Contributors (21)

  • 33EMYBW
  • Allanah Stewart
  • Autumn Royal
  • Bianca Winataputri
  • Brian Hioe
  • Chi Tran and Arben Dzika
  • Chun Yin Rainbow Chan
  • Danni Zuvela
  • Eric Avery
  • Fjorn Butler
  • Goooooose
  • Harmony Holiday
  • Immy Chuah and The Convoy
  • James Rushford
  • James Rushford
  • Jen Callaway
  • Kt Spit
  • Mathew Spisbah
  • Natasha Tontey
  • Neil Morris
  • Sam Peterson
Artist Title | 00:00 / 00:00 (Play)



A Full Disclaimer:
into the Partiality of this Clamour
Autumn Royal

An instant β€” a now β€” a present β€” an acknowledgement β€” a recognition β€” an account of responsibility.

β€˜Disclaimer’ is both a word and concept. If you utter the word β€˜pinch’ and it is heard by your listener, then this is a concept, but if you purposefully, yet gently, pinch the skin of the listener, then you are demonstrating a reality β€” the rind and peel.

As both a concept and an actuality, the word β€˜disclaimer’ may be defined as a statement denying something β€” especially responsibility β€” but this publication’s use of β€˜disclaimer’ as a name intends to avoid such a denial, not only via this act of acknowledgement, but by exposing the traditional and historical definitions that weigh on this word’s usage.

With a full disclaimer: this publication is unable to represent any concept of β€˜completeness’. As we open up this initial Disclaimer for you, dear readers, we hope for rapture which is not without rupture β€” to be both rapt and wrapped β€” please, let us hold ourselves amongst noise, hold each other so that we can breathe alongside for the sake of solidarity.

The throat may be considered a pipe-line β€” an organ β€” a machine β€” something for the sounding and recognition of words as a form of technology β€” and when we read, no matter how we read β€” we are also feeling and therefore listening to what has been pressed onto a surface β€” whether soft or hard β€” soft or hard.

There will be no totality β€” only something which is not nothing β€” speculatively, Disclaimer can never represent an overall. This journal and its contents are here for utility. Let us pierce open the cylinders and containers β€” and for the sake of referencing this publication β€” let the contents of Disclaimer be released.

If this letter appears abstract β€” like a hypothetical β€” please consider how the hypothetical often urges for a definitive response or rejection. What would you do if? How would you respond if? How could you not say if? If, if, if?

Within this inaugural Disclaimer we hope, and have intended as much as one can, for there to be both space and un-space for this if. There has been no expectation to represent an β€˜absolute’ β€” in fact β€” like the β€˜hypothetical’ β€” we and I reject these concepts. And if it appears that I am avoiding specificity β€” I assure you that I am merely divulging my own brokenness and refusal to be β€˜fixed’. To fix is to deny that fractures carry within them unnamable desires that β€” like sounds β€” we sometimes cannot name β€” only feel.

When you are ready, please join me in breaking open your voice, your feeling of sounds, push open your valves and your tracts β€” forget about the myth of postural expectation and focus on your own abilities to feel how the sound feels you β€” how you wish to be listened to β€” the way you wish to be heard. Is this not one of the ultimate acts of love?

Do not ever let certain texts or sounds fool you into thinking that the way you comprehend does not matter β€” I am slow to read and comprehend and I hope this admission gradually urges you to please hear me when I express β€” if you feel something β€” you are here and hearing.

β€” Autumn Royal, editor, with the support of Sarah McCauley, sub-editor

Score: Eric Avery. β€˜Ancestory Play Ancestry’, 2019
Liquid Architecture acknowledge the Woi Wurrung and Boon Wurrung people of the Kulin nation as the sovereign owners of the country where we live and work. We recognise that sovereignty has not been ceded, and pay our respects to Elders, past, present and emerging.
Score: Natasha Tontey β€˜Xenoglossia’, 2019