Active since 2000, Liquid Architecture is a Naarm (Melbourne) based organisation supporting experimental, interdisciplinary and critical work addressing sound and listening in context.
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 the traditional owners and sovereign custodians of the land on which we are situated, the peoples of the Woiwurrung and Boonwurrung language groups. We extend our respect to their Ancestors and all First Peoples and Elders past, present, and future.
Andy Miller (Interim Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
(recent alumni) Michael Graeve
(recent alumni) Hannah Fox
(recent alumni) Kristen Smith
(recent alumni) Bebe Backhouse
Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Alisa Blakeney (Program)
Liang Luscombe (Publishing and Communication)
Rohan Rebeiro (Concerts)
TECHNICAL & EVENTS ASSOCIATES
We welcome conversation, ideas and feedback at any time.
104/35 Johnston Street
Collingwood VIC 3066
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.
Liquid Architecture is bound by the Australian Privacy Principles contained in the Commonwealth Privacy Act and is compliant with the Privacy Amendment (Enhancing Privacy Protection) Act 2012.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
- 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 stored 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 newsletter via the website, in-person or other means
- Visiting LA’s website
- 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
- 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:
- To communicate with staff, artists, associates, volunteers, or Board Members
- For communicating about upcoming programs and services offered by LA and its partners
- For documenting LA performances and events
- To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
- For artistic program research and organisational continuous improvement purposes
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 email@example.com
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.
GENERAL DATA PROTECTION REGULATION (GDPR)
LA operates occasional European artistic programming and partnerships, and complies with the data protection policies required by the European Union General Data Protection Regulation (the GDPR) since 25 May 2018.
OUR DATA SECURITY POLICY
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via firstname.lastname@example.org.
Feedback & Complaints
Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.
You can provide feedback or make a complaint via email via email to email@example.com.
HOW DOES LA HANDLE FEEDBACK AND COMPLAINTS?
Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA’s CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.
HOW LONG WILL IT TAKE FOR MY COMPLAINT TO BE RESOLVED?
The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.
LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.
WHAT IF I’M NOT HAPPY WITH THE RESPONSE?
If you are dissatisfied with LA’s response you are encouraged to contact LA to request an internal review. You should outline in writing why you are dissatisfied with the response; and the outcome you are seeking. LA will provide a further response within 10 business days of receiving this information.
If you are dissatisfied with the outcome of our review of their complaint, you may seek an external review of our decision (by the Australian Charities and Not-for-Profits Commission for example).
Australian Charities and
Advice team: 13 22 62
TICKET REFUNDS AND EXCHANGES
LA may provide an exchange or refund of a ticket if problems arise before, during or after an event. LA encourages our audience to try to resolve problems as soon as possible after they arise so that we have the best opportunity to find a solution.
Ceri Hann and Roseanne Bartley: Aphonic Exchange
A network of play
for the things that we say
an inner ear of l[ear]ning
is here in this way
Aphonic Exchange is an experiment in playful pedagogy led by artists Ceri Hann and Roseanne Bartley, co-opting Liquid Architecture’s social media presence to provoke responses and mutate social exchange mechanisms.
A prompting of thought through an absence of sound?
with an eye in the sky and an ear on the ground
Use pictorial audiation to see sound all around
These participatory prompts draw from the history of graphic scores, object based pedagogy, language games, memes and conceptual art instructions to make propositions which draw upon the animate potential of makeshift artefacts alongside verbal and non-verbal language. The silent cypher (which cannot be voiced) will help us to unbraid the platform.
The subtle influence of poetic allusion
We will explore what sociality sounds, tastes, smells and feels like through a mediated feed; and ask for responses in the form of analogue or digital field works. Signal and noise are collectively constructed to be attenuated and exchanged, highlighted and re-wired.
Hear we can
the dumb luck
of happy accidents
Through gamified logics of participation, this on-and-offline workshop attends to how voice is shaped and distributed across platforms and within social fields.
When moot points become
mute points it points back to forced silence.
Is the direction of noise a signal to violence?
Participate in daily Aphonic Exchanges via @liquid_architecture, and #aphonicexchange on Instagram from 23–30 October 2020.
Interview podcast with Debris Facility, Ceri Hann and Roseanne Bartley can be listened to here
Post One: Say What?
Course Overview: Living the life of digital DNA, Aphonic Exchange is an experimental workshop, a form of ‘insta grammar’ or ‘exquisite corpus’, an infer-sound-image platform for facilimaking and gifting your presence in mindful risk taking led by Roseanne Bartley @roseannebartley and Ceri Hann @puppetshowdown
This eight day modular online workshop is orchestrated via a series of prompts or scores here through our instagram. Participate through sharing your infer-sound-images and tagging @liquid_architecture and #aphonicexchange to feature in LA’s stories. Doing as a form of thinking. Making as a form of knowing.
Exercise 1: Coarse Outline.
Sharpen your pencils, today we render sketchy onomatopoeia definitions. Image a word that ‘sounds like it represents’, then draw out the sound with a sonic aura.
Exercise 2: Stationary Moves
With a blank page and an open mind, in touch with your fingers and sounds yet defined. Feel for the words that might be trapped at this stage, bound to make sense of an invisible cage. Here your stationary moves, break grammatical law, enveloped by silence, as we need not think more.
Infer-sound you have found with the radar of play through the eye of your phone the instagram way, tag #aphonicexchange
Exercise 3: Sonic Shadow Play
The capital of fences, corralling consensus, hoarding territory, coast to coast.
Downplay the lack of gaps in the fence. Tap to rail against the nonsense.
With a visual sounding of our ring fence surrounding,
adjust between us, the common ground of patch work posts.
Exercise 4: Zoomorphic
Sounds like text,
write out of context.
The mind’s [h]ear
Peer to peer
When the focal is local
the vocal is clear.
Images speak, alarm and calm.
Life forms around sound
but the text form is farming.
Tune in and
Exercise 5: Sounding Mimicry
Sound fx you hear?
Sound affects, you see?
To think aloud, if thinking allowed, soften and too subtle, for the digital crowd.
Mimic the foley as you track the life of sound.
Otherwise post production tricks
Exercise 6: Sound Walk
Make the time to
take your ears for a walk
stroll without scrolling
step back to move forward
Break silence on this path of learning
Track the sounding
of your sonic surrounding
Exercise 7: An Exercise In Exercise
Push back on the
push to consume
to make more space
to make more room
Take the time listen,
to the rumbling of volume
Walk it around the block
unblock the creative way
wheeling a wheelie bin
post your sense of play
Exercise 8: It’s Not You It’s Meme
Here text and context,
pretend to contend.
Where (we hear) of course, this course
must come to an end
speak in audible consideration
preparing the ground
to infer-sound collaboration.
Time may tell, what the insta story means
through a viral appearance, an echo of memes
-un-ear-thing- is a new initiative extending Liquid Architecture’s work with experimental education and pedagogy.
Curated by Debris Facility
“Self reflective delirium is the only way to outwit the uncreative constraints of predictability. If you can’t make science get you there, maybe a mock séance will.”
(juh-oul-lurh-ree) through collaborative, ambulatory, sound, artefact, and text-based techniques