Liquid Architecture

Investigations: Eavesdropping Machine Listening Polythinking Ritual Community Music Why Listen?

Read now: Disclaimer Journal


RP Boo, Mirasia b2b Kuya Neil
Miscellania, Friday 3 June


a slippery anatomy of resonant negative volumes


Raja Kirik, Female Wizard, Rama Parwata, and special guests
The Toff, Friday 10 June


New in the journal:
Orifice Oriented Ontologies


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)
Jennifer Barry
David Chesworth
Danny Butt
Cat Hope
Monica Lim
Naretha Williams


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.
Journal, Podcast

104/35 Johnston Street
Collingwood VIC 3066

ABN 73128090237
ASN A0050679K

Privacy Statement

Privacy Statement

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.

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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.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.


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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.

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If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via

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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.

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Polyphonic Social 2019

North Laundry
Abbotsford Convent




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

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.

“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

Presented by Liquid Architecture, Abbotsford Convent and 3RRR. Supported by City of Yarra, and System Sound.

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.




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