Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?

exhi­bi­tion runs until 28 Oct 2018

how are you today
Lis­ten­ing to the Manus Record­ing Project Col­lec­tive

Fri, 19. Oct 2018
Ian Potter Museum of Art

LA / Texts (close)

Pauline Oliveros In The Arms Of Reynols:
Alan Courtis remembers an unlikely collaboration

The Argentinian guitarist talks about telematic improvisations and Reynols’s noisy collaboration with the late composer

Anla Courtis

Microtonal Drifts, Anla Courtis 2014.

April 1994, Pauline Oliveros was in Buenos Aires making her only visit to Argentina. Her Deep Listening workshop took place over a whole weekend exploring diverse techniques for listening and producing sound. I remember an exercise called “Angels And Demons”, in which all the participants walked around casting out demons and angels through their voices. The room was full of sounding presences. This inspiring experience was the starting point of a friendship that has been going on ever since.

In her book Sounding The Margins Pauline described in detail her encounter with “a couple of intense and punkish looking young men”. That unusual confluence was followed some years later by the release of the remix album Pauline Oliveros In The Arms Of Reynols (White Tapes, 1999).

Somewhere on the inserts of its first edition – which included a spraypainted tape and a small bag of sand – you could read: “The Heavy Deep Listening Metal Band”. The phrase sounds somewhat funny but reading it now it set my mind wondering. How could this gentle lady be interested in collaborating with 20 year old guys coming from a totally different background? Why did she allow us to use bootleg cassette recordings of her solo concerts and process them with a bunch of distortion pedals? How, being a well-known meditation music figure, did she embrace all those noisy sounds?

The possible answer is: Pauline was one of the most open-minded persons I’ve ever had contact with. Mircotonalist? Electronic musician? Accordionist? Composer? No, she was actually beyond categories. I mean she was always searching for new horizons and very curious about everything. Intense and gentle, precise and creative, sometimes she’d come up with something happily unexpected:

“I have dropped the d! Can you hear the sound of the d dropping?

But at the same time she was truly coherent and extremely active, not only playing and composing but also teaching, writing, publishing and coordinating many activities at her Deep Listening Space or somewhere on the worldwide network of deep listeners she helped to create.

Furthermore, we shouldn’t forget Pauline’s innovating approach to technology. She has always been interested in the new possibilities opened up by computers and new media. Some examples: she developed her own Expanded Instrument System (EIS); contributed to the development of music software for people with disabilities (AUMI); and worked with diverse collective music projects through the internet like The Avatar Orchestra Metaverse or The Telematic Circle. In the last field we both had a singular experience, playing a duo show via the internet which came to be called “Between Dreams: A Telematic Exchange”. That was in October 2009 for Pauline’s partner Ione’s Dream Festival, with Pauline playing at The Shirt Factory in Kingston, New York, while I was at my home studio in Buenos Aires, with the strange results being streamed live. After the netcast, we were thinking and joking together via email about the oneiric and phantasmatic qualities involved in telematic improvisation, especially when it comprises several seconds of latency between the improvisors.

However, digital technology wasn’t everything for her. In fact she was also very connected to acoustic sounds, often employing acoustic instruments as a seashell horn, a just intonation accordion and of course the wonderful overtone singing of her own voice. In addition she also composed instrumental pieces for many different instrumental line-ups, revealing the the full breadth of her musical range.

I was obviously shocked when I received the sad news. During this year we’d been in touch quite frequently since I was translating – along with Ximena Alarcón – some of her texts into Spanish. She was always kind, enthusiastic and supportive about this project, replying to every single mail which, considering her age, was in itself remarkable. During the last few days many images of Pauline have come to mind: I remembered her playing... calmly driving along the beautiful landscapes next to the Hudson River... slowly swinging in her garden’s hammock... or just breathing.

“Have you heard the sound of atoms dreaming in a new orbit?” Honestly, Pauline, I’m still trying to hear it, but wherever you are now I’m sure you’re tuned to that sound.


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.


Joel Stern
CEO / Artistic Director Joel Stern is a curator, researcher, and sound artist, concerned with theories and practices of sound and listening. He is the Artistic Co-Director of Liquid Architecture, a leading Australian organisation that stages encounters and creates spaces for sonic experience and critical reflection on systems of sonic affect, at the intersection of contemporary art and experimental music. Stern is part of OtherFilm, an artist collective driven by a central curiosity about the limits of the moving image. He has initiated the experimental residency Instrument Builders Project in 2013. Stern is a PhD candidate in Curatorial Practice at Monash Art, Design and Architecture, where he teaches Sound (in the Space of Art).
Danni Zuvela
CEO / Artistic Director With Joel Stern, Danni is Artistic Director/CEO of Liquid Architecture. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where worked as the Secretary, Curator and Deputy until 2018. At The Walls, she led programming and strategic initiatives, and she continues to generate socially-engaged experimental projects on the Gold Coast. Danni has an academic background, with a research PhD on experimental film and art history, teaching extensively into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism, ecology, language and performance.
Georgia Hutchison
General Manager Georgia works across creative disciplines with communities, businesses, cultural institutions and policy-makers. Her education and experience spans arts management; industrial design with a social, sustainable and systemic approach; curatorial and cultural leadership. For the last fifteen years she has worked between universities, studio and non-profit environments—most recently researching artist run economies with All Conference; and communicating the built environment with U-P. As an artist Georgia performs and photographs encounters with material scenarios and social currencies.
Debris Facility
Administrator Debris is a speculative corporate entity working from one human body. The Facility entered into partnership with Liquid Architecture to oversee Administration in 2018 onwards. Participation in events organising alongside practice lead research and exhibition productions pushes Administration into an performative medium. Maintaining an active exhibition profile alongside residencies, teaching, collaborations and contracts, the Facility works to amplify it’s reach through the oscillation of signal to noise ratio’s of im/material contexts of exhibition production, media, performance,wearables, installation and interventions.


Jennifer Barry
CHAIR JENNIFER BARRY has over 25 years’ experience leading arts organisations, managing creative projects, consulting, producing the work of artists nationally and internationally, and curating public programs. Previous positions include: Manager of Public Programs at Federation Square, Executive Director of Shunpike (Seattle), Director/CEO of Footscray Community Arts Centre, Founder/Director of Keep Breathing, and Executive Producer/Co-CEO of Chunky Move, among others. As a consultant, Jennifer’s clients have included the Australia Council for the Arts, Arts Victoria, the City of Melbourne, the Australian Art Orchestra, and the Australian Network for Art and Technology, among others. She has served on numerous boards and industry panels and is currently Project Director for the Royal Children’s Hospital 150th Anniversary.
David Chesworth
MEMBER DAVID CHESWORTH is an artist and composer, known for his experimental, and at times minimalist music, who has worked with electronics, contemporary ensembles, film, theatre and experimental opera. Together with Sonia Leber, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14). Festivals featuring Chesworth’s music and sound works include Ars Electronica, Festival D’Automne de Paris, Bang on a Can Marathon, New York, Sydney Biennale, Adelaide and Melbourne Festivals and MONA FOMA. Early in his career he was co-founder of post-punk band Essendon Airport and for five years was coordinator of the Clifton Hill Community Music Centre in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015.
Dr Michael Graeve
VICE CHAIR DR. MICHAEL GRAEVE is a sound and visual artist and educator. Michael joined the Liquid Architecture board 10 years ago at the time of incorporation in 2007 and was President and Chair from 2011-2017. Michael has been committed to artist-run culture, developing small arts organisation expertise first as a founding committee member of Grey Area Art Space Inc (1996 -1999) and then as board member and program manager at West Space Inc (2000 – 2004). He exhibits, performs, curates and teaches internationally and teaches in the Sound, Sculpture and Spatial Practice Department, Expanded Studio Practice, Honours and the MFA Program at RMIT University, and has previously taught at The School of the Art Institute of Chicago, Monash University, The Victorian College of the Arts and Victoria University.
Andy Miller
MEMBER ANDY MILLER currently works as the General Manager of Multicultural Arts Victoria. Initially trained as a painter at the Canberra School of Art, Andy Miller worked in theatre for a number of years before working to establish arts programs in the community sector. Following a few years as an arts and cultural officer at two local governments, Andy began a career in the state public service in various senior roles at Arts Victoria and Creative Victoria and was seconded for a period with Creative Partnerships Australia, as Senior Programs Manager. As well as a Bachelor in Fine Arts, he has a Masters in Public Policy and a Graduate Diploma in Arts Management from the University of Melbourne.
Phip Murray
MEMBER PHIP MURRAY is an independent writer and curator, and a part-time academic in the School of Architecture and Design at RMIT where she lectures in the history/theory of art, design and architecture. Phip was Director of West Space from 2008–2012 and, prior to that, an Associate Producer for the Next Wave Festival. Phip has a particular interest in interdisciplinary art practice, and has curated projects such as Time Has Come Today, a program exploring sound, moving image and performance projects (West Space, 2012) and Tyger, Tyger, a new commissions series including projects by Philip Brophy, Constanze Zikos, David Chesworth, and Juan Davila (West Space, 2011-2012).
Mark Nolen
TREASURER MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, having previously worked in a similar role at Film Victoria. Along the way he has helped countless singers, actors and even clowns get their taxes in order – no laughing matter! When not crunching numbers, you can find Mark sitting back with a fine drop of Scottish Whisky soaking up some even finer tunes.
Kristen Smith
MEMBER KRISTEN SMITH is a legal practitioner with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, IMF Bentham, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently a member of the M.E.S.S advisory board.


Charlie Freedman
Keelan O’Hehir
Benjamin Portas
Jacqui Shelton
Lauren Squire
Josh Watson
Public Office


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
Mathew Spisbah
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz


Liquid Archi­tec­ture is a non-profit cul­tural organ­i­sa­tion with Deductible Gift Recip­i­ent (DGR) status. We sup­port artists work­ing with sound.

Your sup­port helps us insti­gate more pro­grams, con­duct more research, stage more exten­sive exper­i­ments and more exchanges with artists, and gen­er­ate more dia­logue. And more sound.

You can sup­port us by vol­un­teer­ing your time, coming to events, donat­ing to us directly, or becom­ing a patron of an artist, or a ques­tion.



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Entering Tone: Liquid Architecture in Taiwan

Entering Tone opens a space where shifting meanings are embedded in a sound.
Tainan, Taichung, Taipei
(Ritual Community Music)

This is our organisation’s second visit to Taiwan. Our first, in 2016, was a vastly infor­ma­tive research trip. In that trip, through meet­ing artists, musi­cians, cura­tors and organ­is­ers in Taipei, Tainan and Taichung, we learned much – and also learned how little we knew.

In 2017, we attempt to apply an open, exper­i­men­tal method­ol­ogy to the prac­tice of inter­na­tional tour­ing – estab­lish­ing deeper col­lab­o­ra­tions between our 5 artists and our Tai­wanese col­leagues; extend­ing and embed­ding our engage­ment locally with ped­a­gogy as well as affect; reject­ing the dis­tinc­tion between think­ing and making; and gen­er­at­ing formal and infor­mal oppor­tu­ni­ties for inter­ven­tions in social space. Above all, we are making lis­ten­ing”, as much as we are making sound”, as we seek to enhance our capac­ity to per­ceive subtle tonal­i­ties – even if we do not fully under­stand them – as we tour Taiwan together.

enter­ing tone

Most West­ern lan­guages, includ­ing Eng­lish, are atonal. This is not to say that Eng­lish does not have tones – schemat­ics for dif­fer­ent emphases of pitch – but rather that, in Eng­lish, tonal­ity is not a defin­ing char­ac­ter­is­tic of the pro­nun­ci­a­tion of each word. Spoken Chi­nese, on the other hand, cannot not be tonal (or, be monot­o­nal), since the pro­nun­ci­a­tion of each syl­la­ble is fun­da­men­tal to the pro­duc­tion of mean­ing when the lan­guage is spoken.

The enter­ing tone’ is one of the four major tones of spoken Chi­nese dialects. Having dis­ap­peared from main­land Man­darin, it is one of the dis­tinc­tive mark­ers of the Tai­wanese lan­guage. Not a pho­netic tone in the sense of pitch rela­tion­ships, the enter­ing tone denotes a syl­la­ble that ends with a glot­tal stop, the occlu­sion of air­flow in the vocal tract.

The symbol of the glot­tal stop in the Inter­na­tional Pho­netic Alpha­bet. Source: Wikipedia

To Eng­lish-speak­ing mouths and Eng­lish-hear­ing ears, the enter­ing tone’s plo­sive stop is, gen­er­ally, so unfa­mil­iar and so rare as to be event­ful; per­haps this is even coded into the mock-gulp of its widely used exam­ple of the glot­tal stop in the Eng­lish usage, the fore­bod­ing excla­ma­tion, uh-oh’.

We choose to title our tour Enter­ing Tone because it offers us a way of think­ing not about sound, but with sound. For what we are hear­ing, in the rapid, con­trolled clo­sure of the throat that pro­duces this tone, is the sound of the sudden shut­ting off of sound. The throat closes, but the enter­ing tone opens a space where shift­ing mean­ings are embed­ded in a sound.

It is a sonic object that is also a crit­i­cal absence. With its mul­ti­ple iden­tity as polit­i­cal actor, strange inter­jec­tor and silent pre­sen­ter, the enter­ing tone for us rep­re­sents a small but vibrant space for engaged lis­ten­ing.

This is Liquid Architecture’s second visit to Taiwan. Our first, in 2016, was a vastly infor­ma­tive research trip. In the course of that visit, meet­ing artists, musi­cians, cura­tors and organ­is­ers in Taipei, Tainan and Taichung, we learned much – and also learned how little we knew. Through that expe­ri­ence, ongo­ing con­ver­sa­tions, dia­logue, and research, and by plac­ing our own assump­tions and actions under exam­i­na­tion, we have come to view our own posi­tion with greater cir­cum­spec­tion. The occa­sion of this major inter­na­tional tour pro­vides us with both cause and oppor­tu­nity to reflect on the deeper con­text for our artis­tic activ­i­ties, and ques­tion the struc­tures within which we, as cura­tors and artists, are posi­tioned and which frame – which is not to say deter­mine – our moti­va­tions and actions.

For exam­ple, on our first trip to Taiwan, we were ini­tially slightly taken aback by hear­ing our­selves described as West­ern­ers. The reason for our sur­prise, we came to realise, is that dis­courses of East’ and West’ are rarely heard today in Aus­tralia, by rad­i­cals, at least (unlike another term we heard a lot in Taiwan, ‘‘for­eigner’, which is more com­monly used in Aus­tralia). The dif­fer­ences in usage gave us cause for reflec­tion. Might this be due to the his­toric cen­tral­ity of these terms in the his­toric mea­sure­ment of rel­a­tive prox­im­ity – or oth­er­wise – to the centre’ of West­ern Europe, and the con­tin­ued neces­sity of the project of repu­di­at­ing the legit­i­macy of this impe­r­ial dynamic and its legacy in Australia’s his­tory of vio­lent set­tler colo­nial­ism?

Our expanded capac­ity to grasp and appre­ci­ate the ongo­ing rel­e­vance of the des­ig­na­tion West­ern’ for us, as Aus­tralians, coming to Taiwan, stems from our expe­ri­ences in Taiwan in 2016. From our dia­logue with Tai­wanese artists and thinkers that flowed from that first con­tact, par­tic­u­larly the con­ver­sa­tions with Hong-Kai Wang, we came to under­stand some­thing of the sig­nif­i­cance and cur­rency of this des­ig­na­tion for non-West­ern­ers, and appre­ci­ate the impact its fore­ground­ing in the dis­courses of de-impe­ri­al­i­sa­tion and sub­al­tern stud­ies. To counter com­pla­cency about the East-West rela­tion­ship, a cer­tain open­ness of atti­tude is required. We realise that a pre­pared­ness to acknowl­edge and revise long-held pre­con­cep­tions, to allow our­selves to be gen­uinely changed by our expe­ri­ences with non-West­ern people – in short, a will­ing­ness to listen and to learn – must con­tinue to accom­pany us on tour, as it did during the research trip.

This is the first inter­na­tional tour organ­ised and gen­er­ated by Liquid Archi­tec­ture. The con­sid­er­able priv­i­lege of being an exper­i­men­tal organ­i­sa­tion able to tour mul­ti­ple artists inter­na­tion­ally comes with the respon­si­bil­ity to recog­nise that priv­i­lege, and a duty, in exer­cis­ing it, to explore and iden­tify prac­ti­cal alter­na­tives to the well-worked for­mu­lae gen­er­ated by neolib­eral agen­das glob­ally, as they trickle down’ to forms of cul­tural expres­sion.

The inter­na­tional tour – that main­stay of exper­i­men­tal and con­ven­tional music prac­tice alike – is, as a form, not unprob­lem­atic. What is nor­mally fore­closed by the act of tour­ing? What else might a tour, as a con­cate­na­tion of events planned and unplanned, allow?

In its usual form – a string of appear­ances sep­a­rated and defined by time and geog­ra­phy – the tour is a series of fleet­ing engage­ments. The logis­tics of sched­ul­ing dic­tate a tight window for engage­ment with each city, often lim­ited to the recruit­ment of local sup­port acts. Fur­ther­more, the tour itself is based on a pre­sup­po­si­tion that the work is inher­ently worth lis­ten­ing to, a pre­sump­tion which serves to com­pound the colo­nial­ist echoes which would inhere in any incom­ing ven­ture con­sist­ing of a one-way, top-down dis­patch of pre­dom­i­nantly white – West­ern – cul­ture.

The con­sid­er­a­tion we have given these mat­ters has helped give shape to Liquid Architecture’s 2017 tour.

To mit­i­gate the insub­stan­tial­ity of the tour form, and attempt to gen­er­ate oppor­tu­ni­ties for social sol­i­dar­ity with com­mu­ni­ties in Taiwan, the tour pro­ceeds from two strate­gies devised to embed our prac­tice locally. The first is the exten­sion of the tour format to encom­pass a social pro­gram between our artists and Tai­wanese coun­ter­parts which pre­cedes our formal tour, and whose aim is to estab­lish con­di­tions con­ducive to mutual dis­cov­ery and respect­ful col­lab­o­ra­tion.

The second is the equal impor­tance given to dis­cur­sive, crit­i­cal and ped­a­gog­i­cal activ­i­ties as to live per­for­mances through­out the Enter­ing Tone artis­tic pro­gram. These activ­i­ties include the Sym­po­sium at the Taiwan National Museum of Art (Novem­ber 24); the Social Sound Houses in Tainan (Novem­ber 26) and Taipei (Novem­ber 29); and the Polit­i­cal Lis­ten­ing talk in Taipei, which together offer a kind of alter­na­tive cur­ric­ula, in the form of the affec­tive ped­a­gogy of work­shops, talks, and shar­ing social space. From formal dis­cur­sive plat­forms to free-wheel­ing inter­ven­tions, these events are aimed at the pos­si­bil­ity of con­struct­ing social sol­i­dar­ity via exchange and col­lec­tive lis­ten­ing.

We have attempted to col­lab­o­rate on every aspect of this tour, from the fluid and dynamic col­lab­o­ra­tive deci­sion-making process of the co-cura­tion of the artis­tic pro­gram for each event, to estab­lish­ing flows of dis­cus­sion between artists, to the pro­gram cat­a­logue you are hold­ing in your hands right now (or, post-facto, read­ing online). Our idea of active lis­ten­ing has neces­si­tated, wher­ever and how­ever pos­si­ble, the ampli­fi­ca­tion of Tai­wanese voices, in the lan­guage of their choice.

We haven’t been able to get beyond or resolve the issues of the tour format as a string of brief inter­ac­tions pred­i­cated on too-short, resource-lim­ited engage­ments – and we were not, in fact, able to col­lab­o­rate on every­thing. The Aus­tralian artists, for logis­ti­cal rea­sons, were curated long ago, leav­ing little room for Tai­wanese input on our choice of cohort. We chose our artists care­fully to reflect the depth, het­ero­gene­ity and talent of Aus­tralian con­tem­po­rary sound art prac­tice – but in so doing, we did for­feit the chance for full co-author­ship, which remains a hoped-for pos­si­bil­ity for the future.

What we have done instead, we hope, is bring together what we believe to be a the most vital curated cross-sec­tion of con­tem­po­rary Aus­tralian sound and lis­ten­ing prac­tice. Andrew McLel­lan, Clare Cooper, Jannah Quill, Nathan Gray and Rain­bow Chan rep­re­sent some of the most inter­est­ing crit­i­cal artists work­ing in sound in Aus­tralia today, and their mul­ti­ple tal­ents enable us to col­lec­tively create the rich­est pos­si­ble con­di­tions for dia­logue and lis­ten­ing into which to invite the Tai­wanese audi­ence.


Liquid Architecture’s inter­est in Taiwan was sparked, in part, by an arti­cle we encoun­tered, in 2013, about Hong-Kai Wang’s crit­i­cal lis­ten­ing prac­tice. We invited Hong-Kai to Aus­tralia in 2014, where the res­i­dency she under­took under­scored for us the impor­tance of being together in the space of cul­tural pro­duc­tion. Our con­tin­ued dia­logue and friend­ship with Hong-Kai led to her gen­er­ous facil­i­ta­tion of our research in Taipei in 2016, and we are grate­ful for the many con­nec­tions, and many more rig­or­ous con­ver­sa­tions pro­vided so gen­er­ously by Hong-Kai, and hon­oured by Hong-Kai’s accep­tance of our offer to open our Prac­tis­ing Sound, Indi­vid­u­ally and Col­lec­tively Sym­po­sium.

We were impressed by our 2016 encounter with the depth of Amy Cheng and Jeph Lo’s research and cura­to­r­ial intel­li­gence, and are hon­oured that Jeph will present some of his ideas in his keynote lec­ture at the Sym­po­sium. We are grate­ful to Acid House and Lack­ing Sound, artist-run col­lec­tives from whom we learned in 2016 about the ques­tions and prac­tices they pursue as agents of crit­i­cal sound and lis­ten­ing, and with whom in 2017 we are exper­i­ment­ing with the cre­ation of col­lec­tive social space. And we for­mally begin our tour in the city of Tainan, where our part­ner Ting Shuo Hear Say, Alice Hui-Sheng Chang and Nigel Brown, instru­men­tal in facil­i­tat­ing this and our pre­vi­ous visit, have enabled us to open our pro­gram with an offer­ing of com­mu­nion and col­lec­tive ritual.

Finally, that arti­cle about Hong-Kai Wang, by our good friend Mattin, that first sparked our inter­est in work­ing with artists from Taiwan, was pub­lished in White Fungus, and so it feels some­what fit­ting that White Fungus are our co-pro­duc­ers of this pub­li­ca­tion and the SUB­LATE event (2−3 Decem­ber), the grand finale of the ENTER­ING TONE tour. That essay, and Ron Hanson’s arti­cle about the Tai­wanese sound scene in that same edi­tion (WF13), enlarged our curios­ity to the point of won­der­ing whether a Tai­wanese tour might, in fact, be pos­si­ble. It is a plea­sure to col­lab­o­rate with a pub­li­ca­tion that has pro­vided so much knowl­edge and enjoy­ment to us and read­ers inter­ested in exper­i­men­tal music and art the world over. We are grate­ful to Ron and Mark Hanson for extend­ing the char­ac­ter­is­tic WF open­ness, energy, insight and vision into the real­i­sa­tion of this col­lab­o­ra­tion with us.

We are excited about the dis­cur­sive and per­for­mance activ­i­ties we have planned for ENTER­ING TONE, and while we don’t know exactly what will tran­spire across our pro­gram of talks, per­for­mances and work­shops, we can relin­quish the need to know, because we know that what­ever hap­pens, the aware­ness we will be gen­er­at­ing means we won’t be unchanged.

Curated by Danni Zuvela with Anabelle Lacroix and Betty Apple



Betty Apple

des­e­crat­ing the imag­i­nary his­tor­i­cal burden and false sym­bols of race and his­tory

Hong-Kai Wang

A polit­i­cal space is often opened where con­tra­dic­tions and com­plex rela­tions occur. Rather than con­struct­ing a biog­ra­phy that illus­trates, it seems more inter­est­ing to explore a polit­i­cal his­tory of an artist’s friend­ship with his col­lab­o­ra­tors and inter­locu­tors, includ­ing myself.

Acid House

Acid House are an exper­i­men­tal col­lec­tive based in New Taipei City. Their work encom­passes music, per­for­mances and exper­i­men­tal con­ver­sa­tions within a com­mu­nal set­ting.

Al Burro

toil­ing in indus­trial ware­houses, lazing in ambi­ent fields

Andrew McLellan

rather than being slowed down by your brain need­ing to figure out how to say the words first.


Berserk is a noise project ini­ti­ated by Jared Xu

Chun Yin Rainbow Chan

The fake as a com­plex sign that shapes new myths, values and con­tem­po­rary com­mod­ity pro­duc­tion.

Clare Cooper

Heal­ing through impro­vised harp and open heart


A sem­i­nal figure in the second wave of the Tai­wanese noise move­ment during the late-1990s

Hsu Chieh

Male, born in 1990, 181cm, Gemini, blood type A.
Inter­ests: shop­ping, karaoke, dance, watch­ing movies.

Jannah Quill

ordi­nary dig­i­tal inter­faces and tech­no­log­i­cal machines as mate­ri­als to gen­er­ate new expe­ri­ences rein­ter­preted from the intended con­sumer use of the dig­i­tally banal

Jeph Lo


Kai-Cheng Dai

per­for­mance maker, spa­tial designer, trans­la­tor, inter­preter and cul­tural tour guide

Kaya Hanasaki

Kaya Hanasaki is an artist born in Tokyo, who’s prac­tice responds to con­tem­po­rary social issues with per­for­mance, instal­la­tion, work­shop and media

Lacking Sound Festival

not a fes­ti­val per se; rather, LSF is a reg­u­lar sound per­for­mance event taking place in Taipei.

Lonely God

Lonely God is a label/​collective based in Taipei.

Nathan Gray

The sound you can hear in your head when you scratch your scalp

Shi Chao Lai

none to form as form to none”


Tesla coil, home-made elec­tronic instru­ments and a motion con­troller, mod­i­fy­ing both the sound and light through space and time


a space to pro­mote the cre­ation, exhi­bi­tion, per­for­mance and ren­o­va­tion of exper­i­men­tal audio art in Taipei

Ting Shuo Hear Say

per­for­mance venue, sound studio and lis­ten­ing gallery based in Tainan

Tzu Ni

an explo­ration of the rec­i­p­ro­cally con­structed con­nec­tions between ana­logue sound and refracted light.

White Fungus

White Fungus is an inter­na­tional art mag­a­zine and project based in Taichung City, Taiwan


Acid House
Adam Hunt
Adelle Mills
Al Burro
Alessandro Bosetti
Alex Cahill
Alex Cuffe
Alice Hui-Sheng Chang
Alrey Batol
Alterity Collective
Amanda Stewart and Jim Denley
Amelia Barikin
Ami Yamasaki
Amrita Hepi
Andrea Juan
Andrew Brooks
Andrew Harper
Andrew McLellan
Andrew Rewald
Angela Goh
Angie Garrick
Anja Kanngieser
Ann Fuata
Anna Homler AKA Breadwoman
Anne-James Chaton
Anthony Lyons and Paul Fletcher
Anthony Magen
Antoinette J. Citizen
Antonia Sellbach with Julie Burleigh and Alison Bolger
Antony Riddell
Aodhan Madden
Armour Group
Astrid Lorange
Astrida Neimanis
Athanasius Kircher
Atlanta Eke and Daniel Jenatsch
Atong Atem
Atticus Bastow
Aunty Mary Graham
Aura Satz
Aurelia Guo
Áine O'Dwyer

Basic House
Ben Kolaitis
Benjamin Forster
Beth Sometimes & Caroline Anderson
Betty Apple
Bhenji Ra x Del Lumanta x Daryl Prondoso
Bianca Hester
Bigoa Chuol
Black Quantum Futurism
Bon Mott
Botanic Gordon
Brandon LaBelle
Brendan Walls
Brian Fuata
Brian Fuata x Enderie
Brian Hochman
Bridie Lunney
Bruce Mowson
Bruce Russell
Bryan Phillips AKA Galambo
Bunna Lawrie
Burnt Friedman

Caitlin Franzmann
Caleb Kelly
Camila Marambio
Camille Robinson
Caroline Anderson
Carolyn Connors
Carolyn Eskdale
Catherine Clover
Catherine Clover and Peter Knight
Cecilia Vicuña
Celeste Liddle
Ceri Hann
Chloe Alison Escott
Chris Corsano
Chris Vik
Chris Watson
Christof Migone
Christopher LG Hill
Chun Yin Rainbow Chan
Cinnamon Templeton
Clare Cooper
Clare Milledge and Tom Smith
Claudia Nicholson
Clocks and Clouds
Collingwood College Sound Collective
Cordelia Crosbie
Croatian Amor
Crys Cole
Cured Pink

12 dog cycle
DJ Deeluscious
Dale Gorfinkel
Danae Valenza
Daniel Slåt­tnes
Danni Zuvela
Dave Brown
David Chesworth
David Grubbs
David Shea and Kristi Monfries
David Spooner
Debris Facility
Demdike Stare
Dennis Del Favero
Desmond Manderson
Dirk de Buyn
Douglas Kahn
Douglas Quin
Dylan Martorell
Sonia Leber and David Chesworth

Eddie Hopely
Ela Stiles
Ellen Fullman
Ellena Savage
Elysia Crampton
Emile Zile
Emma Ramsay
Ensemble Economique
Eric Avery
Eric Demetriou
Eric Demetriou and Herbert Jercher
Eric Laska
Erik Bünger
Eugene Brockmuller
Eva-Maria Raab
Evelyn Araluen Corr
Evelyn Ida Morris
Evelyne Jouanno
Exotic Dog

Faene (Corin x Ju Ca)
Fayen d’Evie and Jen Bervin with Bryan Phillips and Andy Slater
Feminist Theory Group
Fernando do Campo
Fia Fiell
Frances Barrett
Frances Dyson
Francis Plagne
Francisco López
Fujui Wang
Félicia Atkinson

Gabi Briggs
Gail Priest
Geoff Robinson
Geoffrey Gartner
Georgina Criddle
Gerard Crewdson
Germ Studies
Giant Swan
Golden Fur

Haco and Toshiya Tsunoda
Half High
Hanna Chetwin
Hannah Brontë
Hannah Catherine Jones AKA Foxy Moron
Hannah Lockwood
Harriet Kate Morgan
Helen Grogan
Hi God People
Holly Childs
Hong-Kai Wang
Hou Hanru
Hsu Chieh
Hyui Ines Rmi
Rosalind Hall and Dave Brown

Is There A Hotline?
Ivan Lisyak
id m thffft able

Dr James Parker
J'Ouvert Ft Makeda and The AM Trio - Ece Yavuz, Alvin Rostant and R
Jack Prendergast
Jackson Eaton
Jacob Kirkegaard
Jacqui Shelton
Jake Goldenfein
Jake Moore
James Grant
James Rushford
James Utting-Webb and Riley Lockett
Jannah Quill
Jared Davis
Jasmine Guffond
Jason Haggerty
Jason Kahn
Jeff Henderson
Jen Bervin
Jennifer Stoever
Jennifer Walshe
Jenny Ruth Barnes
Jeph Lo
Jess Sneddon
Joanna Anderson & Michael Prior
Joe Banks
Joe Musgrove
Joe Talia
Joel Maripil
Joel Spring
Joel Stern
Johannes Kreidler
Johannes S. Sistermanns
John Grzinich
John Jenkin
John-Joe Wilson
Jon Rose
Jonathan Kemp
Jordan Lacey
Julia Chien
Julia Drouhin and Pip Stafford

Anja Kanngieser and Daniel Jenatsch
KK Null
Kai-Cheng Dai
Kalinda Vary
Kalle Hamm and Dzamil Kamanger
Kalle Hamm and Lauri Ainala
Kane Ikin
Kangaroo Skull
Karli White
Karolin Tampere
Kate Brown
Kate Geck
Kaya Hanasaki
Keith Fullerton Whitman
Kent Macpherson
Kiah Reading
Kim Satchell
Kusum Normoyle
Kym Maxwell
Kynan Tan

Lacking Sound Festival
Lady Erica
Lara Thoms
Las Chinas
Laurie Ander­son
Lawrence Abu Hamdan
Leah Barclay
Leena Riethmuller
Lei Lei Kung
Leighton Craig
Leila El Rayes
Leila El Rayes x Poison
Libby Harward
Lilian Steiner
Lilly Kane
Lin Chi-Wei
Linda Dement
Lionel Marchetti
Lisa Lerkenfeldt
Lizzie Pogson
Lonely God
Lorna & Aunty Jenny Munro
Louis Kennedy
Luciano Chessa
Lucid Castration
Lucreccia Quintanilla
Lucy Cliche
Lukas Simonis
Luke McConnell
Snack Syndicate (Andrew Brooks and Astrid Lorange)

Joseph Jordania and Nino Tsitsishvili with Melbourne Georgian Choir
M J Grant
Madelynne Cornish
Magic Steven
Makiko Yamamoto
Manus Recording Project Collective; Michael Green, André Dao, Jon Tjhia, Abdul Aziz Muhamat, Farhad Bandesh, Behrouz Boochani, Samad Abdul, Shamindan Kanapathi and Kazem Kazemi
Marc Behrens
Marco Cher-Gibard
Marco Fusinato
Marcus Rechsteiner
Maria Moles
Marian Tubbs
Marie Craven
Mark Andrejevic
Mark Brown
Mark Harwood
Mark Pollard
Marly Luske
Martin Howse
Martina Copley
Mar­grethe Pet­tersen
Masamitsu Araki
Masato Takasaka
Match Fixer
Matthew P. Hopkins
Matthew P. Hopkins & Julie Burleigh
Matthew Sleeth
Matthias Schack-Arnott
Maysa Abouzeid
Media Lab Melbourne
Megan Alice Clune
Mehera San Roque
Melissa Deerson
Menstruation Sisters
Michael Pulsford
Michel Chion
Michelle Xen
Miranda Liebscher
Misbach Daeng Bilok
Monica Gagliano
Monica Monin & Astrid Lorange
Monica Winther
Moor Mother
Music Yared
Mutual Making

Nat Grant
Natasha Tontey
Nathan Gray
Nathan John Thompson
Neil McLachlan
Neil Morris
New Waver
Nicholas Kuceli
Nicky Crane
Nicola Morton
Nikola Mounoud
Nina Buchanan
No Sister
Noel Meek and Olivia Webb
Norie Neumark

Okkyung Lee
Oren Ambarchi

Pan Daijing
Pauline Vetuna
Peter Brötzmann and Heather Leigh
Peter Szendy
Phil Dadson
Philip Brophy
Pia Van Gelder
Pip Stafford
Plants and Animalia (CES and Felicity Mangan)
Poppy de Souza
Primitive Motion
Prim­i­tive Motion
Public Assembly
Public Office
Puce Mary

Queens of the Circulating Library

Ragtime Frank
Rashad Becker
Rebecca Jensen
Rebecca Ross
Renata Buziak
Richard Dawson
Richie Cyngler
Rita Revell
Rob Thorne
Robin Fox
Robin Hayward
Robin James
Romy Seven Fox
Rosalind Hall
Rosie Issac
Roslyn Helper
Ross Bolleter
Ruth O'Leary
Ryan Jekabson
radio cegeste

Saba Vasefi
Sage Pbbbt
Sally Ann McIntyre
Salomé Voegelin
Sam Kidel
Samaan Fieck
Samson Young
Samuel Karmel
Sara Mikolai
Sara Ramshaw
Sarah Byrne
Sarah Edwards
Sarah McCauley
Sarita Gálvez
Saskia Doherty
Scott Morrison
Sean Baxter
Sean Dockray
Seth Kim-Cohen
Severed Heads
Sezzo Snot
Shani Mohini-Holmes
Shelley Lasica
Sheridan Palmer
Shi Chao Lai
Sibling Architecture
Simona Castricum
Sovereign Trax
Steph Overs
Still Nomads
Straightjacket Nation
Subterranean Rain
Susan Schuppli
Suzanne Kite
Sweat Tongue

Tara Transitory
Teiji Ito
Teila Watson
Tessa Laird
Th Duo Trio
Thanh Hằng Phạm
The Charles Ives Singers
The Donkey's Tail
Thembi Soddell
Theresa Wong
Tiafau + Will D. Ness
Ting Shuo Hear Say
Tom Ogley
Tom Smith
Tomoko Momiyama
Tralala Blip
True Strength
Tzu Ni
this mob

Uncle Joe Kirk
Unconscious Collective
Undine Sellbach & Stephen Loo
Ur 1st Luv
Ute Meta Bauer

Various Asses

Werner Dafeldecker
White Fungus
Will Foster and Sabrina D’Angelo
William Blackstone
Wukir Suryadi

Xia Lin

Yen-Ting Hsu
Yuya Tsukahara

Zac Segbedzi
Zach Blas
Zoe Scoglio