Liquid Architecture

Mono-Poly is Liquid Architecture’s monthly offering of sonic, filmic and performance experiments hosted at Collingwood Yards. In May 2021, for the third Mono-Poly event, composer Nick Ashwood stretched the possibilities of the steel-string acoustic guitar through intonation, preparations, bowing and harmonic space. This performance was recorded on the 6th of May 2021.

https://liquidarchitecture.org.au/events/mono-poly-may

Mono-Poly-May

Thu, 06. May 2021

Collingwood Yards

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.

Mono-Poly is Liquid Architecture’s monthly offering of sonic, filmic and performance experiments hosted at Collingwood Yards. In April 2021, Mono-Poly launched Unsound's INTERMISSION publication with readings and screenings, music and hosting. Xenosine, Melbourne based artist Vijay Thillaimuthu, performed an exposition of electronic sound synthesis, driven by heavy rhythmic progression by means of modular synthesiser & theremin controller. This performance was recorded on the 1st of April, 2021.

https://liquidarchitecture.org.au/events/mono-poly-april

Mono-Poly-April

Thu, 01. April 2021

Collingwood Yards

Presented by Liquid Architecture

Image: Carmen-Sibha Keiso

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.

Thinking and listening to place emerges as a thematic of Where and how to gather - a collection of texts published on Disclaimer and edited by Josten Myburgh. These works consider technology and humanity as being in the world, rather than as tacet mediators or observers of it, with the writing investigating the processes by which meditation is obscured, or how presence is made difficult.

Jim Denley, as part of the group Sounding Together, and Jasmine Guffond talk through the ideas and processes behind their respective pieces, ‘Meelup (Moonrise), Boranup (Sunrise)’ and ‘Surveillance Lifestyles’.

https://disclaimer.org.au/contents/where-and-how-to-gather

Jasmine Guffond quotes Greg Barns via Michael West Media: https://www.michaelwest.com.au/privacy-in-jeopardy-with-covid-apps-tracking-every-move/

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.

Mono-Poly is Liquid Architecture’s monthly offering of sonic, filmic and performance experiments hosted at Collingwood Yards. In March 2021, for the first Mono-Poly event, R. Rebeiro explored probability as an artistic methodology to enact rhythmic expression using prepared percussion and objects. Combining both the use and misuse of instruments, R. Rebeiro exemplifies a musical practice that is simultaneously improvisational and compositional. This performance was recorded on the 4th of March, 2021.

https://liquidarchitecture.org.au/events/mono-poly-march

Mono-Poly-March

Thu, 04. Mar 2021

Collingwood Yards

Presented by Liquid Architecture

Image: Carmen-Sibha Keiso

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.

Mono-Poly is Liquid Architecture’s monthly offering of sonic, filmic and performance experiments hosted at Collingwood Yards. In March 2021, for the first Mono-Poly event, Mara Schwerdtfeger performed an improvisation that utilised viola and artificial reverb to expand the architecture of the performance space. Placing the speakers behind the audience, a separation of dry, acoustic viola with wet, reverb signal attempted to play with the perspective and feeling of the room. This performance was recorded on the 4th of March, 2021.

https://liquidarchitecture.org.au/events/mono-poly-march

Mono-Poly-March

Thu, 04. Mar 2021

Collingwood Yards

Presented by Liquid Architecture

Image: Carmen-Sibha Keiso

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.

In September and October 2016 the Chilean artist and poet Cecilia Vicuña visited Australia for a series of performances, readings, interviews and collaborations. Cecilia had been invited, on behalf of Liquid Architecture, by fellow Chilean artist and curator Camila Marambio.

Listening With Fingers, published on Disclaimer, brings together a material archive of Cecilia’s activities in Australia. Documentation, recordings, transcripts, and interviews are collected alongside a new recording of the artist reading poems, sent via voice message to the editors in late 2020.

Presented here are excerpts from this collection including moments from Cecilia and Camila’s performance in an abandoned limestone quarry in Queenstown, Tasmania intersected with extracts from an Interview with Miyuki Jokiranta for Unconformist Radio. We then hear moments of conversation between Cecilia and editor Autumn Royal in which Cecilia speaks to the importance of oral culture, the under valuing of her work in the past, and her friendship with Leonora Carrington. Following this is a segment of Vicuna’s performance for Liquid Architecture’s project Why Listen to Animals? in which she presented a set of ten ‘answers’ sung-spoken in the form of a poetic decalogue with collaborators Bryan Phillips, Sarita Gálvez and Camila Marambio. Closing this sampler is a reading of the poem Word and Thread from Vicuña’s appearance on the radio program Parallel Lines hosted by Sara Savage on Triple R.

https://www.mixcloud.com/liquid-architecture/cecilia-vicu%C3%B1a-listening-with-the-fingers/

Image: Keelan O'Hehir

Transcript: https://docs.google.com/document/d/1XEt-MTdzjIER1R9Tz2-DwOZJT-6gQedof3rAyU790M0/edit?usp=sharing

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.

Revisiting the first Ritual Community Music event of 2020, Melbourne dark wave monarch V opens a night of subversive beauty with Battle-ax and Eartheater.

A reverb-drenched explosion of darkwave, the V project was born ten years ago in Berlin. V performances are theatrical in nature, having been described as terrifying to witness.

This performance was recorded at Colour Club on the 19th of January 2020.

https://liquidarchitecture.org.au/events/eartheater-battle-ax-v

Ritual Community Music
19 January 2020
Colour, Carlton
Presented by Liquid Architecture

Image: Keelan O'Hehir

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.

Revisiting the first Ritual Community Music event of 2020, Vienna-based, post-classical noise artist Battle-ax performed between Eartheater and V for a night of subversive beauty.

With her viola, Battle-ax fills the room with relentless chains of reverb and distortion, generating a strong and emotional soundscape. Her sound attributes itself to the richness of late romanticism, clipped by the emergence of atonalism in all its immediacy and resolve.

This performance was recorded at Colour Club on the 19th of January 2020.

https://liquidarchitecture.org.au/events/eartheater-battle-ax-v

Ritual Community Music
19 January 2020
Colour, Carlton
Presented by Liquid Architecture

Image: Keelan O'Hehir

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.

Revisiting the first Ritual Community Music event of 2020, we hear a viscerally emotive live performance from Eartheater that closed a night of subversive beauty with Battle-Ax and V.

Eartheater distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and almost recklessly romantic and gestural electronica.

This performance was recorded at Colour Club on the 19th of January 2020.

https://liquidarchitecture.org.au/events/eartheater-battle-ax-v

Ritual Community Music
19 January 2020
Colour, Carlton
Presented by Liquid Architecture

Image: Keelan O'Hehir

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.

Iterations is a substantive piece of writing on John Nixon's contribution to experimental music recently published on Disclaimer. Through interviews with John and friends, writer Tiarney Miekus traces his prolific collaborations and the evolution of Anti-Music and The Donkey's Tail.

The Donkey’s Tail is an experimental, abstract, free noise, improv, garage ensemble using electric guitars, drums, percussion teamed with banjo, triangle and trombone formed in early 2007 by John Nixon.

Presented here are excerpts of Tiarney and John’s conversations alongside a live performance from The Donkey’s Tail at The Trench, Federation Square in 2014.

https://disclaimer.org.au/contents/john-nixon-iterations


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

Transcript: https://docs.google.com/document/d/1WhHdiqg6ea4BFOeC0PrRyOqtCZB8LW5GGKK2xRLpZKw/edit?usp=sharing

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.