
Downtown sidewalk grant, Art & Wine Walk, and GBRC fireworks approved
Mar. 18—Three Great Bend City Council members were absent from Monday's meeting. Councilman Kevyn Soupiset was also not at the meeting initially but Mayor Cody Schmidt called him on the telephone so there would be a quorum. A roll call was taken for each vote, with all items passing 5-0. One vote required at least 2/3s of the council's approval to pass. Mayor Schmidt cast the required sixth vote in favor of adopting Ordinance 4454, establishing the Great Bend Lodging Community Improvement District.
Here's a brief look at actions taken at the March 17 meeting:
—Payroll ending March 1 was covered in the amount of $454,238.61, and other bills to date were paid.
—A door-to-door license was approved for Shelly Burhenn, doing business as Four Soldiers Mowing LLC, Great Bend.
—A tree trimmer license was approved for Charles Roberts, doing business as Roberts Tree Service, Larned.
—The Mayor signed the concession lease with Jason Ward at the Sports Complex.
GBRC Fireworks
—The Great Bend Rec Commission received approval for a firework show at the Flashlight Easter Egg Hunt on the evening of April 5.
—Two resolutions were approved setting public hearings on May 5 to declare dangerous buildings. The mobile home at 201 Walnut was damaged by fire in June 2024 and the house at 218 Pine was damaged by fire last month.
Art & Wine Walk
—Amanda Gaddis with the Great Bend Convention and Visitors Bureau talked about the 11th annual Art & Wine Walk, set for May 2. An ordinance was adopted to allow unlicensed businesses to serve complimentary alcohol on their premises for this event.
Hotel Development Incentives
—A public hearing was held, with no objections voiced, on creating a Community Improvement District (CID) and sales tax within the district. This is part of the incentive package for Great Bend Lodging LLC, which plans to build a hotel and restaurants on 10th Street next to the Great Bend Events Center. The council then adopted Ordinance 4453, establishing the Great Bend Lodging Community Improvement District.
—A public hearing was held, with no objections voiced, on adopting a redevelopment project plan. This is another step in formalizing an incentive package for Great Bend Lodging LLC. After the hearing, the council voted 6-0 to adopt Ordinance 4454, adopting the plan.
Downtown sidewalk grant
—Assistant City Engineer Hitha Kadiyala reported on a Transportation Alternatives (TA) Grant project and the council approved the Transportation Alternative agreement with the Kansas Department of Transportation. The City applied for this program on March 1, 2024, for downtown sidewalk repair and accessibility improvements on Main Street from 10th to 17th. The project grant was awarded last October.
"Even though our eligibility should be a 20% match if the program is awarded, KDOT awarded the grant project with 100% funding with $0 city match, which includes construction engineering and preliminary engineering," Kadiyala reported. "As the next steps for the process, KDOT requires the City to enter into a City/State agreement. We are currently in the process of selecting a consultant for this project and once the selection is made, we then have to enter into a separate three-party contract developed by the state as well." The TA grant is a reimbursement project and funding will come from the KDOT grants fund and the quarter-cent city sales tax fund.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CNN
a day ago
- CNN
Japan-based company is poised for its moon-landing attempt
Update: Date: Title: Ispace's CEO is "very confident" success is on the way Content: Takeshi Hakamada, who founded Ispace in 2010 and serves as the company's CEO, told CNN last month that he is far more optimistic about today's landing attempt than he was going into Ispace's first landing attempt in 2023. 'I'm very confident, more confident than (during) Mission 1,' Hakamada told CNN in May. Hakamada added that he's not a very emotional person, so cold feet and sleepless nights aren't necessarily part of his pre-landing routine. 'I'm not the person emotion so much. I don't feel any peace or joy sometimes — most of the times,' Hakamada, who says he was inspired to puruse an aerospace career by the 'Star Wars' movies, told CNN. 'The importance of this space business is keep going.' Update: Date: Title: Reslience is carrying science — and art Content: Tucked alongside a molecule-splitting science experiment and radiation monitor, Resilience is carrying a couple lighthearted pieces of commemorative art. One includes commemorative coin-sized plates designed by UNESCO and US-based Barrelhand that will 'transport and safeguard 275 distinct languages and cultural treasures on the lunar surface.' Another is from Swedish artist Mikael Genberg, who contributed a miniature red house dubbed the 'Moonhouse.' Genberg has been aiming to put a red house on the lunar surface for more than two decades. 'They wanted to send something to the moon, so there was a good coincidence,' Ispace chief financial officer Jumpei Nozaki told CNN in January, noting that Ispace's European branch in Luxembourg found out about the art piece and worked to put it on the Resilience lander. The pieces may join a slew of other novelties, art pieces and curiosities that have been part of past lunar missions. A Jeff Koons sculpture series called 'Moon Phases,' for example, flew on the Odysseus lunar lander from Houston-based Intuitive Machines last year, becoming the first 'authorized' work of art on the moon. The Moonhouse on board Resilience aims to be an 'expression of humanity's ability to achieve the seemingly unattainable through boundary-crossing thoughts and collaborations and maybe a symbol of humanity's eternal and collective striving; a perspective on existence and (an) eye towards Earth,' according to a web page about the art project. Update: Date: Title: Here's how (another) failed landing attempt could affect Ispace Content: Ispace's roots began in the Google Lunar XPrize, which in the 2010s challenged the private-sector to put robotic landers on the moon for a $20 million grand prize. The compeititon ended in 2018, however, with no winner. 'That was very good program for me to start things here,' Ispace CEO and founder Takeshi Hakamada told CNN in May. 'We survived the Lunar XPrize and and then that created credibility for the next fundraising (effort).' After the competition folded, Ispace kept going, bringing on new investors. And just before its first lunar landing attempt in 2023, the company went public, listing on Tokyo's stock exchange. When Ispace's first landing attempt failed in 2023, crashing to the moon due to a software issue, the company's stock price shed more than half its value. And Ispace could face some significant financial struggles if today's landing attempt is unsuccessful, Ispace chief financial officer Jumpei Nozaki told CNN in January. 'If we do not successfully land on the moon, maybe there are going to be some very strong headwinds against us. It will be reflected to our share price immediately,' Nozaki said. Still, Nozaki added, the company raised money last year around the world, including from one US investor, that should keep the company funded through a third lunar landing attempt. Update: Date: Title: Resilience is aiming to land farther north than other recent missions Content: We're in the midst of renewed space race, with both the public and private sector eager to send robots to further explore the lunar surface. The modern moon dash was largely kicked off by China, which safely landed its first Chang'e spacecraft in 2013 — roughly 40 years after any vehicle, crewed or uncrewed, had soft-landed on the lunar surface. Much of the lunar exploration focus has been on the south pole, as the region is expected to be home to vast stores of water ice that can be converted to drinking water or fuel for rockets. But the vehicles that have made soft landings so far have explored a variety of regions. Update: Date: Title: Soft landing on the moon is still really hard. Here's why Content: All lunar landing attempts — even missions such as this with no humans on board — bring with them an element of risk and awe. Success is far from guaranteed. Overall, more than half of all lunar landing attempts have ended in failure, tough odds for a feat humanity first pulled off nearly 60 years ago. While technology has advanced in the past five decades, the fundamental challenges of landing on the moon remain the same. Here's what Resilience has had to overcome — and what it has yet to face. Update: Date: Title: What went wrong during Ispace's last lunar landing attempt Content: Ispace's first lunar lander, referred to by its model name, Hakuto-R, made a dramatic crash landing on the moon in 2023. When the estimated landing time came and went, and mission controllers had spent about 10 minutes troubleshooting why the lander hadn't sent a signal, it was safe to assume the golf-cart-size vehicle had not made a gentle touchdown, Ispace CEO Takeshi Hakamada, told CNN. A NASA satellite later photographed the crash site. Ispace then spent weeks poring over the data, trying to pinpoint what went wrong. 'Almost everything performed perfectly — propulsion system, communication system, and also structure,' Ispace chief financial officer Jumpei Nozaki told CNN in January about the first Hakuto-R mission. 'The issue was the software and the altitude measurement has some issue.' Essentially, Hakuto-R had miscalculated its altitude, and the vehicle ended up running out of fuel before touching down on the surface. This time around, executives are far more confident. A software patch is in place. And mission controllers are hoping to get confirmation of a smooth touchdown within a minute or so after the 3:17 p.m. ET expected landing time. Update: Date: Title: Here's what to expect during today's moon-landing attempt Content: Resilience, a spacecraft built by Tokyo-based Ispace that could redeem the company after a failed moon-landing attempt in 2023, is ready to make its final descent to the lunar surface. Ispace has broken down its mission in to series of 10 goals or anticipated 'successes.' Resilience has already notched through the first eight of those steps. All that's left is the landing sequence and the harrowing moment of touchdown. Here are the key moments to watch out for: • During the touchdown attempt, Ispace will confirm it has started the 'lunar landing sequence' — the final steps the Resilience lander will need to tick through in the moments before the vehicle leaves it circular orbit around the moon and begins its touchdown attempt. • There a several critical phases within the sequence. The vehicle will begin to change its orientation and start the braking process, aiming to slow down Resilience's speed. • Resilience's targeted touchdown time is 3:17 p.m. ET. The lander is aiming for a spot within Mare Frigoris — or the 'Sea of Cold' — which lies in the moon's far northern reaches. • If all goes according to plan, Ispace should confirm the vehicle is safely on the surface within a minute or so after touchdown, the company's CEO, Takeshi Hakamada, told CNN. • Ground controllers will then conduct a series of health checks to make sure the lander, its science instruments and all other components are functioning as intended. • The first image from the lander is expected within the first 12 hours after the spacecraft reaches the surface, perhaps sooner. (Take note: Every lunar landing mission has to deal with limited bandwidth to beam data back to Earth. Sometimes, visuals are not the highest priority.)


Entrepreneur
2 days ago
- Entrepreneur
Curating Genuine Creativity: In Conversation With Ellen Sheidlin
"For me, the virtual world is not a replacement but an extension—a natural continuation and complement to my creative process." Opinions expressed by Entrepreneur contributors are their own. You're reading Entrepreneur Middle East, an international franchise of Entrepreneur Media. Creative Journey & Artistic Evolution Let's start at the beginning—what inspired you to merge photography, painting, and and other mediums art into your signature "Survirtualism" style? I never saw boundaries between mediums. Photography gave me the stage and perspective, painting offered color as a form of thought, and sculpture brought materiality and resistance. It was important to me that an idea could evolve on multiple levels at once. Survirtualism emerged as a way to bring all of that together—a cohesive system where the physical and digital interact without being in opposition. Image source: Ellen Sheidlin How has your artistic voice evolved from your early work on Instagram to your current gallery exhibitions and projects across the globe? My early experiences on Instagram trained me to react quickly—to capture fleeting moments and respond to the world with immediacy. But creating paintings and sculptures requires a very different approach—one of slowness, contemplation, and inner dialogue. Since I create only a few works each year, I can feel how each of them unfolds gradually, becoming more structurally complex and richer in meaning. What once began as a spontaneous impulse has evolved into a sustained, reflective process. In the past, I was drawn to form; today, I'm more interested in constructing a deeper conversation with the world—one shaped by reflection on what I see, what I feel, and how those perceptions shift over time Do you feel pressure to keep reinventing yourself, especially as your audience grows? Sometimes—yes. But I don't see it as an obligation. I have an internal sense of when something old no longer works, and that's when something new begins to emerge. I don't feel the need to constantly surprise anyone—what matters most to me is being in a place where I genuinely feel something that needs to be expressed, something I want to speak about, something I want to look at more closely. Entrepreneurship and Brand Building You've successfully turned your creative vision into a global brand. What have been the most challenging aspects of navigating the business side of your art? The most challenging part was finding the right team—one that allows me to remain an artist and dedicate all my creative energy to making art, while entrusting the business side to professionals who truly understand it. I really appreciate that I've managed to preserve my creative autonomy while building a system that runs efficiently and without chaos You've worked with major fashion and tech brands—how do you choose who to collaborate with, and how do you maintain creative control in those partnerships? I'm inspired by collaborations that feel like genuine creative dialogue, where I'm recognized as an artist with a voice—not just as a "cover." When there's a strong connection with a brand's team, our shared energy leads to memorable projects that engage audiences and feel meaningful. Fortunately, I now have the opportunity to choose projects with brands whose vision truly resonates with me. I don't participate in projects unless there is a shared understanding of the creative goals. As for creative control, it comes from having a clear concept—something I've learned to develop through my extensive experience working on commercial and advertising projects. What does "entrepreneurship" mean to you as an artist in the digital age? To me, entrepreneurship in the digital age means building my own system—free from intermediaries—where I have full control over what I produce and how I produce it. It's about discipline, structure, and respect for my time and ideas. Image source: Ellen Sheidlin Innovation and Technology Your early adoption of NFTs and digital art has been bold and pioneering. What excites you most about the future of digital ownership and the metaverse? This experience opened up something entirely new for many artists: a direct connection with their audienceand the chance to share and sell their work, bypassing traditional institutional filters. It's important to understand, however, that these new opportunities don't simplify digital art or remove the requirement for artists to deliver quality work. This can sometimes come as a surprise to those initially drawn in by the apparent simplicity of the crypto-art environment. In some ways, this situation has unfortunately discredited those who approach their art with genuine dedication. It's crucial to remember that whether in the physical world or the metaverse, art is still evaluated by real people based on criteria established long before Web3. How do you balance the tactile, physical elements of your work with your presence in the virtual space? For me, the virtual world is not a replacement but an extension—a natural continuation and complement to my creative process. Every project I undertake begins in the physical realm: with tangible objects, sketches, and set designs. Even when I work digitally, my creations are always deeply rooted in a material foundation. Image source: Ellen Sheidlin Personal Philosophy and Influence You've described your work as "emotional surrealism." How much of Ellen is in @Sheidlina—and where do the two diverge? They are one person in different states. Ellen is the personal "I," while @Sheidlina is the external, public persona. I'm not playing a role—I'm simply switching between layers of myself, like between subpersonalities. Sheidlina is one of them, not a mask but an interpretation of my identity You have millions of followers. How do you stay authentic and emotionally grounded in an era of constant visibility and feedback? I don't read everything. I'm not dependent on likes. There are just a few people whose opinions truly matter to me—everything else is background noise. I know why I do what I do. If I feel I have something to share, I share it. If I don't, I don't. At the same time, I've met some truly amazing people among my followers, and I genuinely appreciate that part of being visible. Women in Art and Business As a female artist and entrepreneur, have you faced any unique challenges breaking into traditionally male-dominated creative or tech spaces? Yes, there are typical expectations—that you'll be 'nice,' 'pleasant,' or visually 'polished.' People sometimes try to frame you or fit you into whatever feels more comfortable for them. But I don't shape myself to meet someone's expectations—and I create my art by the same principle. What advice would you give to young women who want to follow an unconventional path and turn their creativity into a business? Start. Don't wait for anyone's permission. Don't be afraid to be different. Be clear about what matters to you. And don't waste your energy on those who aren't ready to take you seriously. Image source: Ellen Sheidlin Future Plans What's next for Ellen Sheidlin? Any new projects, exhibitions, or entrepreneurial ventures we should watch for? I'm currently working on several exciting projects. My main focus is a new series of canvases for an upcoming show in Asia next year. These are unique works, each with its own distinct message and meaning, and I find immense joy spending hours working on each one. Beyond this, I'm contributing to an institutional public art project emphasizing ecology, a cause I care deeply about. For this initiative, I'm developing a sculpture planned for exhibition in the Gulf countries and Europe. Three of my new canvases will also be shown at Kiaf in Seoul this September. And a special surprise awaits my collectors at Art Dubai next year: in the studio, we're developing a unique product that combines glass and digital technologies, and I can't wait to present it to the public. And of course, my sketchbook constantly gathers and holds fresh ideas for photography and video art.


Geek Girl Authority
2 days ago
- Geek Girl Authority
How to Create (and Sell) the Perfect Coffee Table Book
Coffee table books occupy the intersection of art and publishing, serving as a piece for reading and a piece for display simultaneously. A well-made coffee table book invites curiosity, sparks conversation, and elevates any surface it rests on. And for creatives, brands, or storytellers, they offer a unique way to present visual content with lasting impact. Here's how to create a coffee table book people will be proud to show off and happy to buy. Start With a Strong Concept Every great coffee table book begins with a clear idea. You'll need a central theme or angle that ties everything together and gives readers a reason to engage. Ask yourself: What is this book about, beyond just the visuals? Who is it for? What will people feel when they flip through it? Whatever the concept, make sure it's focused, cohesive, and aligned with your audience's interests. Choose the Right Format and Printer Coffee table books are judged by their physical presence, so format and print quality matter a lot. You'll want to choose a size, layout, and finish that support your concept and enhance the reader's experience. Choose the right printing partner. A good coffee table book printer can make your life easier – and help ensure you end up with the highest quality finished product. Do your due diligence and select a partner most likely to help you succeed. Size and orientation. Standard sizes for coffee table books range from 8.5×11 to 12×12 inches or larger. Think about how the book will be used and stored; bigger books offer more visual impact but are heavier and more expensive to produce. Binding and paper. Perfect binding (like a traditional hardcover book) is the norm for coffee table books. If your book includes high-resolution images or detailed artwork, opt for heavier, coated paper stock with a matte or satin finish. This helps colors pop and keeps the pages durable over time. Design with the Reader in Mind A coffee table book isn't meant to be read cover to cover; it's meant to be browsed. That means each spread should stand on its own while still fitting into the overall narrative. Map out your content before diving into layout and strive to group similar themes or tones together. You can also use intro pages or quotes to break up sections and provide a rhythm to the experience. Tell a Story, Even Without Words Even if your book is mostly visual, think about the emotional arc . Where does it start? Where does it end? What's the journey in between? A loose narrative can add depth and make the book more satisfying to explore. Set a Realistic Budget Printing a coffee table book can be expensive — especially if you're aiming for a high-end product. Plan for printing and production costs, ISBN and barcode expenses if you're selling retail, packing and shipping costs, and expenses for marketing and promotion. Start with a small run if needed; you can always reorder once you know there's demand (and once you have some revenue flowing). Plan How You'll Sell It Creating the book is only half the work. To actually sell it, you'll need a strategy. Target your specific audience. This coffee table book was written for a particular target niche. Figure out who that niche is, how they think, and how (and where) you might appeal to them. The better you understand your audience, the more effective your marketing messages are going to be. Sell directly. Create a dedicated landing page on your website. Offer preorders or limited editions to build early interest. Leverage your audience. If you have a following on social media, email, or through your creative work, now's the time to engage them. When the book launches, offer early-bird pricing or bonuses to encourage quick sales. And if you don't have a following yet, start building one organically through community interactions . Distribute through retail or events. You can also approach local shops, bookstores, galleries, or coffee houses about carrying your book. Bring a sample copy to show the quality, and be prepared with a short pitch to convince others why your book is worth selling. Use print on demand for broader reach. It's also possible (and common) to tap into print on demand services, but be prepared to make some sacrifices and compromises if you do. A Coffee Table Book Worth Picking Up (and Keeping) Coffee table books can have an impressive influence and help you generate a meaningful profit. When created well, they reflect your style, your voice, and your creative vision. And when they land in the right hands, they can become permanent fixtures in a person's space — and something they flip through again and again. DOCTOR WHO: 5 Jaw-Dropping Moments From the Season 2 Finale RELATED: TV Review: Doctor Who Season 2 Episode 4, 'Lucky Day'