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
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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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vFor such further and other lawful uses in connection with LA’s activities consistent with this Privacy Statement
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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.
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
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DATA ACCESS AND FURTHER INFORMATION
Why Listen to Plants (Lore, Honey, Saltwater)
Whether or not plant communication can – or should – be regarded as “intelligence” is a question that has occupied philosophers since ancient Greece. Following on from centuries of botanical investigation, recent debates in the controversial field of “plant neurobiology” have brought the heated, apparently irreconcilable disagreement in the scientific community about very notions of plant “sentience”, “intelligence” and “consciousness” to the fore.
As our acoustic and political sensitivity evolves, so do artistic modes of sounding and listening – which is why we think that to listen to plants is a powerful way to radically decentre the human, in favour of a much more generous, but potentially destabilising, conception of the world.
The proposal that we listen to plants continues a line of thinking begun in 2016’s program Why Listen to Animals? Why Listen to Plants? presents a slightly more challenging proposition. As scientific thought expands to incorporate consideration for non-human sentience, ethical considerations arise as to the human use of, and regard for, the many forms of plantlife. It seems we can no longer regard plants merely as self-replicating machines that convert sunlight and minerals into food for us – rather, we need to challenge our thinking to regard plants as actors and manipulators of their environments; in other words, as subjects.
As an enquiry into listening, this project offers a platform for reflecting vegetal thought - or as philosopher Michael Marder puts it, the ways in which “human thinking is, to some extent, de-humanised and rendered plant-like, altered by its encounter with the vegetal world”.
For this program, we are collaborating with artists who work at the intersection of theory and live performance. These artists use various strategies to extend vegetal thinking into sound and listening, from guided walks, talks, readings and lecture performances to experimental music, installation, herbalist pedagogy, and folk songs.