CENTER PRESENTATION AND THE AIRPORT PRESENTATION. 
          SO, WHICH I'M ALSO GOING TO ASK, UH, SO EXCUSE ME, ME GUEST START. 
          JAIME CASTILLO, A IPP MANAGER. 
          I'M GOING TO ASK, 
          [01:30:01]
UH, CONSTANCE WHITE TO, UH, TO COME PRESENT THIS PRESENTATION. 
          THIS MEETING IS FULL OF WONDERFUL CAMEOS. 
          WELCOME BACK. 
          CONSTANCE WHITE. 
          IT'S LIKE AN MCU MOVIE, . 
          JUST WAIT FOR MICHELLE POLGAR TO COME WALK THROUGH THAT DOOR. 
          I KNOW. 
          . 
          GOOD EVENING COMMISSIONERS. 
          UM, THANK YOU FOR YOUR, UH, TIME AND ATTENTION THIS EVENING. 
          MY NAME IS CONSTANCE WHITE. 
          I AM THE CURRENT, UH, ART AND MUSIC MANAGER FOR, UH, THE DEPARTMENT OF AVIATION WITH THE CITY OF AUSTIN. 
          AND, UH, WE REFER TO OUR PROGRAM AS A US ARTS. 
          UM, SO THIS EVENING I WILL BE ASKING FOR YOUR, UH, ATTENTION AND APPROVAL FOR, UM, A SITE AND OPPORTUNITY PLAN FOR, UH, THREE PHASES. 
          AND THEN FOLLOWING THIS PRESENTATION, WE'LL TALK ABOUT A COLLECTIONS MANAGEMENT POLICY FOR THE A US PUBLIC ART COLLECTION. 
          YOU TRUST ME WITH THIS CLICKER. 
          OKAY. 
          OH, THANK YOU. 
          UM, SO, UH, CURRENTLY THERE'S FIVE PROJECTS THAT ARE UNDERWAY, UM, AT, UM, A US. 
          AND WE HAVE THE, UM, THE FIRST THREE PROJECTS THAT YOU SEE THERE, ACTUALLY PROJECTS THAT STARTED, UM, THE SELECTION PROCESS IN 2019. 
          THE ARTISTS WERE UNDER CONTRACT IN 21 AND 22, AND HAVE GONE THROUGH VARIOUS, UM, UH, MOVEMENTS OF JUST TRYING TO SOLIDIFY A SITE JUST BECAUSE OF ALL OF THE CHANGES AND CONSTRUCTION HAPPENING AT THE AIRPORT. 
          SO THE ATRIUM INFILL WAS A PREVIOUS, WAS CITED IN A PREVIOUS AREA. 
          AND, UH, WE'RE WORKING WITH THE ARTISTS TO, UM, INTEGRATE, UH, THEIR WORK INTO A, A SPACE THAT IS UNDERGOING, UH, OPTIMIZATION NOW. 
          SO THEY'LL ACTUALLY HAVE AN OPPORTUNITY TO WORK WITH A DESIGN TEAM TO CREATE SOMETHING THAT IS A PART OF THE INFRASTRUCTURE OF THE BUILDING. 
          SO WE'RE REALLY HAPPY ABOUT THAT. 
          THE GATE 15 PROJECT WITH BAILEY LOU. 
          UM, AGAIN, THESE WERE PART OF THE, UH, TERMINAL EXPANSION PROGRAM. 
          SO THE, UM, THE WEST GATES, THE EAST GATES, I'M LOOKING AT ALEX, I ALWAYS GET CONFUSED ON THE GATES. 
          UM, AND SO WE FINALLY FOUND A SITE, UH, THAT WOULD BE REALLY SUITABLE FOR THIS SUSPENDED ARTWORK. 
          AND THEN THE WEST GATES EXPANSION, WHICH IS A CAT QUAY WHO WAS ORIGINALLY AN AUSTIN BASED ARTIST AND NOW IS LIVING IN DETROIT. 
          UH, BUT THESE ARE REALLY SIGNIFICANT, UH, SITES, AND THE ARTWORKS WILL BE VERY VISIBLE AND REALLY EXCITED THAT WE STILL HAVE THE ARTISTS ON BOARD AND, UH, MOVING THESE PROJECTS ALONG. 
          UH, THE NEWEST PROJECT TO COME ON BOARD IS THE PLAYSCAPES PROJECT, AND THE ARTIST, UM, IS, UM, WILL BE DOING SOME ENGAGEMENT IN THE TERMINAL, UH, NEXT WEEK. 
          AND SO, NORMALLY AS A PART OF A IPP, WE DO COMMUNITY ENGAGEMENT. 
          AND IN THIS CASE, WE'RE DOING PASSENGER ENGAGEMENT ENGAGEMENT. 
          SO FROM 10:00 AM TO 6:00 PM THE ARTIST AND HIS STUDIO ASSISTANT WILL BE CITED IN THE TERMINAL, UH, DOING SOME FUN INTERACTIONS WITH PASSENGERS, UM, REALLY INVITING THEM TO SHARE IN SMALL SOUND BITES THEIR AUSTIN STORIES SO THAT THEY, SOME ASPECT OF THAT CAN, UM, INSPIRING AND INTERPRETED IN THE PLAYSCAPE ITSELF. 
          UM, AND ALSO, UH, THE FOLLOWING WEDNESDAY MORNING, WHICH IS THE 28TH FROM 8:30 AM TO 11:30 AM. 
          UM, AND THEN HE'LL PACK UP AND LEAVE. 
          AND THEN THE NEXT TIME YOU SEE ME, WE'LL BE TALKING ABOUT THE ARTIST, UM, CONCEPTUAL DESIGN. 
          SO WE'RE REALLY EXCITED TO INVITE THAT PROCESS INSIDE THE AIRPORT, AND LOTS OF SUPPORT FROM AVIATION THROUGH SOCIALS. 
          AND, UM, EXPECT A MEDIA RELEASE COMING OUT ABOUT THAT TOO. 
          THE QUIET SPACE HAS, UM, HAS, IS COMPLICATED A LITTLE BIT. 
          UM, THE PROJECT IS STILL IN THE BOOKS. 
          UM, WE'RE TRYING TO FIND A SITE. 
          THIS PROJECT, UM, IS KIND OF ENDEMIC OF, LIKE, IF WE CAN'T GO THROUGH THE SELE SOLICITATION PROCESS WITHIN, YOU KNOW, ENOUGH TIME, WE KIND OF MISS THE OPPORTUNITY TO INTEGRATE IT WITHIN THE SPACE. 
          AND SO THE ARCHITECTS JUST KEEP GOING. 
          THESE ARE FAST-PACED PROJECTS, AND TIME IS MONEY. 
          AND THE LONGER, YOU KNOW, WE DELAY PROJECTS, THEN THE CONTRACTORS LOSE, THE AVIATION LOSES MONEY. 
          AND A IPP CAN'T COVER THAT. 
          AND SO IN THIS CASE, WE MISS THE BALL A LITTLE BIT. 
          UM, BUT THERE WILL BE OPPORTUNITIES IN THE NEW BUILD. 
          AND SO WE DON'T WANT THE ARTISTS TO HAVE TO START ALL OVER WITH THE SOLICITATION PROCESSES AND RESUBMITTING AN APPLICATION. 
          SO WE'VE BEEN IN COMMUNICATION WITH THE ARTISTS, THEY'RE ALL LOCAL, AND JUST ASKING THEM TO WHOLE HANG TIGHT JUST A LITTLE BIT. 
          UM, AND WE'LL HAVE A SITE FOR THEM TO WORK ON HERE PRETTY SOON WE'LL GO TO THE NEXT SITE. 
          SO WHAT ELSE IS HAPPENING? UM, THIS, UH, CAMPAIGN FOR A US IS CALLED A JOURNEY WITH A US. 
          AND SO OVER THE NEXT FEW YEARS, THE AIRPORT WILL BE ENDEAVORING ITS AIRPORT EXPANSION DEVELOPMENT PROGRAM. 
          AND WITH THAT PROGRAM, WE'VE DES DESIGNED OUR, UM, A 
          [01:35:01]
IPP SITE AND OPPORTUNITY PLAN AS A PUBLIC ART PROGRAM, WHICH BECOMES ALMOST LIKE A VELLUM OVERLAY IF WE'RE TALKING ARCHITECTURAL TERMS. UM, THERE IS A COMPLICATED, UH, DELIVERY METHOD CONSTRUCTION MANAGER AT RISK, WHICH MEANS THERE'S A GUARANTEED MAXIMUM PRICE FOR CONSTRUCTION. 
          SO WE NEED TO BE ON TIME WITHIN BUDGET, UM, NOT ONLY FOR CONSTRUCTION, BUT ALSO FOR THE, THE ARTISTS THAT ARE WORKING ALONGSIDE THIS FAST-PACED PROGRAM. 
          NEXT, PLEASE. 
          UM, SO WE TALKED ABOUT, UM, A JOURNEY WITH A USA BIT, AND I GAVE YOU A LOT OF BACKGROUND INFORMATION. 
          I'M HAPPY TO EXPOUND ON THAT IF YOU'D LIKE ADDITIONAL INFORMATION. 
          UM, BUT FOR A US ARTS, REALLY THIS IS THE FIRST TIME THE AIRPORT IS CONSIDERED EXHIBITIONS PUBLIC ART AND MUSIC WITHIN ONE DIVISION. 
          SO, UM, HOW DO WE KIND OF BRING THAT TOGETHER? WE ESTABLISH A MISSION FOR THIS PROGRAM, AND IT REALLY IS ABOUT ALIGNING WITH THE VISION OF A US AND THE PASSENGER EXPERIENCE THROUGH ARTS AND CULTURE. 
          SO THAT'S WHAT WE'RE HERE FOR. 
          NEXT, PLEASE. 
          UM, WHAT DOES A US ARTS DO? WE CURATE CHANGING AND ROTATING EXHIBITS. 
          WE PROGRAM LIVE MUSIC AND PERFORMING ARTS. 
          WE DEVELOP EDUCATIONAL ARTS PROGRAMMING. 
          WE ACQUIRE PERMANENT ART WITH A IPP, BUT ALSO THERE ARE OTHER FUNDING SOURCES WITHIN AVIATION THAT ALLOWS ACQUISITIONS AS WELL. 
          UM, AND THEN WE LIAISE WITH OTHER CITY DEPARTMENTS SUCH AS ECONOMIC DEVELOPMENT AND, UM, CAPITAL DELIVERY SERVICES. 
          I SAID THAT WRONG, BUT OTHER CITY DEPARTMENTS. 
          UM, WE DO HAVE SOME PROGRAM GOALS ENGAGING THE LOCAL COMMUNITY. 
          SO I'M OUT AND ABOUT QUITE OFTEN. 
          UH, WE CONTRIBUTE TO THE AESTHETICS OF THE AIRPORT ENVIRONMENT, PROVIDE EDUCATIONAL INSIGHT AND SHOWCASE LOCAL AND REGIONAL VISUAL AND PERFORMING ARTS AND CULTURAL ORGANIZATIONS. 
          SO THE FOCUS IS, UM, ALWAYS AUSTIN. 
          NEXT, PLEASE. 
          UM, THE PURPOSE OF THE PLAN IS, UM, A LOT, UM, NOT ONLY, UM, PUBLIC ART, UH, LOST MY TRAIN OF THOUGHT THERE. 
          SO IT'S, IT'S A BIG PLAN, UM, FOCUSING ON ALL OF THE PROGRAMS. BUT MY PURPOSE HERE TONIGHT IS REALLY TO DISCUSS THE TWO PROGRAMS THAT ARE MOST, UM, CONCERNING, UM, A IPP IN OUR CURRENT COLLECTION. 
          NEXT, PLEASE. 
          SO WHY DO WE NEED A SITE-BASED OPPORTUNITY PLAN? ONE, IT PRESENTS AN INTEGRATED APPROACH TO A IPP PLANNING THAT ALIGNS WITH A US PLANNING. 
          SO EVERYTHING THAT YOU'RE GONNA SEE HAS ALREADY BEEN A VET, UM, VETTED BY OUR PLANNING AND DEVELOPMENT DIVISION, AS WELL AS ALL OF THE EXECUTIVES. 
          SO WE HAVE AN IDEA OF WHAT WE THINK WILL WORK THAT WILL STAY ON TARGET AND BE MAXIMIZES IMPACT FOR, UM, GUEST SERVICES AND THE, UM, THE TRAVELER EXPERIENCE, UM, AND ADVANCES, UH, KEY RECOMMENDATIONS AND NEXT STEPS THAT ARE DETAILED IN THE 2018 A-B-A-B-I-A, ART AND PUBLIC PLACES ARTS MASTER PLAN, WHICH WAS IN YOUR BACKUP. 
          SO IN 2018, UM, EDD WITH A IPP HIRED A CONSULTANT TO KIND OF REVIEW PROCESSES, GUIDELINES, AND THE BASIC APPROACH FOR HOW DO WE GET A IPP AND PUBLIC ART DONE AT THE AIRPORT. 
          THAT PLAN MADE SOME RECOMMENDATIONS. 
          FAST FORWARD TO 2024, WE'RE IMPLEMENTING THOSE RECOMMENDATIONS, AND ONE OF THOSE IS TO CREATE AN AIRPORT SPECIFIC A IPP GUIDELINES. 
          UM, YOU'LL SEE MORE OF THAT IN THE COLLECTIONS MANAGEMENT POLICY, BUT ALSO TO CREATE A PLAN FOR THE AIRPORT'S INTERIOR AND EXTERIOR ACCESSIBLE SPACES THAT IDENTIFIES FUTURE OPPORTUNITIES, WHICH WE'RE CALLING THE SITE AN OPPORTUNITY PLAN. 
          NEXT, PLEASE. 
          HERE WE GO. 
          SITE AND OPPORTUNITY PLAN. 
          IT'S A GUIDE TO MAXIMIZE OUR COLLABORATIVE PROCESS. 
          IT IS A VISION. 
          SO WE, AS WE SAW, YOU KNOW, THE FIVE PROJECTS BEFORE, WE GOTTA MOVE. 
          WHEN THE TRAIN IS MOVING, WE GOTTA STRIKE WHILE THE IRON IS HOT. 
          AND SOMETIMES PROJECTS WILL CHANGE, THEY WILL MORPH. 
          UM, THE TRADITIONAL MODEL OF A IPP IS IF THERE'S A WALL UNDER CONSTRUCTION, THEN WE PUT ART ON THAT WALL. 
          BUT FOR PLANNING, UH, WITH AVIATION, THINGS COME AND GO. 
          AND SO WE WANT THIS GUY TO BE AS FLEXIBLE AND OPEN AS POSSIBLE. 
          SO AGAIN, WE'RE MAXIMIZING OPPORTUNITIES AND NOT HAVING TO GO ANOTHER SIX OR NINE MONTHS BEFORE, YOU KNOW, WE CAN GET AN ARTIST ON BOARD. 
          UM, SO IT SHOULD BE PLAN, UH, FLEXIBLE. 
          AND WE ARE TAKING A CURATORIAL APPROACH SO THAT WHEN YOU HAVE THESE EXPERIENCES WITH THE WORK, UM, IN THE NEW TERMINAL OR THE NEW CONCOURSE IN THE A AND D HALL, THEN THE WORK FEELS LIKE IT'S BEEN THOUGHT ABOUT TOGETHER HOLISTICALLY, AND IT HAS A RELATIONSHIP WITH EACH OTHER. 
          WE CAN GO TO THE NEXT SLIDE. 
          UM, SO I BASICALLY HAVE SAID ALL OF THIS, THIS HOLISTIC APPROACH THAT'S ALREADY BEEN APPROVED, UM, WITHIN THE PLAN, IT OFFERS A DETAILED PERSPECTIVE. 
          SO IT TALKS ABOUT ALL OF THOSE METHODOLOGIES 
          [01:40:01]
THAT ARE REQUIRED, UM, WHEN WE'RE DEVELOPING AN A IPP PROJECT WITHIN A PROSPECTUS THAT ARE LISTED WITHIN THE RFQ. 
          NEXT, PLEASE. 
          UM, THE PROCESS REALLY IS THE SAME, UM, AS ANY OTHER A IPP PROCESS, WE HAVE AN ADDITIONAL STEP, AND THAT'S OUR AIRPORT DESIGN REVIEW. 
          UM, JUST TO MAKE SURE THAT FROM A TECHNICAL STANDPOINT, UM, ALL OF THE PARAMETERS HAVE BEEN VETTED AND THAT THE ARTISTS AND THE DESIGN TEAM ARE ALL WORKING ON THE SAME PAGE WHEN IT COMES TO LIKE HOW WE'RE INTEGRATING THE WORK WITHIN THE AIRPORT WITHIN THE TIMELINE THAT WE'RE ALL EXPECTING. 
          NEXT, PLEASE. 
          UM, AND JUST TO SAY THIS OUT LOUD, BECAUSE SOMETIMES WE, UM, WILL CONFUSE, LIKE, WE'RE NOT BUYING ART, WE'RE COMMISSIONING ARTISTS TO CREATE THESE HIGHLY SPECIALIZED ARTWORKS. 
          AND, UM, WE WANT THE WORK TO BE FUNCTIONAL. 
          WE WANT IT TO BE EXPERIENTIAL, AND OPPORTUNITIES WILL VARY FROM LARGE, UM, TO SMALL, UM, INSTALLATIONS AND NUANCED MOMENTS. 
          NEXT, PLEASE. 
          UM, WE WILL BE ENDEAVORING A MULTI-PHASE APPROACH. 
          SO WE'RE LOOKING AT THREE PHASES HERE IN THE FIRST PHASE WE WOULD LIKE TO IMPLEMENT. 
          UM, NEXT MONTH, WE'RE USING THE SAME SOLICITATION METHODS THAT HAVE BEEN OUTLINED IN THE ORDINANCE. 
          SO WE'RE FOLLOWING THE ORDINANCE IN ALL OF THIS AS OUTLINED IN THE PLAN. 
          NEXT, PLEASE. 
          UM, SO HERE WE ARE, PHASE ONE. 
          UM, PHASE ONE IS OPEN TO LOCAL AND INTERNATIONAL ARTISTS. 
          UM, IT IS A LIMITED ENTRY COMPETITION, MUCH LIKE MY COLLEAGUES WHO, UM, IDENTIFIED EARLIER FOR THE CONVENTION CENTER. 
          UH, WE'LL HAVE, UM, A SELECTION PANEL MADE UP OF LOCAL AND NATIONALLY RENOWNED, UM, ARTS PROFESSIONALS AND ALSO ARCHITECTS AND ENGINEERS FROM AVIATION. 
          AND, UM, INVITING THEM TO, UH, NOMINATE UP TO 10 ARTISTS, UM, FOR US TO REVIEW. 
          THAT GIVES US A SHORT, UH, UH, POOL OF ABOUT 70 ARTISTS. 
          UM, THE CAVEAT IS THAT THE ARTISTS THAT ARE SELECTING FOR, SELECTED FOR THESE PROJECTS, BECAUSE THE SCALE IS SO, UM, SIGNIFICANT, THAT THEY WILL BE REQUIRED TO WORK WITH LOCAL ARTISTS, AND WE WILL HAVE A SELECTION PROCESS VETTED FOR THEM TO WORK WITH LOCAL ARTISTS. 
          UM, SO I THINK THAT THAT'S IMPORTANT TO REALLY HAVE BOOTS ON THE GROUND TO GROUND, UM, ALL OF THESE PROJECTS. 
          NEXT, PLEASE. 
          UM, SO HERE, HERE'S KIND OF THE SCALE OF, YOU KNOW, TO COMPARE APPLES TO APPLES OF WHAT WE'RE DOING. 
          THIS IS, THESE ARE TUNNELS AND VARIOUS AIRPORTS FROM VARIOUS AGES FROM 1987 TO, YOU KNOW, MORE, UH, CURRENT TIMES. 
          UH, SOME OF THESE, YOU KNOW, THE HOUSTON PROJECT WAS RETROFITTED TO HIS SPACE. 
          AND, YOU KNOW, BACK IN 1987, CHICAGO HERE, UH, THAT PROJECT STILL LOOKS LIKE A VERY CONTEMPORARY INSTALLATION, BUT WE BENCHMARKED SEVERAL AIRPORTS TO COME UP WITH THE SCALE AND THE, THE BUDGETS THAT WE HAVE. 
          SO THE NUMBERS ARE SOLID. 
          NEXT, PLEASE. 
          UM, THE INTERFACES ARE THESE, UM, SPACES THAT ARE ROTUNDA AND CONVEYANCES, ELEVATOR, ESCALATOR, LOBBY SPACES THAT CONNECT THE, UH, THE CONCOURSE TO THE TUNNEL. 
          AND SO THERE WILL BE CONCOURSE B, WHICH WILL BE THE NEW CONCOURSE. 
          NEXT SLIDE, PLEASE. 
          AND, UH, THE BARBARA JORDAN INTERFACE. 
          AND WITHIN THESE, UM, OPPORTUNITIES OR WITHIN THESE SPACES, WE ARE BRINGING THE ARTISTS ON EARLY ENOUGH SO THAT THEY CAN REALLY WORK COLLABORATIVELY WITH THE DESIGN TEAMS TO REALLY DETERMINE THE SCOPE OF THEIR WORK AND THE BEST SIGHTING FOR THE ARTWORK, BECAUSE THERE ARE OTHER, UM, UM, COMPONENTS THAT WE HAVE TO THINK ABOUT WITH LIKE REAL ESTATE AND CONCESSIONS AND ADVERTISING AS WELL. 
          NEXT SLIDE, PLEASE. 
          UM, SO AGAIN, PHASE ONE ARTISTS WILL BE SELECTED BY LIMITED ENTRY, UH, COMPETITION BY INVITATION ONLY. 
          AND THIS, UH, PROVISION IS ALSO SOMETHING THAT'S OUTLINED, UM, IN OUR A IPP GUIDELINES AND THE ORDINANCE. 
          NEXT SLIDE. 
          SO PHASE TWO IS FOR TEXAS RESIDENTS ONLY. 
          UM, IT'LL BE AN OPEN COMPETITION FOR TEXAS RESIDENTS. 
          AND WE HAVE SEVERAL, UH, PROJECTS THAT ARE LISTED IN PHASE TWO. 
          NEXT SLIDE. 
          SO I'M SURE YOU'VE BEEN IN AIRPORTS OR CONVENTION CENTERS, AND YOU'VE SEEN THESE MASSIVE LANDINGS OF, LIKE THESE TERRAZZO FLOORS. 
          GENERALLY THERE'S AN ARTIST THAT'S WORKED WITH A DESIGN TEAM OR A CEMENT SPECIALIST TO, UM, IMPLEMENT THEIR DESIGN IN THE FLOOR. 
          THIS COULD BE VERY COMPLICATED BECAUSE THE FLOOR IS A STRUCTURAL SYSTEM. 
          AND SO, BUT WE THINK IS REALLY SIGNIFICANT FOR A, A TEXAS BASED ARTIST, WHICH COULD, WHICH COULD LIKELY BE A, AN AUSTIN BASED ARTIST TO HAVE AN EXPRESSION IN THE FLOOR. 
          THE CURRENT BJT BARBARA JORDAN TERMINAL DOES HAVE A VERY SUBTLE 
          [01:45:01]
DESIGN IN IT, AND IT IS MEANT TO EXPRESS, UH, PIANO KEYS JUST IN CASE YOU HADN'T NOTICED IT. 
          SO IN THE ORIGINAL PART OF THE DESIGN, YOU'LL SEE THESE BLACK BARS IN THE FLOOR, AND WE WOULD LIKE TO ADVANCE THAT MUSIC THEME SINCE WE'RE A MUSIC CITY. 
          SO BE LOOKING FORWARD TO THAT. 
          NEXT SLIDE, PLEASE. 
          UM, AND THEN THESE TICKETING AREAS ON THE DEPARTURES LEVEL, UM, THESE ARE TICKETING AREAS. 
          IN OTHER AIRPORTS, THERE WILL BE A LOT OF GLASS AND WALLS. 
          UM, AND SO WE WOULD LIKE FOR AN ARTIST TO IMAGINE, YOU KNOW, HOW HOW ARE WE PUNCTUATING THE EXPERIENCE AND THE SPACES TO KIND OF FILTER THE LIGHT COMING THROUGH. 
          OR, YOU KNOW, IMPACTING A, A STRUCTURAL WALL SYSTEM THAT WILL BE IN PLACE AS WELL. 
          AGAIN, LEAVING THE OPPORTUNITIES OPEN FOR THE ARTIST TO WORK WITH THE DESIGN TEAM TO IDENTIFY WHAT THE SPECIFIC OPPORTUNITY IS ONCE THE ARTIST COMES ON BOARD. 
          NEXT SLIDE. 
          UM, AND THEN ARRIVALS. 
          BAGGAGE CLAIM WILL HAVE WALLS AND BULKHEADS BECAUSE MOST BAGGAGE CLAIMS DO. 
          AND AGAIN, LIKE BRUTE FORCE IS, YOU KNOW, SCULPTURAL, BUT ALSO, YOU KNOW, WE CAN IDENTIFY WITH FIRE ANTS. 
          UM, BUT THE INTEREST, THE OPPORTUNITY OVER TO THE RIGHT. 
          THINKING ABOUT NICK CAVE BEING A CHOREOGRAPHER IN THESE SOUND SUITS. 
          HE'S NOT TRADITIONALLY A PUBLIC ARTIST, BUT I AM CONTINUOUSLY ASKED FOR ARTISTS WHO ARE WRITERS OR POETS OR DANCERS, HOW CAN THEY HAVE AN OPPORTUNITY FOR A PUBLIC ART PROJECT? AND SO I JUST WANTED TO GIVE A VISUAL DEMONSTRATION THAT IT CAN HAPPEN AND WE'RE WILLING TO WORK WITH THE ARTIST IN THOSE CAPACITIES. 
          NEXT SLIDE, PLEASE. 
          UM, ARRIVALS CURBSIDE, YOU KNOW, THESE BECOME THOSE HELLO AND GOODBYE MOMENTS AS WELL. 
          AND THERE ARE OPPORTUNITIES TO DO, DO LUMINARIA OR MOSAICS IN THE SIDEWALKS, YOU KNOW, TO GIVE, TO ENGAGE PEOPLE WHILE THEY'RE WAITING FOR, UM, THEIR LOVED ONES TO PICK THEM UP OR THEY'VE JUST BEEN DROPPED OFF. 
          BUT ALSO TO ACTIVATE THE UNDERBELLY OF THE ROADWAYS THAT WILL BE COURSING OVER THESE CROSSWALKS AS WELL. 
          AND SO, AGAIN, SORRY, MICROPHONE AGAIN. 
          THE OPPORTUNITIES ARE OPEN FOR THE ARTISTS TO ACTUALLY WORK WITH THE DESIGN TEAM BECAUSE NONE OF THESE SPACES HAVE BEEN DESIGNED JUST YET. 
          UM, NEXT PLEASE. 
          AND THE PEDESTRIAN BRIDGE. 
          SO THERE WILL BE ONE SIGNIFICANT PEDESTRIAN BRIDGE LEADING FROM THE NEW GARAGE TO, UM, THE, TO THE TERMINAL. 
          AND SO WE REALLY WANT TO ACTIVATE THAT EXPERIENCE, BRINGING PEOPLE ACROSS SEVERAL LANES OF ROADWAYS. 
          AND THIS COULD BE SOUND, IT COULD BE LIGHT, IT COULD BE COLOR, BUT I'VE BEEN, UM, TOLD THAT A US LOVES COLOR, SO CHANCES ARE THERE WILL BE LOTS OF COLOR. 
          UH, NEXT SLIDE PLEASE. 
          AND ALONG WITH THAT ELEVATED CROSSWALK OR, UH, PEDESTRIAN BRIDGE, THERE WILL BE LOWER CROSSWALKS, MUCH LIKE WE HAVE NOW, AND, UH, WE REALLY WANNA ARTICULATE THOSE EXPERIENCES AS WELL. 
          UM, WE HAVE SOME ART MOSAIC ARTWORK THAT KIND OF, UM, LINES THE, UM, PEDESTRIAN CROSSWALKS NOW. 
          AND SO THIS IS IN THE SAME VEIN OF THAT EXPERIENCE. 
          AND THAT WORK WILL BE ACTUALLY DEACCESSION BECAUSE WE'LL BE, UM, REMOVING THOSE CURRENT, UH, PEDESTRIAN CROSSINGS AND REPLACING THEM WITH SOME NEW ONES. 
          NEXT SLIDE, PLEASE. 
          UM, SO PHASE TWO ARTISTS, AS I SAID, IS AN OPEN COMPETITION FOR TEXAS BASED ARTISTS. 
          AND, UM, I, I KNOW LOTS OF LOCAL ARTISTS AND TEXAS BASED ARTISTS THAT ARE LOOKING FORWARD TO THOSE OPPORTUNITIES. 
          NEXT SLIDE, PHASE THREE ARTISTS OR PHASE THREE OPPORTUNITIES IS AUSTIN BASED ARTIST ONLY. 
          AND THERE'S, UM, 18 RESTROOM ENTRIES AND THESE REALLY INTERESTING SPACES THAT WE'RE CALLING AMENITY LOUNGES. 
          UM, AND ALSO TWO SPACES FOR CHILDREN. 
          AND FOR ME, I THINK THESE ARE SOME OF THE MOST INTERESTING PROJECTS, UM, BUT I LOVE THEM ALL. 
          NEXT SLIDE PLEASE. 
          SO FOR RESTROOM ENTRIES, I'M SURE MANY OF YOU ARE FAMILIAR WITH AMILA SKETCH, UM, ENTRIES, WE WANNA REPLICATE THAT AND ALLOW THAT TO BE OPPORTUNITIES FOR OTHER ARTISTS. 
          UM, THEY COULD BE AWARDED ONE A RESTROOM OR TWO, ONE RESTROOMS, 40,000 BASED OFF OF 200, APPROXIMATELY 200,000 OR 200 SQUARE FEET, UM, AND OR THEY COULD, YOU KNOW, BE AWARDED TWO UH, RESTROOMS. NEXT SLIDE, PLEASE. 
          UM, RIGHT NOW THERE'S A LOT OF DEMAND, HIGH DEMAND FOR OUR TRAVELERS WHO HAVE CHALLENGES WITH MOBILITY. 
          AND WE HAVE A, A SPACE NOW THAT IS BUSY AND JAM PACKED EVERY TIME I WALK PAST THERE. 
          WE WANNA HUMANIZE THAT EXPERIENCE AND ALLOW AN ARTIST TO WORK WITH A DESIGN TEAM TO CREATE SOME, UM, SOME SOFT INTERACTIONS FOR, UM, FOR OUR FOLKS WHO HAVE, UM, MOBILITY CHALLENGES. 
          AND THAT WILL BE PRE-SECURITY, POST-SECURITY. 
          WE'D LIKE A SENSORY LOUNGE. 
          [01:50:01]
UM, WE HAVE A, UM, A PROGRAM AT THE AIRPORT, UM, THE, THE SUNFLOWER LANYARDS PROGRAM FOR PEOPLE WHO HAVE, UH, DIFFERENT DIS DIS DISABILITIES TO KNOW THAT WE HAVE STAFF THAT HAVE BEEN TRAINED TO ASSIST PEOPLE WHO HAVE DIFFERENT ABILITIES, UM, OR TO CONNECT THEM WITH THE SERVICES THAT THEY MAY NEED AT THE AIRPORT. 
          AND SO THIS IS A GROWING SECTOR, UM, AMENITY AT AIRPORTS IS TO HAVE A SENSORY ENVIRONMENT FOR MAYBE FOLKS WHO ARE NEURODIVERGENT. 
          MAYBE THEY NEED SOMETHING MORE TACTILE OR MORE QUIET, BUT IT'S A DELINEATED SPACE THAT HAS, UM, THAT ENGAGES ALL OF THE SENSES FOR THE VARIOUS NEEDS THAT TRAVELERS MAY HAVE. 
          NEXT, PLEASE, AS SPACES FOR CHILDREN, UH, I AM CONSTANTLY ASKED, WHERE CAN I TAKE MY KID TO BURN OFF SOME ENERGY? UM, AND SO WE'RE GONNA, THE PLAYSCAPE, YOU KNOW, IS, UH, VISUALLY ENGAGING AND VISUALLY PLAYFUL, BUT NOT INTENDED TO BE A ROMPER ROOM. 
          SO WE WANNA CREATE A ROMPER ROOM, KIND OF PLAY INDOOR PLAY AREA FOR THE TWO TO 6-YEAR-OLD TO BURN OFF SOME ENERGY AND, UM, AND ARE REALLY LOOKING FORWARD TO A LOCAL ARTIST IMAGINING SOMETHING. 
          SO AUSTIN SPECIFIC FOR THAT. 
          AND, UM, SO WE HAVE, UH, TWO SPACES IDENTIFIED IN THIS PLAN FOR THAT TO HAPPEN BECAUSE WE'LL HAVE, YOU KNOW, A LOT OF ROOM AT THE AIRPORT. 
          NEXT SLIDE. 
          AND SO, AS I SAID EARLIER, PHASE THREE WILL BE AN OPEN COMPETITION FOR AUSTIN-BASED ARTIST. 
          UM, NEXT SLIDE. 
          AND SO WITH ALL OF THE PHASES COMING TOGETHER, UM, WITH A PROGRAM CONTINGENCY TO THINK ABOUT EXISTING ARTWORK THAT MAY NEED TO BE REDESIGNED AND RECONTEXTUALIZED, THAT BRINGS OUR TOTAL TO 22,724,400 REALLY SPENT OVER THE SPAN OF FOUR TO SEVEN YEARS. 
          UH, WE'D LIKE TO, UM, DO OUR INVITATIONAL IN SEPTEMBER AND OPEN, UM, PHASE TWO SOLICITATIONS IN OCTOBER, NOVEMBER, AND PHASE THREE ASPIRATIONALLY SPRING OF NEXT YEAR. 
          NEXT SLIDE. 
          UM, SO THAT CONCLUDES MY PRESENTATION FOR OUR SITES AND OPPORTUNITY PLAN. 
          I'M WELCOME. 
          ANY QUESTIONS YOU MAY HAVE, AND THANK YOU FOR YOUR TIME. 
          SO MANY SITES, SO MANY OPPORTUNITIES. 
          IT'S VERY EXCITING. 
          COMMISSIONERS, DO WE HAVE ANY QUESTIONS? , COMMISSIONER GRAY, HOW DOES THE, UH, A IPP PANEL COME TOGETHER WITH, UH, UH, A US GROUP IN MAKING DECISIONS ON, UM, ARTISTS? IS IT JUST LIKE A, EVERYBODY HAS THAT ONE ZOOM MEETING ALTOGETHER ONCE A, I MEAN, I DON'T KNOW HOW TO ANSWER THE QUESTION. 
          OKAY. 
          UM, I GUESS I'M JUST THINKING, I WILL SAY THAT, UM, 18 MONTHS AGO WHEN I WAS WEARING IT, WEARING JAIME'S HAT FOR A IPP. 
          YEAH, WE STARTED A PLANNING PROCESS OVER THERE AND WE CONTINUED THE PLANNING PROCESS. 
          SO WE CREATED A BRIDGE. 
          OKAY. 
          AND, UH, AND THEN I SHARED THE PLAN WITH MY TEAM MEMBERS, UM, AND ALEX IS A PART OF MY TEAM. 
          COOL. 
          BUT BY AND LARGE, I HAVE TAKEN ON THE RESPONSIBILITY OF PUTTING THE PLAN TOGETHER TO GARNER CONSENSUS FROM AVIATION EXECUTIVES AND, UH, LEADERSHIP BECAUSE THAT'S BEEN THE, THE, THE, UM, THE HARDEST CHALLENGE TO THE HURDLE. 
          YEAH. 
          YES. 
          UM, SO I'VE TAKEN ON THE BRUNT OF THAT RESPONSIBILITY AND, UM, HAVE SHARED OUT WITH THE A IPP TEAM, UM, AND FOR COLLECTIONS MANAGEMENT, UM, SEAN HAS PROVIDED SEAN HARRISON, THE A IPP COLLECTIONS MANAGER WHO I HIRED, UM, HAS GIVEN LOTS OF FEEDBACK AND HISTORICAL DOCUMENTS TO INFORM THE COLLECTIONS MANAGEMENT POLICY. 
          AND JAIME INFORMED ME THAT HE WORKED WITH SUE LAMB ON THE, UM, THE LOANS AND DONATION POLICY, WHICH REQUIRES A COLLECTIONS MANAGEMENT POLICY FOR US TO BE ABLE TO BE, MOVE AT A LITTLE BIT OF A FASTER PACE AND BE A LITTLE BIT MORE AUTONOMOUS. 
          SO I WILL, I WILL SAY THAT WE'VE BEEN VERY COLLEGIAL IN THE PROCESS, BUT I HAVE TAKEN A LOT OF OWNERSHIP IN JUST TRYING TO MOVE IT FORWARD. 
          GREAT. 
          THANK YOU SO MUCH. 
          AND OBLIGING BY THE, UM, THE ORDINANCE, WHICH IS THE, THE KEY THING. 
          YEAH. 
          COMMISSIONERS. 
          OKAY. 
          THANK OH, YES, PLEASE. 
          COMMISSIONER TURN. 
          HI. 
          UH, HI. 
          UM, I AM, UM, HI . 
          I WAS LOOKING FOR YOU . 
          I'M JUST CURIOUS, UM, UM, I UNDERSTAND THE PANEL IS, UH, INVITE ONLY. 
          UH, HOW IS THAT SELECTION MADE AND, UH, UH, WITHIN THE PANELISTS AND THE PARTICIPANTS, UH, HOW ARE WE KIND OF ENSURING, UH, DIVERSE REPRESENTATION? THANK YOU. 
          OF COURSE. 
          I HAVE, UM, MY EXPERIENCE WITH A IPP IS THAT WE PRESENT A, UM, A LIST OF PANELISTS AND BY THE TIME WE 
          [01:55:01]
GET TO REACHING OUT TO THE PANELISTS, STAFF IS RESORTING TO A POOL OF PANELISTS THAT MAY NOT NECESSARILY BE THE PANELISTS THAT WERE, UM, ON THE, ON THE DOCKET FOR APPROVAL, JUST BECAUSE SCHEDULES AND TIME PASSES BY. 
          AND SO I HAVE, UM, I HAVE SELECTED THE PANELISTS, UM, AND THEY ARE DIVERSE. 
          AND I CAN TELL YOU WHO THE RECOMMENDED PANELISTS ARE. 
          UM, AND I'M STILL AWAITING ON SOME OF THE RESPONSES, BUT INGRID SPENCER, WHO IS THE EXECUTIVE DIRECTOR FOR AUSTIN, A I A COCO TREVINO, WHO'S THE PROTOS, UM, UH, EXECUTIVE DIRECTOR WHO'S LOCAL TO AUSTIN, AND ALSO MEXICO CITY, HEATHER HESLOP, WHICH IS A AFRICAN AMERICAN WOMAN THAT'S OVER A PUBLIC ART PROJECT FOR DESTINATION CRENSHAW IN LOS ANGELES. 
          CARRIE ADAMS, WHO'S THE CHIEF CURATOR AND DIRECTOR FOR THE CARVER, UM, AUSTIN BAILEY, WHO AUSTIN IS NOT HER FIRST NAME, BUT IT STARTS WITH AN A, EXCUSE ME, MS. BAILEY, WHO'S THE CHIEF CURATOR FOR CRYSTAL BRIDGES. 
          AND I'VE REACHED OUT ALSO TO THE NEW CHIEF CURATOR FOR THE ASIAN ART MUSEUM, THE CROW COLLECTION IN DALLAS, UM, WHO IS PROFICIENT IN NOT ONLY ASIAN ART, BUT ALSO LATIN AMERICAN ART. 
          AND SO, JUST THROUGH MY CONNECTIONS AND UNDERSTANDING OF THE CITY'S ASPIRATION AND AIP P'S ASPIRATION FOR DIVERSITY, ALL OF THE, THE PANELS PANELISTS ARE DIVERSE AND HAVE A HIGH, YOU KNOW, A PRETTY PROFICIENT KNOWLEDGE OF PUBLIC ART, PUBLIC ART MOVEMENTS, UM, AND ARTISTS GLOBALLY, UM, AND LOCALLY TO THE, THE AREAS WHERE THEY ARE. 
          SO WE'RE DIVERSE GEOGRAPHICALLY OVER THIS, YOU KNOW, THROUGHOUT THE US BUT ALSO CULTURALLY AND ETHNICALLY DIVERSE, WHICH IS THE EXPECTATION THAT I HAVE FOR THE NOMINATIONS THAT THEY WOULD BE PROVIDING. 
          THANK YOU. 
          THANK YOU. 
          OKAY. 
          WITH THAT, I THINK WE CAN TAKE ACTION. 
          DO I HAVE A MOTION TO APPROVE? TO APPROVE COMMISSIONER GRAY. 
          MOTION TO APPROVE. 
          DO I HAVE A SECOND? COMMISSIONER HOUSTON SECOND. 
          AND COMMISSIONER NEY THIRDS. 
          UM, ALL IN FAVOR OF APPROVAL OF THE ART AND PUBLIC PLACES, SITES AND OPPORTUNITIES PLAN FOR AUSTIN BERKELEY INTERNATIONAL AIRPORT. 
          WONDERFUL. 
          IS THAT EVERYBODY? YEAH. 
          HANDS UP. 
          HANDS UP. 
          UNANIMOUS. 
          WONDERFUL. 
          THANK YOU FOR THAT ROBUST PRESENTATION CONTEST. 
          THANK YOU. 
          REALLY EXCITING FUTURE AHEAD. 
          AND REALLY STOKED THAT WE'RE GONNA SEE TIERED OPPORTUNITIES THAT, UM, PRIORITIZE LOCAL AUSTINITES AS WELL AS TEXANS ALONGSIDE INTERNATIONAL ARTISTS. 
          VERY EXCITING. 
          THANK YOU SO MUCH. 
          THANK YOU. 
          UM, ARE YOU HANGING OUT TO TALK ABOUT THE I AM. 
          NEXT ITEM. 
          I'D LIKE TO PUT IT ON CONSENSUS. 
          ALRIGHT. 
          , WE'RE GETTING REAL CLOSE. 
          I WAS GONNA SAY, DO WE GET, DO WE HAVE PRESENTATIONS FOR EVERYTHING OR IS IT ALL BACKUP? UH, EVERYTHING WAS IN THE BACKUP. 
          BACKUP, YEAH. 
          UM, WHICH ARE THE DECKS THAT WILL BE PRESENTED TO US, BUT WE DO HAVE THE OPPORTUNITY TO TAKE THINGS ON CONSENT. 
          I JUST NEED A MOTION TO DO SO. 
          I'LL MOVE TO TAKE 
          [Items 12 - 16]
12 THROUGH 16 ON CONSENSUS. 
          SECONDED BY GARZA. 
          ALL IN FAVOR OF TAKING ITEMS 12 THROUGH 16 ON CONSENT. 
          HANDS UP. 
          HANDS UP. 
          UNANIMOUS. 
          YOU'VE BEEN SPARED YOUR SECOND PRESENTATION. 
          YES. 
          THANK YOU. 
          BECAUSE WE TRUST YOU, YOU SO MUCH. 
          YES. 
          THANK YOU. 
          THANK YOU ALL. 
          HAVE A GOOD NIGHT. 
          THANK YOU. 
          THANK YOU VERY MUCH. 
          ALRIGHT ON CONSENT, UNANIMOUS. 
          REALLY EXCITING. 
          OKAY, WITH THAT WE'RE 
          [17. Update from joint Arts/Music Commission Working Group on Urban Core Issues with Commissioners Gray, Maldonado, and Schmalbach (chair).]
MOVING ON TO, UH, WORKING GROUP UPDATES. 
          UM, ITEM 17, UPDATE FROM THE JOINT ARTS AND MUSIC COMMISSION WORKING GROUP ON URBAN COURT ISSUES WITH COMMISSIONER GRAY MALDONADO AND MABA SCHMUCK IS NOT HERE. 
          MALANO IS NOT HERE. 
          COMMISSIONER GRAY, I KNOW YOU'VE BEEN TRAVELING. 
          IS THERE AN UPDATE? WE HAVEN'T MET TOGETHER. 
          OKAY. 
          THERE, THERE ARE THINGS THAT ARE GOING ON, UH, BEHIND THE SCENES WORKING ON, UM, UH, A PUBLIC GET TOGETHER AND ALL THE THINGS THAT WE'VE BEEN TALKING ABOUT, BUT WE HAVE NOT HAD A MEETING TOGETHER. 
          OKAY. 
          IT SHOULD BE HAPPENING SOON. 
          AND I KNOW THAT WE HAD DONALD PRESENT TO US A MONTH OR TWO AGO, TWO MONTHS AGO, AND WE DID VOCALIZE SUPPORT. 
          I KNOW THAT COMMISSIONER SCHMUCK IS WORKING ON PUTTING THAT IN WRITING, SO THAT WILL GO, UM, TO THAT DEPARTMENT TO USE IN THEIR BACKUP WHEN PRESENTING TO COUNCIL. 
          SO WE HAVE EXPRESSED SUPPORT FOR AN URBAN COURT ISSUE, UM, MOVING ON, UPDATE 
          [18. Update from Community Engagement Working Group on collecting feedback on pilot funding programs and planning on ways the Arts Commission can be more involved in the community with Commissioners Zisman, Houston, and Kracheni (chair)]
FROM COMMUNITY ENGAGEMENT, WORKING GROUP ON COLLECTING FEEDBACK ON PILOT FUNDING PROGRAMS AND PLANNING ON WAYS THE ARTS COMMISSION CAN BE MORE INVOLVED IN THE COMMUNITY WITH COMMISSIONERS ISMAN HOUSTON AND CHENEY. 
          MR. CHENEY, I KNOW YOU'VE BEEN ILL, BUT COMMISSIONER HOUSTON AND I HAD THE OPPORTUNITY TO SPEAK ON THE RADIO, THE TALK BOX, UM, WITH A COMMUNITY MEMBER, LISA SHEPS, THE ED OF GROUND FOUR THEATER. 
          FEEL 
          [02:00:01]
FREE TO JUMP IN. 
          I DON'T NEED TO DOMINATE THE MICROPHONE. 
          YOU FEELING, TRUST ME. 
          OKAY. 
          YOU DID A FABULOUS JOB. 
          UM, IT WAS A WONDERFUL PROGRAM AND, UH, LISA, WHO IS STEEPED IN COMMUNITY AND VERY AWARE AND FAMILIAR WITH OUR CULTURAL ARTS PROGRAMS, UM, AND A LONG TIME COMMUNITY CON, UH, CULTURAL ARTS CONTRACTOR, UM, HAD A LOT OF INSIGHTFUL QUESTIONS AND WE WERE ABLE TO REALLY HONE IN ON A LOT OF THE OPPORTUNITIES CITING THE I 35 ARTISTS IN RESIDENCY PROGRAM AND IF, AND THE NEXUS GRANT, WHICH HAD NOT YET CLOSED AT THE TIME. 
          UM, AND HIGHLIGHTING A LOT OF THE OPPORTUNITIES FOR, UH, DROP IN SUPPORT AND ONGOING SUPPORT. 
          UH, AND NEXUS ISN'T CLOSED YET. 
          NEXUS ISN'T CLOSED YET. 
          THANK YOU FOR THAT. 
          , THERE'S SO MANY DATES SWIRLING AROUND . 
          WHICH TUESDAY IS IT EXACTLY? I DON'T EVEN KNOW EXACTLY. 
          UM, NEXUS IS STILL OPEN. 
          NO PANIC. 
          UM, BUT THAT WAS REALLY WONDERFUL AND I THINK A, A REALLY GOOD EXAMPLE OF THE WAYS THAT WE CAN BE PUT TO USE IN THE COMMUNITY. 
          UM, WE, IT HAS BEEN A VERY BUSY SUMMER. 
          I THINK INDIVIDUALLY OUR ORGANIZATIONS AND OUR WORK HAS REALLY BEEN CONSUMING. 
          THIS IS A WORKING GROUP THAT I DON'T WANNA GIVE UP ON JUST YET. 
          MM-HMM. 
          . 
          I WOULD LOVE TO FIND A RHYTHM HERE. 
          AND HOPEFULLY WITH THE SCHOOL YEAR STARTING AND WE'RE NOT BALANCING SUMMER CAMPS AND TRAVEL, WE'LL HAVE THE OPPORTUNITY TO CREATE MORE OF A, A STRUCTURE AROUND IT. 
          BUT I DID REALLY ENJOY THE INVITATION TO PRESENT IN THAT WAY. 
          AND, UM, I FEEL LIKE IT WAS A GOOD OPPORTUNITY TO REACH A BROADER AUDIENCE. 
          SO THAT'S MY UPDATE FOR THAT. 
          WE WORKING GROUP MEMBERS NEEDED. 
          YOU KNOW, I DON'T THINK IN THIS MOMENT. 
          YEAH. 
          I THINK IF WE CAN REALLY HONE IN ON A MODALITY YEAH. 
          AND WHAT WE'RE LOOKING FOR, AND I THINK RIGHT NOW IT'S A, IT'S A, ANY AND EVERYTHING, ANYBODY WHO WANTS TO INVITE US OUT, WE'RE HAPPY TO BE LIKE THAT, YOU KNOW, MICKEY MOUSE CHARACTER THAT'S REPRESENTING AND JUST TO ANSWER QUESTIONS AND BE COMPLETELY AVAILABLE. 
          I THINK IF WE HAD A LITTLE BIT MORE STRUCTURE AROUND IT, IT COULD BE MORE SUCCESSFUL. 
          UM, BUT IT JUST NEEDS I THINK, A LITTLE BIT MORE TIME IN THE OVEN AND MAYBE INPUT. 
          SO IF WE FEEL LIKE WE NEED MORE PEOPLE AND MORE VOICES IN THAT ROOM, THEN I'D BE REALLY INTERESTED TO THAT PLACE. 
          YEAH, ABSOLUTELY. 
          UM, OKAY, WITH THAT 
          [ITEMS FOR INFORMATION ]
WE'RE GOING ON FOR ITEMS FOR INFORMATION. 
          DOES ANYBODY HAVE ITEMS FOR INFORMATION? 'CAUSE I DO. 
          I SEE COMMISSIONER GARZA PACKING UP. 
          WE'RE NOT DONE YET. 
          BEFORE WE, BEFORE WE, YOU DON'T GET TO GO HOME YET. 
          OKAY. 
          THANK YOU. 
          YES. 
          PLEASE SHARE. 
          YEAH, JUST A REMINDER, TOMORROW SCHOOL STARTS FOR ALL THEIR PUBLIC SCHOOL KIDS. 
          SO MAKE SURE YOU GIVE YOURSELF A LITTLE BIT EXTRA TIME. 
          UH, GOOD LUCK TO ALL THEIR KIDS, WHETHER YOU'RE GONNA PRE-K COLLEGE OR WHATEVER. 
          AWESOME. 
          KEEP IT GOING. 
          UH, BE SAFE TOMORROW. 
          OKAY. 
          IT'S GONNA BE CRAZY ON THE ROAD. 
          GIVE YOURSELF AN EXTRA 10, 15 MINUTES. 
          TRUST ME. 
          THAT'S A GREAT REMINDER. 
          THAT'S A GREAT REMINDER. 
          THANK YOU. 
          FROM OUR, OUR A ISD REPRESENTATIVE, LONGTIME TEACHER, THANK YOU FOR DOING WHAT YOU DO. 
          TEACHING THE YOUTHS UM, COMMISSIONER HUGHES. 
          I BELIEVE I WAS SUPPOSED TO HAVE A DISCUSSION ITEM ON THE AGENDA THIS WEEK. 
          OH, IT WAS CARRIED OVER FROM LAST MONTH AND IT DIDN'T GET PICKED UP. 
          YOU'RE TOTALLY RIGHT. 
          I THINK WE'RE LIMITED BECAUSE IT'S NOT ON THE AGENDA, BUT IT'S GONNA BE THE FIRST THING WE TALK ABOUT NEXT MONTH. 
          OKAY. 
          . 
          UM, AND IF YOU WANNA HAVE SET SOME CONVERSATIONS ABOUT IT IN THE MEANTIME, WE CAN DO THAT TOO. 
          OKAY. 
          I'M APOLOGIES FOR, I MISSED THAT. 
          SOMEBODY'S GOING ON VACATION SO THEY'RE NOT AS ATTENTION TO DETAIL. 
          JUST KIDDING. 
          JUST KIDDING. 
          IT WAS FROM OUR JULY, FROM THE JULY MEETING, AND IT WAS ITEM 20, I THINK IT WAS ITEM 20 FROM THE JULY AGENDA, WHICH BECAUSE IT WAS SUCH A ACTIVE MEETING, WE DECIDED TO PUSH A THOUSAND APOLOGIES FROM PERFECT. 
          WE ARE AHEAD OF THE GAME. 
          THANK YOU. 
          WE'LL ALLOW YOU TO LEAVE ON YOUR VACATION. 
          UM, ANYBODY ELSE? ITEM INFORMATION COMMISSIONER CNI? YES. 
          UM, I WANTED TO LET EVERYBODY KNOW ABOUT AN OPPORTUNITY THAT OPENED UP ON AUGUST 16TH. 
          UM, SO PRETTY RECENTLY, IT'S, UM, THROUGH THE CITY OF AUSTIN'S EQUITY OFFICE, THERE'S AN EQUITY MINI GRANT. 
          UM, AND I THINK THIS IS, UM, POTENTIALLY, UH, REALLY HUGE FOR SOME OF THE GROUPS THAT WE SAW LAST MONTH. 
          I DO THINK THAT THEY'RE ELIGIBLE FOR THIS. 
          UM, IT OFFERS LOW BARRIER FUNDING OPPORTUNITIES TO SUPPORT LOCAL DR GRASSROOTS ORGANIZATIONS. 
          AND THE MINI GRANT FOCUSES ON COMMUNITY BASED EFFORTS IN ONE OR MORE OF THE FOLLOWING PRIORITY AREAS, WHICH ARE IMMIGRANT INCLUSION, SOLIDARITY WITH UNHOUSED PEOPLE, AND ANTI DISPLACEMENT DISPLACEMENT PREVENTION. 
          UM, THE GRANT, UH, LEVELS ARE 10,000, 20,000 AND 30,000. 
          UM, AND THEY WILL BE NOTIFIED BY THE END OF THE YEAR. 
          I THINK THE APPLICATION IS OPEN IN UNTIL OCTOBER 15TH AND THEY WILL BE NOTIFIED IN DECEMBER OF THEIR DECISION AND THEN FUNDING IN JANUARY. 
          SO 
          [02:05:01]
I THINK THAT'S GREAT INFORMATION FOR THOSE THAT ARE APPLYING FOR ELEVATE THRIVE, UM, THAT, UH, NEED EXTRA INCOME. 
          MAYBE THEIR AWARDS AREN'T AS BIG AS THEY WOULD HOPE, UM, BUT ALSO JUST, UM, FOR EQUITY SAKE, I THINK IT WAS JUST A COOL GRANT TO TALK ABOUT FOR A SECOND. 
          IT'S A PHENOMENAL OPPORTUNITY. 
          YEAH. 
          UM, WHAT IS, WHEN DOES THAT CLOSE COMMISSIONER CINI, DO YOU HAVE IT IN FRONT OF YOU? UM, IT'S OCTOBER 15TH, SO IT OPENED ON AUGUST 16TH AND CLOSES OCTOBER 15TH, SO ABOUT A COUPLE MONTHS. 
          GREAT. 
          UM, ANYBODY WHERE CAN PEOPLE FIND INFO? UH, PROBABLY THE EQUITY OFFICE WEBSITE, BUT MAYBE WE CAN GET OUR HANDS ON IT AND HELP CIRCULATE. 
          COMMISSIONER KEYS? YES, GOOD EVENING. 
          UM, ONE ITEM FOR INFORMATION. 
          I AM ALS I ALSO SERVE IN CAPITAL DELIVERY SERVICES AS A SENIOR PIO. 
          AND WE JUST RECENTLY LAUNCHED BUILDING AUSTIN, WHICH WAS ESSENTIALLY A WAY TO PROVIDE MORE COHESION WITH, UM, THE CONSTRUCTION THAT'S HAPPENING EVERYWHERE,  IN THE CITY, AS WELL AS JUST RESIDENTS AND INFORMATION SHARING, UM, ACROSS DEPARTMENTS. 
          SO THE WHOLE POINT OF IT IS WE KNOW CONSTRUCTION IS HAPPENING RAPIDLY AND WE DO A LOT OF ONE-OFF COMMUNITY ENGAGEMENT PROJECTS THAT ARE RELATED, UM, JUST TO PARTICULAR PROJECTS. 
          BUT BUILDING AUSTIN FOR INSTANCE, WE MIGHT TAKE CENTRAL EAST AUSTIN AND WE'LL FOCUS ON FIVE MAJOR PROJECTS THAT ARE HAPPENING THERE. 
          SO THIS PAST, UM, ON AUGUST 15TH, WE COVERED, UM, THE ASIAN AMERICAN RESOURCE CENTER, PHASE TWO. 
          WE ALSO COVERED THE LITTLE WALNUT CREEK, UM, FLOOD REDUCTION RISK PROJECT, UH, THE EAST MLK CORRIDOR AS WELL AS THE AIRPORT C ONE A CORRIDOR, UM, AS WELL AS THE EAST BREAKER LANE EXTENSION. 
          ALL OF THESE PROJECTS ALSO INCLUDED ART AND PUBLIC PLACES, PROJECTS, BUT THE COMMUNITY DOESN'T ALWAYS KNOW ABOUT THAT. 
          AND SO I, THIS IS MAINLY TO ART AND PUBLIC PLACES, UM, AND US TRYING TO BUILD THAT CONNECTION WITH OTHER, UM, DEPARTMENTS TO, UM, CONTINUE TO JUST AMPLIFY THE WORK THAT THEY'RE DOING TO HAVE THAT SYNERGY. 
          IN OTHER PROJECTS, IF WE'RE GOING OUT AND TALKING ABOUT SOMETHING IN EAST AUSTIN, WE WANT TO INVITE ART IN PUBLIC PLACES TO BE ABLE TO ALSO ENGAGE ON THEIR PROJECTS THAT OVERLAP WITH CAPITAL DELIVERY SERVICES. 
          SO WE WILL BE DOING THAT ONGOING QUARTERLY, UM, AND HAVE THOSE MAJOR PROJECTS. 
          SO IF Y'ALL NEED ANY ADDITIONAL INFORMATION, IF Y'ALL WOULD LIKE TO COME AND TABLE OUT WITH US, PLEASE FEEL FREE TO REACH OUT. 
          THAT'S AMAZING. 
          THANK YOU SO MUCH. 
          AND PLEASE, UM, FEEL FREE TO USE THE SPACE TO UPDATE US ON THOSE EVENTS AND WE CAN ADD THEM TO OUR BACKUP TOO, SO THEY'RE READILY AVAILABLE TO OUR PUBLIC AUDIENCE. 
          THANK YOU. 
          THANK YOU. 
          ANY OTHER? I WILL TAKE THIS A TINY BIT OF SPACE. 
          OH, DO YOU HAVE SOMETHING? MM-HMM. 
          NO. 
          UM, ITEM FOR INFORMATION. 
          THERE'S AN AWESOME NEW PODCAST CALLED CITY CAST AUSTIN THAT REALLY BREAKS DOWN SOME SILLY THINGS, BUT REALLY A LOT OF IMPORTANT CITY, UM, RELATED ITEMS. IN PARTICULAR, I TOOK A LOT OF JOY IN LISTENING TO THE PODCAST ABOUT THE CITY BUDGET. 
          AND ONE THING THAT I TOOK AWAY FROM THAT CONVERSATION THAT RELATES TO THE WORK THAT WE'RE DOING HERE ONGOING IS WHILE WE WERE RESOUNDINGLY DENIED ANY OF OUR BUDGET RECOMMENDATIONS, NEXT YEAR STARTS NOW, AND THAT AUSTIN IS A CITY THAT REQUIRES PROACTIVE ACTION AND THEY TAKE FEEDBACK IN ADVANCE OF THEIR DECISION IN A NOT THE OTHER WAY AROUND, WHICH IS WAY SOME OF THEIR MUNICIPALITIES WORK. 
          SO FOR CHANGE TO HAPPEN, IT HAS TO BE ONGOING ITERATIVE CONVERSATIONS AND DEVELOPMENT, UM, FROM OUR BODIES, FROM OUR BOARDS AND COMMISSIONS. 
          SO THE WORK IS NOT OVER. 
          YES, THE BUDGET HAS BEEN DECIDED FOR THIS YEAR. 
          THAT JUST MEANS THAT OUR WORK FOR NEXT YEAR BEGINS NOW. 
          UM, I THINK THAT WAS ALL I NEEDED TO SAY. 
          UH, YEP, THAT'S ABOUT IT. 
          UM, SO PLEASE CHECK OUT CITY CAST AUSTIN. 
          I REALLY, IT'S, UH, DONE BY A LOCAL CREATIVE. 
          THEY HAVE INCREDIBLE GUESTS, UH, PRESERVATION AUSTIN WAS FEATURED. 
          THERE'S A LOT OF LOCAL INSTITUTIONS THAT ARE FEATURED AND HIGHLIGHTED ALONG WITH SILLY THINGS LIKE WHO WOULD BE YOUR AUSTIN MOUNT RUSHMORE. 
          AND OBVIOUSLY LESLIE IS ON EVERYBODY'S MOUNT RUSHMORE FOR AUSTIN. 
          FUTURE AGENDA 
          [FUTURE AGENDA ITEMS]
ITEMS, UM, JESUS HAS FLAGGED YOUR ITEM FOR NEXT TIME, UH, COMMISSIONERS ANY ITEMS THAT NEED TO BE ADDED FOR THE FUTURE. 
          ONE ITEM THAT WE DIDN'T CARRY OVER FROM JULY WAS A RECAP OF OUR RETREAT, WHICH WAS FINE. 
          NOT TO HAPPEN TODAY BECAUSE WE HAD SUCH A FULL AGENDA AND A LOT OF ABSENCE. 
          BUT I DO WANNA CIRCLE BACK TO SORT OF THE COMMITMENT THAT WE DRAFTED AS A GROUP. 
          UM, AND REMIND PEOPLE TO DO THINGS LIKE RSVP IF THEY'RE GONNA ATTEND AN ARTS COMMISSION MEETING SO THAT WE'RE NOT WAITING TILL THE LAST MINUTE TO FIGURE OUT IF WE HAVE QUORUM OR NOT. 
          COMMISSIONER HOUSTON, DID YOU HAVE SOMETHING TO ADD? CAN UM, I THOUGHT THAT, WELL, IT WASN'T ON THE AGENDA, SO NO, I DIDN'T THINK THAT. 
          UM, CAN WE ADD, UH, FOR DISCUSSION NEXT WEEK ABOUT THE, THE HOT FOCUS GROUP AND WHAT'S GOING ON WITH THAT, WITH THE SELECTION 
          [02:10:01]
CRITERIA, THE MEASURE FOCUS GROUP STAFF? DO WE HAVE ANY INSIGHT ON WHEN WE MIGHT GET MORE INFORMATION FROM THAT PROCESS BEFORE WE DISCUSS IT? I'D HATE TO SORT OF O OPEN PANDORA'S BOX WITHOUT ANY SORT OF FACTUAL OR LIKE METRIC. 
          WE SHOULD HAVE AN UPDATE BY NEXT MONTH MEETING. 
          OKAY. 
          I DUNNO IF THEY'LL BE READY TO PRESENT AT NEXT MONTH'S MEETING, BUT I CAN TALK TO DUSTIN AND SEE WHERE WE'RE AT FOR THOSE ON SCREEN. 
          THERE WILL BE AN UPDATE BY IN, IN HOPE. 
          THERE WILL. 
          WERE HOPES TO BE AN UPDATE FOR US FOR NEXT WEEK, BUT MAYBE NOT A PER, UH, FORMAL PRESENTATION. 
          AND COMMISSIONER HOUSTON IS REFERRING TO THE FOCUS GROUPS THAT JUST TOOK PLACE LAST MONTH OR OVER THIS PAST MONTH WITH MEASURE. 
          UM, I PARTICIPATED IN ONE. 
          I KNOW THAT A COUPLE COMMUNITY MEMBERS HAVE PARTICIPATED. 
          THERE WAS A, SOME TECHNICAL ERRORS THAT HAPPENED. 
          SO, UM, COMMISSIONER HOUSTON'S BEEN EXTREMELY PROACTIVE AND, UH, TAKING THE LEAD IN THE ONGOING COMMUNICATION WITH THAT GROUP. 
          SO THAT'S WHAT THEY'RE REFERRING TO. 
          IF ANYBODY HAD ANY QUESTIONS ABOUT WHAT THAT HAPPENED, CAN YOU SAY A LITTLE BIT ABOUT WHAT THAT IS? THE FOCUS GROUP? YEAH. 
          I WOULD LOVE FOR STAFF TO BE A LITTLE BIT MORE OFFICIAL. 
          COULD YOU JUST OUTLINE WHAT MEASURE IS DOING? THANK YOU, LAURA, BECAUSE I COULD GIVE A SYNOPSIS THAT AND I DON'T WANNA MISREPRESENT. 
          YEAH, SURE. 
          SO, UM, MEASURE WAS THE CONSULTING GROUP THAT WE BROUGHT ON LAST FALL TO LOOK AT THE EFFICACY OF THE PROGRAMS, THE HOT FUNDED PROGRAMS SPECIFICALLY. 
          SO THRIVE, ELEVATE, LMF, AND NEXUS. 
          THEY'RE LOOKING AT EVERYTHING. 
          THEY'RE LOOKING AT HISTORICALLY WHO WAS FUNDED IN CULTURAL FUNDING PROGRAMS, WHAT THE NEW PILOT PROGRAMS BROUGHT, AND THEN WHO WAS FUNDED OUT OF THOSE PILOT PROGRAMS. HOW DOES THAT COMPARE TO, UH, THE POPULATION OF AUSTIN IN GENERAL? WAS, WERE THE FUNDS USED, UM, IN THE WAY THAT WE, WE THINK THAT THEY WERE USED? UM, SO THERE'S, THERE'S A, THERE'S A LOT, UH, KIND OF WRAPPED UP INTO THE PROJECT, BUT THIS TIME LAST YEAR WE BROUGHT ON THREE CONSULTANTS. 
          ONE WAS FOCUSED ON THE PROGRAM SPECIFICALLY AND THE EFFICACY OF THAT. 
          AND THAT WAS MEASURE. 
          WE HAD A GROUP, UM, SNAP MANAGEMENT THAT WAS LOOKING AT THE SYSTEM ITSELF, AND THAT'S WHY WE ARE NOW WITH SUBMITTABLE. 
          AND THEN WE HAD GARNER WHO WAS LOOKING AT INTERNAL PROCESSES WITHIN THE ECONOMIC DEVELOPMENT DEPARTMENT. 
          SO THERE WERE A THREE-PRONGED CONSULTANT, UM, IMPROVEMENT PROCESS STARTING LAST FALL. 
          AND MEASURE SHOULD BE WRAPPING UP WITHIN THE NEXT MONTH OR SO. 
          I THAT. 
          YEAH, ABSOLUTELY. 
          THANK YOU LAURA. 
          UM, YES, PLEASE, COMMISSIONER. 
          I JUST THINK IT'S ALWAYS A GOOD IDEA TO KIND OF COME FULL CIRCLE FOR THOSE PEOPLE THAT DON'T, ARE NOT HERE AT EVERY MEETING WE HAVE MONTHLY, BECAUSE THEY MAY NOT KNOW WHAT WE'RE TALKING ABOUT OR LIKE OUR BRAND NEW COMMISSIONERS LIKE . 
          THAT'S TRUE. 
          NO, I'M, I'M ALL FOR, UH, BEING THOROUGH AND BACKTRACKING AS NEEDED. 
          SO, UM, COMMISSIONER KEYS, AT ONE POINT WE HAD LIKE THREE NEW COMMISSIONERS JOINING AT THE SAME TIME, AND SO I WANNA GIVE YOU THE SAME SPIEL THAT THEY GOT. 
          AND THAT IS, THERE ARE NO SILLY QUESTIONS. 
          PLEASE FEEL FREE TO GET CLARIFICATION ON WHAT AN ACRONYM IS OR WHAT SOME PROGRAM DOES. 
          I MEAN, YOU'RE COMING IN AT AN ADVANTAGE BECAUSE YOU WORKED FOR EDD, SO I FEEL LIKE YOU'RE HAVE A, YOU'VE GOT A GREAT FOUNDATION FOR THIS AND YOU STILL WORK FOR THE CITY, BUT IF EVER THERE ARE QUESTIONS, I I HAVE CONFIDENCE THAT YOU WON'T HESITATE TO ASK, BUT PLEASE FEEL FREE. 
          I ABSOLUTELY WILL. 
          THANK YOU SO MUCH. 
          I'VE BE, I APPRECIATE YOU ALL MAKING ME FEEL COMFORTABLE. 
          BUT YES, I DO FEEL A LITTLE BIT LIKE MR. CRABS, LIKE, OKAY, I'M GETTING MY FOOTING, BUT THANK YOU . 
          IT TAKES A MINUTE. 
          THE LEARNING CURVE IS STEEP. 
          YES. 
          AND THE ACRONYM, THE, THE REASON I WANTED TO PUT IT ON THE AGENDA WAS BECAUSE THERE WAS A FOCUS GROUP SET UP BY MEASURE AND THERE WAS SOME MISUNDERSTANDING ABOUT WHETHER IT WAS A SIGN UP AND GET PICKED OR SIGN UP AND WE'LL PUT YOUR NAME IN A HAT AND GET PICKED OR SIGN UP AND WE'LL LOOK AT YOUR STUFF AND DECIDE IF YOU'RE GETTING PICKED. 
          AND IT'S, I JUST WANNA FIGURE OUT, 'CAUSE THE, THE CRITERIA FOR WHO'S IN THE GROUP IS GONNA COLOR THE RESULTS IN THE GROUP. 
          JUST REALLY QUICK, I WANNA SAY I'VE BEEN HERE THREE AND A HALF YEARS, I THINK, AND THE ACRONYM'S STILL DRIVE ME NUTS. 
          . 
          ALL RIGHT. 
          WITH THAT, WE'VE REACHED THE END. 
          COMMISSIONER GARZA, YOU WANNA DO THE HONORS? HE'S GOOD. 
          HE'S GONE. 
          ALRIGHT. 
          UH, MEETING ADJOURNED. 
          THANK YOU EVERYBODY FOR BEING HERE. 
          THANK YOU FOR EVERYBODY FOR THE PRESENTATIONS AND WE WILL SEE YOU NEXT MONTH. 
          THANK YOU.
* This transcript was created by voice-to-text technology. The transcript has not been edited for errors or omissions, it is for reference only and is not the official minutes of the meeting.