For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. 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 sovereign owners of the country where we live and work, and recognise that sovereignty has not been ceded. We pay our respects to their Elders, past, present and emerging.
We welcome conversation, ideas and feedback at any time.
PO Box 12315
Work with us
We need a Program Coordinator to join Liquid Architecture this year, supporting both the organisation and artistic program, two days each week. Melbourne-based. Read the Position Description, and send your application by the strike of midnight, Tuesday 18 February 2020. Enquiries to email@example.com
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 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.
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 email@example.com.
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 firstname.lastname@example.org.
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.
Fujui Wang; Snawklor; Sage Pbbbt, Maria Moles, Michael McNab & Josten Myburgh; Hammers Lake with Rama Parwata
317 Brunswick St
Expanding the invisible void with a silent glow, Hyper Transmission is a synthesis of surrounding sonic and visual contemplation performed by legendary Taiwanese sound art pioneer Fujui Wang. All random noise sound waves are captured in real time and magnified as hyper-mobile image moments in front of your very eyes. Through kinetic hypersonic speakers, tightly-controlled audio beams strafe the space, threading through audience ears like lasers refracting between mirrors, a phenomenology of spectacular perceptual exchange.
Fujui Wang has played a key role in establishing sound art as an artistic field in Taiwan. In 1993 he founded the country’s first experimental record label and publication, Noise, and today he is an assistant professor of New Media Art at the Taipei National University of the Arts. Fujui Wang and Yi Lu established Soundwatch Studio in Taipei in 2011 as a space to promote the creation, exhibition, performance and renovation of experimental audio art. Since then, they have hosted performances, workshops, collaborations and dialogues between local, national and international practitioners of sound.
Contemporary visual artists Dylan Martorell and Nathan Gray have been making improvised electro-acoustic audio as Snawklor since 1996. Their unique sensibility constantly shifts it’s instrumentation while retaining a character based around a shimmering palette of metallic percussion, tones, accidents, interruptions and animal noises.
Snawklor began as the curatorial premise for the 50 Record Players exhibition, a series of gallery sound art shows focusing on Australian emerging, outsider and ultra-amateur compositions presented on lathe cut records. Their own musical practice began by DJing these records (each of which ended in a locked groove) and combining them with sound sculptures, broken CD players and found instruments.
Eventually they settled into a sound based around randomising samples from their diaristic collections of personal field recordings epitomised in their 2003 release It Would Have Lived Here and 5 other albums recorded between 2003 and 2010, most of which are now available on the Free Music Archive. During the early 2010s they worked with drummer Duncan Blachford on live shows before shortly returning to the duo format and winding up living on different continents.
This year they met on the island of Kythera and began recording on a rooftop overlooking an idyllic Greek valley full of goats and waterfalls. Using synths, samples, live processing, miniature percussion and multiple speaker arrays these recordings will form the basis for their live shows in 2017 as well as their first album in 5 years.
Taking inspiration from Tuvan and Mongolian overtone singing, Inuit throat singing, sound poetry, feminist, queer and trans praxis, insight meditation practice, industrial shamanism and more, Sage Pbbbt performs an ongoing exploration of extra-normal vocal techniques.
Maria Moles explores the electronic manipulation of rhythmic structures played on the drum set, focusing on blending both acoustic and electronic instruments and objects. The aim is to transcend the listener by creating a dense sound world that uses repetitive sustained melodies coupled with scattered rhythms.
Kinetic interactions with collaborators, objects and site form the improvisational material of Melbourne-based percussionist Michael McNab. He is interested in human and non-human presence as impetuses for sound making, and in spatiality and anti-virtuosity (walking around and dropping things) as ways to shake up audience-performer relationships.
Josten Myburgh is aPerth-based musician, influenced (mostly) by early music, fluxus, footwork, hip-hop, Wandelweiser, free improvisation and folk music, and interested (broadly) in gentleness, silence, repetition, counterpoint, juxtaposition and nonsense.
Hammers Lake is a trio comprising Judith Hamann (cello) and Carolyn Connors (voice), who are joined by a different percussionist/drummer each performance. Previous drummers have included: Maria Moles (MIUC, 2016); Vanessa Tomlinson (Tectonics Adelaide, Adelaide Festival 2014); Kjell Nordeson (UCSD, San Diego 2014); Peter Neville (MIUC, 2013); Sean Baxter (MIUC, 2012); Evelyn Morris (MIUC, 2012); Joe Talia (MIUC, 2012); Matthias Schack-Arnott (MIUC, 2012) and Robbie Avenaim (2011).
For this performance Hammers Lake will be joined by renowned Melbourne drummer Rama Parwata.