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.
We welcome conversations and ideas, feedback and complaints, before, during and after our activities, at any time.
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.
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 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.
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 email@example.com.
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 firstname.lastname@example.org.
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.
Earwitness: Jennifer Stoever, M J Grant and Andrew Brooks
Cnr Oxford St and Greens Rd
UNSW Galleries is proud to present an evening of talks by and conversation with Jennifer Stoever, M J Grant and Andrew Brooks as part of Eavesdropping, a major project by Liquid Architecture, Melbourne Law School and The Ian Potter Museum of Art exploring the politics of listening and being listened-to.
Jennifer Stoever - The Sonic Color Line
We need to talk about listening, power, and race. Willful white mishearings and auditory imaginings of blackness—often state sanctioned—have long been a matter of life and death in the United States. However, recent events— and large-scale protests testifying to their occurrence and amplifying their impact—have temporarily halted the usual silence surrounding the violent consequences of the racialization of both sound and listening. In this talk, Dr Stoever will speak to some of these events in relation to what she calls the ‘sonic color line’, the learned cultural mechanism that establishes racial difference through listening habits and uses sound to communicate one’s position vìs-a-vìs white citizenship.
M J Grant - Harm and Harmony
Although it has come to widespread public attention only through methods used by US security agencies in the“War on Terror”, the uses of music in torture and ill-treatment are much more extensive, both in the present and in the past. In Europe from the Middle Ages onwards, many formal and informal practices of justice made reference to musical tropes, particularly the contrast between harmony and dissonance. Traditions of public shaming which folklorists and historical anthropologists have gathered under the general term “charivari” generally incorporated a cacophony of noises. Some aspects of these practices resonate in rituals used in military justice in the eighteenth and nineteenth century: military justice and discipline seem in turn to have informed the ways that music has been used both in the Soviet Gulag and, even more extensively, in the context of Nazi persecution and genocide.
Andrew Brooks - Fugitive Listening
The question and problem of who is afforded a voice — of what voices are heard as speech and what voices are heard as noise — is connected to the history of the modern subject. This lecture will consider the transformation of the voice into an ideal object that comes to represent the liberal subject of post-Enlightenment thought. Separated from the corporeal noises of the body, the voice of the liberal subject is dematerialised and transformed into a static image of sound that is both illusory and impossible. Despite its phantasmagorical nature, this idealised voice that speaks in the form of a univocal demand is inextricably linked to the liberal ideologies of possession and accumulation that underpin the logics of settler colonialism and its shifting forms of racialisation. Against the idealised voice of liberalism, we might open our ears to the noisy voices and fugitive modes of speech that sound outside the locus of the politics proper. Listening in to moments in pop music, the murmur of crowds, the urgent whispers of a gossip network, and active silence, this lecture proposes a type of fugitive listening that attends to voices historically excluded from the political sphere.Eavesdropping, a collaboration between Liquid Architecture, Melbourne Law School and the Ian Potter Museum of Art, comprising an exhibition, a public program, series of working groups and touring event exploring the politics of listening through work by artists, researchers, writers and activists from Australia and around the world.
"Gossip is dependent on the reproduction and performance of social practices rather than the acquisition of ‘factual’ knowledge, and so relies on and works to produce bonds of intimacy and standards of trust. This is not to claim that gossip only trades in falsity, indeed, it often trades in important factual information. Yet its performative structure — 'have you heard?' — is one that foregrounds dialogical relations, interaction and, ultimately, multi-vocality."
"We need to talk about listening, power, and race. Willful white mishearings and auditory imaginings of blackness— often state-sanctioned— have long been a matter of life and death in the United States."
"[Some] organisations and musicians who initially spearheaded the public outcry against music torture have increasingly laid down their banners in the period since Obama came to power. At best we can blame this on a lack of knowledge and understanding about the general scale of the problem. The more cynical view would be that for many who were so outraged, it was the perceived attack on music rather than on the tortured individual which was the real motivation for their actions."