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 first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.

staff

Joel Stern
CO-CEO / ARTISTIC DIRECTOR
Danni Zuvela
CO-CEO / ARTISTIC DIRECTOR
Georgia Hutchison
CO-CEO / GENERAL MANAGER
Debris Facility
ADMINISTRATOR
Mathew Spisbah
ASSOCIATE CURATOR
Autumn Royal
EDITOR

board

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

technical

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
Josh Watson
VIDEO

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

Contact

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.

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.

LA does not collect any data associated with use of its website. LA does not use cookies and does not log IP addresses.

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.

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.

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.

Events

Earwitness: Jennifer Stoever, M J Grant and Andrew Brooks

UNSW Galleries
Cnr Oxford St and Greens Rd
Paddington, NSW
6-8pm
free

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.

Partners

Artists

Andrew Brooks

"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."

Jennifer Stoever

"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."

M J Grant

"[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."

Archive

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ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal