Liquid Architecture

Jannah Quill uses strobe lights and DIY electronics, reimagining ordinary digital interfaces and technological machines to generate new experiences reinterpreted from the intended consumer use of the digitally banal. This performance was recorded on the 27th of September 2015 at the Tote, Melbourne.

www.liquidarchitecture.org.au/program/ri…ity-music/

Ritual Community Music

27 September 2015

The Tote, Melbourne

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Mining the thin layer between restlessness and relaxation, gloom and serenity Ensemble Economique perform at Tape Projects.

From Humboldt County, California, Ensemble Economique made music for years in the cult group Starving Weirdos. Adopting their new moniker, they set off Travelling the globe like a Lynchian version of Hemingway, mining the thin layer between restlessness and relaxation, gloom and serenity. This performance was recorded at Tape Projects on the 24th of February 2016.

https://liquidarchitecture.org.au/events/ensemble-economique/

Ritual Community Music

24 February 2016

Tape Projects, Carlton

Presented by Liquid Architecture

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

How should we think the weaponisation of sound? And what, if anything, has law got to do with it? Dr. James Parker, director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School, surveys the privileged landscapes and material technics of sonic warfare. This lecture was recorded on the 3rd of October 2015 at the Institute of Modern Art, Brisbane. in this amplified lecture.

Read more of Jame Parker's research here: https://www.tandfonline.com/doi/abs/10.1080/20551940.2018.1564458?journalCode=rfso20

https://liquidarchitecture.org.au/events/la2015-brisbane

Histories and Theories of Sound

03 October 2015

Institute of Modern Art Judith Wright Centre, Brisbane

Presented by Liquid Architecture, 4ZZZ, and IMA Brisbane

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Professor Douglas Kahn shares sounds and stories about the early audiotape cut-ups he produced in the 1980’s, most notoriously, Reagan Speaks For Himself, which appeared as a flexi-disc inside Raw magazine. Kahn is a Professor at the National Institute for Experimental Arts (NIEA) at the University of New South Wales and is best known as an historian and theorist of sound and the media arts. When invited to speak, Kahn said: “This is the first time anyone has asked me to talk about my own work. There are three or four decades pent up…”

www.liquidarchitecture.org.au/program/br…ty-eraser/

Histories and Theories of Sound

Bratty Eraser

4 September 2016

Tape Projects, Melbourne

Presented by Liquid Architecture and Tape Projects

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Luciano Chessa examines the work of Italian Futurist, painter and musician Luigi Russolo, presenting a reading of the mechanical sound synthesizers, the intonarumori, that he began to create in 1913. It traces the roots of Russolo’s instrument to Leonardo da Vinci’s noisemakers, and then reestablishes the previously unacknowledged prominence of occultism, including theosophy, in early twentieth-century Italian culture.

https://liquidarchitecture.org.au/events/luciano-chessa-music-the-dead-can-hear

Histories and Theories of Sound

3 July 2018

Florence Peel Centre, Fitzroy

Presented by Liquid Architecture and Discipline

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

digital technologies, sonification, surveying contemporary surveillance

Jasmine Guffond performs a configuration of sensitive microscopic studies and electro acoustic zones. Guffond is known for her duo Minit (with Torben Tilly) and solo releases on Sonic Pieces, Editions Mego and Karl Records.

https://liquidarchitecture.org.au/events/islaja

Ritual Community Music 2016

10 March 2016

The Tote, Melbourne

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Damaged ambient collaboration Half High AKA Lucy Phelan and Matthew P. Hopkins create music that is both alien and industrial, tranquil and mesmerising. This set was performed in support of Islaja at The Tote.

https://liquidarchitecture.org.au/events/islaja

Ritual Community Music 2016

10 March 2016

The Tote, Melbourne

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

The process of redaction freed the words from their literal reading

Antonia Sellbach's work explores abstraction in relation to thought, sensation and serial decision-making. Julie Burleigh has played solo on and off for many years, utilising op-shop keyboard, guitar pedals, loop pedals and recorder. Alison Bolger is a founding member of Beaches, Panel of Judges, Clag and was a longstanding member of Sleepy Township. She has recently performed solo shows and produced recordings under the moniker of Heavy Epic.

https://liquidarchitecture.org.au/events/freedom-as

Freedom As _____

27 July 2017

Grainger Museum, Parkville

Presented by Liquid Architecture, Grainger Museum, and VCA and MCM.

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Avid ‘flow’ practitioners and D.I.Y enthusiasts Jen Tait and Jen Callaway call out to the cosmos using an assemblage of percussive objects and electronica, evoking transportive atmosphere, psychic storms and quiet retreats.

Is There A Hotline? incorporate Grainger’s concepts of musical scale freedom (microtonal and free flowing pitch intervals), automation (via electronic looping and self-composing ornamentation), as well as distinctively embellished practical clothing design.

https://liquidarchitecture.org.au/events/freedom-as

Freedom As _____

27 July 2017

Grainger Museum, Parkville

Presented by Liquid Architecture, Grainger Museum, and VCA and MCM.

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

During the 1960s the Tasmanian artist Tony Woods (1940–2017) emerged as a rare talent in the Australian art scene. In this lecture Sheridan Palmer considers problems of inclusion and exclusion and why a talented artist like Tony Woods became peripheral. Palmer is an art historian, curator and biographer, who has published extensively in art and literary journals.

https://liquidarchitecture.org.au/events/tony-woods

Histories and Theories of Sound

4 October 2018

Buxton Contemporary, Southbank

Presented by Liquid Architecture, Discipline and Buxton Contemporary

Image: A 1970 paint­ing by Woods, ​‘Pos­i­tive neg­a­tive’

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.