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 firstname.lastname@example.org
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.
Jon Rose started playing the violin at seven years old, after winning a music scholarship to King's School Rochester. He studied violin with Anthony Saltmarsh (exponent of the Knud Vestergaard 'Bach' bow). He gave up formal music education at age fifteen and from then on was primarily self-taught. Throughout the 1970's, first in England then in Australia (from 1976), he played, composed and studied in a large variety of genres - from sitar playing to country & western; from 'new music' composition to commercial studio session work; from bebop to Italian club bands; from big band serial composition to sound installations. He became a central figure in the development of Free Improvisation and sound art in Australia, performing in almost every art gallery, jazz and rock club in the country, either solo, with fellow improvisers and experimental musicians like Rik Rue, Simone de Haan, and Jim Denley, or with an international pool of improvising performers called The Relative Band. The collaborative LP 'Tango' (Hot Records) in 1983 with Martin WesleySmith was a world first in violin and (Fairlight) sampling improvisation.
His primary life's work is The Relative Violin. This is the development of a total artform based around the one instrument. Necessary to this concept has been innovation in the fields of new instrument design (over 20 deconstructed violin instruments including the legendary double piston triple neck wheeling violin, environmental performance (e.g. playing fences in the Australian outback using the violin as a bow), new instrumental techniques (tested sometimes in uninterrupted marathon concerts of up to 12-hours long), both analogue (built into the violins themselves) and since 1987 inter-active electronics (3 bowing to MIDI systems), plus using the mediums of radio (over 30 major International productions for radio stations like ABC, BBC, WDR, SR, BR, Radio France, RAI, ORF, and SFB'), live-performance-film (In the 1980s, he integrated Super 8 into his world wide performances.), video and television (ZDF) to create a new, alternative, personal and revised history for THE VIOLIN.
Recently Jon Rose undertook residencies at National Sawdust and The Stone in New York; exhibited his Rosenberg Museum in Berlin; was commissioned by the Adelaide Festival for a work for violin and orchestra with Elena Kats-Chernin and Ilan Volkov; commissioned by The Kronos String Quartet to write and build “Music from 4 Fences” for the Sydney Opera House; realised his bicycle powered “Pursuit” project at Carriage Works (Sydney) and The Mona Foma Festival (Hobart) and Canberra 100; performed a completely new and improvised solo part for the Tchaikovsky Violin Concerto with the BBC Scottish Symphony Orchestra; created two major radiophonic works for the BBC on the first Aboriginal string orchestra and the history of the piano in 19th century Australia; toured in Europe with his current improvisation group 'Colophony', toured the UK for Sound and Music with 'Tuned Out'; premiered his interactive Ball project at The Melbourne Festival and Sounds Outback (W.A.); performed his interactive multi-media composition “Internal Combustion” for violin and orchestra at The Philharmonic, Berlin; and been apprehended by the Israeli Defence Forces at the Separation Fence near Ramallah in the occupied territories.