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 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.
Materials of Sound
43 – 51 Cowper Wharf Road
Materiality is a constant and contested topic in contemporary art. In recent years the experimental sound arts have shifted away from digital and post-production sound in a turn back to materials. Sound in these practices is not a transparent medium played through hidden speakers, instead it is employed to investigate materials and is itself produced through materials that have various histories, including social/cultural/political, art historical, geological/ecological and electrical.
This daylong symposium will bring together a diverse group of speakers who in thinking about sound as more than sound will bring sound full discussions of politics, concepts and histories in the arts to the fore.
Frances Dyson (Sydney)
Sonic Mattering This talk discusses some of the discursive and aesthetic contributions that sound makes to the broader cultural and eco-political fields, looking in particular at modes of understanding engendered through the sonic arts, and offering some speculations on an aurally inspired understanding of materiality and ‘mattering’.
Frances Dyson is Emeritus Professor of Cinema and Technocultural Studies at the University of California, Davis, and Visiting Professorial Fellow at the National Institute for Experimental Arts, UNSW. She is the author of The Tone of Our Times: Sound, Sense, Economy and Ecology (MIT Press, 2014); Sounding New Media: Immersion and Embodiment in the Arts and Culture (University of California Press, 2009).
Johannes Kreidler (Hamburg)
Sound and Gravity Recently exploring the use of gravity as a sound source, Kreidler gives certain materials and meaningful objects their own sonic course by letting them fall down or by letting things fall down on them. Often this is combined with the use of video. Kreidler will present these examples and discuss reasons for such a kind of non-human expressiveness / non-expressiveness.
Johannes Kreidler studied composition, electronic music and music theory at the Musikhochschule in Freiburg and at the Koninklijk Conservatorium The Hague. He currently teaches composition and music theory at the Hochschule für Musik und Theater Hamburg.
Amelia Barikin (Brisbane)
Mineral Volumes Focussing on the appearance of ‘sound fossils’ in a number of works of contemporary art, this talk discusses the way that traces of sound can trouble binary distinctions between animate and inanimate materials. The goal is to test out an ethics of being in which the living-non-living binary might be said to no longer apply: to think about what it might mean to conceive of a mineral ontology of contemporary art.
Amelia Barikin is a Lecturer in Art History at the University of Queensland whose work often focuses on the relation between art and time. Publications include Parallel Presents: The Art of Pierre Huyghe (MIT Press, 2012), and the anthology Making Worlds: Art and Science Fiction (co-edited with Helen Hughes, Surpllus, 2013).
Seth Kim-Cohen (Chicago)
Against A Falling Fabric Sound is never present but always elsewhere and elsewhen: faraway thunder always late to lightning’s party. Sound is always haunted by that-which-is-other-than-sound: else-sound. Disparate and dispirited, sound behaves like all manner of contemporary phantasmagoria: simulacra, becoming, and the trace; capital, debt, and speculation. Recent works by Matthieu Saladin and Johannes Kreidler shroud the ghosts of global contemporaneity in sonic fabric: a double-haunting that makes forms and forces apparent. What is revealed, of course, is not a secret substance, but a constitutive ever-elseness.
Seth Kim-Cohen generates output in numerous fields and media. He is the author of Against Ambience and Other Essays (2016), In The Blink of an Ear: Toward A Non-Cochlear Sonic Art (2009), and One Reason To Live: Conversations About Music (2006). Artforum refers to his gallery-based work as “collegial and awkward, a real-life mistake framed by a semi-fictitious context… an allegory for experimental thinking in general.” He received his PhD from the University of London in 2006 and is Assistant Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.
Joel Stern (Melbourne) and Danni Zuvela (Gold Coast/Melbourne)
More or Less Immaterial Ever since sound entered the space of art, it has been plotting its escape. Dematerialising strategies offer an array of possible excursions, but their audibility is only ever possible within the echo chamber of the art world. Can rendering sound immaterial – present but displaced, unimportant but fundamental – offer an alternative escape route? Joel Stern and Danni Zuvela are the artistic directors of Liquid Architecture, an Australian organisation for artists working with sound.
As a material index of acoustic activity, the term ‘sound fossil’ has gained currency in the field of contemporary art both as a means of accounting for the appearance of the past in the present, and as an embodiment of cosmic time.
academic, event director and curator working in the area of the sound arts.
The ear is a fetus, drum, forge, lizard, horse, fish, seashell, sea, tree before it gets to the brain and a brain.
the resonance of voice has been exiled to places without people
For me, music never exists alone; a composer must always deal with interrelationships.
Seth Kim-Cohen is an artist, musician, and writer who makes as little distinction between these categories as he can get away with. He is author of Against Ambience (2013), In The Blink of an Ear: Toward A Non-Cochlear Sonic Art (2009), and One Reason To Live: Conversations About Music (2006). His gallery-based practice – which Artforum describes as “collegial and awkward, a real-life mistake framed by a semifictitious context” – has been presented on all but three continents. His bands Nil/Resplendent, The Fire Show, and Number One Cup have released eight full-length albums since 1995. Kim-Cohen is Associate Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.