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 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
DUAL ft. Operant, Eexxppoann, Lucy Cliché, Kangaroo Skull, Bead, Jess Sneddon (DJ)
29 Lygon St
7.30PM – 12PM
we collectively experience and create our culture
Electronic dance music is singular in its ability to produce such different reactions from audiences, from deeply internal personal contemplation to unrestrained sociality and movement. In this way, it can be a means to exploring the connection we have with both our psyche and physicality.
There is a common tendency to think of music objectively; as something unchanging, constant, concrete. We think that a song we hear today will be the same song when we listen to it in ten years’ time. Yet sound changes, and has a dramatically different effect on us depending on where it’s heard, when it’s heard, and how it’s heard. We change too, and this also affects where, when and how we hear.
Electronic dance music and culture underscore the fundamentally subjective disposition of hearing. The connotations of specific spaces — the club, band rooms, lounge rooms, and so on — complexly inform our reading of the music we hear within them. A club will push us to dance, to move, to socialise, to be physical, whereas a more traditional concert space will often impel us to stop and think; to be inside our minds and focus on our internal relationship with the music we are hearing.
In this way electronic dance music illuminates a dualism; the capacity for exaggerated mental and physical states. It throws us back into ourselves, provoking and heightening our awareness of our internality or externality.
But instead of forming a division, this dualism has its own radical potentiality. Club histories tell us how these spaces shape fundamental reconfigurations of the social via the sonic; widening the spotlight beyond the all-night dancefloor, we become aware of how different spaces press upon us differently, inspiring different kinds of listening. Electronic dance music changes in form when heard in a variety of spaces, and shifting and altering the way we connect to it, and to ourselves.
The strength of our culture relies not only on a multitude of musical voices, but also a multitude of platforms from which to listen to, and be with them. And with this array of platforms in play, our minds and bodies are not posited against each other, as opposites, but instead become complementary co-drivers of how we collectively experience and create our culture.
For information on DUAL II on Fri, 06. Jul 2018 — featuring Unhuman, OPERANT, Eexxppoann, Elisabeth Dixon, Λ / Π, Mariah Sliwczynski — please contact email@example.comDUAL is curated and organised by FACTOID with support from Liquid Architecture
Exponential Expansion: an inquiry into the physical procession of the big bang.
Returning the voice back to the body, words back to abstraction.
Labyrinths of stabbing sound, rhythmically relentless and cold.
A hard bitten exploration of how physicality and the ethereal can interact in music.
Psychic and psychological manipulation enters a crushed, robotic transcendence, where mortal wounds become gateways to other spaces.