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:
- Subscribing to LA’s e-newsletter via the website, in-person or other means
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- Making an online enquiry
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- Submitting a proposal to LA
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WHY PERSONAL INFORMATION IS COLLECTED
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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vFor such further and other lawful uses in connection with LA’s activities consistent with this Privacy Statement
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, unless required by law. LA may, however, contact the audience on behalf of other organisations to offer information regarding their products. These organisations may include, but are not limited to other arts organisations or government departments.
KEEP PERSONAL INFORMATION ACCURATE
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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When you look at this website, our Internet Service Provider makes a record of your visit and logs the following information for statistical purposes only – the user’s server address, the user’s top level domain name (for example .com, .gov, .au, etc), 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. No attempt is, or will be, made to identify users browsing activities except, in the unlikely event of an investigation, where a law enforcement agency may exercise a warrant to inspect activity logs.
DATA ACCESS AND FURTHER INFORMATION
149 Acacia Road
Karawatha State Forest – as a hard-won, protected-for-now remnant of inner-city bushland in South-East Queensland – has stories to tell us about what it means to be a contemporary public forest.
With nature as our material, questions about ‘naturalness’ begin to emerge. What can a former illegal dumping site, transformed by community action, reveal about the rhetorics of the term “bushland” – in our own, and former times? How can we tune our listening to think differently – or just more deeply – about nature, when we remain bounded by the urban landscape?
Bringing together women from different artistic backgrounds in free-ranging conversations encompassing place, ecology and ritual healing, this event will reflect on care and commitment, and cultivate new sensitivities.
WED 23 August: Discovery in conversation
Félicia Atkinson (FRANCE), at the tail-end of her mega Liquid Architecture Australian tour, will be embarking on a process-based mini-residency at Karawatha State Forest with host Caitlin Franzmann.
Artist Libby Harward, a descendent of the Ngugi people of the Quandamooka, will offer thoughts including an Indigenous perspective on caring for country in the context of “wilderness” as it relates to the Karawatha environment.
Caitlin Franzmann, current Karawatha Forest Discovery Centre artist-in-residence, and Liquid Architecture’s plant-loving Danni Zuvela, will discuss Karawatha State Forest as habitat, biome and retreat.
Anne Harris will share her experimental approaches to creating and using natural pigments, ochres and textiles as a way of giving voice to her everyday life, and of sharing the stories of places she connects with through materials.
SAT 26 August: Listening and Talking Together with the Forest
Talking / listening / exchanging / sharing / improvising
In conversation with Caitlin Franzmann, Félicia Atkinson will reflect on her mini-residency at Karawatha on the experience of being immersed in the unique ecology of Karawatha State Forest. Felicia and Caitlin will discuss how they work, and offer reflections on the points of connection and overlap between their respective practices. The artists will share what they discovered, listened to and felt during their time in the forest together with poetic insights and mellow musings.We acknowledge the Turrbal and Jagera people as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.
...the term vocal fry and its association with young women is another ‘excuse to dismiss, ignore and marginalise women’s voices, both literally and figuratively’.
improvisation, science-fiction, composition, chance, noise, abstraction and poetry
re-calling - re-hearing - re-mapping - re-contextualising - de-colonising and re-instating on country that which was denied