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  Liquid Architecture is an Australian organisation for artists working with sound and listening.

Brian Hochman: The Uninvited Ear
Wiretapping, an All American History

6-8pm Fri, 27. Jul

The first lecture as part of Eavesdropping's public program, Movement 1: Overhear.
Elec­tronic eaves­drop­ping is as old as elec­tronic com­mu­ni­ca­tion. U.S. Civil War gen­er­als trav­eled with pro­fes­sional tele­graph tap­pers in the 1860s. Amer­i­can phone com­pa­nies tac­itly sanc­tioned law enforce­ment wire­taps as early as 1895. And cor­po­rate com­mu­ni­ca­tions giants abet­ted gov­ern­ment eaves­drop­ping pro­grams for most of the twen­ti­eth cen­tury. Today, pun­dits and pol­i­cy­mak­ers argue con­tentiously over the ethics of mass sur­veil­lance and global data col­lec­tion. But the social and tech­no­log­i­cal back­story to the rise of elec­tronic eaves­drop­ping in Amer­ica remains largely unex­am­ined. How did ear­lier gen­er­a­tions of cit­i­zens under­stand and con­front the prob­lem of com­mu­ni­ca­tions pri­vacy? How did we get to where we are today?
In​ ‘The Unin­vited Ear: A His­tory of Wire­tap­ping in the United States,’ scholar Brian Hochman is the first to try to answer these ques­tions. Com­bin­ing pri­mary research in gov­ern­ment archives with read­ings of court cases, wire thrillers, and Hol­ly­wood films, he uncov­ers the his­tory of elec­tronic eaves­drop­ping in Amer­ica from the nine­teenth cen­tury to the present, argu­ing that cul­tural con­tests over wire­tap­ping con­sti­tute con­tests over what it means to com­mu­ni­cate in a net­worked soci­ety — a soci­ety in which infor­ma­tion needs to travel across vast dis­tances, and a soci­ety in which tech­nolo­gies of all sorts enable elec­tronic data to tra­verse them.
Brian Hochman is Asso­ciate Pro­fes­sor of Eng­lish at George­town Uni­ver­sity and the author of Savage Preser­va­tion: The Ethno­graphic Ori­gins of Modern Media Tech­nol­ogy (Uni­ver­sity of Min­nesota Press, 2014) and The Unin­vited Ear: A His­tory of Wire­tap­ping in the United States (Har­vard Uni­ver­sity Press)

Current Transmissions
50 Synthesizer Greats
Thu, 23. Aug 2018

David Chesworth per­forms ​‘50 Syn­the­sizer Greats’, the 1978 album of del­i­cately pat­terned, com­pact and com­plex com­po­si­tions. Rarely per­formed, highly regarded.
Lauren Squire and Matthew Wilson, OK EG present a new exper­i­men­tal com­po­si­tion on the EMS Synthi A, an iconic syn­the­siser of the MESS col­lec­tion from 1971.

Delv­ing deep into the research and prac­tice of artists intimately involved with Liquid Archi­tec­ture, this night cel­ebrates the con­tin­uum of our local exper­i­men­tal and elec­tronic music com­mu­nity across 50 years of expand­ing hori­zons.

Cur­rent Trans­mis­sion takes place within Syn­the­siz­ers: Sound of the Future exhi­bi­tion, curated by MESS at the Grainger Museum.

Presented with @graingermuseum @mess_ltd and @niteart
Video: David Chesworth - 50 Synthesizer Greats: 'Three & Three Quarters'

UNSETTLED VOICES mix by @sam_kidel, and interview with Eavesdropping co-curators Joel Stern and James Parker for our series with @assemblepapers now up.
The winter EARS mix has been created by Sam Kidel, a sonic artist and researcher from Bristol who is concerned with the politics of sound and listening.

According to Kidel, the framing of ‘voice’ in ‘voice recognition’ can tell us something about the way that persons are conceptualised and captured in auditory surveillance. “Fred Moten said in an interview that he always thought that ‘the voice’ was meant to indicate a kind of genuine, authentic, absolute individuation, which struck him as (a) undesirable and (b) impossible”, Kidel recalls. “Similarly, Robin James tweeted some reflections on voice recognition technology, and the way the design of these technologies highlights how ‘liberalism uses voice as a metaphor for personhood, which it always has constructed as a power relation over non-persons’. Both Moten and James indicate alternative possibilities for framing that which we refer to as ‘voice’.” In this mix, ‘Unsettled Voices’, Kidel tries to follow Moten and James in orienting our ears away from the coupling of voice and personhood. “I focus on what’s unsettled when voices are heard as sound, when voices sound like machines, when voices are heard from those framed as non-persons, or when voices are untethered from personhood entirely,” he says. “I created the mix as a tool for feeling into unsettled experiences.”

Archival photograph courtesy of Susan Schuppli, ‘The Missing 18 1/2 Minutes (Equipment in Court)’, 2012.

ANNOUNCING: Eavesdropping 24 July - 20 October, at the Ian Potter Museum of Art. EAVES­DROP­PING is a col­lab­o­ra­tion between @liquid_architecture, @melblawschool, and the @potterunimelb, com­pris­ing an exhi­bi­tion, a public pro­gram, series of work­ing groups and tour­ing event which explores the pol­i­tics of lis­ten­ing through work by lead­ing artists, researchers, writ­ers and activists from Aus­tralia and around the world.

Artists, works, texts and public programs:

EXHIBIT­ING ARTISTS Lawrence Abu Hamdan; Samson Young; Susan Schup­pli; Athana­sius Kircher; Fayen d’Evie and Jen Bervin with Bryan Phillips and Andy Slater; Joel Spring; Manus Record­ing Project Col­lec­tive: Samad Abdul, Farhad Ban­desh, Behrouz Boochani, André Dao, Michael Green, Shamin­dan Kana­padhi, Abdul Aziz Muhamat, Jon Tjhia; Sean Dock­ray; William Black­stone

TALKS & PER­FOR­MANCES Andrew Brooks; Anja Kan­ngieser; Brian Hochman; Ceri Hann; Sonia Leber and David Chesworth; Jake Gold­en­fein; Jas­mine Guf­fond; Jen­nifer Sto­ever; Mehera San Roque; M J Grant; Peter Szendy; Poppy de Souza; Robin James; Sam Kidel; Samson Young; Sara Ramshaw; Susan Schup­pli; Mark Andreje­vic with more TBA.

Gerard Crewdson, at @blindside_ari
Photo by @jacquismelltron

Gerard Crewdson’s Serpent Songs / Wind Shadows is in its last week at @blindside_ari - with daily performances by Gerard this Thursday to Saturday at 4-5PM (with special guest Anthony Riddell on the final day). It had been a privilege to know Gerard’s open-ended process and utter sincerity, and we can’t recommend this exhibition enough.
Thank you to Jeff at Audio Foundation Aotearoa NZ for your energies and dedication to Gerard, and @blindside_ari for such a special opportunity every year with Sound Series.
Photos by @jacquismelltron

REMINDER Luciano Chessa, Music the dead can hear TONIGHT Tuesday 3 July, 6-8PM, Florence Peel Centre, 190 Young St Fitzroy.
Co-presented with @disci_pline as part of our Histories and Theories of Sound series.
This lecture 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. There it operated in tandem with contemporary scientific ideas about X-ray and wireless telegraphy—all with an emphasis on waves, vibrations, and their new communicative potential. With this in mind, it can be argued that Russolo’s noise aesthetic and its practical manifestation—the intonarumori—were for him, and for his Futurist associates, elements of a multi-levelled experiment to reach higher states of spiritual consciousness.

Following the lecture, Luciano will be engaged in conversation with Dr Anthony G. White, University of Melbourne.

REMINDER Sound Spaces at @mumamonash today from 3PM with Erik Bünger and Aodhan Madden.
Aodhan Madden presents Viper’s Traffic Knot: 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.’

Pan Daijing @infinitydosezero plays her final Melbourne show at Northcote Uniting Church Hall this Saturday night, following extraordinary performances at @dark_mofo and Open Frame at @performancespace. Playing alongside Corin, Match Fixer, and Waterhouse.
For anyone who would like to be there but is financially unable to do so, email us and we’ll do our best to support you.

This weekend in Melbourne we’re hosting two performance lectures by visiting Swedish artist Erik Bünger -

Sound Spaces: Erik Bünger and Aodhan Madden
Sat, 30. Jun 3-5PM @mumamonash -

Erik Bünger: The Third Man
Sun, 01. Jul 6-8PM @artistfilmworkshop

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.

Gerard Crewdson at Blindside opened tonight, rare and unmissable performance by this remarkable artist. Catch performances Friday and Saturday, exhibition continues for the next weeks.

This Sunday 24 Jun @howlermelbourne, DEMDIKE STARE play their only Melbourne show. Listener-dazing sonics.
Playing alongside will be – Ava, a project in expiration and autoimmunity; the kinetic narcotics of Kane Ikin’s sonorous vortexes; and the Hi-res, bare bones hardware techno of Nina Buchanan.

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