Liquid Architecture is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.
Our program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect. To do this, we host experiences at the intersection of contemporary art and experimental music, supporting artists to produce performances and concerts, exhibitions, talks, reading groups, workshops and recordings in art spaces, music venues and other sites.
Liquid Architecture is curatorially driven and our methodology embraces research, collaborations and imaginations. We want to echo beyond local conversations, problems, debates and questions, to reverberate across media and disciplines, and so to sound out new discourses about the audible world, and beyond.
We acknowledge Aboriginal and Torres Strait Islander people as the first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.
PO Box 12315
Liquid Architecture (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.
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.
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.
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.
Jennifer Stoever: Sonifying Race, Surveilling Space: The Sonic Color Line and the Listening Ear
190 Young St
7PM - 9PM
For a very long time now, America has—audaciously and impossibly—labored under the illusion that it is a “colorblind” nation: that skin color simply “doesn’t matter” when it comes to employment, or schooling, or opportunity of any sort. That it is possible to “not see color” when it comes to intimate relationships, to hiring or firing, to renting a home, to policing a neighborhood. And, more cynically, that, in a market-driven nation, it our nation is only possible—and profitable—when everyone sees only “green,” the color of dollars earned toward that American Dream, open to all, equally, provided of course you can afford it.
But money and class have proven time and again not to be the great colorblind equalizer for people of color, for whom success often means living and working in predominately white spaces, contending with invisible racial protocols that deem their voices, speech, music and other cultural expressions of blackness to be hyperaudible noise: too loud, too inappropriate, too unprofessional, too different, too much, too ratchet, too urban, too [insert white euphemism for “black” here]. Indeed, that’s exactly how these sonic signs of not-belonging operate for the white people—as codes that allow them to politely surveille and legally police for blackness, to continue to objectify and mark blackness as such and put it to heel, quiet it or segregate the people who make it out of their soundscapes at will. And all this without using overt racial designations, doing the work of racism while evading the title.
In “Sonifying Race, Surveilling Space: The Sonic Color Line and the Listening Ear” scholar Jennifer Stoever will unsettle the exclusive relationship between race and looking that colorblind racism depends upon and show how listening works to police racial boundaries in everyday life. Stoever explains the findings of her research on race, sound, and listening in the United States, first by introducing the concept of the sonic color line—her term for the racial boundaries anyone who grows up or spends much time in this country is socialized to hear and amplify—and then by using this concept to listen to racism in the US, showing why sound matters in our contemporary struggles against racism, systematically in our classroom and courtrooms, and in our everyday interactions in public places. Interweaving theory, archival research, analysis of court cases and viral videos, and representations in popular culture, Stoever argues that that the only way that colorblindness could ever have taken root as a functioning ideology in a nation so riven with unrepaired and deeply historical racial hierarchies is because we hear America’s color lines as well as we see them, maybe even more so in a nation so stubbornly insistent it is possible—or even desirable—for everyone to “overlook” race.
Following Jennifer's lecture she will be in discussion with Professor SUNDHYA PAHUJA, Director of Melbourne Law School's Institute for International Law and the Humanities (IILAH) and author of Decolonising International Law: Development, Economic Growth and the Politics of Universality (Cambridge University Press, 2011)
JENNIFER STOEVER is an Associate Professor at SUNY Binghamton, where she teaches courses on African American literature, sound studies, and race and gender representation in popular music. She also is the project coordinator for the Binghamton Historical Soundwalk Project, a multi-year archival, civically-engaged art project designed to challenge how Binghamton students and year-round residents hear their town, themselves, and each other. She is Co-Founder and Editor-in-Chief for Sounding Out!: The Sound Studies Blog and her book The Sonic Color Line: Race and the Cultural Politics of Listening was published by New York University Press in 2016.Presented in partnership with un Projects
"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."