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.


Joel Stern
Danni Zuvela
Georgia Hutchison
Debris Facility
Mathew Spisbah
Autumn Royal


Jennifer Barry
David Chesworth
Hannah Fox
Michael Graeve
Andy Miller
Mark Nolen
Kristen Smith


Bridget Chappel
Charlie Freedman
Keelan O’Hehir
Paul Mylecharane and Matt Lenz (Public Office)
Benjamin Portas
Jacqui Shelton
Lauren Squire
Josh Watson


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


We welcome conversations and ideas, feedback and complaints, before, during and after our activities, at any time.

PO Box 12315
VIC 8006

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.

Liquid Architecture is bound by the Australian Privacy Principles contained in the Commonwealth Privacy Act and is compliant with the Privacy Amendment (Enhancing Privacy Protection) Act 2012.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.


The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:

  • 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 stored on your device that provides information to Google Analytics to give us statistical information about our visitors.

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 newsletter via the website, in-person or other means
  • Visiting LA’s website
  • Registering for LA’s programs of events (eg. performances, workshops, lectures)
  • Purchasing a ticket for LA’s programs of events via a ticketing system
  • 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 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:

  • To communicate with staff, artists, associates, volunteers, or Board Members
  • For communicating about upcoming programs and services offered by LA and its partners
  • For documenting LA performances and events
  • To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
  • For artistic program research and organisational continuous improvement purposes
    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.

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.

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

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.

LA operates occasional European artistic programming and partnerships, and complies with the data protection policies required by the European Union General Data Protection Regulation (the GDPR) since 25 May 2018.

LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.

If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via

Feedback & Complaints

Feedback & Complaints

Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.

You can provide feedback or make a complaint via email via email to

Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA’s CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.

The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.

LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.

If you are dissatisfied with LA’s response you are encouraged to contact LA to request an internal review. You should outline in writing why you are dissatisfied with the response; and the outcome you are seeking. LA will provide a further response within 10 business days of receiving this information.

If you are dissatisfied with the outcome of our review of their complaint, you may seek an external review of our decision (by the Australian Charities and Not-for-Profits Commission for example).
Australian Charities and
Not-for-Profits Commission
Advice team: 13 22 62
Online Form

LA may provide an exchange or refund of a ticket if problems arise before, during or after an event. LA encourages our audience to try to resolve problems as soon as possible after they arise so that we have the best opportunity to find a solution.


M J Grant: Harm and harmony: Music, torture, and the ideology of western civilization

Melbourne Law School
102, 185 Pelham St

Over the past few years I have returned repeat­edly to the related sub­jects of music and pun­ish­ment and music and law. This was ini­tially moti­vated by the need to sit­u­ate research into the use of music as tor­ture within a broader (and longer) his­tor­i­cal frame­work. 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. The idea that pris­on­ers be forced to sing and play for their cap­tors is doc­u­mented in the ancient Near East, for exam­ple: a frieze from the palace of Nin­eveh in ancient Assyria, now held in the British Library, appears to pro­vide a pic­to­r­ial rep­re­sen­ta­tion of a sub­ject better known from one of the Psalms:

By the rivers of Baby­lon, there we sat down, yea, we wept, when we remem­bered Zion.
We hanged our harps upon the wil­lows in the midst thereof.
For there they that car­ried us away cap­tive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.
How shall we sing the LORD’S song in a strange land?

(Psalm 137, taken here from the King James Bible)

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, such as by bang­ing pots and pans, to draw atten­tion to the pro­ceed­ings and per­haps to sig­nify the dis­so­nant ele­ment in the com­mu­nity which was sub­ject to the ritual’s cri­tique. 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.

Why, then, has this only recently come into focus in musi­co­log­i­cal research? The answer, I sus­pect, has much to do with what these prac­tices sig­nify, and how. Many of these prac­tices func­tion as forms of musi­cal ​“oth­er­ing” by play­ing on ideas about the oppo­si­tion between har­mony and dis­so­nance, sense and non-sense, and in par­tic­u­lar, reason and emo­tion. In seek­ing to unpick this com­plex dis­course, the direct rela­tion­ship between reflec­tive and activist modes of research will, I hope, become clear. For ulti­mately, what we are deal­ing with here is an ide­ol­ogy – lit­er­ally a system of ideas – which runs very deep in the his­tory of west­ern thought and west­ern ​“civil­i­sa­tion”. Indeed, the very idea of ​“civil­i­sa­tion” is both fun­da­men­tal to this ide­ol­ogy and defined in its terms. To chal­lenge these ideas is, there­fore, to chal­lenge processes of dis­crim­i­na­tion and mar­gin­al­i­sa­tion that are fun­da­men­tal to the way in which west­ern soci­ety works.

M J GRANT is a Teach­ing Fellow at the Reid School of Music, Uni­ver­sity of Edin­burgh. Her work cur­rently focuses on the uses of music in con­nec­tion with col­lec­tive vio­lence, espe­cially in war, geno­cide and tor­ture. From 2008 – 2014 she led the research group ​“Music, Con­flict and the State” at the Uni­ver­sity of Göt­tin­gen, and from 2014 – 2015 she was a Fellow at the Käte Ham­burger Centre for Advanced Study in Law as Cul­ture at the Uni­ver­sity of Bonn. She also received a major stipend from the HF Guggen­heim Foun­da­tion for a mono­graph on the musi­col­ogy of war, which is near­ing com­ple­tion. Pre­vi­ous work includes Serial Music, Serial Aes­thet­ics: Com­po­si­tional Theory in Post-war Europe (Cam­bridge Uni­ver­sity Press, 2001) and an as yet unpub­lished mono­graph on the cul­tural his­tory of the song Auld Lang Syne.


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."


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