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.


Joel Stern
Danni Zuvela
Georgia Hutchison
Debris Facility
Mathew Spisbah
Autumn Royal


Jennifer Barry
David Chesworth
Hannah Fox
Michael Graeve
Andy Miller
Mark Nolen
Kristen Smith


Bridget Chappel
Charlie Freedman
Keelan O’Hehir
Paul Mylecharane and Matt Lenz (Public Office)
Benjamin Portas
Jacqui Shelton
Lauren Squire
Josh Watson


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
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz


PO Box 12315
VIC 8006

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.

We may update this policy from time to time by publishing the new version on our website.


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.


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.

LA does not collect any data associated with use of its website. LA does not use cookies and does not log IP addresses.


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.


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 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.


M J Grant

"[Some] organisations and musicians who initially spearheaded the public outcry against music torture have increasingly laid down their banners in the period since Obama came to power. At best we can blame this on a lack of knowledge and understanding about the general scale of the problem. The more cynical view would be that for many who were so outraged, it was the perceived attack on music rather than on the tortured individual which was the real motivation for their actions."
'The Illogical Logic of Music Torture', Torture 23(2) 2013

Over the past few years I have returned repeatedly to the related subjects of music and punishment and music and law. This was initially motivated by the need to situate research into the use of music as torture within a broader (and longer) historical framework. Although it has come to widespread public attention only through methods used by US security agencies in the “War on Terror”, the uses of music in torture and ill-treatment are much more extensive, both in the present and in the past. The idea that prisoners be forced to sing and play for their captors is documented in the ancient Near East, for example: a frieze from the palace of Nineveh in ancient Assyria, now held in the British Library, appears to provide a pictorial representation of a subject better known from one of the Psalms:

By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
We hanged our harps upon the willows in the midst thereof.
For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.
How shall we sing the LORD'S song in a strange land?
(Psalm 137, taken here from the King James Bible)

In Europe from the Middle Ages onwards, many formal and informal practices of justice made reference to musical tropes, particularly the contrast between harmony and dissonance. Traditions of public shaming which folklorists and historical anthropologists have gathered under the general term “charivari” generally incorporated a cacophony of noises, such as by banging pots and pans, to draw attention to the proceedings and perhaps to signify the dissonant element in the community which was subject to the ritual’s critique. Some aspects of these practices resonate in rituals used in military justice in the eighteenth and nineteenth century: military justice and discipline seem in turn to have informed the ways that music has been used both in the Soviet Gulag and, even more extensively, in the context of Nazi persecution and genocide.

Why, then, has this only recently come into focus in musicological research? The answer, I suspect, has much to do with what these practices signify, and how. Many of these practices function as forms of musical “othering” by playing on ideas about the opposition between harmony and dissonance, sense and non-sense, and in particular, reason and emotion. In seeking to unpick this complex discourse, the direct relationship between reflective and activist modes of research will, I hope, become clear. For ultimately, what we are dealing with here is an ideology – literally a system of ideas – which runs very deep in the history of western thought and western “civilisation”. Indeed, the very idea of “civilisation” is both fundamental to this ideology and defined in its terms. To challenge these ideas is, therefore, to challenge processes of discrimination and marginalisation that are fundamental to the way in which western society works.

M J GRANT is a Teaching Fellow at the Reid School of Music, University of Edinburgh. Her work currently focuses on the uses of music in connection with collective violence, especially in war, genocide and torture. From 2008-2014 she led the research group “Music, Conflict and the State” at the University of Göttingen, and from 2014-2015 she was a Fellow at the Käte Hamburger Centre for Advanced Study in Law as Culture at the University of Bonn. She also received a major stipend from the HF Guggenheim Foundation for a monograph on the musicology of war, which is nearing completion. Previous work includes Serial Music, Serial Aesthetics: Compositional Theory in Post-war Europe (Cambridge University Press, 2001) and an as yet unpublished monograph on the cultural history of the song Auld Lang Syne.


ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal