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
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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
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
Sound Spaces: Erik Bünger and Aodhan Madden
Ground Floor, Building F
Monash University Caulfield Campus
Erik Bünger's work focuses on phenomena, which are generally assumed to lie beyond the realm of language. Concepts such as 'voice', 'body', 'image' and 'nature' make up zones of indeterminacy – simultaneously inside and outside language. In performance lectures, videos, texts and musical compositions, he explores how such concepts, by referring to something mute and unspeakable beyond the reach of the linguistic, become central voids around which our reality is built up.
The Elephant Who Was a Rhinoceros is a lecture performance that revolves around the role the animal plays in human language as a name for that speechlessness from which speech once took off. A creature that does not speak; a creature you cannot speak of. The work traces the footprints of this impossible figure as it appears every time the definition of the human, as a speaking being, is measured against the animal, as mute and unspeakable. It takes us to the first figurative cave paintings from 40 000 years ago, to Adam’s naming of the animals in the Bible, to the beast hidden at the inception of the alphabet, to a fear of ‘calling the animal by its proper name’, which seems to permeate every culture on earth. It is the elephant in every room. It is a white bear, whose silhouette looms larger with every effort to keep it out of your mind.
Aodhan Madden is an artist and a writer.
Viper’s Traffic Knot is a sequence of routines for a solo performer. ‘I want to show you shapes of soft furniture, like the curve of the body with the legs fission-split, bunny legs, and how they twitch from a low guttural tone to roam over the knot in the middle to the higher notes, radiating like newmown hay, like honeysuckle, or even woods’ fragrance.’Sound Spaces is a performance series of experimental and improvised music organised by Francis E. Parker for Monash University Museum of Art.