Survey: The Thing, Inc.

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
Online arts community platform / Online Publication
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Presenting Organization
Artist Group / Collective
Part 2.
2a. Mission Statement: 
THE THING is a non-profit organization committed to the development of new media culture, information technology, and social activism.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
At its core, THE THING is a social network, made up of individuals from diverse backgrounds with a wide range of expert knowledge. From this social hub, THE THING has built an exceptional array of programs and initiatives, in both technological and cultural networks. During its first five years, became widely recognized as one of the founding and leading online centers for new media culture. Its activities include hosting artists’ projects and mailing lists as well as publishing cultural criticism. THE THING’s multimedia lab has regularly hosted a variety of artists, including Vuk Cosic, Sebastian Luetgert, Nick Crowe, Prema Murty, Daniel Pflumm, Heath Bunnting, Beat Streuli and Mariko Mori. THE THING has also organized many events and symposia on such topics as the state of new media arts, intellectual property, the preservation of online privacy, artistic innovations in robotics, and the possibilities of community empowerment through wireless technologies. THE THING has been generously supported by the Nathan Cummings Foundation, the Rockefeller Foundation, the National Endowment for the Arts, and communications.
Website Link to Organization's History / Organization Overview:
2c. Exhibition / Programming / Publishing History.: 
The People’s Portrait, by Zhang Ga 2005 A global networked public art project. My Doomsday Weapon, by Jakob Boeskov 2004 Tales from the travels of a GPS weapon by Jakob Boeskov My Private War Archive, Rainer Ganahl 2003 Screenshots of Television news reports by Rainer Ganahl closerthanyouthink, Caspar Stracke 2003 Eight micro installations that were nested in the thing office, curated by caspar stracke. Radiopolyphony, 2003 A multi-channel composition broadcast on the internet and the radio spectrum over a period of six weeks. Peter Lasch, Federico Marulanda, Kelvin Park, and Paulo Vivacqua, in collaboration with THING.FM! surrealism (this i not a lie), Andy Deck 2003 Resolution independent unilateralism, Heidrun Holzfeind 2002 alien2 is a project about migration and borders. It integrates text and image based art work, general information about the issue and links to other websites., Gerber and Hyde, 2002 A collaboration between THE THING and radioqualia to build a hybrid radio network using internet audio and "below-power" FM. friendlyghosts, Garrett Phelan, 2002 "friendlyghosts" functions as a biographical text translator. Text is loaded into the web page and is automatically translated into a preconstructed language of sound and image. SERVICE2000_7/29, Nick Crowe, 2001 29 sites, which the artist designed and registered, functioned as the unofficial web presence of the London art world. Seven are re-presented here. Picture Rubble / Raw Material, Rainer Ganahl, 2001 Photographed television images and freeze-framed electronic footage released from news organization, media monopolies, and the Pentagon. The Coils of the serpent, Sebastian Luetgert, 2001 "The Coils of the serpent (part one) no copyright 1999-2001" Hikaru, SNN, 2000 "SNN Network News, a co-production of The Thing and basicray. Hikaru, a basicray virtual model, works on her first job assignment as an art world news caster", John Klima, 2000 "Glasbead is a multi-user collaborative musical interface allowing players to manipulate and exchange sound sample files and create a myriad of soundscapes and rhythmic musical sequences.", Daniel Pflumm, 2000 "The choices! The variety! I don’t know what I want anymore! Thank you! -- Chris Hughes" Assoziations-Blaster, Freude / Espenschied, 2000 "A text-network that connects texts through automatic non-linear real-time linking." VinylVideo, Gebhard Sengmueller, 2000 The revolutionary VinylVideo picture disc TOYWAR, Supporters of, 2000 The epic DNS struggle of vs ftp_formless_anatomy, Eugen Thacker, 1999 "A construction and re-animation the digital-anatomical body. " Bindigirl, Prema Murty, 1999 "Bindigirl pictures and ancient texts from Hindu Deity mythologies and The Kama Sutra" Graphic Jam, Mark Napier and Andy Deck, 1999 "Challenges the belief that art is created by one person..." Web Performer, Ursula Endlicher, 1999 Ursula takes her characters to the search engines... The History of Moving Images, Vuk Cosic, 1998 From the Official History of, volume III: Deep Throat, 55 minutes of pure ascii porn The Telegraph Wired, Heath Bunting, 1998 Another Heath Bunting accolade. Click on it. Own, be owned or whatever... Lapses And Erasures, Sawad Brooks, 1998 Four Projects by Sawad Brooks. Better have Java enabled. Prototype #22, Yoshi Sodeoka, 1998 5 Products from OPT Technology, Inc. Requires QuickTime plugin and speakers. Videos and Stills, Vanessa Beecroft, 1998 Streaming Videos and Stills of Vanessa Beecroft performances. Happier Days, Roth & Stauffenberg, 1997 Read, write and win prizes! Hybrid fun with Christopher and Franz. Basic Korean, Rainer Ganahl, 1997 4 Weeks, 5 Days a Week, 6 Hours a Day - Basic Korean, Kwangju, 1997 120 hours on video Sowana, Cercle Ramo Nash, 1997 Parlez vous francais? Then, you too can converse with Sowana, the contemporary art chatbot. Rates 3.5 on the AI scale. Antworten, Holger Friese & Max Kossatz, 1997 Shopping with Friese & Kossatz at the World Wide Wait Superstore. So many questions... and no answers. Try to be patient. Navmachine, Bullseye Art, 1997 Fire up your shockwave plugin and play with Bullseye Art! uniCity version 2.1 - 2.6, Susan Goldman, 1996 Enter an urban landscape, where the filmic city feeds you its cultural aspersions from high and low. Message to Edward R. McCracken, Stefan Beck, 1995 A very urgent message for Edward R. McCracken, President and CEO of Silicon Graphics Computer Inc. Beuys Best, Martin Kippenberger, 1995 Ja, ja, ja, nee, nee, nee! Kippenberger goes disco with this classic Beuys interpretation. Achim Kubinski on the synthesizer. Angel Paint, Mariko Mori, 1995 Mariko’s Sailor Moon Karaoke. Sing along with audio and dance along with still video. One take is all it took. Untitled, Beat Streuli, 1995 A classic Beat Streuli slide show, state of the art 1995 meta tags. [projects /archive] Pre 1995 projects at
Website Link to Exhibition / Programming / Publishing History: [projects /archive]
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Wolfgang Staehle
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Robbin Murphy
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Ricardo Dominguez
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Jordan Crandall
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.: 
Non-Profit [IRS certified]
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
End of lease for your space resulting in termination of activities or changing of priorities
Changes in your physical space that will result in endangerment to your archival materials
6c. Other threats to the organization:: 
Misrepresentation of THE THING history resulting in the misunderstanding of our organization’s core mission by funders.
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?: 
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?: 
Fiscal Need
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?: 
There is some material that was handed over to Barbara London at MoMA several years ago. Some founding members also have records of early activities.
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
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 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Exhibition or Production Files
Legal Documents
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Unique Art Objects
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Flat Files
Three-Ring Binders
Other - Please describe below.
Please describe: 
Digital storage devices
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
11 - 20
14b. Estimated Number of Archive Drawers: 
11 - 20
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: 
I don’t know
Other Archive Storage Units - Please describe below.: 
Several gigs of data on hard drives and other digital storage devices
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?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
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.)?: 
16g. Who is responsible for working with the archival material?: 
General Staff
Please describe: 
Part 16 / Database
16d. What type of database software is in use?: 
Other “archives management software” - Please identify below.
MySQL and other customized applications
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?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Continue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
Collect data and centralize data into one archive
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Find a good institution for long term preservation
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$70,001 - $80,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$100,001 - $150,000
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?: 
The Thing, Inc.
Who executed this survey.: 
Wolfgang Staehle
Is this survey complete and all appropriate questions answered?: