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 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.
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 firstname.lastname@example.org.
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 email@example.com.
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.
Polyphonic Social 2019
Polyphonic Social is an annual Liquid Architecture project taking place at Melbourne’s Abbotsford Convent. It is framed by the proposition that artists practice polyphony in vastly expanded and experimental ways.
Polyphony is a state in which we hear many different voices, in their full texture, simultaneously. (Poly/many + phonos/voices). It is a sonic concept with much artistic and social potential; to make difference audible, ‘sound’ disobedience, choreograph dissonance, and explore the harmonies produced when we bring voices together (and apart) in shared space.
Polyphonic Social 2019 unfolds across three events, occupying the Convent’s historic, recently restored Magdalen Laundry with experimental sound, performance, and installation. While the program’s heart beats conceptually, its skeleton structure is a powerful multi speaker-stack sound system, which will be deployed by artists to articulate the cavernous space of the industrial building in uncanny, immersive, and unexpected ways.
Fri, 18. Oct 2019
Friday’s evening concert features legendary Japanese electro-punk auteur PHEW, whose warped vocal exclamations over pulsating electronics have been described as ‘Yoko Ono meets Suicide’ making her Australian debut more than 40 years after arriving on the Osaka scene as the singer in avant-noise band Aunt Sally. Australian composer, pianist and electronic musician ANTHONY PATERAS and French experimentalist ERIKM will collaborate on an analogue/digital set of ‘free concrète music inscribed firmly in the present’. And finally, SAGE PBBBT’s extra-normal vocal techniques will conjure chaos magick via a feminist, queer and trans praxis of air, lungs, vocal folds, lips and room.
“I can feel my concentration is shot. I feel I could be much smarter but my discipline to commit to knowledge has eroded.” Antony Pateras
“Ritual without intent! Magick without results!” Sage Pbbbt
“Real singers are able to communicate things and incite feelings within the listeners. I realized, I’m just not a singer in that sense. I started to think about what I was, and I realized that rather than try to be a singer, I could do punk.” Phew
Sat, 19. Oct 2019
Saturday afternoon’s performance program features Indonesian punk coder, designer and horror-aficionado NATASHA TONTEY presenting new work Church of Xenoglossia. First developed as part of Instrument Builders Project Kyoto, the project employs early-internet proto-emoji language Shift JIS in scores for improvisation. Chinese Singaporean artist ZOU ZHAO will be apologising on behalf of the Chinese Communist Party as part of her continuing investigation into language and neocolonial knowledge today. British Australian artist SARAH CROWEST will present the first experimental showing of her open-source text-score project Sound Seen, for multiple performers.
On the Saturday afternoon of Polyphonic Social we will be unveiling the first texts from our new publishing platform Disclaimer. Editor, Autumn Royal, and contributors will be exhibiting their texts, or in Autumn’s words, ‘outflows from Disclaimer will be present, as published content materialises into live performance to reveal the journal’s inaugural release.’
“On behalf of the whole universe of absurdity, narration and potentiality of speculative thinking through imagination, I declare war on rational thinking!” Natasha Tontey
“What are the treacheries in representation?” Zou Zhao
& BRYAN PHILLIPS
Sat, 19. Oct 2019
Nigerian American sound-artist, writer and founder of NON Worldwide, CHINO AMOBI will headline Saturday evening’s concert with an experimental performance incorporating elements from his acclaimed albums Airport Music For Black Folk and Paradiso and his new novel Eroica. Melbourne-based electronic artist NINA BUCHANAN’s new performance will explore queer, feminist methodologies through the prism of deep listening. Salvadoran Australian sound artist LUCRECCIA QUINTANILLA and Chilean Australian musician BRYAN PHILLIPS will band together to present an experimental audio essay exploring multiple histories of protest and noise.
Presented by Liquid Architecture, Abbotsford Convent and 3RRR. Supported by City of Yarra, and System Sound.
“Yeah, I do identify as queer, and I also identify as black, I also identify as a follower of Christ, I also identify as a designer, I also identify as a curator. It’s multiple identities. It’s not just this fixed identity. It’s multiple levels of identity.” Chino Amobi, Jezebel
“It has now been more than a week since I experienced Polyphonic Social. The echo of its sonic and visual imagery is still knocking around in my mind; and in the interval between the event and its reverberation a space seems to have been established for thoughts and feelings I’ve not yet managed to apprehend.” Polyphonic Social: sacred & other resonances, Elyssia Bugg
Curatorial: Joel Stern with Georgia Hutchison, Debris Facility, Mat Spisbah
Design: Benjamin Portas, Public Office, Mara Schwerdtfeger
Technical Production: Lauren Squire, Kelvin Gedye
Natasha Tontey, Sage Pbbbt, Phew and Zou Zhao are presented in association with Liveworks Festival of Experimental Art. Natasha Tontey's new work was developed with Instrument Builders Project Kyoto 2018, curated by Joel Stern and Kristi Monfries. eRikm is supported by Institut français and Spedidam.
We acknowledge the Wurundjeri 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.