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.
Liquid Architecture is a non-profit cultural organisation with Deductible Gift Recipient (DGR) status. We support artists working with sound.
Your support helps us instigate more programs, conduct more research, stage more extensive experiments and more exchanges with artists, and generate more dialogue. And more sound.
PO Box 12315
LIQUID ARCHITECTURE SOUND INC
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.
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. LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations.
The following are examples of how personal information may be collected by the organisation:
- 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
- Making an online enquiry
- Making an individual donation to LA
- Becoming a sponsor
- Submitting a proposal to LA
- Providing written feedback to LA
- If you become a LA Associate, Volunteer or Board Member
WHY PERSONAL INFORMATION IS COLLECTED
LA collects personal information in order to service the needs of its audience or clientele. 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. If you opt-in to become a LA e-newsletter subscriber you are giving us permission to send you information about upcoming programs and services offered by LA and its partners and your details may be retained and used for the following purposes:
- To make recommendations to visitors about other services that LA offers that may be of interest
- Notifying changes of program details
- To market upcoming events
- For market research purposes
- To market online services
vFor such further and other lawful uses in connection with LA’s activities consistent with this Privacy Statement
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, unless required by law. LA may, however, contact the audience on behalf of other organisations to offer information regarding their products. These organisations may include, but are not limited to other arts organisations or government departments.
KEEP PERSONAL INFORMATION ACCURATE
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.
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
ONLINE COLLECTION NON-PERSONAL INFORMATION
When you look at this website, our Internet Service Provider makes a record of your visit and logs the following information for statistical purposes only – the user’s server address, the user’s top level domain name (for example .com, .gov, .au, etc), 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. No attempt is, or will be, made to identify users browsing activities except, in the unlikely event of an investigation, where a law enforcement agency may exercise a warrant to inspect activity logs.
DATA ACCESS AND FURTHER INFORMATION
You are invited to take part in Melbourne SoundWords, a phonographic writing project convened by Salomé Voegelin in collaboration with Catherine Clover for the Liquid Architecture Festival, which takes place in Melbourne, Australia, August/September 2014.
Melbourne Soundwords forms a guest edition of a regular blog SoundWords soundwords.tumblr.com, which attempts to write about sound and the listened to without simply relying on adjectives and adverbs, (loud, quiet, noisy, harsh) but by expanding and inventing words and their use, to accommodate the invisible ephemerality and passing nature of sound. We are interested in publishing short texts that express a present listening to Melbourne, or that articulate a remembered sound of the city, and even texts about imagined sounds that might not have been heard at all but that could sound in Melbourne one day. They can be from any environment you listen in: your home or your hotel room, the street, the car or the bus, a shop or bar, a park or an institution, any moment of listening through which you encounter or imagine the city.
These texts can be very short, with the minimum word count being one, and the maximum being 50.
You are encouraged to write several times or only once, these texts can be as experimental, ungrammatical, poetic, prosaic or even inarticulate, as you like.
They will be published before during and after the Liquid Architecture Festival on the blog site and 20 of the submitted texts will be screened on the Big Screen in Federation Square a popular public meeting space, ringed by cultural institutions (the National Gallery, the Australian Centre for the Moving Image, the Ian Potter Museum; various auditoria) and restaurants/cafes/bars in the city centre of Melbourne.
Please send your texts to Salomé Voegelin firstname.lastname@example.org. Deadline for Big Screen inclusion is the 25th August, however we are happy to receive further texts for the blog site throughout September.
Each entry will be properly accredited
A few notes here about the context of the blog SoundWords:
www.soundwords.tumblr.com was started in 2010 as an attempt to write about sound without placing it in the role of the attribute, the adjective and adverb, linked and sublimated to a visual object, a noun, describing without being grasped in its own invisible materiality.
The blog writes the soundscape, sonic events and occurrences of the everyday through listening: working from the heard into words, to draw attention to the listening process and how we participate in our acoustic environment. The interest lies in what a transcription of listening can produce, how it can narrate our surroundings differently, leading to different insights, sensibilities and consequences about the world we live in and how we live in it.
Your texts about Melbourne will be added to the blog and hopefully the blog will have new entries everyday increasingly opening the sonic world of Melbourne to its readers who might never have been there and only know it from images or from its visual map, or who have lived there all their lives but never listened to it. The aim is to provide a different image of the city, one made from the relationships, processes and materials forming below the surface of the visible; to explore Melbourne through its sound, to hear it as an environment, a timespace place that does not afford us a vista but grants us access to the mobility of its own production.
We are very happy to answer any questions and to clarify the project further, please do not hesitate to get in touch.
We are looking forward to your contributions
With the very best wishes
Salomé Voegelin and Catherine Clover
Alice Hui-Sheng Chang
Amanda Stewart and Jim Denley
Anna Homler AKA Breadwoman
Anthony Lyons and Paul Fletcher
Antoinette J. Citizen
Antonia Sellbach with Julie Burleigh and Alison Bolger
Atlanta Eke and Daniel Jenatsch
Beth Sometimes & Caroline Anderson
Bhenji Ra x Del Lumanta x Daryl Prondoso
Black Quantum Futurism
Brian Fuata x Enderie
Bryan Phillips AKA Galambo
COCO SOLID AKA Jess Hansell
Catherine Clover and Peter Knight
Chloe Alison Escott
Christopher LG Hill
Chun Yin Rainbow Chan
Clare Milledge and Tom Smith
Clocks and Clouds
Collingwood College Sound Collective
12 dog cycle
David Shea and Kristi Monfries
Dennis Del Favero
Dirk de Buyn
Sonia Leber and David Chesworth
Eric Demetriou and Herbert Jercher
Evelyn Araluen Corr
Evelyn Ida Morris
Faene (Corin x Ju Ca)
Fayen d’Evie and Jen Bervin with Bryan Phillips and Andy Slater
Feminist Theory Group
Fernando do Campo
Haco and Toshiya Tsunoda
Hannah Catherine Jones AKA Foxy Moron
Harriet Kate Morgan
Hi God People
Hyui Ines Rmi
Rosalind Hall and Dave Brown
Is There A Hotline?
id m thffft able
Dr James Parker
J'Ouvert Ft Makeda and The AM Trio - Ece Yavuz, Alvin Rostant and R
James Utting-Webb and Riley Lockett
Jenny Ruth Barnes
Joanna Anderson & Michael Prior
Johannes S. Sistermanns
Julia Drouhin and Pip Stafford
Anja Kanngieser and Daniel Jenatsch
Keith Fullerton Whitman
Lacking Sound Festival
Lawrence Abu Hamdan
Lei Lei Kung
Leila El Rayes
Leila El Rayes x Poison
Lorna & Aunty Jenny Munro
Snack Syndicate (Andrew Brooks and Astrid Lorange)
Joseph Jordania and Nino Tsitsishvili with Melbourne Georgian Choir
M J Grant
Manus Recording Project Collective; Michael Green, André Dao, Jon Tjhia, Abdul Aziz Muhamat, Farhad Bandesh, Behrouz Boochani, Samad Abdul, Shamindan Kanapathi and Kazem Kazemi
Matthew P. Hopkins
Matthew P. Hopkins & Julie Burleigh
Media Lab Melbourne
Megan Alice Clune
Mehera San Roque
Misbach Daeng Bilok
Monica Monin & Astrid Lorange
Nathan John Thompson
Noel Meek and Olivia Webb
Peter Brötzmann and Heather Leigh
Pia Van Gelder
Plants and Animalia (CES and Felicity Mangan)
Poppy de Souza
Queens of the Circulating Library
Romy Seven Fox
Sally Ann McIntyre
Shi Chao Lai
Th Duo Trio
Thanh Hằng Phạm
The Charles Ives Singers
The Donkey's Tail
Ting Shuo Hear Say
Uncle Joe Kirk
Undine Sellbach & Stephen Loo
Ur 1st Luv
Ute Meta Bauer
Will Foster and Sabrina D’Angelo