Active since 2000, Liquid Architecture is a Naarm (Melbourne) based organisation supporting experimental, interdisciplinary and critical work addressing sound and listening in context.
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 the Wurundjeri Woi Wurrung as the Traditional Owners and sovereign custodians of the Country on which we practice. We extend our respects to their Elders past and present, and to all First Peoples.
Andy Miller (Acting Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Liang Luscombe (Publishing)
Rohan Rebeiro (Concerts)
Mara Schwerdtfeger (Digital)
Madeleine Collie (Food, Sound, Justice)
James Parker (Machine Listening)
Sean Dockray (Machine Listening)
Laura McLean (Capture All)
Mehak Sawney (Capture All)
Xen Nhà (disorganising)
Lana Nguyen (disorganising)
We welcome conversation, ideas and feedback at any time.
104/35 Johnston Street
Collingwood VIC 3066
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.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
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.
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 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
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:
- 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.
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 email@example.com
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.
GENERAL DATA PROTECTION REGULATION (GDPR)
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.
OUR DATA SECURITY POLICY
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 firstname.lastname@example.org.
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 email@example.com.
HOW DOES LA HANDLE FEEDBACK AND COMPLAINTS?
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.
HOW LONG WILL IT TAKE FOR MY COMPLAINT TO BE RESOLVED?
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.
WHAT IF I’M NOT HAPPY WITH THE 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
Advice team: 13 22 62
TICKET REFUNDS AND EXCHANGES
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.
Machine Listening: Improvisation and Control
Liquid Architecture x NTU CCA Singapore
6pm AEDT, 3pm SGT
Machine Listening is an investigation and experiment in collective learning, instigated by artist Sean Dockray, legal scholar James Parker, and curator Joel Stern for Liquid Architecture.
The project launched in October 2020 with an open access curriculum site and series of online presentations, performances and pedagogical experiments at Unsound Festival in Poland, and reconvenes on Sat, 13. Mar 2021 with a new online live event, Improvisation and Control.
Staged as part of the NTU CCA Singapore’s recurring Free Jazz exhibition program, this episode focuses on the complex and evolving dialectic between improvisation and control, framed via a detour into the experimental computer music laboratories of the 1980s and 1990s where the term ‘machine listening’ first begins to circulate.
Machine Listening: Improvisation and Control features new performances, presentations and works by Bridget Chappell and Allison Walker (Australia), Mattin (Basque Country), Luca Lum (Singapore), Bani Haykal (Singapore), Lee Weng Choy (Malaysia), Lee Gamble (UK) and Jessica Feldman (USA).
JESSICA FELDMAN is a sound and media artist and researcher based in Paris and NYC whose work is concerned with the use of digital technologies to imagine, facilitate, or repress solidarity, especially through listening. At Machine Listening: Improvisation and Control, Jessica Feldman will present a new piece for online ensemble and commercial vocal affect sensing software. The piece uses an open graphic and text score to describe emotions, which the performers are instructed to “sound” and constantly test against the affect monitoring software, creating a counterpoint and harmonies of emotions.
LEE GAMBLE is an artist, producer, label owner and DJ of exploratory electronic music and sound who has released music on seminal electronic labels PAN and Hyperdub, as well as his own UIQ imprint. At Machine Listening: Improvisation and Control, Lee will present an essay titled ‘Head Models on Rave Simulation, Involuntary Musical Imagery, Machine Learning, Neural Networks and Hallucination. The essay thinks about his work in the 2010’s which dealt with hallucination, echoic memory and audio simulations - connecting it to his current interests in machine simulation via machine learning, deep neural networks and AI. It’s narrated by Lee himself with some short interjections from his AI generated voice clone Moz AI.
MATTIN is an artist, musician and theorist working conceptually with noise and improvisation. Through his practice he explores performative forms of estrangement as a way to deal with structural alienation, interrogating both our self-conception and sense of freedom under capitalist relations. At Machine Listening: Improvisation and Control, Mattin presents a new instructional piece titled ‘Us Listening to Machines Listening to Us’ which proposes a collective improvisation using the audio settings of Zoom.
BRIDGET CHAPPELL is an artist and organiser based in multiple locations on stolen land. They make, code, and DJ dance music as Hextape, write and perform modern classical music, create often data-driven sound installations ranging from 3D interactive electromagnetic fields, to sonifications of colonisation, to pirate radio stations. At Machine Listening: Improvisation and Control, Bridget will collaborate with composer and sound designer Allison Walker to present a new work, ‘Extreme Deep Listening’ in which participants undertake exercises in immersion therapy with a hand-turned mechanical siren, before algorithmically deconstructing and reprogramming the siren waveform.
LEE WENG CHOY is an art critic based in Kuala Lumpur who writes on contemporary art and culture in Southeast Asia, and whose essays have appeared in numerous journals including Afterall. BANI HAYKAL is an artist, composer and musician working in the legacy of cybernetic culture whose projects revolve around modes of interfacing and interaction. At Machine Listening: Improvisation and Control, Lee and Bani will present a new machine and human generated video work titled ‘Trouble with Harmony’.
LUCA LUM is an artist, writer, and researcher whose practice pivots around writing, performance and installation, and a focus on ideas of intimacy, exchange, erotics, media, and infrastructure. At Machine Listening: Improvisation and Control, Luca will present text and scores from the ongoing project “daemon” — an airy, aural companion — addressing what might not always be rendered legible, as well as decomposing and figuring presence.
Our devices are listening to us. Previous generations of audio-technology transmitted, recorded or manipulated sound. Today our digital voice assistants, smart speakers and a growing range of related technologies are now able to analyse and respond to it as well. Scientists and engineers increasingly refer to this as ‘machine listening’, though the first widespread use of the term was in computer music. Machine listening is much more than just a new scientific discipline or vein of technical innovation however. It is also an emergent field of knowledge-power, of data extraction and colonialism, capital accumulation, automation and the management of desire. It demands critical and artistic attention.
WHY A CURRICULUM?
Machine Listening, a curriculum is an evolving resource, comprising existing and newly commissioned writing, interviews, music and artworks. As the project grows, the curriculum will too. The curriculum can be accessed here.
Amidst oppressive and extractive forms of state and corporate listening, practices of collaborative study, experimentation and resistance will, we hope, enable us to develop strategies for recalibrating our relationships to machine listening, whether through technological interventions, alternative infrastructures, new behaviors, or political demands. With so many cultural producers – whose work and research is crucial for this kind of project – thrown into deeper precarity and an uncertain future by the unfolding pandemic, we also hope that this curriculum will operate as a quasi-institution: a site of collective learning about and mobilisation against the coming world of listening machines.
A curriculum is also a technology, a tool for supporting and activating learning. This one is open source. It has been built on a platform developed by Pirate Care for their own experiments in open pedagogy. We encourage everyone to freely use it to learn and organise processes of learning and to freely adapt, rewrite and expand it to reflect their own experience and serve their own pedagogies.
Read a review of Machine Listening: Improvisation and Control in The Wire, May 2021 issue
This project takes place online, and across multiple unceded Indigenous Lands. Liquid Architecture acknowledge the people of the Kulin Nations as the custodians of the lands on which we work. We pay our respects to indigenous Elders, past, present and emerging.