A Courtroom is not a Gallery, Abdul Aziz Muhamat, Acoustic Anthropology, Acoustic Justice, Acoustic Rorschach, Alva Noto, André Dao, Andrew O'Hagan, Andy Slater, Anja Kanngieser, Artefact, Artforum, Atlanta Eke, Audio Inkblot, Audio Rorschach, Auditory Illusions, Auditory Inkblot, Auditory Pareidolia, Auditory Projective Test, Auditory Rorschach, Auditory Summator, Aura Satz, Aural & Visual Cultures, Aural History, Australia Council for the Arts, Barnaby Wright, Behrouz Boochani, Believe not every spirit, BF Skinner, Brian Dillon, Brian Hochman, Bryan Phillips, Camden Arts Centre, Carbonic Oscillation, Carsten Nicolai, Cave Leeds, Centre for Audio Visual Experimentation, Ceri Hann, Charles Esche, College of Psychic Studies, Courtauld Gallery, Courtauld Institute, Creative Victoria, Damion Searls, Daniel Jenatsch, Dark Mofo, David Chesworth, De Player, Demdike Stare, Diego Tonus, Discipline Magazine, Disinformation, Douglas Kahn, Dr James Parker, Drone Rorschach, Earwitness, Eaves­drop­ping, Eavesdropping, Eavesdropping Exposed, Erik Bunger, Farhad Bandesh, Fayen d’Evie, First Draft, First Draft Sydney, Firstdraft Australia, Firstdraft Sydney, Forensic Listening, Georgiana Houghton, Gertrude Contemporary, Ghost in the Machine, Glenn Branca, Grace Koch, Harpers Bazaar, Haunted Technology, Hearing Lips & Seeing Voices, Hearing Voices in the Noise, Hermann Rorschach, Hilma af Klint, Ian Potter Museum of Art, If The Spirit Moves You, In and Out of Synch, International Necronautical Society, Jade Boyd, Jake Goldenfein, Jalal Toufic, James Parker, Jarman Awards, Jasmine Guffond, Jean Cocteau, Jen Bervin, Jennifer Stoever, Jo Burzynska, Joel Spring, Joel Stern, Jon Tjhia, Julia Drouhin, Julian Oliver, Justine Picardie, Klein, Larry Sider, Lars Bang Larsen, Lawrence Abu Hamdan, Leila Bordreuil, Liquid Architecture, Luciano Chessa, M T Grant, Marco Pasi, Mark Andrejevic, Mark Underwood, Martyn Jolly, McGurk Effect, Mehera San Roque, Melbourne Law School, Michael Green, Mike Kelley, Mishearing, Mishearings, Mona Tasmania, Monash University, MUMA Melbourne, Museum of Old and New Art, Nathan Gray, National Gallery, Neural Seams, Next Wave 2016, Noise as New Politics, Oenosthesia, Orphée, Orpheus, Pedagogies of the Ear, Peter Szendy, Pip Stafford, Poetry as I need it, Politics of Listening, Poppy da Souza, Poppy de Souza, Radio Advertising, Raqs Media Collective, Rashad Becker, Raster Noton, Robin James, Rorschach Audio, Ryan Gander, Sam Kidel, Samson Young, Sara Ramshaw, School of Sound, Sean Dockray, Serpentine Gallery, Shabbir Hussein, Simon & Schuster, Sisters Akousmatica, Sonia Leber, Sonic Inkblot, Sonic Rorschach, Sonic Studies, Sound & Music, Sound School, Sound Studies, Soundscapes, Spiritualism, STUK, Susan Hiller, Susan Schuppli, Tanya Wayne, Tautophone, The Act of Magic, The Auricle, The Ian Potter Museum of Art, The Inkblots, The Unin­vited Ear, Tom McCarthy, Tony Oursler, Turner Contemporary, University of Melbourne, Victorian Spiritualists Union, Vocalities, Wave-lengths Hitherto Undetected, Wavelengths Hitherto Undetected, Wiretapping, Writing Around Sound, Yan Jun