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
- 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
- If you become a LA Associate, Volunteer or Board Member
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:
- To make recommendations to visitors about other services that LA offers that may be of interest
- Notifying changes of program details
- To market upcoming events
- For market research purposes
- To market online services
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
ONLINE COLLECTION NON-PERSONAL INFORMATION
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
A Festival within a Festival
100 St Kilda Rd
Overground is a four hour collaborative experiment featuring Australian and international musicians and artists operating across the lines of free improvisation, classicism, performance art, transgression, noise, poetry, comedy, conceptualism, despair and joy.
The Overground artists are organised into groups and ensembles that haven’t before, and may never again, perform together. Adaptability, attention, and the ability to listen, process, and respond are key. Not everything works and nor should it; risk and uncertainty are necessary ingredients for any experiment to be worthwhile. Some failures are more spectacular than any success. And how are we to judge anyway? The joy of experimental music is it’s fugitivity, it evades capture and is permanently on-the-run from those who would judge.
Overground is part of Supersense Festival and takes place at Arts Centre Melbourne, occupying various lounges, foyers, halls and stalls in this weird and opulent 1970′s building. So plush, velvety, uncanny, somehow out of time. A location ripe for a ritual (a cleansing, or a dirtying ritual?)
This is the third Overground, following the two intense and memorable iterations presented by Melbourne International Jazz Festival in 2010 and 2011.
The 2017 version is curated by Overground founder and Supersense curator Sophia Brous in collaboration with Liquid Architecture Artistic Director Joel Stern and founding director of Sydney’s legendary NOW now organisation Clayton Thomas.
For Liquid Architecture, Overground has been an opportunity to extend an invitation to artists whose works operate at the threshold of what is and isn’t (experimental) music, who disturb the conventions, even of a practice that understands itself as essentially unconventional. We hold this maxim to be true: Truly experimental music should be performed against itself.
Acid Mothers Temple, Ánde Somby, Andrew Harper, Arrington de Dionyso, Autumn Royal, Carolyn Connors, Clayton Thomas, Cleek Schrey, Dave Harrington, Deborah Kayser, Dylan Martorell, Erkki Veltheim, Felicia Atkinson, Freya Schack-Arnott, Fujui Wang, Hani Abdile, James Rushford, Jannah Quill, Jeremy Gustin, JG Thirlwell, Jim Denley, Jon Hunter, Jonnine Standish, Judith Hamann, Josten Myburgh and Michael McNab aka Tchake, Kane Ikin, Kusum Normoyle, Laura Altman, Laurence Pike, Lisa Lerkenfeldt, Lucy Cliché, Marcus Whale, Maria Moles, Matthias Schack-Arnott, Nick Tsiavos, Oliver Coates, Oren Ambarchi, Peter Knight, Rainbow Chan, Robbie Avenaim, Rohan Ribiero, Sage Pbbbt, Samuel Dunscombe, Scott McConnachie, Sophia Brous, Tarquin Manek, TBP, Ying Li-Hooi, Zeena Parkins.We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation 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 fake as a complex sign that shapes new myths, values and contemporary commodity production.
Am not I, who thanks to owning a car, capable of all that the human heart longs for? Does not a car possess all human capacities? Does not my car, therefore transform all my incapacities into their contrary?
a bowerbird aesthetic
improvisation, science-fiction, composition, chance, noise, abstraction and poetry
a pioneer of Taiwanese sound art
LISTENING IS CREPUSCULAR. MUSIC IS A SHADOW.
ordinary digital interfaces and technological machines as materials to generate new experiences reinterpreted from the intended consumer use of the digitally banal
More like metal than hysteria
Working at the intersections of experimental noise, performance, beauty, cruelty, isolation and sexuality.
cycles, orbits and the perception of time via colliding objects