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.
305 William St
3PM - 5PM
Liquid Architecture and Melbourne Law School present a series of performances, presentations and experiments conducted in Court 8A at the Federal Court Building, Melbourne.
There is a reason it’s called a hearing. Gavels knock, oaths are sworn, testimony is delivered, judgement pronounced: and all this out loud, viva voce. Contemporary courtrooms are wired for sound. The microphone is becoming a condition of legal practice. Trials are intensely mediated: video-linked, transcribed, recorded, compressed and archived; the judicial soundscape no longer limited to the phenomenological range of those physically present.
Sound is essential to the administration of justice, an inalienable part of our legal worlds. But not just any sound. Listen carefully. What do you hear? To begin with, silence: a powerful quiet. Mobiles are switched off. Conversations whispered. Soundproofing isolates against the volume of daily life. The judicial soundscape depends on and entrenches an association between silence and civility, noise and disorder, with an exceptionally long pedigree in the West and elsewhere. In the courtroom, silence is figured as the proper condition out of which legal discourse emerges.
The opening of proceedings. An aggressive cross-examination. Latinisms. A witness stumbling to make themselves understood. The portentous eloquence of a barrister in closing. In a word, words. Speech, discourse, dialogue. And in court, this speech acts; subtended by the power of the state, the threat of handcuffs and incarceration, a violence that may or may not remain latent but which is required to sustain the operation of law.
A courtroom is not a gallery.
Legal practice is, of course, highly aesthetic and theatrical, yet in its imagined pursuit of justice according to rule and dispassionate reason, the law expends great energy on the denial or repression of this fact. The aesthetic is everything that law, in the West, is not supposed to be. The courtroom and gallery exist in tension: each insisting that they are not the other.
This insistence is our point of departure. Sometimes it is only from the edge that the centre becomes clearly discernible. Precisely by transgressing, over-reaching and extending the ordinary principles of courtroom o/aurality, attention can be drawn to them. They can be made audible, and so susceptible to critique. Then again … What constitutes a transgression when the court is not ‘in session’? When is a courtroom just a room? How much does the courtroom remain one even when it has been offered up as a gallery?
Joel Stern is Artistic Director at Liquid Architecture, an Australian organisation for artists working with sound.
James Parker is a senior lecturer at Melbourne Law School, where he is also director of the research program ‘Law, Sound and the International’ at the Institute for International Law and the Humanities.
Sean Dockray is a Melbourne based artist writer of text and code, founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and Aaaaarg. His work concerns sharing economies and the perpetual present of networked platforms.
Philip Morrissey is a Murri scholar and Academic Coordinator of the Faculty of Arts Australian Indigenous Studies
program at the University of Melbourne. He lectures in Aboriginal cultural studies and Aboriginal writing. He has
published on Aboriginal fine arts, film, literature, governance, sport and the public sphere.
Grace Koch is a Visiting Research Fellow at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) and a Visiting Senior Research Fellow at the National Centre for Indigenous Studies, Australian National University. At Acoustic Justice she will be presenting reflections on her AIATSIS paper “We have the song, so we have the land: song and ceremony as proof of ownership in Aboriginal and Torres Strait Islander land claims.”
Nathan Gray is a Berlin-based Australian artist and performer whose work extends from studio and on site experiments. Improvising with the given, the found and the already-made Gray approaches objects and locations as scores for action.
Atlanta Eke is a Melbourne-based dancer and choreographer concerned with dissolving pre-existing perceptions and expectations by changing fixed representations of the body through movement.
Daniel Jenatsch is an artist, composer, musician and performer. He is a member of music group Sky Needle and performance art collective New Forms of Life.
Sara Ramshaw is an Associate Professor at the University of Victoria Law School. Her book, Justice as Improvisation: The Law of the Extempore (Routledge, 2013), was nominated for the 2014 Socio-Legal Studies Association Hart Book Prize.
Diego Tonus is an artist living and working in Amsterdam and London. At Acoustic Justice he will be presenting excerpts and images from Processing Authorities, a work in progress that evolves around an anonymous and singular group of hammers owned by the International Institute of Social History (IISH) in Amsterdam.
Tanya Wayne is a doctoral candidate at UNSW’s Forensic Psychology Lab, where she is researching on unfamiliar voice discrimination. At Acoustic Justice she will be conducting voice discrimination experiments on anyone willing and able.
Acoustic Justice is a collaboration between Liquid Architecture and the Melbourne Law School, curated by James Parker and Joel Stern. It is part of a series of events leading up to ‘Eavesdropping’, a major exhibition at the Ian Potter Museum of Art, July – October 2018We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.
While we were examining this wonderful new make of organ, the leprous were brought in by her abstractors...
James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School.
The sound you can hear in your head when you scratch your scalp
"There are many conversations that happen on social media that are worth archiving and re-presenting outside of the perpetual present of those platforms. The Facebook timeline is like a broken toilet, constantly flushing. The collective knowledge generated within a status updates that generates hundreds of comments or a particularly active and focused group needs to be rescued from the planned forgetfulness of social media."