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 sovereign owners of the country where we live and work, and recognise that sovereignty has not been ceded. We pay our respects to their Elders, past, present and emerging.

staff

Georgia Hutchison
EXECUTIVE DIRECTOR
Joel Stern
CURATOR
Danni Zuvela
CURATOR
Debris Facility
ADMINISTRATOR
Mathew Spisbah
ASSOCIATE CURATOR
Autumn Royal
EDITOR

board

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

technical

Martina Capurso
VIDEO
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

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
Henry Pyne
Hannah Wu
Mara Schwerdtfeger

Contact

We welcome conversation, ideas and feedback at any time.

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.

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.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.

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.

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.

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.

ENQUIRIES
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via info@liquidarchitecture.org.au.

Feedback & Complaints

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 info@liquidarchitecture.org.au.

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
Not-for-Profits Commission
Advice team: 13 22 62
Online Form

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.

Events

Negative Volumes: Body Languages

Am I my body or a linguistic virus as it constitutes my identity?
West Space
Level 1, 225 Bourke St
Melbourne
VIC
4PM - 7PM
FREE
(Negative Volumes)

All bodies are eloquent and multilingual. In listening to, as well as with, our bodies, we can hear how they receive and produce signals; how they operate as both subject, and object; how they are instrumentalised.

“By psychoacoustic umbilical cords, every individual is continuously related to the group’s body of sound, and the loss of this continuum equals a catastrophe.
It is not for nothing that some ancient cultures inflicted banishment as a form of psychosocial death penalty: To belong together means first of all nothing else than to listen together.”
– Peter Sloterdijk

But there are sounds we can’t hear and sounds we don’t hear, and there is a difference.

The sounds we can’t hear are super-high and super-low frequencies; sounds too quiet, small, or distant; and sounds our ageing ears progressively lose to natural decline.

The sounds we don’t hear are more political – the inaudible arguments of dog-whistle politics and their subtle echoes; the voices silenced by the bland soundscape of normativity.

We are over hearing about phenomena, as if the ‘sound in itself’ tells the whole story. We want to try to hear differently; to open our hearing to the unheard and the unsayable. Can we learn to listen politically?

“If I’m talking to you but not really listening or observing your body language and I’m not really empathic with you, I don’t really hear or see you. It’s a multi-level kind of listening – not just to inanimate objects or animals, but to people. You listen with both outer ear and inner ear. This is the spiritual dimension of “la mano zurda,” which combines activism with inner, subjective listening. It’s a different way of being in tune with people and the environment.”
— Gloria Anzaldua

So we could start by adding more levels to our listening and hearing privilege. To do that, we need to try to hear beyond sound itself. Everything a sound touches and everything touched by that sound, the context in which a sound takes place: this is the non-cochlear approach, and it can enable us to place sound and listening socially, in the space of one another.

The voice is coming from the body, but that doesn’t necessarily mean it is unified with the body. There are so many ways the one can betray or bluff the other. Depending on who is listening, and how, bodytalk can assume an accent, anatomise agency, neuter normativity, simulate sincerity, or unmute untruths.

You hear yourself speaking – but do you hear yourself listening?

This program encompasses exercises, speech objects and uncommon articulations, in a somatic experiment towards a new grammar of listening.

Negative Volumes

Negative spaces are never blank. Just as there is no space around objects, only objects in space, there is no gap between sounds, since there is no possibility of silence. Instead what we hear is the noise of the layers, the various shades and feints and foley and interstitial emissions that, stitched together, produce the reassuring throb of frequencies we are schooled to call “background”.

Similarly. A strobe light appears to come on and off, but what we see as light and dark made large, a perfect example of pure black and white, is not in fact discrete. What seems to be simply ‘on’ and ‘off’ is not a dyad. Rather, a strobe is a string, a set, a sequence of pulses giving way to each other: a swelling, an exploding, a fading and then a darkness, until the new swell lights up again. Despite appearances, despite conventional thinking, this is not binary.

In this program, there’s no figure and no ground. There is no negative space. An empty institution is never completely empty. Instead, it becomes a spatial politic for the throwing of light and shade.

In sound, how we structure sonic experience can provide models for how we structure community.

We invite a queering of the spatial politics of the invisible and visible, of the notions of audible and inaudible – a questioning of the question of the one or the other – in order to enter the space opened up by this voluminous negation.

The world is fucked. But, the gallery is empty. What will we do now?

Karolin Tampere is supported by the Office of Contemporary Art Norway to present her work with Ensayos and Liquid Architecture in Australia. 

Partners

Supporters

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Karolin Tampere

Urban development, democracy, access to and the distribution of land

Maysa Abouzeid

Busting narrow-minded ableism one gag at a time

Sarita Gálvez

Embodied learning from a post-anthropocentric perspective

TT SKTLS

Melbourne based electronic artist specialising in cry dance.

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