The Name Of This Association Shall Be Transmission: 2008

Tuesday, December 16, 2008

Nomic at Transmission, November 29, 2008

A Game of Nomic
Saturday 29th Nov. 2008, 11am – 5pm
With The Salford Restoration Office, and Tom Watson

James Hutchinson and Lesley Young, who work together as The Salford Restoration Office, were invited by Kajsa Dahlberg to get involved with her project The Name Of This Association Shall Be Transmission, as part of the project Moot Points, at Transmission, Glasgow in November 2008.

After some discussion with Dahlberg, some of which was around Transmission’s Constitution and such documents in general, we hit upon the idea of playing a game of Nomic with members of Transmission’s Committee and Membership. We were introduced to Nomic, when Tom Watson, an artist based in Manchester, invited, and The Reading Group we attend, to play. And so we have extended Dahlberg’s invitation to include Watson. To be clear we will not ‘Nomic Transmission’s constitution’. But instead play Nomic, with the aim of refining the Committee’s and Membership’s ability to articulate their ambitions for Transmission through the form of their written Constitution.

Nomic is a game, which mirrors the development of laws and rules, and provides a ‘space’ in which ideas, and their applications, implications and consequences can be played out. In a nutshell, Nomic is a game where a set of players take turns to amend two sets of rules, one set “mutable” (or changeable), the other set “immutable” (or unchangeable). The game always begins with the same sets of rules – which are basically rules about the rules. In sequence each player proposes a rule change or amendment, the other players then debate the proposal, and then vote on whether to accept it or not. This continues until there is a winner – either when a player reaches 100 points or when the rule-set becomes so paradoxical that it is impossible to take a turn. It is unlikely that in one afternoon we will have a winner.

For the game of Nomic on Saturday 29th November at Transmission, each player will need a notebook and a pen and an Initial Set of Rules (see below). For those who haven’t played before, read on for an introduction to the game. We recommended that you read the introduction and familiarise yourself with the Initial Set of Rules. The pages following the Initial Set of Rules contain a more expanded description of Nomic by Peter Suber, who invented the game. This is not required reading, but just for those who are interested.

And, just to say, we are also Nomic Novices – but all the same we thing Saturday will prove to be and interesting day all the same.

Looking forward to meeting you,

Best regards,

James Hutchinson, Lesley Young and Tom Watson

Thursday, November 27, 2008

Dear Members and Others

Dear Members of Transmission,

My name is Kajsa Dahlberg and I've been invited to develop a project/piece within the framework of an exhibition taking place in November at Transmission, Moot Points, that will discuss different interpretations and representations of self-organization in contemporary art practice. The exhibition project aims to discuss "the methodologies of participation and communication as means to dismantle hierarchies and the active use of an audience in challenging the integrity and authorship in a work of art."
For this exhibition I would like to collaborate with you around a project I'm calling: The Name Of This Association Shall Be Transmission.

There is this whole history of artist thinking about, and reacting to, institutions as well as their role in relation to the public sphere. The Art Workers Coalition formed in the US in 1969, the Artists’ Union formed in Britain in the 70s and The Artist's Reserved Rights Transfer and Sale Agreement developed by Seth Siegelaub in 1971 are just a few examples of artists and art workers responding to their contemporary political situation. The current privatization of culture, both in Scotland and elsewhere, might call for a rethinking around these issues today. However, while thinking in terms of a broader political scope there is possibly also a need to be specific in terms of ones own particular position. To think about issues of class, ethnicity, gender, sexuality, age etc, as well as how these definitions intersect, might be important in order to maintain a complex discussion about culture and representation.

I would like to look at how these negotiations around representation might be expressed and activated through the constitution of a given place. I asked to read the Transmission constitution and found it interesting that the "OBJECTIVES" contained the following formulation:

OBJECTIVES: To advance the education of the public generally and in particular the inhabitants of Glasgow and its environs by securing and maintaining premises for the purpose of presenting the arts in all their forms. In particular the works (in the widest meaning) of persons who under normal circumstances would be denied a platform for expressing their artistic ideas, so long as such ideas expressed through their work are not subversive of all religion and morality.

These OBJECTIVES, further, are what much of the rest of the document depends upon and refers back to. I decided to try and specify the OBJECTIVES of Transmission Gallery through collaborations with other associations, organizations and individuals. The aim for the project is to bring about a change in the Transmission constitution, based on these discussions and proposals. What does it mean to work within the frame of a public (exhibition) space? and how can the limits of such a place be formulated and renegotiated? By who? and on what grounds? Is there a need to be specific in the description of OBJECTIVES? What does it mean, for instance, to express the artistic ideas, so long as such ideas expressed through their work are not “subversive of all religion and morality”? What structures or scenarios lie behind specific formulations? How could the OBJECTIVES be formulated to suit the needs and ideas of those involved?

The Transmission constitution will offer a sort of case study for thinking about what would be changed in order to fit your specific ideas, aims and beliefs? I would be very happy to receive new proposals or formulations of the OBJECTIVES from you. Every one of these new proposals will be considered and discussed in a Transmission general meeting and might contribute to the change of the OBJECTIVES, and hence the Transmission constitution. This could be any small, large or personal change. All comments and/or suggestions are welcome.

I'm hoping for your contribution and look very much forward to being in dialogue with you.
All the very best
Kajsa

Response from Darren Rhymes

Dear Kajsa Dahlberg,

Thank you for the invitation to reply to your open letter to
Transmission members. I have been trying to think about how to reply
to it for a while. I find it hard to formulate any 'specific ideas,
aims and beliefs' positively in terms of what I would like to change.
I think (probably because I am not so pro-active) I generally have a
feeling of a reaction to a current situation- and in this case (of the
public space of Transmission) that there are things inadequate in
relation to my desires. I very much welcome this invitation to be a
bit less woolly about this, to clarify. I imagine that you hope for a
process of working out through the language of this public space of
Transmission that a process of identification, clarification and
movement to something different might occur. If you don't mind I will
try to write some thoughts below. Sorry but they're not direct
suggestions for amendments to the objectives-

I find Transmission, at least in part, to be a self-interest group. It
is a network for the accumulation and circulation of knowledge through
a group or number of small groups. I cant really imagine a situation
where this knowledge is aggregated ( I guess that is a general
condition for art).  This circulation that takes place is also a
network of desire and one of professional development (or the
development of cultural capital that might one day be cashed in by the
individual for real capital).  There is a draw to be involved in this.

People from outside the Glasgow art scene often refer to how nice it
is that everyone seems interconnected and friends with each other
here. (I moved up from London so have experienced this shift). This is
partly due to how small Glasgow is but also I think due to what
Transmission is- a network that most people involved in art in Glasgow
pass through a relationship with. Mostly this is what transmission has
been- a network that has allowed discussion and circulation of
knowledge and also a contact and interface with the wider (now global)
art world. There is still that hang over of when Douglas Gordon and
others were involved and hooked the place up with individuals doing
things in the world beyond Glasgow. This obviously had a beneficial
effect on their individual careers.

I do not think there is much thorough consideration or discussion here
of this relationship to this (now) global network and what this means
(perhaps I am wrong). A discussion of self-organisation obviously has
a relationship to this. I think that the only recent change to the
constitution has been about the amount of commission taken on the sale
of artists' work. This came up because of Transmission's participation
in art fairs- something which in itself brought up some discontent
among some members. But this never really turned into a discussion of
what this participation meant, beyond practical questions of whether
this was an appropriate use of Transmission's resources. When actually
it is perhaps just the most visible sign of what Transmission exists
in relation to- the accumulation and circulation of knowledge/
cultural capital/ real capital within the art market.

It seemed from your letter that at least partly you are interested in a
discussion of the symbolic language of the space of Transmission (and
through that discussion a progression or change in it). This language
being what inscribes it. In terms of what has become visible within the
language of the constitution I would say that the above example is an
indicator of what is fuzzily undercurrent in the public space of
Transmission.

I am not sure any of this is very relevant to your invitation. To more
directly reply - I am interested in the possibility of
art/institution, as an actor in public space, that confronts its real
limits. I guess this would be something that is self reflexive as well
as attempts to forge relationships with 'fields' beyond its own.

I am not sure I am capable of articulating by myself  how this would
effect the objectives of the association.

In terms of the existing wording of the constitution- it seems largely
outdated and inadequate but also obviously expedient in relation to
the demands of funders and the imperatives of the Charities'
Commission. I would say this was language appearing as a result of
these outside forces rather than thoroughly self-developed.

Education of the public-
Education seems a loaded term- what kind of education and on what
terms (Paolo Freire?).
The public(s) being educated are a fairly small (as alluded to above)
and the education that is going on is probably more reciprocal one
than this slightly patriarchal sounding phrase suggests. If we make
reference to this in the objectives perhaps a more honest
self-appraisal is appropriate.

The works of those who would not normally be represented-
representation- In the late eighties I understand there was a gap in
terms of what was represented in terms of contemporary art in Glasgow.
Twenty odd years later this is no longer the case, although there
would be a big gap if Transmission wasn't here there are other things
happening. It seems a fairly directionless objective - one that falls
into ideas of the heritage of the Avant-garde and modernist innovation
or one that is easily co-opted by council regeneration policies. I
guess the suggestion is of the constantly self-reflexive which I would
approve of. But perhaps it could be more rigorously articulated.

From a mainstream cultural position I guess Transmission is still
showing what wouldn't normally be represented.

This objective also has a hint of the language of multi-culturalism
which I do not see much sign of either engagement or rejection of the
politics of.

Morality and religion. As you highlight in your letter this seems the
most obviously irrelevant- but it would seem equally weak to replace it
with a presumed secular objectivity. Certainly there should be no
necessity for placing these kind of limits in the objectives of the
association.

I have not put forward any actual suggestions  but I would be keen
for a process of activation of the language of this space and would
like to take part. That sounds like a terrible disclaimer but at this
time I feel incapable of suggesting positive changes without other
voices as interlocutors.

Best wishes,

Darren Rhymes.

Present Constitution

TRANSMISSION GALLERY CONSTITUTION

NAME: The name of this association shall be Transmission.

OBJECTIVES: To advance the education of the public generally and in particular the inhabitants of Glasgow and its environs by securing and maintaining premises for the purpose of presenting the arts in all their forms. In particular the works (in the widest meaning) of persons who under normal circumstances would be denied a platform for expressing their artistic ideas, so long as such ideas expressed through their work are not subversive of all religion and morality.

MEMBERSHIP: Membership shall be open to anyone over 18 years of age who supports the Objectives. Transmission reserves the right to refuse membership by a majority vote of the Committee if there is reasonable doubt surrounding the applicant's support for the Objectives. The applicant in such cases will then have the right of appeal to a General meeting of members. A meeting called for this purpose will require at least 14 days' notice and the applicant must have the support of at least two thirds of the membership present. The decision of such a General Meeting would be final.

GENERAL MEETINGS: An Annual General Meeting (hereinafter AGM) shall be held in September each year. Office bearers will present their reports for the year ending March 31st, at the AGM, the financial reports having been audited. Special General meetings may be called at any time on the request of 10 members to the Secretary. Voting at all General Meetings will be taken on a show of hands and shall be on the basis of one vote per member, a simple majority deciding. The Chairperson of the meeting shall have a deliberative and casting vote.. Any member may attend General Meetings, provided they have paid their annual subscription.

COMMITTEE: At the AGM the association will approve a Committee to administer the day to day affairs of the association. This Committee shall comprise of a Chairperson, a Secretary, a Treasurer and at least 2, but not more than 4 other ordinary members. The maximum period allotted to members of the Committee being two terms (2 years). Any casual vacancy arising may be filled by the Committee. The Chairperson will preside at all meetings of the association, and in the event of their absence the Committee or the association, as the case shall be, shall appoint one of their number.

QUORUM: The quorum for the meeting for the association shall be one third of the full members and all Committee Members.

COMMITTEE MEETINGS: The Committee will meet monthly to discuss all aspects of the Gallery's business.

COMMITTEE VOTING: Voting at all meetings of the Committee shall be on show of hands, a simple majority deciding; the Chairperson shall have a deliberative and casting vote.

NOTICES OF MEETINGS: All General Meetings require 14 days' notice. The Chairperson may call an emergency meeting of the Committee. In the event of any member of the Committee being unable to attend a meeting they forfeit their vote.

MINUTES: Minutes shall be kept of all meetings of the association and of the Committee meetings.

RECORDS: Proper books of accounts and copies of official correspondence shall be maintained by the appropriate office bearers and shall be open to inspection by any member at any reasonable time.

AUDITORS: One or two auditors, who shall not be office bearers, shall be appointed for the following year at the AGM and shall have the responsibility for auditing the annual income, expenditure account and balance sheet. They shall also check the books of account at such intervals as they deem appropriate.

CONTRACTS: Contracts shall be signed on behalf of the association by the Chairperson, the Secretary and the Treasurer.

LEGAL RIGHT: Nothing contained in this Constitution shall supersede the legal rights of any member.

AMENDMENT OF CONSTITUTION: Alterations of the Constitution shall receive the assent of not less than two thirds of those present and eligible to vote at a properly convened General Meeting at which 28 days' notice has been given, including the business to be discussed.

COMMISSION: The association shall charge a 15% commission on all works of art that are sold within the Gallery. Such moneys shall be accrued for the administration costs of the association.

EXHIBITION: The Committee shall make all decisions regarding the exhibition and presentation of works in the Gallery by both members and non-members. Non-members who are invited to use the gallery shall be encouraged to become members of the association. The entire Committee shall be responsible for the operation of the Gallery. Members have the right of appeal on the Committee's decisions.

FINANCE: Transmission shall have the power to raise money by any appropriate means other than those which would adversely affect its charitable status. The income and property of Transmission from whatever source derived shall be applied solely towards the promotion of the purposes of Transmission as set forth in the Constitution, and no portion thereof shall be paid or transferred directly or indirectly way of dividend, bonus or otherwise, nor by way of profit to any members of the Committee; provided that nothing therein shall prevent the payment in good faith of reasonable and proper remuneration to any officer or servant of Transmission, in return for any services requested by and rendered to Transmission, or the repayment of out-of-pocket expenses; such members shall have no voting rights in relation to these matters. No members of the Committee shall be appointed to any salaried office at Transmission or to any office of Transmission paid by fees and no remuneration or any other benefit in money or moneys worth shall be given by the Gallery to any member of such governing body except reimbursing out-of-pocket expenses. The Gallery's financial year shall run from April 1st to March 31st. The accounts shall be audited by one or more independent auditor(s) annually.

DISSOLUTION: Transmission may be dissolved by a resolution passed by a two-thirds majority by those present and voting at a properly convened General Meeting, of which 28 days' notice has been given, including the business to be discussed. Such resolution may give instruction for the disposal of any assets held by or in the name of Transmission, provided that if any property remains after the satisfaction of all debts and liabilities, such property shall be given or transferred to such other charitable institution or institutions having objects similar to some or all of the OBJECTIVES of Transmission, as the General Meeting may determine.

Version of the constitution of 1989 as found on the back of issue 7 of Variant magazine...

First Constitution

Playing the Wild Child: Art Institutions in a Situation of Changed Public Interest. By Nina Möntmann

Playing the Wild Child: Art Institutions in a Situation of Changed Public Interest. Continuation

From The YES! Association

Dear Transmission.

We would like to contribute to Moot Points and the project The Name Of This Association Shall Be Transmission by sending you our Equal Opportunities Agreement to be considered at one of your board meetings.

Below you can read this Agreement that the YES! Association proposed to set up between YES! and the institutions hosting the exhibition Art Feminism - Strategies and effects in Sweden from the 1970s up to the present day; Dunkers Kulturhus, Liljevalchs konsthall, Hälsinglands Museum, Gothenburg’s Museum and Riksutställningar (Swedish Travelling Exhibitions). The Agreement was made public at Dunkers Kulturhus in Helsingborg, 15th of October 2005. It was through the declaration of this agreement that the YES! Association was founded.

The YES! Association is an association that aims to create favorable conditions for art workers whose practices and activities contribute to the overthrowing of male supremacy, ethnic supremacy and of hierarchies connected to physical and mental ability, sexuality and class. Our goal is to overthrow the ruling system of patriarchal,racist and capitalist power structures by putting into practice a structural redistribution of the access to financial resources, space and time within the art scene.

The YES! Association

www.foreningenja.org