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.
PO Box 12315
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.
We may update this policy from time to time by publishing the new version on our website.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
The following are examples of the types of personal information that may be collected by the organisation.
- 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 installed on your device that provides information to Google Analytics to give us statistical information about our visitors.
HOW PERSONAL INFORMATION IS COLLECTED
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 e-newsletter via the website, in-person or other means.
- Registering for LA’s programs of events (eg. performances, workshops, lectures)
- Purchasing a ticket for LA’s programs of events via a ticketing system (eg Eventbrite)
- 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.
WHY PERSONAL INFORMATION IS COLLECTED
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:
- For communicating about upcoming programs and services offered by LA and its partners.
- For documenting LA performances and events.
- To make recommendations to web-site visitors about other services that LA offers that may be of interest.
- To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products.
- To communicate with staff, artists, associates, volunteers, or Board Members.
- Notifying changes of program details.
- To market upcoming events.
- For market research purposes.
- To market online services.
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.
DISCLOSURE OF PERSONAL INFORMATION
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.
PERSONAL INFORMATION ACCURACY
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 email@example.com
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.
OUR DATA SECURITY POLICY
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access. Personal information is never stored in cloud servers.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
Unreliable Encounters in Jurong is a collaboration based on a field recording I made in the songbird aviary at Jurong Bird Park in Singapore. Using the idea of language as an open structure that continually produces change and renewal, I have invited Peter Knight to work with me and poetically improvise with this recording through exchange and reciprocity using a combination of voice, pre-recorded materials and electronically generated sounds.
In the bird park the sign on the path to the aviary reads ‘The illegal capture of songbirds is the sole cause of the decline of many species in South East Asia.’ An appreciation of songbirds is deeply rooted in many South East Asian countries and with increasingly urbanised populations caging birds has become a popular answer for maintaining contact. It is the complex soaring songs of the birds that captivate and immerse listeners, yet the caged bird trade is decimating populations in the wild and the trade is on the increase. We seem to like listening to songbirds too much.
The aviary is a rich and varied sonic experience for visitors, full of the voices of a wide variety of birds, and the soundscape in the aviary may seem relatively authentic to those of us unfamiliar with their songs or original sonic environments. In the park, the sounds of human activity mix with the birdsong. My presence is audible as I move around the space, bumping the recorder on occasion, reacting to the birds and asking the bird keeper questions. Other human voices are audible as visitors watch and listen to the birds. Two park keepers clean out the cages and feed the birds. About half way through the recording a muffled loud speaker makes an announcement and then a loud performance begins.
As I move through the aviary I wonder about the impact of the park on the songs of the birds. Songbirds are vocal learners. It is only a small group of animals (that we know of) that learn their language from their parents, including bats, whales, dolphins, songbirds and ourselves. These species’ vocalisations are not innate but are learnt from their parents and other adults around them. I wonder how the birds sonically cope with the proximity of unlikely species in an artificial setting and whether they change their songs. Biophonies are all the sounds of living organisms in a particular habitat (Krause, 2013) but I am not familiar with the biophonies that these birds would inhabit in the wild so I can only speculate. How do they adapt their voices to locate their sonic niche in captivity? As survivors of their species their songs are unlikely to remain the same in the bird park. We know that songbirds develop accent and dialect according to geographical place, just as we do, and, also like us, there is no reason to think that these birds do not improvise with their vocalisations. How long might it take for a biophony specific to the aviary to develop? Days, months, years?
Krause, B. 2013. The Great Animal Orchestra. London;Profile Books, p68.