0.0MHz Film, 2/8 Bregman 4/8 Deutsch 7/8 Hecker 1/8 Höller, 4’33”, A Courtroom is not a Gallery, Abdul Aziz Muhamat, ACCA, ACCA Melbourne, Acoustic Ambiguity, Acoustic Anthropology, Acoustic Environment, Acoustic Environments, Acoustic Justice, Acoustic Rorschach, AHRC, Alexander Garsden, Algorithmic Listening, Alva Noto, Ambiguity, Ambiguous Audio, Ambiguous Sound, An Academic Cut-Up, André Dao, Andrew Hugill, Andrew O'Hagan, Andy Slater, Anita Zabludowicz, Anja Kanngieser, Ann Winsper, Apophenia Research, Appliance, Architecture, Art & Illusion, Art & Illusion for Sound, Artefact, Artforum, Artist, Arts & Humanities, Arts & Humanities Research, Arts & Humanities Research Council, Atlanta Eke, Attila von Szalay, Audible Inkblot, Audible Rorschach, Audible Rorschach Test, Audio, Audio Ambiguity, Audio Apophenia, Audio Art, Audio Ghost, Audio Illusion, Audio Ink Blot, Audio Ink Blot Test, Audio Inkblot, Audio Inkblot Test, Audio Pareidolia, Audio Phantom, Audio Projection, Audio Projections, Audio Projective Test, Audio Projective Tests, Audio Rorschach, Audio Rorschach Test, Audio Summator, Auditory Ambiguity, Auditory Apophenia, Auditory Hallucinations, Auditory Illusion, Auditory Illusions, Auditory Inkblot, Auditory Inkblot Test, Auditory Pareidolia, Auditory Phantasm, Auditory Phantasmic Presence, Auditory Projection, Auditory Projections, Auditory Projective Test, Auditory Projective Tests, Auditory Rorschach, Auditory Rorschach Test, Auditory Summator, Aura Satz, Aural & Visual Cultures, Aural Diversity, Aural History, Aural Ink Blot, Aural Ink Blot Test, Aural Inkblot, Aural Inkblot Test, Aural Rorschach, Aural Rorschach Test, Australia Council for the Arts, Australian Centre for Contemporary Art, B.F. Skinner, BA Sound Arts, Barbara Ellison, Barnaby Wright, BBC, BBC Monitoring Service, BBC Radio, BBC Radio 4, BBC Radio 4 Extra, BBC Wales, Behrouz Boochani, Believe not every spirit, Belle Bassin, Between The Ear and the Mouth, BF Skinner, Bianca Winantaputri, Boundary Condition, BPS, Branden W. Joseph, Brian Dillon, Brian Hochman, British Psychological Society, Bryan Phillips, Camden Art Centre, Camden Arts Centre, Carbonic Oscillation, Carolin Schnurrer, Carsten Nicolai, Cathy Lane, Cave Leeds, Centre for Audio Visual Experimentation, Centre Pompidou, Ceri Hann, Channel One Channel Two and Channel Three, Charles Esche, Charlie McDowell, Chess Boughey, Chiara Fumai, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Choi Yoon-Young, Christine Van Assche, Claire Elliott, Claudia Firth, CLiC Listening Workshop, CM von Hausswolff, Cognitive Ambiguity, Cognitive Illusion, College of Psychic Studies, Colour and Form, Construction of an Act, Contemporary Art Museum St. Louis, Continent, Continent Journal, Cosa Mentale, Courtauld Gallery, Courtauld Institute, Creative Research, Creative Research into Sound Arts Practice, Creative Victoria, CRISAP, CTM Discourse, Damien Hirst, Damion Searls, Dane Mitchell, Daniel Jenatsch, Danni Zuvela, Dark Mofo, David Chesworth, David Grubbs, David Lamelas, De Player, Demdike Stare, Detail and Whole, Detail and Whole Movement, Detail and Whole; Movement Colour and Form, Diana Deutsch, Diana Pasulka, Die Macht der Sprache, Diego Tonus, Diena Georgetti, Digital Music, Discipline, Disclaimer, Disclaimer Journal, Disclaimer Magazine, Disclaimer Melbourne, Discovery, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Disinformation John Squire, Disorganising, Dorothea Tanning, Douglas Kahn, Dr James Parker, Dr Milo Taylor, Dr. J. Milo Taylor, Drone Rorschach, Dynamics of Language, Ear and Mouth, Ear and the Mouth, Earwitness, Earwitness Theatre, Eavesdropping, Eavesdropping, Eavesdropping Exposed, Editions Mego, EH Gombrich, Eigen+Art, Eigen-Art, Electronic Voice Phenomena, Electronic Voice Phenomenon, Erik Bunger, Erik Davis, Ernst Gombrich, Errant Bodies Press, Esprits de Paris, Everything at Once, Evocative Object, Evocative Object: Auditory Inkblot, EVP, Excessive Listening, Farhad Bandesh, Fayen d’Evie, First Draft, First Draft Sydney, Firstdraft Australia, Firstdraft Sydney, Florian Hecker, Force of Listening, Forensic Audiology, Forensic Listening, Forensic Listening, Foundation for the Arts, Four-Dimensional Nightmare, Francisco Lopez, Freud Museum, Freya Schack-Arnott, Friedrich Jürgenson, Fugitive Listening, Geography of Sounds, Georgiana Houghton, Georgina Starr, Gertrude Contemporary, Ghost & Spirit, Ghost and Spirit, Ghost Audio, Ghost in the Machine, Ghost Quartet, Ghost Stories, Ghost Voice, Ghost Voice Research, Ghosts, Ghosts In The Machine, Glenn Branca, Goldsmiths, Goldsmiths College, Grace Koch, Grey Room, Halluzination Perspektive, Halluzination Perspektive Synthese, Halluzination Synthese, Haroon Mirza: The Construction of an Act, Harpers Bazaar, Haunted Technology, Hearing Lips & Seeing Voices, Hearing Voices in the Noise, Helen Grogan, Hermann Rorschach, Hilma af Klint, Humanities Research, Humour in the Water Coolant, Ian Potter Museum of Art, ICA, ICA London, If The Spirit Moves You, Iklectik Art Lab, Iklectik Nomadik, Illusion in Speech and Language, Illusion of Sound, Illusions & Paradoxes, Image Text Sound, Imaginaries of Telepathy of the 20th-Century Art, In and Out of Synch, Ingrid Plum, Ink Blot Audio, Inkblot Audio, Institute of Modern Art Brisbane, Intermission, International Necronautical Society, Invisible Generation, Irini Papadimitriou, J. Milo Taylor, J.G. Ballard, Jade Boyd, Jake Goldenfein, Jalal Toufic, James Howard, James Parker, James Rushford, Jan Backlund, Jan Bryant, Jasmine Guffond, Jean Cocteau, Jen Bervin, Jennifer Stoever, Jeremy Millar, Jess Johnson, Jessica Aszodi, Jo Burzynska, Joachim Koester, Joe Banks, Joel Cahen, Joel Spring, Joel Stern, John Cage, John Drever, John Levack Drever, John Squire, John Squire: Disinformation, Jon Tjhia, Julia Drouhin, Julian Oliver, Julie Cunningham, Jung Eun-Ji, Justin Lader, Justine Picardie, Kasper Akhoj, Kathy Barry, Ken Hollings, Klecksography, Klein, Konstantin Raudive, Kristi Monfries, Kristine Kemp, Kunsthalle Wien, Kunstverein Gartenhaus, Laetitia Rouiller, Language, Larry Sider, Lars Bang Larsen, Last Tuesday Society, Laura McLean, Laurent Schmid, Laurie Taylor, Lawrence Abu Hamdan, LCC, LCC Crisap, Lea Porsager, Leila Bordreuil, Leverhulme, Leverhulme Trust, Liang Luscombe, Liquid, Liquid Architecture, Liquid Architecture Archive, Liquid Architecture Melbourne, Liquid Archive, Lisa Hall, Listening to History, Lisson Gallery, Listening Arts Channel, Listening for Ghosts, Listening Workshop, London College of Communication, Lucia Farinati, Luciano Chessa, M T Grant, MA Sound Arts, Machine Listening, Macht der Sprache, Mack Hagood, Madame Favre, Madge Gill, Magic Lantern, Makiko Yamamoto, Mara Mills, Marco Pasi, Margery Crandon, Mark Andrejevic, Mark Pilington, Mark Underwood, Martyn Jolly, Matt Mullican, Max Ernst, McGurk Effect, Meaning in Randomness, Mego Records, Mehera San Roque, Melbourne, Melbourne Law School, Michael Green, Michael Joo, Mikala Dwyer, Mike Kelley, Mike Kelley Foundation for the Arts, Milo Taylor, Mina Crandon, Mirage Men, Mishearing, Mishearings, Misinformation, Mona Tasmania, Monash University, Movement Colour and Form, MUMA Melbourne, Museum of Old and New Art, Musical Illusion, Musical Illusions, Musical Illusions & Paradoxes, Musical Illusions & Phantom Words, Nathan Gray, National Gallery, Neural Seams, New King of Pop, Newport Street, Newport Street Gallery, Next Wave 2016, Noise as New Politics, Oenosthesia, Offprint London, Olivia Erlanger, Olivia Plender, Orphée, Orpheus, Oxford Brookes, Oxford Brookes University, Panacousticism, Paradox, Pareidolia and Apophenia, Pareidolia Research, Paul Whitty, Pedagogies of the Ear, Penguin, Penguin Random House, Perceptual Ambiguity, Pete Bebergal, Peter Bebergal, Peter Szendy, Phantasma Humana, Phantasmatic, Phantasmic Presence, Phantom Audio, Phantom Power, Phantom Within, Phantom Words, Pip Stafford, Playing with Words, Poetry as I need it, Political Effects of Listening, Politics of Listening, Poppy da Souza, Poppy de Souza, Power of Language, Primer, Psycho Acoustics, Psychoacoustics, Psychoacoustics & Sonic Illusion, Psychoacoustics and Sonic Illusion, Psychological Society, Psychology of Magic, Public Knowledge, Public Listening, Quest for the Supernatural, Radio, Radio 4 Extra, Radio Advertising, Radio Rorschach, Radio Rorschach Test, Radiophrenia 87.9FM, Random House, Raqs Media Collective, Rashad Becker, Raster Noton, Raven Row, RCA, Research Council, Research Unit, RMIT, Rob Mullender, Rob Mullender-Ross, Robert Redford, Robin James, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Rohan Rebeiro, Ronen Jafari, Rorschach Audio, Routledge, Royal College of Art, Ryan Gander, Sainsŵn, Sala Rekalde, Sam Belinfante, Sam Kidel, Samson Young, Sara Ramshaw, Sarah-Jane Lewis, SARU, Séance, Scanner, School of Sound, Science Limited, Science Ltd, Sean Dockray, Sensory Deception, Sensory Deception: Psychoacoustics and Sonic Illusion, Serpentine Gallery, Shabbir Hussein, Shin Joo-Hwan, Silicon Ear, Simon & Schuster, Simulation/Skin, Sisters Akousmatica, Site Gallery, Site Sessions, Smoke & Mirrors, Smoke and Mirrors, Soft Opening, Sonia Leber, Sonic, Sonic Agency, Sonic Ambiguity, Sonic Art, Sonic Arts, Sonic Arts Research Unit, Sonic Cultures, Sonic Diversity, Sonic Episteme, Sonic Field, Sonic Illusion, Sonic Ink Blot, Sonic Ink Blot Test, Sonic Inkblot, Sonic Inkblot Test, Sonic Phantoms, Sonic Process, Sonic Rorschach, Sonic Rorschach Test, Sonic Studies, Sonic Warfare, Sophie Scott, Soul in the Machine, Sound, Sound & Music, Sound Art, Sound Artist, Sound Arts, Sound Arts Practice, Sound Fjord, Sound School, Sound Studies, Sound Sweep, Sound-Art-Text, Soundscape, Soundscapes, Speak Spirit, Speak Spirit Speak, Speech, Speech and Language, Spirit Speak, Spirits, Spiritualism, Stanley Picker Gallery, Stedelijk Museum, Steve Rajam, Steven Rajam, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Strange Frequencies, Strange History, STUK, Susan Hiller, Susan Jacobs, Susan Schuppli, Sylvia Ross, Tamar Guimaraes, Tanya Wayne, Tate Britain, Tate Gallery, Tate Modern, Tautophone, Technological Quest, Technological Quest for the Supernatural, Technologized Listening, Technology, The Act of Magic, The Auricle, The Discovery, The Ear and the Mouth, The Extraordinary Story of the Technological Quest for the Supernatural, The Four-Dimensional Nightmare, The Hearing, The Ian Potter Museum of Art, The Inkblot Experiment, The Inkblots, The Leverhulme Trust, The New King of Pop, The Phantom Within, The Power of Language, The Power of Speech, The Psychologist, The Psychology of Magic, The Soul in the Machine, The Sound Sweep, The Uninvited Ear, Thomas B.W. Bailey, Thomas Bey, Thomas Bey William Bailey, Thomas Y. Levin, Tom McCarthy, Tom Mclean, Tony Oursler, UAL, University of Brighton, University of Edinburgh, University of Melbourne, University of New South Wales, University of New South Wales Galleries, University of the Arts London, University of Westminster, Unsound 2020, Unsound 2020: Intermission, Unsound 2023, Unsound Dada, Unsound Festival 2023, Unsound Kraków, Unsound London, UNSW Galleries, Valie Export, Victorian Spiritualists Union, Vincent Ceraudo, Vinyl Factory, Vocal Phantoms, Vocalities, Walter Stinson, Wave-lengths Hitherto Undetected, Wavelengths Hitherto Undetected, We’re All Bats, William Bailey, Wiretapping, Wiretapping, Witte de With, Witte de With Center for Contemporary Art, Writing Around Sound, Yale University, Yale University Press, Yan Jun, Yoo Sun-Dong, Yuri Ancarani, Zabludowicz, Zabludowicz Collection
MUMA Melbourne & Gertrude Contemporary present Disinformation + Rorschach Audio
Image [above]: Hermann Rorschach in 1921
Against the backdrop of “Believe not every spirit, but try the spirits” – an exhibition of and dedicated to the work of the Victorian Spiritualist painter Georgiana Houghton – Liquid Architecture and the Monash University Museum of Art are pleased to present British sound artist and writer Joe Banks in Australia for the first time. At Gertrude Contemporary, Joe Banks will deliver a lecture entitled “Rorschach Audio”, as part of the “Theories and Histories of Sound” series presented in association with Discipline. MUMA will also present a special concert by sonic arts project Disinformation as part of MUMA’s new “Sound Spaces” program…
Rorschach Audio – Lecture & Demonstration
Weds 3 June 2015
6:30pm to 8pm
Gertrude Contemporary
200 Gertrude St
Fitzroy VIC 3065
Australia
The talk will be followed by a short response from artist and researcher Ceri Hann (RMIT) before opening the floor to discussion
Disinformation – Concert
Thurs 4 June 2015
6:30pm to 8pm
Monash University Museum of Art | MUMA
Monash University Caulfield Campus
900 Dandenong Road
Caulfield East VIC 3145
Australia
Rorschach Audio – Discussion + Workshop
Sat 6 June 2015
3:00pm to 4:30pm TBC
Monash University Museum of Art | MUMA
Monash University Caulfield Campus
900 Dandenong Road
Caulfield East VIC 3145
Australia
“While other young artists were subscribing to Artforum, Joe was devouring journals on defence electronics and communications psychology…”
http://www.liquidarchitecture.org.au/artists/joe-banks/
http://www.gertrude.org.au/news/
http://tinyurl.com/zp3bq2u
From → Uncategorized

Hello! This is my first comment here so I just wanted to give a quick shout out and tell you I genuinely enjoy reading through your blog posts. Can you suggest any other blogs/websites/forums that cover the same topics? Thanks for your time!
There are links in most of the blog pages, but if you want a different perspective, of (in this case) the sort the Rorschach Audio project is designed to critique, try here –
http://itcvoices.org/konstantin-raudive-and-his-itc-evp-breakthrough/