Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
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Liquid Architecture is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Our program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect. To do this, we host experiences at the intersection of contemporary art and experimental music, supporting artists to produce performances and concerts, exhibitions, talks, reading groups, workshops and recordings in art spaces, music venues and other sites.

Liquid Architecture is curatorially driven and our methodology embraces research, collaborations and imaginations. We want to echo beyond local conversations, problems, debates and questions, to reverberate across media and disciplines, and so to sound out new discourses about the audible world, and beyond.

We acknowledge Aboriginal and Torres Strait Islander people as the first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.

staff

Joel Stern
CEO / Artistic Director Joel Stern is a curator, researcher, and sound artist, concerned with theories and practices of sound and listening. He is the Artistic Co-Director of Liquid Architecture, a leading Australian organisation that stages encounters and creates spaces for sonic experience and critical reflection on systems of sonic affect, at the intersection of contemporary art and experimental music. Stern is part of OtherFilm, an artist collective driven by a central curiosity about the limits of the moving image. He has initiated the experimental residency Instrument Builders Project in 2013. Stern is a PhD candidate in Curatorial Practice at Monash Art, Design and Architecture, where he teaches Sound (in the Space of Art).
Danni Zuvela
CEO / Artistic Director With Joel Stern, Danni is Artistic Director/CEO of Liquid Architecture. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where worked as the Secretary, Curator and Deputy until 2018. At The Walls, she led programming and strategic initiatives, and she continues to generate socially-engaged experimental projects on the Gold Coast. Danni has an academic background, with a research PhD on experimental film and art history, teaching extensively into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism, ecology, language and performance.
Georgia Hutchison
General Manager Georgia works across creative disciplines with communities, businesses, cultural institutions and policy-makers. Her education and experience spans arts management; industrial design with a social, sustainable and systemic approach; curatorial and cultural leadership. For the last fifteen years she has worked between universities, studio and non-profit environments—most recently researching artist run economies with All Conference; and communicating the built environment with U-P. As an artist Georgia performs and photographs encounters with material scenarios and social currencies.
Debris Facility
Administrator Debris is a speculative corporate entity working from one human body. The Facility entered into partnership with Liquid Architecture to oversee Administration in 2018 onwards. Participation in events organising alongside practice lead research and exhibition productions pushes Administration into an performative medium. Maintaining an active exhibition profile alongside residencies, teaching, collaborations and contracts, the Facility works to amplify it’s reach through the oscillation of signal to noise ratio’s of im/material contexts of exhibition production, media, performance,wearables, installation and interventions.

board

Jennifer Barry
CHAIR JENNIFER BARRY has over 25 years’ experience leading arts organisations, managing creative projects, consulting, producing the work of artists nationally and internationally, and curating public programs. Previous positions include: Manager of Public Programs at Federation Square, Executive Director of Shunpike (Seattle), Director/CEO of Footscray Community Arts Centre, Founder/Director of Keep Breathing, and Executive Producer/Co-CEO of Chunky Move, among others. As a consultant, Jennifer’s clients have included the Australia Council for the Arts, Arts Victoria, the City of Melbourne, the Australian Art Orchestra, and the Australian Network for Art and Technology, among others. She has served on numerous boards and industry panels and is currently Project Director for the Royal Children’s Hospital 150th Anniversary.
David Chesworth
MEMBER DAVID CHESWORTH is an artist and composer, known for his experimental, and at times minimalist music, who has worked with electronics, contemporary ensembles, film, theatre and experimental opera. Together with Sonia Leber, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14). Festivals featuring Chesworth’s music and sound works include Ars Electronica, Festival D’Automne de Paris, Bang on a Can Marathon, New York, Sydney Biennale, Adelaide and Melbourne Festivals and MONA FOMA. Early in his career he was co-founder of post-punk band Essendon Airport and for five years was coordinator of the Clifton Hill Community Music Centre in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015. David teaches Sound (in the space of Art) at Monash Art, Design and Architecture, where he recently completed his doctorate researching sonic framing and temporality with artwork experiences.
Dr Michael Graeve
VICE CHAIR DR. MICHAEL GRAEVE is a sound and visual artist and educator. Michael joined the Liquid Architecture board 10 years ago at the time of incorporation in 2007 and was President and Chair from 2011-2017. Michael has been committed to artist-run culture, developing small arts organisation expertise first as a founding committee member of Grey Area Art Space Inc (1996 -1999) and then as board member and program manager at West Space Inc (2000 – 2004). He exhibits, performs, curates and teaches internationally and teaches in the Sound, Sculpture and Spatial Practice Department, Expanded Studio Practice, Honours and the MFA Program at RMIT University, and has previously taught at The School of the Art Institute of Chicago, Monash University, The Victorian College of the Arts and Victoria University.
Andy Miller
MEMBER ANDY MILLER currently works as the General Manager of Multicultural Arts Victoria. Initially trained as a painter at the Canberra School of Art, Andy Miller worked in theatre for a number of years before working to establish arts programs in the community sector. Following a few years as an arts and cultural officer at two local governments, Andy began a career in the state public service in various senior roles at Arts Victoria and Creative Victoria and was seconded for a period with Creative Partnerships Australia, as Senior Programs Manager. As well as a Bachelor in Fine Arts, he has a Masters in Public Policy and a Graduate Diploma in Arts Management from the University of Melbourne.
Phip Murray
MEMBER PHIP MURRAY is an independent writer and curator, and a part-time academic in the School of Architecture and Design at RMIT where she lectures in the history/theory of art, design and architecture. Phip was Director of West Space from 2008–2012 and, prior to that, an Associate Producer for the Next Wave Festival. Phip has a particular interest in interdisciplinary art practice, and has curated projects such as Time Has Come Today, a program exploring sound, moving image and performance projects (West Space, 2012) and Tyger, Tyger, a new commissions series including projects by Philip Brophy, Constanze Zikos, David Chesworth, and Juan Davila (West Space, 2011-2012).
Mark Nolen
TREASURER MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, having previously worked in a similar role at Film Victoria. Along the way he has helped countless singers, actors and even clowns get their taxes in order – no laughing matter! When not crunching numbers, you can find Mark sitting back with a fine drop of Scottish Whisky soaking up some even finer tunes.
Kristen Smith
MEMBER KRISTEN SMITH is a legal practitioner with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, IMF Bentham, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently a member of the M.E.S.S advisory board.

technical

Bridget Chappel
Sound Engineer SOUND ENGINEER
Charlie Freedman
VIDEOGRAPHER
Keelan O’Hehir
PHOTOGRAPHER
Benjamin Portas
MOTION DESIGNER
Jacqui Shelton
PHOTOGRAPHER
Lauren Squire
SOUND ENGINEER
Josh Watson
VIDEOGRAPHER
Public Office
GRAPHIC DESIGN and DEVELOPMENT

comrade

Elena Betros
Clare Cooper
Asher Elazary
Nathan Gray
Jason Heller
Anabelle Lacroix
Paris Lettau
Sarah Mccauley
Dr James Parker
Mino Peric
Anatol Pitt
Jessica Row
Emily Siddons
Sezzo Snot
Beth Sometimes
Mathew Spisbah
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz

Contact

info@liquidarchitecture.org.au
FB, IG, YT, SC

PO Box 12315
Melbourne
VIC 8006
AUSTRALIA

LIQUID ARCHITECTURE SOUND INC
ABN 73128090237
ASN A0050679K

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Events
Artists

Anthony Magen

Some of my thoughts and ruminations on the subject of Why listen to animals? 

  1. No one knows how some animals sense a natural disaster is coming. Perhaps they pick up subtle sounds or vibrations in the earth. Maybe animals respond to subterranean gases released prior to tectonic shifts, or react to changes in the Earth's electro-magnetic field. Animals of various species seem to sense in advance, in ways that is beyond current scientific understanding, through some kind of deep awareness what is to happen. Maybe if we were to listen to our own feet and trust our animal kin we might also learn about the earth without the need to mediate and fetish money - technology.

  2. The Murray Darling Depression Macroinvertebrates are a whole collection of bizarre and wonderful creatures that spend some or all of their lives in waterways. Some are soft and squishy, some have hard crusts on their bodies, and some carry a 'home' wherever they go. They look strange and fascinating. They live weird lives and many have disgusting habits, including their breathing organs in the same location as their anus. You find them in ponds, streams, estuaries and stormwater and irrigation drains. You may even find some in your swimming pool!

Many are insects, like beetles, and nymphs that are juvenile flying insects. Some are tiny crabs and prawns. There are also snails, worms and maggots. Fish, frogs and birds depend on these spineless creatures for food, and are an important part of the food chain for aquatic ecosystems.

Ecologists have found that there is a strong relationship between landscape disturbance and changes to the composition of aquatic flora and fauna communities. Some aquatic macroinvertebrates have been shown to be very sensitive to certain types of environmental change. This sensitivity can be helpful to scientists, researchers and landscape managers in identifying which water bodies are being impacted by land-use practices. Conversely, the same information can be used to identify catchments where land management may not be occurring in a sustainable way.

Freshwater macro-invertebrate sampling can be a very useful tool when performing a bio-assessment of a site. Biological information can be combined with water quality data to strengthen our ability to assign a relative health ranking to sampling sites. Ongoing sampling at least twice a year will be very helpful in developing more robust stream health data, when carried out in conjunction with water quality monitoring. It will also assist in identifying environmental change over time.

Waterbug Watch has adopted a easier way of sampling freshwater macro-invertebrates using an EPT Index as a scoring system that focuses on three macro-invertebrate orders known to have a significant number of sensitive members (many-not all). It is a simple metric, useful in rapid bio-assessment as it does not require identifying all taxa, yet still provides valuable information. A percentage value is established for a site from the number of sensitive taxa Ephemeroptera (mayfly), Plecoptera (stonefly), and Trichoptera (caddisfly) present in a sample, divided by the total number of taxa collected, this is then multiplied by 100.

What does a healthy underwater ecosystem sound like? does the hydrophone hold a key to understanding Health though identifying key species through audio signatures.

  1. listening with your feet. As humans keep discovering, its all connected like the the fabric of our own bodies and there is no sense in isolating any one part due to its interconnection. It is about  connections at every level, between seemingly unrelated objects and even concepts and this is where we find some artfulness.

This idea lingered with me during a residency in Nodar Portugal where I attempted interspecies communication using a device that engages my bio-electrical system. The portable Postcard Weevil with is its three-osc-ring-modulation setup and  includes two 'circuit-bent' additions of power starvation and body contacts.

The attempts at interspecies relationships I engaged in, seen with hindsight, reflect a desire to communicate in a different language, albeit fairly naively. Yet my attempts callout to a thread of literature on ‘Bio-physical’ theories of Dr James Oschman that are considered on the margins by many despite its potential.

"The Earth's surface is electrically charged and can push electrons up in your body. “ Dr. Oschman

Dr. Oschman explains in Energy Medicine: The Scientific Basis, and Energy Medicine in Therapeutics and Human Performance, that energy is all around us, from the great vastness of the furthest reaches of the universe right down to the smallest observable particle. It makes everything manifest. It has been given many names, Chi, Ki and Prana. The study and understanding of this energy has captured man's fascination since the dawn of civilisation. Energy Medicine is the practice of medicine using energy or rather the flow of energy as a medium for healing.  It is based on the biophysics of the body whereas traditional medicine is, for the most part, based on biochemistry through the use of pharmaceuticals.

Energy Medicine takes the perspective that energy is a vital, living, moving force that is integral to our health, wellness, and happiness.  Energy is the medicine, and energy is the patient.  Bio-resonance of humans and that of the earth are worth listening to on a deeply personal level and as citizens. Perhaps this may assist us a species to stop mutating and maiming the networks that support us.

“The soul of man, with all the streams of pure living water, seems to dwell in the fascia of his body” Dr A.T. Still wrote in his third book The Philosophy and Mechanical Principles of Osteopathy, 1902.

As the old maxim states 'Know thyself", and yet here we have the unsung hero of the human body; Fascia is the is connective tissue fibres, primarily collagen, that form sheets or bands beneath the skin to attach, stabilise, enclose, and separate all muscles and other internal organs. It is commonly argued what the function and form of fascia is and does but what is certain is that it is a vital conductor of electricity connecting our bodies wholly.

It is influenced at every level by, “waves of mechanical vibration, moving through the living matrix, producing electrical fields and vice versa -  i.e. waves of electricity produce mechanical vibrations…” Dr James Oschman,  Energy Medicine in Therapeutics and Human Performance, 2003

Anthony Magen is a Landscape Architect and Acoustic Ecologist navigating the ecotones of culture. This navigation is facilitated through the construction of the built environment in a professional capacity, through pedagogy, soundwalking as an active artistic practice and an ongoing commitment to the World and Australian Forums for Acoustic Ecology.

Anthony Magen’s practice includes the presentation of neorealist abstractions in ‘live’ situations, small-scale interventions, audiovisual installations and photographic presentations facilitated throughout Australia.

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