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.

staff

Joel Stern
CO-CEO / ARTISTIC DIRECTOR
Danni Zuvela
CO-CEO / ARTISTIC DIRECTOR
Georgia Hutchison
CO-CEO / GENERAL MANAGER
Debris Facility
ADMINISTRATOR
Mathew Spisbah
ASSOCIATE CURATOR
Autumn Royal
EDITOR

board

Jennifer Barry
CHAIR
David Chesworth
BOARD MEMBER
Hannah Fox
BOARD MEMBER
Michael Graeve
VICE CHAIR
Andy Miller
BOARD MEMBER
Mark Nolen
BOARD MEMBER
Kristen Smith
SECRETARY

technical

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

comrade

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

Contact

info@liquidarchitecture.org.au
FB, IG, YT, SC

PO Box 12315
Melbourne
VIC 8006
AUSTRALIA

LIQUID ARCHITECTURE
SOUND INC
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 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.

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

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.

YOUR RIGHTS

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 info@liquidarchitecture.org.au

WEBSITE

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.

Events
Eavesdropping
Tue, 24. Jul–Sun, 28. Oct 2018
The Ian Potter Museum of Art
Artists

Susan Schuppli

"The material witness — an entity (object or unit) whose physical properties or technical configuration records evidence of passing events to which it can bear witness. Whether these events register as a by-product of an unintentional encounter or as an expression of direct action, history and by extension politics is registered at these junctures of ontological intensity. Moreover, in disclosing these encoded events, the material witness makes ‘evident’ the very conditions and practices that convert such eventful materials into matters of evidence."
Material Witness, (MIT Press, forthcoming)


Two works by Schuppli feature in Eavesdropping.



1. The Missing 18 1/2 Minutes

'The Missing 18 ½ Minutes' is the most recent iteration of a long-term investigation into Watergate. At some point during the evening of 20 June 1972, a conversation between two men was secretly taped on a SONY TC-800B reel-to-reel voice recorder. Tape 342, as it is officially referred to, is but one of a sprawling archive of approximately 3,700 hours of audio recordings taped surreptitiously by the late American President Richard Nixon over a period of several years. Of the many audiotapes confiscated from the Oval Office, Tape 342 remains by far the most infamous. Not because of the shocking information it contains, but precisely because of its absence: an 18-and-a-half minute gap that occurs at 6 hours, 21 minutes, and 26 seconds of recorded material. A residual silence that is still haunted by the spectre of a President who refused to speak on the grounds that such testimony might be self-incriminatory.

In 1973, Nixon’s loyal secretary Rose Mary Woods testified that she was responsible for this gap and told an elaborate story about how the telephone rang whilst she was transcribing the Tape causing her foot pedal controlled UHER tape recorder to accidentally press the wrong button and erase the tape. Her ‘re-enactment’ of this infamous event for the federal grand jury is captured in the photo mural shown here, which is more commonly referred to as the “Rose Mary Stretch”.

With the advent of digitisation, press bureaus started dumping their wire service images en masse. From these discarded images, Schuppli has collected all that relate to the legal proceedings of Watergate Tape 342 during which 18-and-a-half minutes of noisy silence was put on trial. These archival materials are re-presented here as a photographic timeline accompanied by an audio listening station where one can listen to the actual 18-and-a-half-minute gap in Watergate Tape 342, which has been sourced from the US National Archives and Records Administration.

While this installation addresses the emergence of wiretapping and state surveillance within the political context of the 1970s, specifically around the defining events of Watergate, it is also set against the backdrop of current events in which practices of data harvesting (e.g. Cambridge Analytica/Facebook) have become commonplace.

2. Listening to Answering Machines

'Listening to Answering Machines' explores a collection of recordings gathered by Schuppli from thrift stores and charity shops following the transition to digital-voicemail in the 1990s: each tape is an accidental archive encompassing details about both the person who owned the machine, and all the people who reached out to them by leaving their messages behind. No doubt they never considered that their shared sonic intimacies might one day be sold off as mere detritus (the dead technological remains of domestic life), let alone imagine that their incoming messages and conversational fragments might make their way into the hands of others. Entire worlds and personal portraits are captured by the network of calls and messages left behind on such tapes. 'Listening to Answering Machines' invites us to explore these worlds and in doing so queries the transgression that listening to the sonic intimacies of strangers might provoke at a time when this form of listening has been scaled-up and routinised by always-on smartphones and other devices designed by the world’s most powerful governments and corporations.

Susan Schuppli is a Canadian artist, researcher and audio-investigator currently associated with the London-based research agency Forensic Architecture. Over the last twenty years, Schuppli has returned again and again to the theme of eavesdropping, with a particular concern for the material history and politics of audio-tape and the telephone.

Archive

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal