Survey: Something Else radio program

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
weekly radio program of sound art, experimental music and live performance
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
Something Else is a weekly radio program on WLUW 88.7 fm Chicago produced by Philip von Zweck. Something Else exists to broadcast under-aired works, this primarily means experimental or avant-garde musics, sound art, works of long duration (no excerpts!) and other less classifiable things that just don’’t have an outlet. Something Else only airs works submitted for broadcast.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Some General infomration about Something Else. I (Philip von Zweck) began producing the program in the fall of 1995. The name is a double homage to a radio program that was produced by my good friend Alex V. Cook on KLSU (Baton Rouge) in the early 90’’s, and also to Something Else Press, an artist book press tun by Dick Higgins from the mid 60’’s to the mid 70’’s. Shortly before the start of the program, and not long before Dick’’s death, Alex and I had a chance to spend time with him, going through Something Else Press and related books in the Joan Flash Artist book collection at the School of the Art Inst of Chicago. Many people are owed a great deal of thanks including but not limitd to: Lou Mallozzi, director of Experimental Sound Studio, Craig Kois former Director of WLUW, Tim Johnston, former co-host and John Wanzel - artist and man behind Some important events include live performances such as the first US performance by both Bus Ratch and Stillupsteypa; collaborations with the Outer Ear Festival of Sound including facilitating the simulcast of a multi station broadcast by Bill Talsma; the 24 person "electronic big band" performance in 2001; and broadcasting hundreds of pieces heard nowhere else.
2c. Exhibition / Programming / Publishing History.: 
the most complete history can be found at but that site isn’’t updated as often as
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Philip von Zweck
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Lou Mallozzi
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Craig Kois
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
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?: 
6c. Other threats to the organization:: 
Changing of management of WLUW, the radio station the program is broadcast on.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
7b. Has planning for the preservation and documentation of archive begun?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
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?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
Something Else does not keep copies of recordings of most of the live performances, those are in the hands of the performers, or listeners.
Part 9.
9. Does the organization maintain archives for any other organization.: 
VONZWECK an exhibition space with lecture series.
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
Noone has asked to see them, but I would not allow them to be removed.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Artwork
11c. Press and Promotional Materials: 
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
1 - 10
14b. Estimated Number of Archive Drawers: 
14c. Estimated Number of Archive Notebooks: 
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: 
I can’t access the material to determine this
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
Part 17.
17. How are new materials processed?: 
No System
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Limited climate-controls
Part 20.
20a. What are the goals for the historical materials for the next year?: 
20b. What are the biggest challenges to reaching these short-term goals?: 
time, other priorities
20c. What goals are in place for the historical materials for the next three to five years?: 
20d. What are the biggest challenges to reaching these long term goals?: 
no time
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
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
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
The Experimental Sound Studio has a "Creative Audio Archive"
Part 26.
26. Additional information, comments, observations, and questions.: 
Part way through this survey I noticed the word "visual" in your arts description. I am writing about a radio program so clearly this is not part of visual arts except that many visual and multimedia artists from Chicago and abroad have done works specific for broadcast. While the program does broadcast experimental music the emphasis is on 1) submissions and 2) artist projects. But I will also understand if this doesn’’t fit your criteria.
Who executed this survey.: 
Philip von Zweck
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?: