A Courtroom is not a Gallery, Abdul Aziz Muhamat, Acoustic Anthropology, Acoustic Inkblot, Acoustic Justice, AHRC, Ambiguity, André Dao, Andrew Brooks, Andy Slater, Anja Kanngieser, Art & Illusion, Art & Illusion for Sound, Arts & Humanities Research Council, Atlanta Eke, Audio Apophenia, Audio Art, Audio Forensics, Audio Illusion, Audio Inkblot, Audio Pareidolia, Audio Rorschach, Audiology, Auditory Ambiguity, Auditory Apophenia, Auditory Inkblot, Auditory Projective Test, Auditory Rorschach, Aural Contract, Aural History, Bárbara Rodríguez Muñoz, Behrouz Boochani, Bionics Institute Melbourne, Brad Story, Brian Hochman, Bryan Phillips, Capital Punishment, Casco, Casino Luxembourg, Ceri Hann, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chris Craig, Cognitive Science, Conflicted Phonemes, Contemporary Art Museum St. Louis, Continent, Contradiction, Craig & Bentley, Criminal Witness Testimony, Daniel Jenatsch, David Alais, David Chesworth, David Yallop, De Player, Death Penalty, Derek Bentley, Dexys Midnight Runners, Diego Tonus, Disinformation, Dr James Parker, Due Process, Duke University Press, Dynamics Of Signification, Earwitness Testimony, Earwitness Theatre, Eaves­drop­ping, Execution, Eyal Weizman, Eyewitness, Farhad Bandesh, Fayen d’Evie, Forensic Architecture, Forensic Audio, Forensic Audiology, Forensic Listening, Forensic Psychology, Freedom of Speech Itself, Goldsmiths, Goldsmiths College, Grace Koch, Hass Hassaballa, Hearing, Hugh McDermott, Human Conversation, Ian Potter Museum of Art, Illusion, Illusion of Sound, In Plain Sight, Inigo Wilkins, Institute of Modern Art Brisbane, Irreversible Dynamics Of Signification, Irreversible Noise, Jake Goldenfein, James Parker, Jasmine Guffond, Jen Bervin, Jennifer Stoever, Joe Banks, Joel Spring, Joel Stern, John Berger, Jon Tjhia, Lars Riecke, Laurel, Laurie Britton Newell, Law & Sound, Lawrence Abu Hamdan, LCC Crisap, Let Him Have It, Ligaya Salazar, Liquid Architecture, Liquid Architecture Melbourne, London College of Communication, Louis Albert Necker, M J Grant, Maastricht University, Manus Recording Project Collective, Mark Andrejevic, Mehera San Roque, Melbourne Law School, Michael Green, Misinformation Effect, Model Court, Nathan Gray, Necker Cube, New York University, Noise as New Politics, Now You're Talking, Optical Illusion, Pedagogies of the Ear, Perceptual Flipping, Peter Medak, Peter Szendy, Political Effects of Listening, Politics of Listening, Poppy de Souza, Portrait of Derek Bentley, Portrait of Jean Genet, Psychoacoustics, Psychology of Perception, Reversible Images, Richard Dawkins, Robin James, Rorschach Audio, Sam Kidel, Samad Abdul, Samizdat, Samson Young, Sara Ramshaw, Sean Dockray, Serpentine Gallery, Shamindan Kanapadhi, Sidney Miles, Signification, Sonia Leber, Sonic Art, Sonic Arts, Sonic Illusion, Sonic Inkblot, Sonic Pareidolia, Sonic Rorschach, Sonic Studies, Sound, Sound & Music, Sound Art, Sound Installation, Sound Practice Research, Sound Studies, Subjective Vision, Subjectivity, Subjectivity of Vision, Susan Schuppli, Tanya Wayne, The Bureau, The Ian Potter Museum of Art, The Showroom, The Unin­vited Ear, The Whole Truth, This is a Voice, To Encourage The Others, Trevor Cox, Unit for Sound Practice Research, University of Arizona, University of Melbourne, University of Sydney, Urbanomic, Vision, Visual Subjectivity, Voice, Ways of Seeing, Wellcome Collection, Wellcome Trust, What do You Hear?, William Blackstone, Wiretapping, Witness Testimony, Witte de With, Witte de With Center for Contemporary Art, Yan Jun, Yang Li, Yanny, Yanny or Laurel?