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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?
ddddddddddddddddddddddddddddddddddddddddddddddddddddddddd!”

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.

Info
Info
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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
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.

board

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.
Jake Goldenfein
SECRETARY JAKE GOLDENFEIN is a lecturer at Swinburne University of Technology, and has taught media law, law and technology and property law at Melbourne School, and Swinburne Law School. He has also been a researcher at the Law, Science, Technology, Society centre at the Free University of Brussels, and the Institute for Information Law at New York Law School. Jake’s PhD focused on surveillance and privacy law, and his current research explored decentralisation governance and automated decision-making. Jake is an admitted lawyer in the state of Victoria, has legal experience working with private and government bodies on matters of privacy law and media law.
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.

technical

Charlie Freedman
VIDEOGRAPHER
Keelan O’Hehir
PHOTOGRAPHER
Benjamin Portas
MOTION DESIGNER
Jacqui Shelton
PHOTOGRAPHER
Lauren Squire
SOUND ENGINEER
Josh Watson
VIDEOGRAPHER
Public Office
GRAPHIC DESIGN and DEVELOPMENT

comrade

Elena Betros
Clare Cooper
Jason Heller
Anabelle Lacroix
Paris Lettau
Sarah Mccauley
Dr James Parker
Anatol Pitt
Jessica Row
Emily Siddons
Sezzo Snot
Beth Sometimes
Mathew Spisbah
Cara Stewart
Darcy Wedd
Makeda Zucco
Mino Peric

Support

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.

Contact

info@​liquidarchitecture.​org.​au
FB, IG, YT, SC

PO Box 12315
Mel­bourne
VIC 8006
AUS­TRALIA

LIQUID ARCHI­TEC­TURE SOUND INC
ABN 73128090237
ASN A0050679K

Major Sponsors

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.

HOW PER­SONAL INFOR­MA­TION IS COL­LECTED

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  • Sub­scrib­ing to LA’s e-newslet­ter via the web­site, in-person or other means
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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
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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.

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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

The pro­vi­sion of all per­sonal infor­ma­tion is vol­un­tary, but if that infor­ma­tion is not pro­vided LA may not be able to pro­vide its clients with the prod­ucts or ser­vices requested. LA reserves the right to change its Pri­vacy Policy at any time. At any time LA clien­tele have the right to access, change or cor­rect their per­sonal infor­ma­tion or the organisation’s pri­vacy prac­tices. To make a request or inquiry write to info@​liquidarchitecture.​org.​au

Events
Events
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Freedom As _____
Percy Grainger

Thu, 27. Jul 2017(Add to Cal)
From Wentworth to know-your-worth: desires are indulged through our freedoms, but how enjoyable, or emancipated, is a freedom that is always already dictated?
Grainger Museum, Melbourne
13 Royal Parade, Parkville
6PM - 10PM
FREE

‘Free­dom’ is to choose with­out the choice to not choose.

Fun­da­men­tally, free­dom is the con­di­tion of being free. It may be seen as a dual­ity between oppres­sion and the oppressed. Here, free­dom is observ­able as cur­tail­ment, limit, restric­tion; a matter of pres­ence and absence.

Free­dom may also be pos­sessed through acts of self-agency. At times there are tri­umphant moments when it appears the oppres­sor has become the sup­pressed. Uncov­ered, the mouth speaks, reveal­ing that it was there all along. Now, free­dom begins to appear obtain­able through asser­tion, inter­fer­ence, devi­a­tion.

Yet these vari­ances of free­dom become con­fused in the face of one’s own free­dom. How do we sep­a­rate an act of free­dom from an act of self-inter­est? From Went­worth to know-your-worth: desires are indulged through our free­doms, but how enjoy­able, or eman­ci­pated, is a free­dom that is always already dic­tated?

Musi­cally, free­dom may be observed in mul­ti­ple ways; through the rela­tion­ship between con­duc­tor and per­former, the act of free impro­vi­sa­tion as self-expres­sion, and the agency of per­for­mance trans­formed into musi­cal forms of self-inter­est.

This pro­gram takes as its point of depar­ture the music and ideas of auto­di­dac­tic Aus­tralian com­poser and poly­math Percy Grainger, specif­i­cally his sense of ​‘free­dom’ expressed in the works and exper­i­ments that he called free music. In a series of spe­cially com­mis­sioned per­for­mances util­is­ing Grainger’s recently rebuilt free music ​‘machines’ a group of artists and musi­cians offer their own mul­ti­fac­eted read­ings of Grainger’s ​‘free­dom’, invit­ing the audi­ence to con­sider what the term might sig­nify today.

Eric Demetriou & Her­bert Jercher

HJ: ​‘The real thing that has inter­ested me during my time as an arts prac­ti­tioner is to feel the essence of each dis­ci­pline during the time of engage­ment. My kines­thetic sense, informed by my pro­pri­o­cep­tive aware­ness, enables me the free­dom to play during a per­for­mance. Nat­ural and arti­fi­cial design con­straints influ­ence my choice of adap­tive strate­gies whilst inter­act­ing with semi­otic ele­ments during a per­for­mance.

A point of readi­ness exists when Eric and I engage in sound art. This in situ per­for­mance art­work is the cul­mi­na­tion of pro­gres­sive author­ship, col­lated by insti­tu­tions and indi­vid­u­als who have gen­er­ously passed on their acqui­si­tions, now evi­dent in our cur­rent expres­sions of inter­est’.

Eric Demetriou com­pleted a Mas­ters of Fine Art at the Vic­to­rian Col­lege of the Arts in 2013 and is a cur­rent artist in res­i­dence at Gertrude Con­tem­po­rary. Recent solo exhi­bi­tions include: Sanater­rar­ium: per­for­mance art fes­ti­val for frogs and crick­ets, Gertrude Glasshouse Gallery, (2017); An After­noon with Herb Jercher, Lind­berg Gal­leries (2016); Four min­utes and thirty-three sec­onds in cat years, TCB Art inc (2015), and Flee Flu, West Space, (2014). Demetriou is an active member of Mel­bourne groups TBP, Germlock, and fre­quent col­lab­o­ra­tor with sound artist and whip cracker, Her­bert Jercher.

Her­bert Jercher is a sound artist and pio­neer in the design of sound sculp­tures, instal­la­tions and acoustic sys­tems. His works embrace a wide range of con­texts and needs, whether for school or com­mu­nity play­ground, foyers and atri­ums of shop­ping cen­tres or hotels, the home garden, a city, street per­for­mance or museum court­yard. His works are envi­ron­men­tally friendly as well as fun to play and listen to.

Eric Demetriou and Her­bert Jercher, col­lab­o­rate in a sonic explo­ration of the Aus­tralian art of whip crack­ing; per­form­ing impro­vised music with var­i­ous Aus­tralian stock whips, beat fre­quen­cies and drum implo­sions.

Anto­nia Sell­bach with Julie Burleigh & Alison Bolger

AS: ​‘The origin of these three scores began with the let­ters of Percy Grainger. I was inter­ested in taking some­thing lit­eral, like a typed letter and re-coding it into a series of coloured dots and dashes. This process of redac­tion freed the words from their lit­eral read­ing, and in turn linked them to abstrac­tion – some­thing very much entan­gled within lan­guage and com­mu­ni­ca­tion. The act of redac­tion has his­tor­i­cally had more asso­ci­a­tions with cen­sor­ship than free­dom and yet the inter­pre­ta­tion of a letter, its punc­tu­a­tion and words into a new lan­guage of dots and dashes and then again into music, con­tains a mul­ti­tude of new free­doms that also align with Grainger’s con­cept of free music.’

Anto­nia Sell­bach is a Mel­bourne-based artist. Her work explores abstrac­tion in rela­tion to thought, sen­sa­tion and serial deci­sion-making. Often mod­u­lar in nature, Sellbach’s paint­ings and sculp­tures create par­ti­tions and parts, sets and ver­sions, work made to be con­fig­ured and recon­fig­ured. Sell­bach has exhib­ited widely and her work is held in pri­vate col­lec­tions, both within Aus­tralia and inter­na­tion­ally. Her work has appeared in mag­a­zines and jour­nals includ­ing Primer, Est and Vogue Italia. Sell­bach is cur­rently com­plet­ing a PhD explor­ing the con­nec­tions between Wittgenstein’s con­cept of Lan­guage Games and Con­tem­po­rary Abstrac­tion.

Anto­nia Sell­bach is also a musi­cian with Mel­bourne bands Love of Dia­grams and Beaches. Sell­bach is also a found­ing member of LISTEN, a fem­i­nist col­lec­tive that seeks to gain fur­ther vis­i­bil­ity for women within the Aus­tralian Music Under­ground. She is cur­rently a lec­turer at Mel­bourne Poly­tech­nic in Cre­ative Arts.

Julie Burleigh is an ex-People Person and ex-The French. Occa­sional recorder ses­sion muso with bands (Beaches, Free Time, The Ancients). Burleigh has played solo on and off for many years, util­is­ing op-shop key­board, guitar pedals, loop pedals and recorder.

Alison Bolger is a Mel­bourne-based musi­cian. She is a found­ing member of Beaches, Panel of Judges, Clag and was a long­stand­ing member of Sleepy Town­ship. Alison has played in impro­vised sound ensem­bles such as Hi God People, Exhaus­tion and Actual Holes. She has recently per­formed solo shows and pro­duced record­ings under the moniker of Heavy Epic.

Is There A Hot­line?

Avid ​‘flow’ prac­ti­tion­ers and DIY enthu­si­asts Jen Tait and Jen Call­away call out to the cosmos using an assem­blage of per­cus­sive objects and elec­tron­ica, evok­ing trans­portive atmos­phere, psy­chic storms and quiet retreats.

Is There A Hot­line? will incor­po­rate Grainger’s con­cepts of musi­cal scale free­dom (micro­tonal and free flow­ing pitch inter­vals), automa­tion (via elec­tronic loop­ing and self-com­pos­ing orna­men­ta­tion), as well as dis­tinc­tively embell­ished prac­ti­cal cloth­ing design. A tran­scen­dent stargaz­ing waltz and audi­ence stim­u­la­tion via Grainger-styled devices may also fea­ture.

A project curated by Mino Peric for Liquid Architecture, Grainger Museum and VCA & MCM for Nite Art 2017.

The Grainger Free Music Instruments used in these performances were produced by artist Michael Candy and musician and composer Rosalind Hall as part of ‘Experiments in Freedom’ in 2016.

Partners

Artists
Artists
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Anthony Lyons and Paul Fletcher

free­dom lying between or beyond tem­pered notes, ratio­nal rhythms and tra­di­tional instru­men­tal forms

Antonia Sellbach with Julie Burleigh and Alison Bolger

The process of redac­tion freed the words from their lit­eral read­ing

Eric Demetriou and Herbert Jercher

the sonic explo­ration of the Aus­tralian art of whip crack­ing

Is There A Hotline?

assem­blage of per­cus­sive objects and elec­tron­ica, evok­ing trans­portive atmos­phere, psy­chic storms and quiet retreats

Mark Pollard

recon­struct­ing mer­cury

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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
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
Aura Satz
Aurelia Guo
Ava
Áine O'Dwyer

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

COCO SOLID AKA Jess Hansell
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
Corin
Croatian Amor
Crys Cole
Cured Pink

12 dog cycle
DIVA FINGER
DJ Deeluscious
Dale Gorfinkel
Danae Valenza
Dave Brown
David Chesworth
David Grubbs
David Shea and Kristi Monfries
Debris Facility
Decibel
Demdike Stare
Dennis Del Favero
Desmond Manderson
Dino
Dirk de Buyn
Douglas Kahn
Douglas Quin
Ducklingmonster
Dylan Martorell
Sonia Leber and David Chesworth

Eddie Hopely
Eexxppoann
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
eves

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
Girlzone
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
Helm
Hextape
Hi God People
Hikashu
Holly Childs
Hong-Kai Wang
Hou Hanru
Hsu Chieh
Rosalind Hall and Dave Brown

Is There A Hotline?
Islaja
Ivan Lisyak
id m thffft able

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 Parker
James Rushford
James Utting-Webb and Riley Lockett
Jannah Quill
Jared Davis
Jasmine Guffond
Jason Kahn
Jeff Henderson
Jen Bervin
Jennifer Stoever
Jennifer Walshe
Jenny Ruth Barnes
Jeph Lo
Jess Sneddon
Jikuroux
Joanna Anderson & Michael Prior
Joe Banks
Joe Musgrove
Joe Talia
Joel Maripil
Joel Spring
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
Kandere
Kane Ikin
Kangaroo Skull
Karli White
Karolin Tampere
Kate Brown
Kate Geck
Kaya Hanasaki
Keith Fullerton Whitman
Kent Macpherson
Kiah Reading
Kim Satchell
Klein
Kraus
Kusum Normoyle
Kym Maxwell
Kynan Tan

Lacking Sound Festival
Lady Erica
Lara Thoms
Larrie
Las Chinas
Lawrence Abu Hamdan
Leena Riethmuller
Lei Lei Kung
Leighton Craig
Leila El Rayes
Leila El Rayes x Poison
Libby Harward
Lilian Steiner
Lin Chi-Wei
Linda Dement
Lionel Marchetti
Lisa Lerkenfeldt
Lizzie Pogson
LoVid
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
MTLDA-S
Madboots
Madelynne Cornish
Magic Steven
Makeda
Makiko Yamamoto
Manus Recording Project Collective; Michael Green, André Dao, Jon Tjhia, Abdul Aziz Muhamat, Farhad Bandesh, Behrouz Boochani, Hass Hassaballa, Samad Abdul, Shamindan Kanapadhi
Marc Behrens
Marco Fusinato
Marcus Rechsteiner
Maria Moles
Marian Tubbs
Mark Andrejevic
Mark Brown
Mark Harwood
Mark Pollard
Martin Howse
Martina Copley
Masato Takasaka
Match Fixer
Matka
Matthew P. Hopkins
Matthew P. Hopkins & Julie Burleigh
Matthew Sleeth
Matthias Schack-Arnott
Mattin
Maysa Abouzeid
Media Lab Melbourne
Megan Alice Clune
Mehera San Roque
Melissa Deerson
Menstruation Sisters
Michael Pulsford
Michel Chion
Miranda Liebscher
Monica Monin & Astrid Lorange
Moopie
Moor Mother
Music Yared
mOwson+M0wson

(no)signal
Nat Grant
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

Okkyung Lee
Omahara
Operant
Oren Ambarchi

Pan Daijing
Papaphilia
Pauline Vetuna
Perfume
Perlonex
Peter Brötzmann and Heather Leigh
Peter Szendy
Phil Dadson
Philip Brophy
Pia Van Gelder
Pip Stafford
Pjenné
Poppy de Souza
Prophets
Public Assembly
Puce Mary

Queens of the Circulating Library

Ragtime Frank
Rashad Becker
Rebecca Jensen
Rebecca Ross
Richard Dawson
Richie Cyngler
Rita Revell
Rob Thorne
Robin Fox
Robin Hayward
Robin James
Romy Seven Fox
Rosalind Hall
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
Shi Chao Lai
Sibling
Simona Castricum
Slime
Sondes
SoundWatch
Sovereign Trax
Steph Overs
Still Nomads
Straightjacket Nation
Subterranean Rain
Susan Schuppli
Suzanne Kite
Sweat Tongue

T.Morimoto
TT SKTLS
Tara Transitory
Tessa Laird
Th Duo Trio
Thanh Hằng Phạm
The Charles Ives Singers
The Donkey's Tail
Thembi Soddell
Theresa Wong
Ting Shuo Hear Say
Tom Ogley
Tom Smith
Tralala Blip
True Strength
Tzu Ni
this mob

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

Various Asses

WDK
Waterhouse
Werner Dafeldecker
White Fungus
Will Foster and Sabrina D’Angelo
William Blackstone

Xia Lin

Yen-Ting Hsu

Zac Segbedzi
Zach Blas
Zoe Scoglio

Archive
Archive
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