0.0MHz Film, 20th Century, 33___33_33, 840 Series, A Brief History of EVP, A Modern, A Spectre, A Spectre - Haunting, A Spectre Haunting Europe, Aaron Holloway-Nahum, Aaron Mahnke, Acoustic Ambiguity, Acoustic Environment, Acoustic Environments, Acoustic Inkblot, Acoustic Rorschach, Action Research, Adrian Edwards, Agnès Gayraud, Agnès Pe, Agnes Gryczkowska, Agnieszka Polska, AHRC, Al Cameron, Albert Bregman, Albert Tarrats, Ale Hop, Aleksander Kolkowski, Alex Sainsbury, Alexandra Kokoli, Algorithmic Listening, Alina Popa, Alinka Greasely, ALKU, Alva Noto, Always Alive Recordings, Ambiguity, Ambiguous Audio, Ambiguous Sound, Ambisonic, Ambisonics, Amy Ireland, An Adventure In Apophenia, An Trinse, Anòmia, Ancient Ghosts, Anders Monrad, André Chêdas, Andrew Cluer, Andrew Hugill, Andy Cluer, Angelica Sule, Angus Carlyle, Ann Winsper, Anna Greenspan, Anna Irina Russell, Anna Ramos, Anne Faucheret, Anne Holtrop, Annie Goh, Anotsh Wojick, Anthony Enns, Anthony Nine, Antoine Bertin, Antonio Gagliano, Antony Hudek, Apocryphal Media, Apocryphal Psychtechnologies, Apophenia, Apophenia Audio, Apophenia Cloud Travel Apparatus, Apophenia Delay, Apophenia Delay Pedal, Apophenia Guitar Pedal, Apophenia Luxmorph, Apophenia Press, Apophenia Research, Apophonia, Appliance, Archive 81, Archive81, Archives From Konstantin Raudive, Art & Illusion, Art & Illusion for Sound, Art and Culture, Art as Research, Art as Research as Art, Art Monthly, Art Research, Artangel, Artefact, Artificial Language, Artist, Artist As Medium, Artistic Research, Arts & Humanities, Arts & Humanities Research, Arts & Humanities Research Council, Arts and Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Arts Institute, ASA, Assembly, Assigned to Listen, Atau Tanaka, Audible Inkblot, Audible Rorschach, Audible Rorschach Test, Audimat, Audimat Editions, Audimat Journal, Audio Ambiguity, Audio Apophenia, Audio Apophonia, Audio Essay, Audio Ghost, Audio Illusion, Audio Illusions, Audio Inkblot, Audio Paredolia, Audio Pareidolia, Audio Phantom, Audio Phantoms, Audio Rorschach, Audio Visual Culture, Audiograft, Audiograft 2022, Audiosfera, Audiosphere, Audiovisual Culture, Auditory Ambiguity, Auditory Apophonia, Auditory Cognition, Auditory Ghost, Auditory Hallucinations, Auditory Illusion, Auditory Illusions, Auditory Inkblot, Auditory Pareidolia, Auditory Perception, Auditory Phantasm, Auditory Phantasmatic, Auditory Phantasmatic Presence, Auditory Phantasmic Presence, Auditory Phantom, Auditory Projective Test, Auditory Rorschach, Auditory Scene, Auditory Scene Analysis, Auditory Summator, Aura Satz, Aural Diversity, Auras, Auras and Levitations, Auras and Levitations by Susan Hiller, BA Sound Arts, BA Sound Arts & Design, Babel of War, Bachtrack, Bad Science, Baillie Card, Barbara Ellison, Bastard Assignments, BBC, BBC Academy, BBC Monitoring, BBC Monitoring Service, BBC Radio, BBC Radio 3, BBC Radio 4, BBC Radiophonic Workshop, BBC Sounds, BBC Wales, BBC4, Before Rorschach, Belus, Ben Burbridge, Ben Coleman, Ben Cutmore, Ben Goldacre, Berlin Atonal, Berlin Atonal 2023, Beyond Words, BF Skinner, Bill Davies, Billy Bultheel, Black Tapes, Black Tapes Podcast, Blanc Sceol, Blaze TV, Bloomsbury, Bloomsbury Academic, Bloomsbury Publishing, Blotscapes, Bobby Barry, Bomb Shop, Bon Accueil, Book Works, Bookworks, Boris Baltschun, Boundary Condition, BPS, Branden Joseph, Brandon LaBelle, Bredon Wing, Brighton, Brighton CCA, Brighton Centre for Contemporary Art, British Art Studies, British Broadcasting Corporation, British Library, British Library Sound Archive, British Museum, British Psychological Society, Brooker Buckingham, Buh Records, Cadavre Magnétique, Café Oto, Café Scientifique, Call and Response, Call and Response Studios, Calla, Callum Coomber, Camden Art Centre, Camden Arts Centre, Camp, Camp Editions, Camp Fr, Camp Radio, Carbonic Oscillation, Caroline Achaintre, Carsten Nicolai, Casino Luxembourg, Cathy Lane, Caversham Park, CCA, CCA Brighton, CCA Glasgow, CCA Goldsmiths, Central School of Speech & Drama, Centre for Contemporary Art, Centre for Contemporary Art Brighton, Centre for Contemporary Arts, Channel, Channel One Channel Two and Channel Three, Channel Somerset House, Charlie Blake, Charlie Gere, Charlie McDowell, Charlotte Law, Chimerization, China Mieville, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Choi Yoon-Young, Christmas Lectures, Civic Sound, Civic Sound Archive, CJ Hendry, Claire Elliott, CLiC Listening Workshop, CM von Hausswolff, Cognition and Perception, Cognitive Illusion, Cognitive Science, Come Away With EMD, Communication, Composition with Auditory Phantasmatic Presence, Confounded by Apophenia, Conscious Listening, Contemporary Art Museum St. Louis, Continent, Cool Hunting, Courtauld Institute, Creative Research, Creative Research into Sound Arts Practice, Creative Technologies Research Centre, Creative Technology, CRISAP, Critical and Curatorial Practices, Cryptic, Cryptician, CSSD, CTM Discourse, Cultural and Critical Theory, Cultural History, Cultural History of the Ghost, Damien Simon, Damion Searls, Dan Smith, Daniel Powell, Dark Histories, Dark Histories Podcast, Dave Tompkins, David Baguley, David Morris, David Pisoni, David Toop, David Tyler, David Wesley Sutton, Dawn Scarfe, Dazed & Confused, Dazed Magazine, Dazed Online, Dazed Studio, DDMMYY, Dead Lines, Dead Signals, Dead Signals Podcast, Deadly Sounds From Above, Deleted Scenes, Delicious Audio, Dhanveer Singh Brar, Diana Deutsch, Diana Pasulka, Die Macht der Sprache, Digicult, Digital Ethereal, Digital Music, Dis Magazine, Disappearance of Ghosts, Discovery, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Dissonant Waves, Divine Illusion, DJ Spooky, Dolores Acebal, Donal D. Hoffman, Douglas Kahn, Dr Milo Taylor, Dr. J. Milo Taylor, Dragan Spasov, Drawing Phantoms, Drawing Room, Dub Morphology, Dublin, Dubmorphology, Duncan Gates, Dyslex, Earburst Audio Rorschach, Earwitness Theatre, Echo, Ecstatic Manoeuvres in the Dark, Ed Baxter, Edi Rama, EH Gombrich, Eigen+Art, Eigen-Art, Electro Putere, Electronic Voice Phenomena, Eleni Ikon, Eleni Ikoniadou, Eleonora Oreggia, Eli Ningú, Elia Cantori, EMD, Emma Harrison, Enrico Monacelli, Ephemera, Ephemera Festival, Ephemery, Ephemery Festiwalu, Erik Davis, Erik Deerly, Erminio Alekos Serpente, Ernst Gombrich, Ernst Gombrich: L’Expérience Radiophonique d’un Historien de L’Art, Ernst Schoen, Espace des Sciences, Espace Ferrié, Esther Leslie, Esther Venrooij, Eugene Thacker, Evesham, EVOL, Evolutionary Biology, EVP, EVP Poetics, Ewan Clayton, Ex Anima, Ex-Easter Island Head, Excessive Listening, Excessive Listening, Exorcising the Present, Expérience Radiophonique, Experimental Sound, FACT Liverpool, FACT Together, Faster Circuits, Felicia Barr, Festiwalu, Fibrr, Fibrr Records, FibrrRecords, Filthy Lucre, Finkel, First Ghosts, First Ghosts: A Rich History, First Ghosts: A Rich History of Ancient Ghosts, First Ghosts: A Rich History of Ancient Ghosts and Ghost Stories, Flatpack Festival, Florian Hecker, Forensic Audiology, Forensic Listening, Forensic Audiology, Forensic Listening, Forest Phantoms, Forma, Forma Arts, Forma Arts & Media, Forma HQ, Formal Theory, Fort Process, Fort Process Festival, Foundling Museum, Francisco Lopez, Frankfurt Radio, Free Thinking, Freud Museum, Fugitive Listening, Furtherfield, Furtherfield Gallery, Fuse Art Space, Future Pace, Gabriel Prokofiev, Galerie Le Bon Accueil, Gareth Damian Martin, Gary Stewart, Gavin Everall, Gazelle Twin, Gemma Planell, Generation Thinkers, Georgina Rochefort, Gerhard Stempnik, Ghost, Ghost Audio, Ghost in the Machine, Ghost Machine, Ghost Stories, Ghost Tide, Ghost Voice Research, Ghosts, Ghosts & Apparitions, Ghosts and Demons, Ghosts In The Machine, Ghosts of our Immediate Future, Giuseppe Longo, Glasgow CCA, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths Press, Goldsmiths Press - Sonics Series, Goldsmiths Press Sonics, Great Psychic Outdoors, Greenwich University, Grey Room, Hallucination Perspective Synthesis, Halluzination Perspektive, Halluzination Perspektive Synthese, Halluzination Synthese, Hanna Hartman, Hannah White, Haskins Laboratories, Haunted Machine, Haunted Machines, Haunted Machines Talk, Haunted Media, Haunted Technology, Haunting, Haunting Europe, Hauntology, Haus der Kulturen der Welt, Haus der Kulturen der Welt Berlin, Hayward Gallery, Hayward Gallery Touring, Hayward Lars Bang Larsen, Hearing, Hearing Lips & Seeing Voices, Hearing Voices in the Noise, Heart Beat Ear Drum, Hepworth Wakefield, Hermann Rorschach, High Static, High Static Dead Lines, Historien de L’Art, HKW, HKW Berlin, Hodder & Stoughton, Holographic Skies, How To Wreck A Nice Beach, Hugo Ball, Hugo Ball Chicago, Human Conversation, Humanities Research, Humber Street Gallery, Humour in the Water Coolant, Hyperacusis, I Am!, Ian Potter Museum of Art, ICA, ICA London, If The Spirit Moves You, Iklectik, Iklectik Art Lab, Iklectik Offsite, Illusion exhibition, Illusion in Speech and Language, Illusion of Sound, Illusions, Illusions & Paradoxes, Illustrious, Illustrious Company, Image Research, Image Text Sound, Imaginative Projection, Imagine, Imagine I Am!, IMCC, Immersive Sound, Immersive Soundscape, Immersive Spatial Sound, Imperial War Museum, Imperial War Museum Contemporary, Inaudible Becomes Audible, Inflamed Invisible, Ingrid Plum, Inigo Wilkins, Ink Blots, INS, Inspection, Inspection II, Institute for Modern and Contemporary Culture, Institute of Contemporary Arts, Institute of Modern Art Brisbane, Institute of Signals and Noise, International Necronautical Society, Investigation, Invisible Dust, Irene Noy, Irreversible Noise, Irving, Irving Finkel, ISAST, Ivet Ćurlin, IWM, IWM Contemporary, J. Milo Taylor, Jacqueline Sobiszewski, James Mansell, James Worse, Jamie Allen, Jamie Hamilton, Jan Lee, Jane Pitt, Jane Rolo, Jean Cocteau, Jenna Sutela, Jennifer Higgie, Jennifer Walshe, Jessica Ekomane, Jo Burzynska, Joanne Scott, Joe Banks, Joel Cahen, Johanna Schindler, John Berger, John Drever, John Levack Drever, Jonathan Sterne, Josh Reiss, Journal of Artistic Research, Julian Henriques, Julian Treasure, Julie Lillelien Porter, Julie Wolfe, Jung Eun-Ji, Justin Barton, Justin Lader, Justin Sausman, Justine Picardie, K-Punk, Karolina Kraczkowska, Karst, Karst Gallery, Karst Plymouth, Kathryn Ashill, Katrin Klingan, Ken Hollings, Kersten Glandien, King's Place, Kings Place London, Kode 9, Kodwo Eshun, Koladé Spirit, Konstantin Raudive, Koppel Project, Kristen Gallerneaux, Kunsthalle Wien, Kunstverein Gartenhaus, LaBoral Gijon, Lafayette Anticipations, Language, Language as Technology, Language Game[s], Language is a Virus, Language is a Virus from Outer Space, Language of Life, Language Technology, Language Virus, Larry Sider, Last Tuesday Society, Laura Burns, Laurie Taylor, Lawrence Abu Hamdan, L’Art et L’Illusion, LCC, LCC Crisap, LCC London, Le Bon Accueil, Le Bon Accueil – Lieu d’Art Contemporain, Le Bon Accueil Rennes, Le fantôme dans la machine, Lee Gamble, Lee Ranaldo, Leeds 2023, Leeds2023, Left of the Dial, Left of the Dial Podcast, Leigh Wilson, Leila Dear, Lendl Barcelos, Leonardo, Leonardo da Vinci, Leverhulme, Leverhulme Trust, Levitations, Lieu d'Art Contemporain, Liquid Architecture, Lisa Blanning, Lisa Hall, Listening to History, Lisson Gallery, Listening, Listening Arts, Listening Arts Channel, Listening As Culture, Listening as Strategy, Listening Culture, Listening To Non-Human Life, Listening Workshop, Listenpony, Live Meditation, Living Radio, Living Radio Lab, Living With Ghosts, Lizzie Homersham, Lo-Fi Music, Loco-Lab, Lola de la Mata, London, London College of Communication, London Iklectik, London Magazine, London Review Bookshop, London Southbank University, Lord of the Dynamos, Lore, Lore Podcast, Luciana Parisi, Lukasz Wojtysko, Luke Jerram, Luke Jordan, Lumisokea, LXV, Lydgalleriet, Lynton Talbot, Lyssnandet som Strategi, MA Sound Arts, Macba, Macba Barcelona, Macba Museu, Macba Museu d’Art Contemporani, Macba Museu d’Art Contemporani de Barcelona, Machine, Machine and the Ghost, Macht der Sprache, Magic Lantern, Making Your Mark, Manchester Art Gallery, Manchester University, Manchester University Press, María Salgado, Marc Garrett, Marc Sollinger, Marco Pasi, Maria Chávez, Marina Warner, Mario Popham, Mark Coeckelbergh, Mark Fisher, Mark Leckey, Mark Peter Wright, Mark Pilington, Mark Underwood, Martyn Ware, Martyna Poznanska, Masie Newman, Matías Rossi, Matt Bernico, Matt Collier, Matt Lewis, Matt’s Gallery, Matthew Fuller, Matthias Kispert, Mayday Rooms, McGurk Effect, Meaning in Randomness, Meme, Mercy, Metaverse, Metaverse Spatial Audio, Methodologies, Methodology, Michael Brailey, Michael Erdman, Michael Esposito, Mike Kelley, Milo Taylor, Mirage Men, Mishearing, Mishearings, Misinformation, Misophonia, MIT Press, Mix Tate, Mixtate, Mnemotechnics, Models, Monika Bobinska, Monolith, Mounir Fatmi, Mountain of Art Research, Mr. Bill, MUMA Melbourne, Murray R. Schaeffer, Musée des Transmissions, Music Of The Future, Music of the Mind, Musica Dispersa, Musical Ear, Musical Ear Syndrome, Musical Illusion, Musical Illusions, Musical Illusions & Paradoxes, Musical Illusions & Phantom Words, Mute Magazine, Mute Records, My Ghosts, Natalie Kane, Nataša Ilić, Nathan Penlington, Natural Phantoms, Núria Rodriguez, Near Future Laboratory, Nebula Rosa, Neil Matheson, NeMe Limassol, Netflix, Neurophenomenologyl, New Approaches, New Atlantis, New Generation, New Generation Thinkers, New Music, Nicholson Heal, Nick Houde, Nick Murray, Nicola Masciandaro, Nicola Triscott, Nicola Woodham, Nkisi, NMC Recordings, No Idea Festival, Non-Classical, Non-Human Life, Nonclassical, Nonsense Syllables, Not Without My Ghosts, Not Without My Ghosts: The Artist As Medium, Nottingham Contemporary, Now You're Talking, Observer Mechanics, Occulture, Oceans on Azimuth, OCM, Oenosthesia, Offprint London, Olga Gurionova, Olivia Erlanger, On Listening, Orpheus, Otolith, Otolith Group, Outer Space, Oxford Brookes, Oxford Brookes University, Oxford Contemporary Music, Pace, Pace Discord, Pace Gallery, Pace Live, Pace London, Pace Verso, Panacousticism, Papervampire, Paracusis, Paracusis Loci, Paradox, Paranormal Activity, Paranormal Culture, Paranormal Cultures, Paredolia, Pareidolia, Pareidolia and Apophenia, Pareidolia Research, Paris Agar, Parrhesiades, Patrik Lechner, Paul Bae, Paul Mellon Centre for Studies in British Art, Paul Mellon Foundation, Paul Purgas, Paul Whitty, Pawel Sakowicz, Pedagogies of the Ear, Penguin, Penguin Random House, Penned in the Margins, Perception, Perceptual Ambiguity, Periodic Table, Pete Bebergal, Peter Bebergal, Peter Toth, Phantasma Humana, Phantasmal Gallery, Phantasmata, Phantasmata & Illusions, Phantasmata and Illusions, Phantasmatic Audio, Phantasmatic Presence, Phantasmatic Sound, Phantasmic Presence, Phantom Audio, Phantom Portraits, Phantom Signals, Phantom Sounds, Phantom Terrains, Phantom Within, Phantom Words, Phantom Words Illusion, Phenomena, Philip Rubin, Pierre Bastien, Playground of Perceptions, Plymouth College of Art, Poetry as I need it, Polisonic, Polisonics, Political Economy, Political Effects of Listening, Politics and Sound, Politics of Listening, Politics of Sound, Porta 33, Porta33, Postmodernism, Power of Language, Pozzitive, Primary Information, Primo Levi, Printed Heritage, Printed Heritage Collections, Printed Matter, Printed Matter Chelsea, PRS Foundation, PRSF, PSI Girls, Psycho Acoustics, Psychoacoustic, Psychoacoustic Effects, Psychoacoustic Listening, Psychoacoustics, Psychoacoustics & Sonic Illusion, Psychoacoustics and Sonic Illusion, Psychological Society, Public Knowledge, Public Listening, Quest for the Supernatural, Quim Pujol, Quinn Latimer, Radical Radio, Radio 3, Radio 4, Radio Art, Radio Art Zone, Radio Arts Catalyst, Radio Benjamin, Radio Lab, Radio Noise, Radio Noise Collective, Radio Three, Radiophonic, Radiophonic Art, Radiophonic Babel, Radiophonic Babel of War, Radiophonic Communication, Radiophonic Music, Radiophonic Workshop, Radiophrenia 87.9FM, Ramona Naddaff, Random House, Raster Noton, Raudive Surrogate, Raven Row, Ray Brassier, Ràdio Macba, Ràdio Web Macba, RCA, Re:Search, Reference Festival, Reference Studios, Refract 18, Refract Audio, Refract:18, Reina Sofía, Reina Sofía Madrid, Repeater Books, Repeater Radio, Research Artwork, Research as Art, Research as Art Practice, Research Centre, Research Council, Research Group, Research Unit, Resonant Frequencies, Reverb UK, Reversible Images, Rewire Festival, Ricardo Cárdenas, Rich History, Richard Slocombe, Richard Wiseman, Riot Ensemble, Riot Ensemble: Sonic Illusions, Rob Hadrill, Rob Mullender, Rob Mullender-Ross, Robert Barry, Robert Redford, Robert Remez, Robin Klassnik, Robin Mackay, Roc Jimenez de Cisneros, Roger Luckhurst, Rorschach Audio, Rorschach Device, Rorschach Devices, Rorschach Radio, Rorschach Sound, Routledge, Rowan Evans, Roy Carroll, Royal College of Art, Royal Conservatory, Royal Institution, Ruede Hagelstein, Ruth Catlow, S. Ayesha Hameed, Sabina Sabolović, Sadie Coles HQ, Sain Sŵn, Sainsŵn, Salome Voegelin, Sam Dolbear, Sarah Sparkes, SARU, Sas Mays, Saul Z’ev, School of Sound, Science Gallery, Science Gallery Monterrey, Scientific Paradigm, Scope, Semantic Information, Semantic Noise, Sensory Deception, Sensory Deception: The Psychoacoustics and Sonic Illusion, Serpentine Gallery, Sharna Jackson, Sheena Calvert, Shelley Trower, Shin Joo-Hwan, Shoppinghour, Shoreditch Town Hall, Shortwave Collective, Sign Chorus, Signal Disambiguation, Silicon Ear, Simon & Schuster, Simon Grant, Simon Reynolds, Sine-Wave Speech, Sine-Wave Synthesis, Sinewave Speech, Sinewave Synthesis, Site Gallery, Site Gallery Sheffield, Site Sessions, SJ Fowler, Smalltalk for Lonely Ghosts, Sofia Lemos, Soft Opening, Some Axioms Musings and Hints on Hearing, Somerset House, Somerset House Channel, Somerset House Studios, Sonic, Sonic Agency, Sonic Ambiguity, Sonic Apophenia, Sonic Apophonia, Sonic Art, Sonic Arts, Sonic Arts Research Unit, Sonic Blotscapes, Sonic Continuum, Sonic Cultures, Sonic Diversity, Sonic Episteme, Sonic Expression, Sonic Faction, Sonic Field, Sonic Futures, Sonic Histories, Sonic History, Sonic Illusion, Sonic Illusions, Sonic Inkblot, Sonic Knowledge, Sonic Knowledge Production, Sonic Lecture, Sonic Methodologies, Sonic Methodology, Sonic Paredolia, Sonic Pareidolia, Sonic Phantoms, Sonic Phantoms - Composition with Auditory Phantasmatic Presence, Sonic Research, Sonic Research Group, Sonic Rorschach, Sonic Rorschach Test, Sonic Rubbish, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sonic Signalling, Sonic Spectre, Sonic Spectres, Sonic Studies, Sonic Theory, Sonic Urbanism, Sonic Urbanism: Listening To Non-Human Life, Sonic Warfare, Sonic Witness, Sonic Witnessing, Sonic Youth, Sonica, Sonica Surge, Sonica Surge 2023, Sonics, Sonics Series, Sonology, Sonology Education, Son[i]a, Sophie Scott, Soul in the Machine, Sound & Music, Sound and Music, Sound and Politics, Sound Archive, Sound Arguments, Sound Art, Sound Art Brighton, Sound Artist, Sound Arts, Sound Arts & Design, Sound Arts Now, Sound Arts Practice, Sound Design, Sound Group, Sound Illusion, Sound Illusions, Sound Image Research Group, Sound Modernity, Sound Politics, Sound Practice, Sound Research Group, Sound Studies, Sound Theory, Sound Unwrapped, Sound-Image, Sound-Image Research, Sound-Image Research Group - University of Greenwich, Sounding Things Out, Soundscape, Soundscapes, Southbank, Southbank Centre, Souzana Zamfe, Spambot EVP Poetics, Spatial Audio, Spatial Sound, Spectral Communication, Spectral Sublime, Spectre, Spectre Haunting, Spectre Haunting Europe, Speech Acts, Speech and Language, Spirit, Spirit Voice, Spirit Voices, Spiritualism, Sprit Box, Static Man, Stealth Creative, Stefan Goldmann, Stefan Joel Weisser, Stefan Weisser, Stephen Shiell, Steve Goodman, Steve Rajam, Steven Connor, Steven Rajam, Steven Rajan, Steven Shaviro, Store Studios, Store X, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Strange Frequencies, Studies in British Art, STUK, Summer Scholars, Supreme, Surrender: Ways of Hearing, Surrender: Ways of Hearing John Berger, Susan Hiller, Susan Owens, Susan Treister, Susan Zieger, Suzanne Treister, Svarte Greiner, Synthetic Hinge, Synthetic Statistics, Tallulah Griffith, Tate, Tate Britain, Tate Gallery, Tate Modern, Tate Publishing, Tautophone, TBA21, TBA21–Academy, Team IF, Technological Imaginary, Technological Quest, Technological Quest for the Supernatural, Technologized Listening, Technology, Technology and Spiritualism, Technology and Spiritualism in Nineteenth to Twenty-First-Century Art and Culture, Technology as Language, TED Talks, Teklife Ghettoville Eski, Telephony, Terry Miles, Thames-Side Studios, The Act of Magic, The AHRC, The Artist As Medium, The Arts and Humanities Research Council, The Arts Institute, The Auricle, The Black Tapes, The Black Tapes Podcast, The Discovery, The EVP Sessions, The Extraordinary Story of the Technological Quest for the Supernatural, The First Ghosts: A Rich History of Ancient Ghosts and Ghost Stories, The Foundling Museum, The Ghost, The Ghost - A Cultural History, The Hague, The Hauntening, The Hearing, The Hum, The Ian Potter Museum of Art, The Inkblots, The Leverhulme Trust, The Listening Service, The London Magazine, The Machine and the Ghost, The MIT Press, The Occulture, The Order of Sounds, The Periodic Table, The Phantom Within, The Power of Language, The Power of Speech, The Process, The Psychoacoustics and Sonic Illusion, The Psychologist, The Quietus, The Sampler, The Soul in the Machine, The Static Man, The Voices Of The Dead: Archives From Konstantin Raudive And Gerhard Stempnik, The Wail that was Warning, Theatre Noise, Theatrum Mundi, Theatrum Mundi Collective, Theory of Perception, They Might Be Giants, Thinking Aloud, Thomas B.W. Bailey, Thomas Bey, Thomas Bey William Bailey, Three Receivers, Tiago Pina, Tilman Küntzel, Tim Hecker, Tim Murray-Browne, Time Krystal, Tobias Revell, Toby Heys, Tom Chivers, Tom McCarthy, Tom Neenan, Tom Service, Tony Oursler, Torque Editions, Transmission, Transmission and the Individual Remix, Trevor Cox, Trickster, Trolley Books, Twist Museum, Twist Museum London, Txe Roimeser, UAL, UAL Research, UAL Research Online, UK Acoustics Network, Uncurating Sound, Undead, Underbelly, Uniform Books, Uniformbooks, Unit for Sound Practice Research, University of Brighton, University of Greenwich, University of Huddersfield, University of Melbourne, University of New South Wales, University of New South Wales Galleries, University of the Arts London, University of Westminster, University Press, Unsound, Unsound Discourse, Unsound: Undead, Unsound:Undead, Unsoundu, Unsoundu Festiwal, UNSW Galleries, Urbanomic, Valie Export, Vanessa Joan Müller, Venetian Veil, Verónica Lahitte, Verbal Apophonia, Vinyl Factory, Violeta Ospina, Viral, Virtually Reality, Virus, Visual Intelligence, Vocal Phantoms, Voice, Voice Of The Dead, Voice Phenomena, Voices, Voices from Beyond, Voices of the Dead, W.S. Burroughs, Walter Benjamin, Waterside Arts Centre, Waveform, We Break Strings, We Haunt You While You Watch, We’re All Bats, Wellcome Trust, West of Nowhere, William Bailey, William Burroughs, William Monk, William S. Burroughs, Wire Magazine, Wiretapping, Without My Ghosts, Witte de With, Witte de With Center for Contemporary Art, Wood Norton Hall, World War 2, Writing, Writing Around Sound, Writing Making Your Mark, WW2, X-Name, Xname, Yoko Ono, Yoo Sun-Dong, You Copiphora Gorgonensis, Z'ev, Zabludowicz, Zabludowicz Collection, Zuckerman Museum, Zuckerman Museum of Art, ]Sub Rosa
British Library “Summer Scholars” – “Rorschach Audio”, 28th June 2013
Writing in “Playback: The Bulletin of the British Library Sound Archive”, Toby Oakes observed that the archive “deals with the voices of the dead every day, but our subjects tend to have been alive at the time of recording”. “Mortality was no impediment” however, in the case of tapes recorded by parapsychologist Konstantin Raudive, who claimed that Galileo, Goethe and Hitler communicated with him through the medium of radio. Raudive was the most famous exponent of Electronic Voice Phenomena (EVP), as it is known, and the British Library holds a collection of 60 of his unedited tapes. Rather than dismissing the claims of EVP researchers out-of-hand, author Joe Banks demonstrates a number of highly entertaining audio-visual illusions, which show how the mind can misinterpret recordings of sound and of stray communications chatter, in a similar way to how viewers project imaginary images onto the random visual forms of the psychiatrist Hermann Rorschach’s famous ink-blot tests. The talk stresses the important role that intelligent guesswork plays in normal perception, and discusses descriptions of sound phenomena by Leonardo da Vinci, and the work of the BBC Monitoring Service, emphasizing the influence that wartime intelligence work with sound had on one of the most important works of visual arts theory every published.
The talk starts at 12:30 (however the library is a bit of a labyrinth so arrive 10 minutes early to make sure you find the scriptorium on time). Admission is free and refreshments are provided. To attend please e-mail your name to summer-scholars@bl.uk.
“Rorschach Audio – Ghost Voices, Art, Illusions and Sonic Archives”
12:30 lunch-time, 28 June 2013
The British Library
96 Euston Road
London NW1 2DB
This talk is part of the British Library’s Summer Scholars programme. Special thanks for Stephen Cleary for the invitation, and to everyone who came along to “Circuit Blasting” in Brighton.
From → Uncategorized
Rorschach Audio + Disinformation 
I cant believe i missed this talk. How was it?