Liquid Architecture 6 Sydney

O'Neill, SP; Byrne, B

Liquid Architecture 6 Sydney

O'Neill, SP Byrne, B

Permalink

Citation:: Performance Space

Closed Access

	Filename	Description	Size
	2009003384OK.pdf		523.94 kB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	O'Neill, SP	en_US
dc.contributor.author	Byrne, B	en_US
dc.date	2005-07-13	en_US
dc.identifier.citation	Performance Space	en_US
dc.identifier.uri	http://hdl.handle.net/10453/12279
dc.description.abstract	Background Experimental music and sound art events in Sydney have mostly occurred in artist run spaces, which are often not appropriate for focused listening and deep engagement with work. Such events are also often genre-specific, serving niche subcultures. Liquid Architecture was founded in Melbourne in 2000 as a 'sense-specific' (rather than genre-specific) festival of sound arts. In 2005 it was brought to Sydney by curators Shannon O'Neill and Ben Byrne who adapted the festival's concept for the Sydney context. Contribution Liquid Architecture 6 Sydney contributed greatly to audience development for sound arts in Sydney by presenting a focused yet diverse program of performances, artist talks and screenings, with over 500 people attending over four days. The festival's unique diversity meant that audiences that may have attended for one type of music, such as the musique concrete of France's Eric La Casa and Jean Luc Guionnet, were also exposed to the minimal techno of Berlin's Thomas Brinkmann, the experimental hip hop of Melbourne's Beta Erko, the reductionist improvisation of the Splinter Orchestra, and the historically important Sydney soundscape artists Social Interiors. Furthermore audiences had the opportunity to meet the artists and discuss their work at the artist talks. Significance As Gail Priest wrote in RealTime "Liquid Architecture 6 is now a true celebration of the aural sense, with a fearless drive and ambition, aiming to shift expectations, challenge and develop audiences and to take the idea of a soundart festival to the next level (perhaps like Mutek and early Sonars)." This puts the event on a par with some of the most prestigious and successful international festivals of sound art. The success of the first Liquid Architecture festival in Sydney led to it becoming an annual event which is still going in 2010.	en_US
dc.relation.ispartof	Performance Space	en_US
dc.title	Liquid Architecture 6 Sydney	en_US
utslib.location.activity	Sydney, Australia	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
dc.location.activity	Sydney, Australia	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/Creative Practices Group
utslib.copyright.status	closed_access
pubs.start-date	2005-07-13	en_US

Abstract:

Background Experimental music and sound art events in Sydney have mostly occurred in artist run spaces, which are often not appropriate for focused listening and deep engagement with work. Such events are also often genre-specific, serving niche subcultures. Liquid Architecture was founded in Melbourne in 2000 as a 'sense-specific' (rather than genre-specific) festival of sound arts. In 2005 it was brought to Sydney by curators Shannon O'Neill and Ben Byrne who adapted the festival's concept for the Sydney context. Contribution Liquid Architecture 6 Sydney contributed greatly to audience development for sound arts in Sydney by presenting a focused yet diverse program of performances, artist talks and screenings, with over 500 people attending over four days. The festival's unique diversity meant that audiences that may have attended for one type of music, such as the musique concrete of France's Eric La Casa and Jean Luc Guionnet, were also exposed to the minimal techno of Berlin's Thomas Brinkmann, the experimental hip hop of Melbourne's Beta Erko, the reductionist improvisation of the Splinter Orchestra, and the historically important Sydney soundscape artists Social Interiors. Furthermore audiences had the opportunity to meet the artists and discuss their work at the artist talks. Significance As Gail Priest wrote in RealTime "Liquid Architecture 6 is now a true celebration of the aural sense, with a fearless drive and ambition, aiming to shift expectations, challenge and develop audiences and to take the idea of a soundart festival to the next level (perhaps like Mutek and early Sonars)." This puts the event on a par with some of the most prestigious and successful international festivals of sound art. The success of the first Liquid Architecture festival in Sydney led to it becoming an annual event which is still going in 2010.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/12279