AS-AP

Survey: Connect 3

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1981
1b. Primary activity[ies] of the organization.: 
interdisciplinary performance collaboration
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Other
Part 2.
2a. Mission Statement: 
Connect 3 was an interdisciplinary ensemble (1981 - 1994). The collaborators worked in an installation/performance context. Their projects explored the interrelationships of the three art forms (music, visual art, dance) and the synesthetic and narrative possibilities of their unique process of working together.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Connect 3 was organized in 1981 by visual artist Nancy Mooslin, choreographer/dancer Sylvia Turner and composer Darrel Dorr. The group developed a unique collaborative process that relied on cross-fertilization and step by step interaction. Their goal was to have each art form express ideas which, though strong enough to stand alone, could not be achieved by any other process. The ensemble considered themselves part of the lineage of 20th century synesthetic explorations.
2c. Exhibition / Programming / Publishing History.: 
Connect 3 interactive installations and performances were presented at important venues in Southern California including, Santa Ana College, Long Beach City College, Laguna Art Museum, Los Angeles Municipal Art Gallery, Irvine Rine Arts Center, Newport Harbor Art Museum (now Orange County Museum of Art,) and on Cable-Vision T.V. Orange County. During the course of their collaboration they developed five major installation/performances using state of the art computer interactive technology.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Nancy Mooslin nmooslin@vmslink.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Sylvia Turner
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Darrel Dorr
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Collective / Unincorporated Association
5b. Type of organization currently, or at the termination of activities.: 
Collective / Unincorporated Association
Part 6.
6a. Does the organization have an archive?: 
Yes
6b. Are there any short or long-term threats to the organization?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
No
7c. Does the organization know how and where to seek expertise and assistance?: 
No
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Lack of Staff
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
No
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Unknown
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
survey_field_49: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Yes
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
No
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Exhibition or Production Files
11b. Artwork and Documentation: 
Slides
Photographs
Videotapes
Unique Art Objects
Other:: 
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Brochures
Checklists / Performance Programs / Price Lists
Other:: 
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1980-1989
1990-1999
Part 13.
13a. How is the material stored?: 
File Cabinets
Flat Files
Three-Ring Binders
Other - Please describe below.
Please describe: 
artwork stored in studio or private collections
13b. Are some or all of these storage units “archival”?: 
Some
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
1 - 10
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
1 - 10
Other Archive Storage Units - Please describe below.: 
artworrk stored in studio or private collections
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
No
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
No
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
We do not have any electronic files
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
visual artist, Nancy Mooslin
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Acid-Free Housing
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Standard office heating / air conditioning / humidity controls running 24 hours / 7 days
Part 20.
20a. What are the goals for the historical materials for the next year?: 
1.
20b. What are the biggest challenges to reaching these short-term goals?: 
staffing
20c. What goals are in place for the historical materials for the next three to five years?: 
continue archiving
20d. What are the biggest challenges to reaching these long term goals?: 
staffing
20e. Are there any additional goals for the organizations historic materials?: 
permanent home/historic collection
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$1,001 - $2,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$1,001 - $2,000
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
24e. Not Applicable: 
Not Applicable
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
No
Finish
Who executed this survey.: 
Nancy Mooslin, Artist
survey_field_149: 
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: 
Yes