A Human History, Acoustic Ambiguities, Acoustic Inkblot, Alain Badiou, Alva Noto, Apophenia, Art & Illusion, Artist, Ash International, Assembly, Audio Inkblot, Audio Pareidolia, Audio Rorschach, Auditory Inkblot, Auditory Projective Test, Auditory Rorschach, Brandon LaBelle, Bruce Nauman, Carsten Nicolai, CM von Hausswolff, Dave Tompkins, Days, Dead Lines, Disinformation, Divine Illusion, EH Gombrich, Eigen+Art, Eigen-Art, EVP, Florian Hecker, Glenn Branca, Goldsmiths College, Hearing Voices in the Noise, Hecker, High Static, High Static Dead Lines, How To Wreck A Nice Beach, ICA, ICA London, IMCC, In Praise of Love, INS, Institute for Contemporary Arts, International Necronautical Society, Joe Banks, Jon Wozencroft, Juergen Teller, Ken Hollings, Kristen Gallerneaux, Larry Sider, Lisson Gallery, Magic Lantern, Mark Underwood, Mike Kelley, MIT Press, Mounir Fatmi, Noise, Pedagogies of the Ear, Phaidon, Politics of Listening, Psychoacoustics, Radical Philosophy, Raster Noton, Robin Rimbaud, Rorschach Audio, Sadie Coles, Sadie Coles HQ, Scanner, School of Sound, Senses of Vibration: A History of the Pleasure and Pain of Sound, Serpentine Gallery, Shelley Trower, Slavoj Žižek, Somerset House, Somerset House Studios, Sonic Inkblot, Sonic Pareidolia, Sonic Rorschach, Sonic Studies, Sound Artist, Sound Studies, Soundworks, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Susan Hiller, The MIT Press, The Quietus, The Year of Dreaming Dangerously, Touch Records, Unit for Sound Practice Research, University of Westminster, Westminster University, Woo!
“Rorschach Audio” on the best-seller list at The ICA
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