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:
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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:
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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.
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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
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DATA ACCESS AND FURTHER INFORMATION
Susan Schuppli: Material Witnesses
MADA Art Forum Lecture
G104, Building G
Monash Art, Design and Architecture
Monash University, Caulfield Campus
"This artist talk draws upon my research exploring the evidential role of matter. In pursuing this research I have examined a wide range of materials that have recorded trace-evidence of the violence that generated their contexts and explore the institutional and disciplinary protocols that enable their latent histories to be rendered intelligible and made to speak, even if their 'speech acts' oftentimes fall upon deaf ears or challenge accepted truths. Throughout I’ve tried to account for the myriad ways in which the responsiveness of matter to external forces demands an acute and renewed sense of material and technical specificity in order to grasp the full political implications that such ongoing changes or interactions might yield."
Susan Schuppli is an artist and researcher based in the UK, whose work examines material evidence from war and conflict to environmental disasters. Commissioned works include Nature Represent Itself, SculptureCenter, NY, Trace Evidence, Arts Catalyst, & Bildmuseet and Atmospheric Feedback Loops, a Vertical Cinema project for Sonic Acts. Creative projects have been exhibited throughout Europe, Asia, Australia and New Zealand, Canada and the US. She has published widely within the context of media and politics and is author of the forthcoming book, Material Witness (MIT Press). In 2016 she received the ICP Infinity Award for Critical Writing & Research. Schuppli is Reader and Director of the Centre for Research Architecture, Goldsmiths University of London and was previously Senior Research Fellow with Forensic Architecture, an agency with whom she is still affiliated.Eavesdropping is a collaboration between Liquid Architecture, Melbourne Law School and the Ian Potter Museum of Art, comprising an exhibition, a public program, series of working groups and touring event exploring the politics of listening through work by artists, researchers, writers and activists from Australia and around the world.
WORKS: The Missing 18 1/2 Minutes; Listening to Answering Machines
"The material witness — an entity (object or unit) whose physical properties or technical configuration records evidence of passing events to which it can bear witness. Whether these events register as a by-product of an unintentional encounter or as an expression of direct action, history and by extension politics is registered at these junctures of ontological intensity. Moreover, in disclosing these encoded events, the material witness makes ‘evident’ the very conditions and practices that convert such eventful materials into matters of evidence."