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 SOUND INC
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
LA collects personal information in a variety of different ways depending on the type of contact that is made with the organisation. LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations.
The following are examples of how personal information may be collected by the organisation:
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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:
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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.
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
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DATA ACCESS AND FURTHER INFORMATION
LA2015 Sydney: Beyond Capitalist Surrealism
This year in Melbourne we instigated a program called Capitalist Surrealism. We could have done the same here, but Sydney is even more expensive than Melbourne — more capitalist, and therefore more surreal.
Over three days at Firstdraft, Beyond Capitalist Surrealism will hold an acoustic mirror to the bizarre and mutually-antagonistic forces and formations of contemporary capital. This collective experiment by artists, musicians and others may:
* record the noise of eavesdropping
* rave safe and sound in the peace and quiet of sonic warfare
* flush the human algorhythm’s guiltily machinic ear
Our projections suggest that this should accrue sufficient emotional, symbolic and unconscious capital to bankrupt the fantasy of an infinitely contracting horizon. If the goal of capitalism is the accumulation of capital, this is accumulated capitalist surrealism.
Wednesday September 30
Monica Monin & Astrid Lorange
Friday October 2
Anja Kanngieser & Daniel Von Jenatsch
Monica Monin and Astrid Lorange
(eg a triad of #branding, #recovery, and #evidence corresponding to then cycling through topos CS, WWAFMSL, E)
the language and emotions of ecological and computational systems
pop culture appropriation, techno, and heavy industrial aesthetics
James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School.
Irish Dada-ist, composer and musical conceptualist, socially mediated / meditated performance art
sound and communication are shaped by, and shape, our relations to one another, to the architectures and infrastructures around us, to our larger atmospheres and ecologies, and to the forces of power and governance that we experience and intervene in
The processes ‘the body’ undergoes during a vocal performance are acknowledged by representing the body as a machinic entity via sound to combine present actions and potential connections within a continuum.
I play guitar, drums, a home-made synthesizer, organ, bamboo flute and tape-loops. I live in Auckland, New Zealand. I like medieval and Renaissance music, Japanese traditional music, psychedelic music, electronic music 1950s-70s and rock and pop of the same era. And, etc.
What are the implications of being listened to at all times? What is the difference between being listened to
by: nobody, somebody, a machine, an intelligent machine?
There is a party at Minerva 4/111 Macleay St, Potts Point this Saturday from 8pm-9:30pm. We hope you can make it. There will be some recording devices at the gallery.
relentless processes of the dematerialisation of matter despite the human struggle to contain time - the eternal eating machine
Appropriation of classic rock as a vehicle to examine the trials and tribulations of contemporary life, to the art of Powerpoint.
songs both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown
Electronic materials recombine and transform in infinite compositions as an experiment in computer aided sound-to-object synesthesia.
attempts to capture the ludic, depersonalized, uncanny and frustrating moments. Generic interfaces structure behaviour and produce modes of interacting and consuming that place within the privacy of individual devices.