Paul Stamatiou figured it out and posted it for all the world (able) to see right here. He semi-recently automated the whole process a little more and put that here. However, I've found that actually working from the stuff on his first page gives you greater flexibility with the slideshow (and helps you know how to fix it if something doesn't work).

...this is how I know community on a larger than neighborhood scale happens. I'm really enjoying that facet of Oly. Of course, when something I write or say or did comes back to haunt me...but whatever. We're not here to please all the people all of the time, right?

I did read your comments about the Seattle organization. And I've been chewing it over as I walk around taking pictures. My first reaction was completely positive: I love seeing artists given the support necessary to survive. Then some doubts start to seep into the cracks.

The primary argument in the graffiti community against free walls (let alone paid murals) seems to concern the social constraints they imply, "you're allowed to make art, as long as it's within these lines." The primary argument for free walls is that you get to paint and you don't have to worry about getting arrested. The reason I bring this up is because the underlying concern is the ability to practice it (can't paint without a canvas), and if we're actively setting aside spaces for permanent displays, then we're actually acting to stifle it.

Maybe there could be some hybrid of the two? An organization pays for the publication of a zine/book of an artist's work on free walls? My desire is to intentionally support continual expression, so it's a matter of finding those means of support and developing them...or at least, that's my angle in this. What you posted has had me thinking a lot about how similar goals have been pursued. As it stands, there's at least one local artist who gets paid, but insofar as I know there's no municipal support yet. The key is probably going to be the same as it seems to be for a lot of these sorts of things, we need to involve the artists in the conversation on how we can best support their art. A big part of my current cataloging project is compiling the evidence of value so that when we do step forward to make our case, there's a lot to back it up.