David Haines & Joyce Hinterding

Debris Facility — parasitic body corporate

Debris Facility

Michael Candy uses physical technologies to impart systems on ecology and society (Website)\[https://michaelcandy.com/]

Michael Candy

Selena de Carvalho is an experimental artist based in Longley Village, Lutruwita (Tasmania). Her inter-disciplinary practice unites numerous mediums including participatory installation, performance, workshops, sculpture, time based media, urban hacking and writing. She is interested in force fields, energies and matter that interact with, and influence the environment over expanded and imperceptible time frames such as climate change, radiation, the internet, evolution or extinction. She actively seeks out concentrated sites of disturbance to witness more-than-human witnesses to the Anthropocene. Through creative translation and poetic gesture she discovers and reveals relations within these complex, unseen interconnections of living systems and human generated disturbance. (Website)\[https://selenadecarvalho.com/]

Selena de Carvalho

Born in 1979, Brodie Ellis lives and works in Melbourne, Australia.
Selected exhibitions; Heavy Launch- Linden New Art, Melbourne 2019, The Crystal World - MARS Gallery, Melbourne, 2018,17th Biennale of Sydney, The Beauty of Distance: Songs of Survival in a Precarious Age, 2010, New09 - ACCA - Australian Centre for Contemporary Art, Melbourne. Super Pit, Conical, Melbourne. Gertrude Studios 2008 - Gertrude Contemporary. The Ecologies Project - MUMA - Monash University Museum of Art. Studio 12 Exhibition - Gertrude Contemporary, 2007, Videoteca, Care Of Gallery, Milan, Italy, Too Near Too Far, Care Of Gallery, Milan, Italy.

Brodie Ellis

Cameron Robbins’ work makes tangible the underlying structures and rhythms of natural forces. He has produced site-specific installations and exhibitions in art centres, disused buildings and outdoor sites in Australia, Switzerland, Japan, Norway, China, Denmark, Germany and the UK. Cameron Robbins is the first Australian artist invited to present a large scale solo exhibition, ‘Field Lines’, at the Museum of Old and New Art, Tasmania, in 2016, where he also recently completed a major permanent 50 -year wind drawing installation. Cameron’s inquiries employ structural devices including kinetic wind, sun, or water powered mechanical systems. Their aesthetic is the result of both careful engineering and resourcefulness. The outputs of these site-specific installations include drawings and sound compositions. These interpretations of the dynamics and scale of the physical world suggest the complexities of the unknown. When not doing all this, he plays clarinet, saxophone and other things in jazz and experimental music ensembles. He was born in Melbourne 1963, and now works between Castlemaine and Melbourne, in south-eastern Australia. Studied Fine Art (Sculpture) at Royal Melbourne Institute of Technology and the Victorian College of the Arts to 1990; lectured in art and design at RMIT since 2000; awarded Australia Council Visual Arts Fellowship in 2015, and New Work Grants in 2011 and 2013, and various commissions. (Website)\[http://cameronrobbins.com/]

Cameron Robbins

Keelan O'Hehir

As well as curating for Forum of Sensory Motion, Lichen Kelp (nee Kemp) has a solo practice as a performance chemist and sculptor who works with scientific principles of experimentation, colour chemistry and chemical reactions to question conventional ideas about beauty and investigate the ongoing dialectic between the natural and the artificial. Lichen’s interest in the agency of materials and the materiality of process typically manifests as contingent, time-based works which echo and reimagine natural forces such as weather patterns, chemical interactions, snowmelt, blooming and fruiting, and decomposition. Lichen creates otherworldly landscapes with domestic and recycled ingredients whose humbleness contrasts with the lurid botanical palettes she produces. Her performances typically involve sound, assemblage, live experimentation and observation, and tactics of submersion with various local floral elements. Lichen has recently extended her performance into sound generating experiments, employing a range of unique electronic devices including colour-sensitive drum synthesiser jewellery and building and devising instruments such as a water synthesiser; a percussive flowerphone and interactive touch-based ice instruments. In 2018 Lichen attended Digital Naturalism conference in Koh Lon, Thailand where she stayed on a floating hacker lab and created a foraged musical cocktail based on a colour-changing Thai herb endemic to the nearby island. She has had two residencies in 2017 and 2018 at Testing Grounds and performed with Kelp D and Benjamin Hancock in Athens and at Liquid Architecture's Why Listen to Plants program. She has also performed at System Garden Melbourne Uni, MPavillion, C3 Gallery and more. In November 2019 she is curating a Musical Picnic afternoon of performances and poetry at System Garden, for Ian Potter Foundation. She held water synthesiser workshops at Signal in April, has a residency coming up at FLOAT in Gippsland and is doing a project with The Unconformity in Queenstown, Tasmania starting in February. 2020 also sees her continuing to research and develop further residency projects for FSM and she has recently launched the algae research group Seaweed Appreciation Society international (SASi). - \[website]\(http://lichenkelp.com) - \[project]\(https://www.forumofsensorymotion.com)

Lichen Kelp

re-calling - re-hearing - re-mapping - re-contextualising - de-colonising and re-instating on country that which was denied

Libby Harward is a Quandamooka artist of Moreton Bay in Queensland, and a descendent of the Ngugi people from Mulgumpin (Moreton Island) living in Brisbane and the Gold Coast. She works as both a solo street artist and a conceptual visual artist. Libby works under the pseudonym of 'Mz Murricod' in her Graffiti art practice, however her new aerosol works have been strongly informed by her more recent conceptual/ephemeral earth-based practice. Documented in film and still image, Libby's ephemeral works operate in an intertidal zone engaging a continual process of re-calling - re-hearing - re-mapping - re-contextualising -de-colonising and re-instating on country that colonisation has denied to indigenous people. Libby's work engages traditional custodians in their evolution on mainland country which has become highly urbanised and calls for an artistic response that seeks to uncover and reinstate the cultural significance of place, which always was, and remains to be there.

Libby Harward is a Quandamooka artist of Moreton Bay in Queensland, and a descendent of the Ngugi people from Mulgumpin (Moreton Island) living in Brisbane and the Gold Coast.

Libby Harward

Cephalopods (octopi and cuttlefish) have evolved with complex nervous systems that we are only beginning to understand. How do you feel when most of your neurons are embedded in your arms? How do we feel as we contemplate these creatures across the abyss of non-human incomprehension? What can we humans learn from sharing space with mysteriously distributed other minds? About our own body as a membrane for camouflage, warning and display? About shapeshifting as a political practice?

See our ["probably the closest we will come to meeting an intelligent alien"](https://liquidarchitecture.org.au/private/why-listen) reading list.

Li(quid)stening
Architecture

Why Listen to Animals? (cephaloPOD19)

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Why Listen to Animals? (cephaloPOD19)

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