Liquid Architecture

Investigations: Eavesdropping Machine Listening Polythinking Ritual Community Music Why Listen?

Active since 2000, Liquid Architecture is a Naarm (Melbourne) based organisation supporting experimental, interdisciplinary and critical work addressing sound and listening in context.

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 the traditional owners and sovereign custodians of the land on which we are situated, the peoples of the Woiwurrung and Boonwurrung language groups. We extend our respect to their Ancestors and all First Peoples and Elders past, present, and future.



Andy Miller (Interim Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
Monica Lim
Jennifer Barry
David Chesworth
Cat Hope
Danny Butt
(recent alumni) Michael Graeve
(recent alumni) Hannah Fox
(recent alumni) Kristen Smith
(recent alumni) Bebe Backhouse


Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Alisa Blakeney (Program)
Liang Luscombe (Publishing and Communication)
Rohan Rebeiro (Concerts)


Danni Zuvela
Mathew Spisbah
Autumn Royal
Nathan Gray
Anabelle Lacroix
James Parker
Sean Dockray
Laura McLean
Mehak Sawney
Xen Nhà
Lana Nguyen


Zenobia Ahmed
Atong Atem
Britt d’Argaville
Bridget Chappell
Dennis Grauel
Jacinta Keefe
Audrey Lam
Matt Lenz
Gian Manik
Alex Margetic
Paul Mylecharane
Keelan O’Hehir
Brennan Olver
Mara Schwerdtfeger
Carmen Sibha-Keiso
Jacqui Shelton
Lauren Squire
Jon Tjhia


We welcome conversation, ideas and feedback at any time.
Journal, Podcast

104/35 Johnston Street
Collingwood VIC 3066

ABN 73128090237
ASN A0050679K

Privacy Statement

Privacy Statement

Liquid Architecture (LA) is committed to protecting the privacy and security of personal information obtained and stored about its audience or clientele, including users of this website.

We understand and appreciate that our audience or clientele and users of this website are concerned about their privacy and the confidentiality and security of any information that may be provided to us.

This policy applies when Liquid Architecture determines what information will be collected or disclosed, or how any information will be processed.

We take a broad understanding of what constitutes ‘personal information’. We understand ‘personal information’ to include any information relating to an identified or identifiable natural person. An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person.

Liquid Architecture is bound by the Australian Privacy Principles contained in the Commonwealth Privacy Act and is compliant with the Privacy Amendment (Enhancing Privacy Protection) Act 2012.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.


The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:

  • Contact information including email address, phone number, names, gender, organisation, role.
  • Connection information including linkages and referrals between people.
  • Financial information including amounts paid to LA, donated to LA, or received by LA.
  • When you visit our website, our server maintains an access log that includes the following information: the visitor’s IP address, the date and time of the visit to the site, the pages accessed and documents downloaded, the previous site visited, and the type of browser used.
  • When you visit our website, cookies are stored on your device that provides information to Google Analytics to give us statistical information about our visitors.

LA collects personal information in a variety of different ways depending on the type of contact that is made with the organisation. We collect personal information both from individuals directly and from third parties.

  • Subscribing to LA’s newsletter via the website, in-person or other means
  • Visiting LA’s website
  • Registering for LA’s programs of events (eg. performances, workshops, lectures)
  • Purchasing a ticket for LA’s programs of events via a ticketing system
  • Making an online enquiry
  • Making an individual donation to LA
  • Becoming a sponsor
  • Submitting a proposal to LA
  • Providing written feedback to LA
  • Through agreements with programming partners to add addresses to our mailing lists
  • Images of persons might be collected during documentation of an LA performance
  • If you become a LA Associate, Volunteer or Board Member
    LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations

LA collects personal information in order to service the needs of its staff, audience and partnerships. This information is only used with your consent. Your personal information may be retained and used for the following purposes:

  • To communicate with staff, artists, associates, volunteers, or Board Members
  • For communicating about upcoming programs and services offered by LA and its partners
  • For documenting LA performances and events
  • To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
  • For artistic program research and organisational continuous improvement purposes
    All details are kept secure at all times and any individual may request their information is not used for direct marketing, research or any other purpose.

LA will not sell, lend, disclose, or give personal information of its audience or clientele to external individuals or organisations without first obtaining the customer’s consent.
LA may, however, disclose your personal information or financial data (information exchanged in transactions relating to donations, ticket purchasing or any other product sold):

  • To our insurer or legal advisors for the purpose of obtaining insurance coverage, obtaining professional advice, and managing risks.
  • To our payment services providers or financial institutions. LA will share transaction data only to the extent necessary for processing, refunding, or dealing with queries about payments.
  • In a situation where such disclosure is necessary for compliance with a legal obligation that LA is subject to, or in order to protect the vital interests of a person.
    LA will not disclosure personal information to recipients in another jurisdiction unless that jurisdiction has a privacy regime at least as equally protective as Australia. LA will always ask for specific consent before disclosing personal information to a recipient in another jurisdiction.

LA is committed to ensuring all personal information it collects is accurate, complete and up-to-date. However, the accuracy of this personal information to a large extent depends on the information provided by its clients. LA asks that all clients:

  • Advise us if you become aware of any errors in your personal information.
  • Advise of any changes in their personal details, such as address, email address and phone number.

At any time, any person has the right:

  • To know what personal information LA holds about them and how it has been used
  • To correct or alter any personal information LA holds about them
  • To have the personal information about them erased
  • To withdraw consent for the collection, retention, disclosure, use or processing of personal information
  • To make a request or inquiry, write to

The LA website contains links to other sites. LA is not responsible for the privacy practices of other sites. LA encourages users when they leave the site to read the privacy statements of each and every web site that collects personal information. This privacy statement applies solely to the activities of LA.

LA operates occasional European artistic programming and partnerships, and complies with the data protection policies required by the European Union General Data Protection Regulation (the GDPR) since 25 May 2018.

LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.

If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via

Feedback & Complaints

Feedback & Complaints

Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.

You can provide feedback or make a complaint via email via email to

Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA’s CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.

The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.

LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.

If you are dissatisfied with LA’s response you are encouraged to contact LA to request an internal review. You should outline in writing why you are dissatisfied with the response; and the outcome you are seeking. LA will provide a further response within 10 business days of receiving this information.

If you are dissatisfied with the outcome of our review of their complaint, you may seek an external review of our decision (by the Australian Charities and Not-for-Profits Commission for example).
Australian Charities and
Not-for-Profits Commission
Advice team: 13 22 62
Online Form

LA may provide an exchange or refund of a ticket if problems arise before, during or after an event. LA encourages our audience to try to resolve problems as soon as possible after they arise so that we have the best opportunity to find a solution.


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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