We welcome conversation, ideas and feedback at any time.
PO Box 12315
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
- 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.
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
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
- 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.
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):
- 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.
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 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.
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.
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
You can provide feedback or make a complaint via email via email to email@example.com.
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.
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.
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.
Australian Charities and
Advice team: 13 22 62
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.
Polyphonic Social: your voice in my head (and mine in yours)
1 St Heliers St
Polyphonics have much artistic and social potential: to make difference audible, to ‘sound’ disobedience, choreograph dissonance, and explore the harmonies possible when we bring voices together (and apart) in a shared space.
Polyphonic Social is an annual Liquid Architecture project with the proposition that artists think about polyphony in a vastly expanded way.
‘Polyphonic Social’: Part One Saturday 13 May 2017, 8pm – 10pm
The first ‘Polyphonic Social’ event sees three performances held in The Good Shepherd Chapel.
Erkki Veltheim, Rohan Drape and Alex Garsden (of Inland Concert Series) who open the program with a new 15 minute antiphonal work for instruments and computers; fragments of sonic things created independently.
Making her Australian debut, Irish musician Áine O’Dwyer will draw on both traditional and avant-garde music and her unique specialisation for improvisation on church organs. This performance follows the release of O’Dwyer’s multilayered magnum opus ‘Music for Church Cleaners vol. I & II’ (recorded in St. Mark’s Church in Islington, London).
The Melbourne Georgian Choir (MGC) will also perform, led by celebrated Georgian-Australian ethnomusicologists, Dr Nino Tsitsishvili and Dr Joseph Jordania. The choir features 20 vocalists singing together in the rich Georgian polyphonic tradition which dates back to at least the 4th century AD. The choir will perform challenging works from its repertoire, with an emphasis on strange tones, shifting drones, clashing dissonances and outré scales.
Dr Jordania of Melbourne University will also speak about the evolutionary roots of human polyphonic singing and it’s transformative powers, from preparing soldiers for battle to helping alzheimer sufferers regain their memories.
‘Polyphonic Social’: Part Two Sunday 14 May 2017, 10am – 6pm
Day two of the ‘Polyphonic Social’ program will see multiple experimental works overlap across times, spaces (tiled halls, salons, parlours, and the Convent’s famed indoor-outdoor in-between zones) and experiences (in sound and listening – moments that invite participation, imagination, and, in the case of one work, a moment to recline).
The day will begin with children (and parent) friendly polyvocalities for families on Mother’s Day, with creative activities for voices, hands and ears (10am – 12pm). ‘Polyphonic Social’ artists will offer new ways to listen and learn about sound.
The afternoon program (2pm – 6pm) will begin with a Welcome to Country from Wurundjeri Elder Uncle Bill Nicholson, who will lead us through the Yarra landscape by ear and hear multiple voices of land and country.
Marking his Australian debut is Lin Chi-Wei – a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual and audience participation. Chi-Wei will stage his famed participatory sound work, ‘Tape Music’, in which audience members pass a paper score (sometimes 200m long) around a circle, singing as they go, therein resembling a ‘human tape machine’.
This program also pays homage to the great American experimental musician and artist Pauline Oliveros, who sadly passed away last year in 2016. Oliveros gave inspiration to a generation of artists through her sublime compositions and improvisations and, importantly, her philosophical approach to sound and ‘deep’ listening. In the spirit of musing, Melbourne artist Bruce Mowson is revisiting Oliveros’s 1974 suite ‘Sonic Meditations’, along with fellow artists Aviva Endean, Danae Valenza, and Fayen d’Evie. These meditation pieces are extremely playful and imaginative works, often functioning more as thought experiments than music.
Also performing will be Melbourne’s Hi God People who, put simply, are one of the weirdest, but wonderful, sound art groups around. They will perform a new work, ‘Running Bathing Singing With The Hi God People’, which they say will involve “bathing each other while dressed in sleepwear, wetting the sleepwear in the process”. How this will be done is yet to be precisely realised, but the group agree “it might be better to do this outside”.
Rosie Isaac will deliver a subtle, but very distinctive site-responsive work that operates at the intersection of text and performance, reading and speaking, standing up and lying down. She likes to explore the confusing ambiguous situations opened up by words that have multiple meanings and, therefore, suggest multiple hearings (which she thinks of as unspoken polyphony).Curators: Liquid Architecture and Emily Siddons
Liquid Architecture: Joel Stern, Danni Zuvela, Anabelle Lacroix, Georgia Hutchison, Jessica Row, Mino Peric, Jody Kingston
Production Team: Lauren Squire, Jason Heller, Keelan O'Hehir
Polyphonic Social is an annual Liquid Architecture program in partnership with Abbotsford Convent supported by the City of Yarra through the Creative Yarra grants program.
The organisers and artists acknowledge the Wurundjeri people of the Kulin Nation as the first owners of this country, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging. We would like to reflect that active and respectful listening is inherent in acknowledgement.