1+1=3, 1243 Unread Messages, 2021 Concerts, 3049, 400th issue, 840 Series, A Counter-Map, A Crisis, A Sound Anthology Of Occult Phenomena, A Spectre Haunting Europe, AA-EVP, AC Projects, AC Projects Counterflows, Acousmatic Paranoia, Acoustic Anthropology, Acoustic Atmospheres, Acoustic Rorschach, Aesthetics, Agnes Gryczkowska, Agnieszka Polska, AHRC, AHRC Research Fellow, AHRC Research Fellowship, Alessandra Eramo, Algorithmic Listening, Alice Hackney, All of Them Loved, Alva Noto, Ambiguity, Andy Wicks, Angel Ng, Angelica Sule, Anita Zabludowicz, Ann Winsper, Anna Barham, Anne Holtrop, Anne Zeitz, Annika Kahrs, Anomalous Psychology, Anomalous Psychology Research Unit, AnOther Magazine, AnOtherMag, Anthony Pateras, Anthropology, Anti-University Now, Antiuniversity Now, Antony Hudek, Apophenia, Apophonia, APRA AMCOS Art Music Fund, APRU, APT Deptford, APT Gallery, Architecture of Atmospheres, Arebyte, Arebyte Gallery, Argos, Art & Illusion, Art & Illusion for Sound, Art and Science, Art as Research, Art as Research as Art, Art Research, Artangel, Artefact, Artist As Medium, Artistic Inventiveness, Artistic Research, Arts & Humanities Research Council, Arts and Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Ash International, Ashanti Harris, Assembly, Assisi Machine, Atau Tanaka, ATransC, Audint, Audio Apophonia, Audio Ghost, Audio Illusion, Audio Inkblot, Audio Pareidolia, Audio Rorschach, Audio Sphere, Audio Visual Culture, Audioscopic Research, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Audiovisual Culture, Audition, Auditory Ambiguity, Auditory Apophenia, Auditory Apophonia, Auditory Ghost, Auditory Illusion, Auditory Inkblot, Auditory Knowledge, Auditory Knowledge and the Arts, Auditory Pareidolia, Auditory Perception, Auditory Phantasmatic, Auditory Phantasmatic Presence, Auditory Phantom, Auditory Projection, Auditory Projective Test, Auditory Rorschach, Auditory Summator, Aura Satz, Aural Diversity, Aural History, Barbara Ellison, Barbican Art Gallery, Barry Burns, Basel, Bastard Assignments, BBC, BBC Monitoring and the Second World War, BBC Radio, BBC Radio 3, BBC Radio 4, BBC Sounds, BBC Wales, BBC World Service, BBC4, Bea Webster, Ben Barwise, Ben Coleman, Ben Glas, Between The Ear and the Mouth, BF Skinner, Bill Kouligas, Bionics Institute Melbourne, Blanc Sceol, Blood Stretched Out, Bloomberg, Bloomberg New Contemporaries, Bloomsbury, Bloomsbury Academic, Blotscapes, Bonds, Book Works, Bookworks, Boris Baltschun, Brad Story, Breakthrough, Brian Dillon, Brian Hochman, British Electric Foundation, British Library, British Tinnitus Association, Broadcasts, Bruce Nauman, BTA, C, Café Oto, Caleb Kelly, Callum Coomber, Camberwell, Camberwell College of Arts, Camden Arts Centre, Caroline Achaintre, Carsten Nicolai, Case Foundation, Castor, Castor Projects, Cave Leeds, CCA, CCA Glasgow, Cedric Engels, Cedric Fauq, Centre for Art and Media, Centre for Audio Visual Experimentation, Centre for Contemporary Art, Centre for Contemporary Arts, Centre for Modern and Contemporary Writing, Channel One Channel Two and Channel Three, Charlotte Law, Chimerization, China Mieville, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chris French, Christian Marclay, Christine Kim Sum, Christmas Lectures, Christoph Cox, Christopher French, CJ Hendry, Clangers, Claricia Parinussa, Claudia Firth, Claudia Mareis, Clélia Barbut, Clot, Clot Magazine, CM von Hausswolff, Cognitive Psychology, Colin Stanley, Colin Wilson, Colloquium for Unpopular Culture, Colour of Sound, Come Away With EMD, Communication, Communications, Composition with Auditory Phantasmatic Presence, Conscious Listening, Contemporary Art Museum St. Louis, Contemporary Art Society, Contemporary Philosophy of Technology Research Group, Continent, Copus, Counterflows, Counterflows at Home, Counterflows Festival, Counterflows Glasgow, Courtauld Institute, Creating Scientific Art, Creativity, CRISAP, Critical Media Lab, Cryptic, CSSD, Damien Simon, Damion Searls, Damon Kruskowski, Dana Centre, Danielle Arnaud, Danielle Arnaud Gallery, Dave Tompkins, David Alais, David Morris, David Pisoni, David Roberts Art Foundation, David Toop, David Tyler, Dazed and Confused, DazedDigital, DDMMYY, De Kracht van Geluid, Dead Lines, Deafness and Communication Engineering, Detektors, Diana Deutsch, Diana Franssen, Digital Ethereal, Dis Magazine, Disappearance of Ghosts, Discipline, Disembodied Voice, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Divine Tasinda, Dorkbot, Dr James Parker, Dr Sarah Hayden, Dr. Saskia Steinmann, DRAF, DRAF Broadcasts, Drawing Room, Drone Rorschach, Duke University Press, Dynamics of Language, Ear and Mouth, Ear and the Mouth, Earwitness Theatre, Eavesdropping, Ecstatic Manoeuvres in the Dark, Eddie Chambers, Edi Rama, EH Gombrich, El Reina, El Reina Sofía, Electric, Electro Putere, Electromagnetic Frequency Detector, Electromagnetic Interactions, Electromagnetism, Electronic Bauhaus, Electronic Voice Phenomena, Eleni Ikoniadou, Eleonora Oreggia, Elia Cantori, EMD, Emiddio Vasquez, Emily Bick, Emma Wolukau-Wanambwa, Entropics, Eric La Casa, Erik Bunger, Errant Bodies Press, ERTZ, Everything at Once, Evocative Object, EVP, Ex Machina, Excessive Listening, Exorcising the Present, Expanded Listening, Experimental Design and Media Cultures, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, FACT Liverpool, FACT Together, Farmer, Fear Of The Real, Felix Kubin, Ferruccio Rossi-Landi, FHNW, FHNW Academy of Art and Design, FHNW Academy of Art and Design Basel, Filthy Lucre, First Draft, First Draft Sydney, Firstdraft Australia, Firstdraft Sydney, Flat Time House, Flatpack Festival, Flora Yin-Wong, Florian Hecker, Force of Listening, Forensic Audiology, Forensic Listening, Fort Process, Fort Process Festival, Foton Records, Francis Parker, Francisco Lopez, Freud Museum, Friedrich Jürgenson, From the Studio for Audioscopic Research, Fugitive Listening, Future Pace, Futurecity, Future\Pace, Gabriel Prokofiev, Gallery 31, Generation Thinkers, Georgia Stephenson, Ghost Audio, Ghost Detector, Ghost Hunting, Ghost in the Machine, Ghost Orchid, Ghostbusters, Ghosts, Ghosts & Apparitions, Ghosts In The Machine, Ghosts of our Immediate Future, Gina Buenfeld, Giorgio Borrelli, Glasgow, Glenn Branca, Gold SF, Goldsmiths, Goldsmiths APRU, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goldsmiths MFA Fine Art, Goldsmiths Press, Goldsmiths Shorts, Goodiepal, Goodiepal and Pals, Graham Foundation, Grim Beeper, Grim Beeper Ghost Detector, Guest Ghost Host Machine, Gulf of Understanding, Hallucination Perspective Synthesis, Hanna Hartman, Hanna Tuulikki, Hannah White, Haroon Mirza, Haskins Laboratories, Haunted Machines, Haunted Media, Haunted Places, Haunted Technology, Haunthenticity, Haunthenticity: Musical Replay And The Fear Of The Real, Haunting, Haunting Europe, Haunting Spirits, Hauntology, Hauser & Wirth, Hayward Gallery, Hayward Gallery Touring, Hayward Lars Bang Larsen, Head of Zeus, Hearing, Hearing Voices in the Noise, Heaven 17, Helen Hughes, Henry Moore Foundation, Hermann Rorschach, High Static, High Static Dead Lines, Histories and Theories of Sound, Histories of Listening, Histories of Sound, How To Wreck A Nice Beach, HRM199, HTBA, Hugh McDermott, Hugo Ball, Hugo Ball Chicago, Huib Emmer, Hull Art Lab, Hull Time Based Arts, Human Conversation, Human League, Humber Street Gallery, Hush: Media and Sonic Self Control, I Am!, i-D magazine, Ian Potter Museum of Art, Ian Stonehouse, ICA London, If The Spirit Moves You, Iklectik, Iklectik Art Lab, Iklectik Offsite, Illusion, Illusion in Language, Illusion in Speech, Illusion in Speech and Language, Illusion of Sound, Illusions, Imagine, Imagine I Am!, Impakt Festival 2017, Imperial War Museum, In Cold Print, In the Studio, INS, Institute of Contemporary Arts, Institute of Modern Art Brisbane, Institute of Signals and Noise, Intermission, International Necronautical Society, Invisible Dust, Ioana Cerasella Chis, Irene Noy, Irene Revell, Ironfoot Jack, It, IWM, IWM Contemporary, IXDM, J. Milo Taylor, Jack Jelfs, Jack Smurthwaite, Jade Boyd, James Mansell, James Parker, James Webb, James Worse, Jamie Allen, Jamie Hamilton, Jamie XX, Jana Winderen, Javi Álvarez, Jeff Kolar, Jeffrey Sconce, Jen Martin, Jennifer Walshe, Jerwood Arts, Jessica Ekomane, Jez Riley French, Jo Barratt, Jo Burzynska, Joe Banks, Joe Gerhardt, Joel Stern, John Drever, John Hansard Gallery, John Latham, John Macedo, Jonathan Calver, Jonathan Kemp, Jonathan Sterne, Jorgen Teller, Jose Luis Espejo, Journal of Artistic Research, Juergen Teller, Julian Mader, Julian Treasure, Justine Picardie, Kader Attia, Karl Popper, Kaspars Vanags, Kathryn Ashill, KCL, Keira Greene, Keith Piper, Ken Hollings, Kerry Priest, Kinetica Museum, King of the Bohemians, King’s College, Kirsty Ogg, Kitija Vasiļjeva, Kode 9, Kode9, Konstantin Raudive, Koppel Project, Krakow, Kristen Gallerneaux, Kunsthalle Wien, Lampo, Lampo Chicago, Language as Technology, Language of Life, Larry Achiampong, Larry Sider, Lars Riecke, Late Night Chameleon Cafe, Latvian Centre for Contemporary Art, Laura Johnson, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Laurel, Laurent Grasso, Laurie Taylor, Lawrence Abu Hamdan, Lawrence Lek, LCC, LCCA, Le Bon Accueil, Leif Elggren, Leila Bordreuil, Leonardo da Vinci, Let There be Language, Letitia Pleiades, LG Notations, Lilt Twang Tremor, Linear Obsessional, Linguistics, Liquid Architecture, Listening to History, Lisson Gallery, Listening, Listening Arts, Listening Arts Channel, Listening as Critique, Listening As Culture, Listening Challenge, Listening Culture, Listening: A Crisis, Listenpony, Live Meditation, Live to Air, Liza Sylvestre, LN-CC, LNCC, London College of Communication, London Review Bookshop, Louis d’Heudieres, Lubaina Himid, Lucia Farinati, Lux, Maastricht University, Machine Listening, Mack Hagood, MAD Museum, Madeline Robinson, Magic Lantern, Malgorzata Plysa, Manchester Art Gallery, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Mara Mills, Marc Couroux, Marco Pasi, Margery Crandon, Margot Heller, Marie, Marie Thompson, Marijn Ottenhof, Marina Warner, Mario Popham, Marius Schwarz, Mark Coeckelbergh, Mark Miller, Mark Underwood, Mark Vernon, Mark Vernon & Barry Burns, Martin Clark, Martin Howse, Martyn Ware, Martyna Poznanska, Mat Schulz, Material Symbolic, Material Symbolic and Signal Inscriptions, Max Prediger, May Day Rooms, Mayday Rooms, Media and Sonic Self Control, Media@McGill, Melbourne Law School, Mele Broomes, Memory of Sound, Men In Space, Mercy, Merle Ibach, Metal Culture, Metamute, Metronome, MFA Fine Art, Michael Brailey, Michael Esposito, Mick Grierson, Midstream, Mike Kelley, Milo Taylor, Mimi Doulton, Mina Crandon, Mira Calix, Mishearing, Mogwai, Monash University, Mondriaan Fund, MondriaanFund, Moneda, More than Human, Mounir Fatmi, Mountain of Art Research, MUMA, Musée des Beaux Arts, Musée des Beaux Arts de Rennes, Museo Nacional Centro de Arte Reina Sofía, Museo Reina Sofía Madrid, Museo Reina Sofia, Museum of Arts & Design, Music and New Art Forms, Music for Listeners, Music Hack Space, Musica Dispersa, Musical Replay, Musical Replay And The Fear Of The Real, Mute Magazine, MUU Helsinki, My Ghosts, Māra Žeikare, Natalie D Kane, Natalie Kane, National Theatre, Near Future Laboratory, Nebula Rosa, Nebularosa, Nebularosa 02, Nebularosa 02: Electromagnetic Interactions, Neil Matheson, Nene Camara, Neon Sign, Neural Magazine, Neural Seams, Neuroaesthetics, Neuroscience, New Analog, New Approaches, New Art Forms, New Contemporaries, New Generation, New Generation Thinkers, New Museum NY, New York University, Nick Ryan, Nick Thurston, Nicola Triscott, Nicole Bachmann, Nicole Yip, No Idea Festival, Noise, Noise: A Counter-Map, Non-Classical, Nonclassical, Nonsense Syllables, Not Without My Ghosts, Not Without My Ghosts: The Artist As Medium, Nottingham Contemporary, Now You're Talking, Occult Phenomena, OCM, OLiver Postgate, On the Phone, One Plus One is Three, Oonagh Cousins, Otolith Group, Ovada, Overtoon, Oxford Brookes, Oxford Brookes University, Oxford Brookes University - Sonic Art Research Unit, Oxford Contemporary Music, P-A-N, Pace Gallery, Pace London, Palgrave, PAMM, Pan, Panacousticism, Paranormal Research, Parapsychology, Parasychic Acoustic Research Cooperative, PARC, Pareidolia, Past Present and Future, Past Present and Future of Artistic Inventiveness, Pataphysical, Patricia Auchterlonie, Patricia Panthe, Patrick, Patrick Farmer, Patten, Paul Goodwin, Pedagogies of the Ear, Pedro Novo, Penguin, Penguin Random House, Penned in the Margins, Perception, Perception: An Experimental Weekend, Perceptual Hypotheses, Perez Art Museum, Personare, Pete Bebergal, Peter Bebergal, Peter Weibel, Phantasma Humana, Phantasmata, Phantasmata & Illusions, Phantasmata and Illusions, Phantasmatic, Phantasmatic Presence, Phantom Chips, Phantom Power, Phantom Power Podcast, Phantom Terrains, Phantom Words, Phantom Words Illusion, Phantom_Chips, Phil Baker, Philip Rubin, PhilofTech, Philosophy of Science, Phonetics, Piston Flute, Poetry of Radio, Political Effects of Listening, Politics of Listening, Polly Gould, Power of Sound, Pozzitive, Presence, Primer, Process Festival, Prof. Chris French, Pseudoscience, PSI Girls, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Psychology of Magic, Psychology of Perception, Public Understanding Of Science, Queen Sofía Museum, Radia FM, Radia Network, Radio 3, Radio 4, Radio 4 Extra, Radio Advertising, Radio Art, Radio Arts Catalyst, Radio Ghost, Radio Museo Reina Sofia, Radio Noise, Radio Phrenia, Radio Phrenia Live to Air, Radiophonics, Radiophrenia, Radiophrenia Live-to-Air, Radius, Raitis Smits, Raman Mundair, Random House, Rasa Smite, Raster Noton, Raudive, Raudive Surrogate, Raven Row, RCA, Re: Cognition, Recognition, Recording Technology, Refract 18, Refract Audio, Refract:18, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Remainder, Rennes, Research Artwork, Research as Art, Research as Art Practice, Resonance FM, Resonant Frequencies, Richard Chartier, RKSS, Robert Remez, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Rorschach Audio, Rothschild Foundation, Routledge, Roy Carroll, Royal College of Art, Royal Institution, Rubén Coll, Rubin Museum of Art, Ruslan Karablin, Ruth Jarman, Ryan Kearney, Ryoji Ikeda, Sadie Coles, Sadie Coles HQ, Sam Belinfante, Samizdat, Sapir-Whorf Hypothesis, Sarah Derat, Sarah Estep, Sarah Hayden, Sarah Rose, Sarah Sparkes, SARU, Sas Mays, Satin Island, Séance, Scanner, School of Sound, School of the Art Institute of Chicago, SCHQ, SCHQ Electric, Sci-Art, Science Gallery Bengaluru, Science Gallery Dublin, Science Gallery London, Science Gallery Melbourne, Science Museum, Scientific Methodology, Scope, Sean Street, Self Savior Universe Rule, Semiconductor, Semiconductor Films, Sensory Deception, Sensory Deception: The Psychoacoustics and Sonic Illusion, Serpentine Gallery, Serpentine Radio, Seth Kim-Cohen, Shaheeda Sinckler, Shane Butler, Shaping Space with Sound, Sharna Jackson, She Who Loves Silence, Sheffield, Shift Register, Shintaro Miyazaki, Shiva Feshareki, Sigmund Freud, Signal Inscriptions, Silicon Ear, Simon Grant, Simon Parris, Sine-Wave Speech, Sine-Wave Synthesis, Sinewave Speech, Sinewave Synthesis, Site Gallery, Site Gallery Sheffield, SLG, Smoke & Mirrors, Smoke and Mirrors, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sofia Lemos, Somerset House, Somerset House Studios, Sonhouse, Sonic, Sonic Agency, Sonic Apophonia, Sonic Arcade, Sonic Art, Sonic Art Research Unit, Sonic Arts Research, Sonic Blotscapes, Sonic Continuum, Sonic Episteme, Sonic Futures, Sonic Illusion, Sonic Inkblot, Sonic Phantoms, Sonic Phantoms - Composition with Auditory Phantasmatic Presence, Sonic Rorschach, Sonic Séance, Sonic Séance: The Gathering, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sonic Self Control, Sonic Spectre, Sonic Spectres, Sonic Studies, Sonic Warfare, Sonic Writing, Sonic Writing Technologies, Sonic Writing Technologies of Material Symbolic and Signal Inscriptions, Sonica, Sonology, Sophie Mallett, Sophie Scott, Sound & Music, Sound Anthology, Sound Art, Sound Artist, Sound Modernity, Sound Poetics, Sound Practice Research, Sound Salon, Sound Studies, Soundart Radio, Sounding Out, Sounding Out Practice, South London Gallery, Southbank, Southbank Centre, Souzana Zamfe, Speak Spirit Speak, Spectra, Spectra Ex Machina, Spectra Ex Machina: A Sound Anthology Of Occult Phenomena, Spectral Paradigms, Spectre Haunting, Spectre Haunting Europe, Speech Acts, Speech and Language, Speech Perception, Speech Science, Spirit Voices, SPR, Sprit Box, SSUR, Stanley Picker Gallery, Stephen Shiell, Stephen Whitmarsh, Steve Goodman, Steve Rajam, Steven Rajam, Steven Rajan, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Strange Frequencies, Strange Telemetry, Studio for Audioscopic Research, STUK, Sukhdev Sandhu, Sung Tieu, Susan Hiller, Susannah Stark, Suzanne Bardgett, Synthetic Hinge, Tara Pattenden, Tate Modern, Tautophone, Technology and Spiritualism, Technology as Language, TED Talks, Telegraphic Imaginary, Tenderpixel, Tenderpixel Gallery, Test Subjects, Texte und Tone, The Act of Creation, The Act of Magic, The AHRC, The Artist As Medium, The Arts and Humanities Research Council, The Assisi Machine, The Auricle, The Clangers, The Ear and the Mouth, The Future of Listening, The Gathering, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The Hauntening, The Hearing, The Hum, The Ian Potter Museum of Art, The Inkblots, The Last Generation Before the Internet, The Listening Service, The Machine and the Ghost, The New Analog, The Otolith Group, The Power of Sound, The Psychoacoustics and Sonic Illusion, The Psychology of Magic, The Quietus, The Surrender of Silence, The Uninvited Ear, The Voice and Acoustic Atmospheres, The Voice as a Political Implement, The Wail that was Warning, The Wire Magazine, The World Is Sound, Theories of Sound, Thibaut de Ruyter, Thinking Aloud, This Ain’t My First Rodeo, Thomas Bey, Thomas Bey William Bailey, Thompson, Thor Magnusson, Tim Spooner, Time Krystal, Tinnitus, Tintin and the Secret of Literature, Tobias Revell, Toby Heys, Toby Revell, Tom McCarthy, Tom Neenan, Tom Service, Tone Foundation, Tone Foundation - Music and New Art Forms, Tony Oursler, Touch Records, Tracy McMullen, Transmission, Transmitters and Receivers, Trevor Cox, Ubi Sunt, Unconscious Archives, Undead, Undone in the Face, Unit for Sound Practice Research, University of Arizona, University of Birmingham, University of London, University of Melbourne, University of Sydney, University of Westminster, Unknown Tongues, Unpopular Culture, Unsound, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Krakow 2018, Unsound Lab, Unsound Lab 2020, Unsound: Undead, Urbanomic, Urbanomic Press, V/DA, V/DA Sonic Séance, V/DA | Sonic Séance: The Gathering, Vanessa Joan Müller, Verbal Apophonia, Vernon & Burns, Vinyl Factory, Violence of Abstraction, Viral, Virtually Reality, Vitamin S, Vitrine, Vitrine Gallery, Vocal Phantoms, Voice & How To Hear It, Voice Recognition, Voiceover, Voiceover as an Art-Form, Voiceover as an ArtForm, Voices in the Gallery, Voicing the Political, Wade Wallerstein, Walter Stinson, Waterside Arts Centre, Wave-lengths Hitherto Undetected, Waveform, Wavelengths Hitherto Undetected, Ways of Hearing, We Break Strings, We Haunt You While You Watch, We’re All Bats, Wellcome, Wellcome Collection, Wellcome Trust, Werner Moebius, Wet Sounds, Wetsounds, What do You Hear?, White Noise, Whitstable Biennale, Willem de Rooij, William Bailey, Wire 400, Wiretapping, Without My Ghosts, Witte de With, Witte de With Center for Contemporary Art, Word and Sound, Wysing Polyphonic, X-Name, Xname, Yang Li, Yanny, Yanny or Laurel?, York University, You Belong Probably to the Cucumbers, You Copiphora Gorgonensis, You’ve got 1243 Unread Messages The Last Generation Before the Internet Their Lives, Yvon Lambert, Zabludowicz, Zabludowicz Collection, Zane Zajančkauska, ZKM, ZKM Centre for Art and Media, Zuckerman Museum, Zuckerman Museum of Art, ]Sub Rosa
Complete list of all “Rorschach Audio” lecture-demonstrations (to date)
Arena Talks 2 [secret location] (London) 31 Aug 2016
King’s College (London) 25 June 2016
FHNW-IXDM [keynote] (Basel) 3 March 2016
NES (Skagaströnd) 18 Feb 2016
Freud Museum (London) 23 July 2015
MUMA (Melbourne) 6 June 2015
Gertrude Contemporary (Melbourne) 3 June 2015
University of Leeds, 22 Oct 2014
Oxford University Museum of Natural History, 8 April 2014
Royal College of Art (London) 7 March 2014
Argos (Brussels) 13 Feb 2014
Edinburgh College of Art [keynote] 28 Nov 2013
ERTZ-Arteleku (San Sebastian) 10 Sept 2013
St. Patrick’s Irish Club (Leamington) 15 July 2013
British Library (London) 28 June 2013
City University (London) 10 May 2013
Labour Club (Northampton) 5 March 2013
Royal College of Art (London) 12 Dec 2012
Science Museum Dana Centre (London) 16 Nov 2012
Apiary Studios (London) 31 Oct 2012
Liverpool Biennial, 6 Oct 2012
Institute of Contemporary Arts (London) 15 Sept 2012
University of Westminster (London) 7 Dec 2011
Vitamin S (Auckland) 13 April 2011
University of Westminster (London) 9 March 2011
Space Studios (London) 11 Sept 2010
Central School of Speech & Drama (London) 23 April 2009
Goldsmiths College (London) 3 March 2009
Goldsmiths College (London) 26 Nov 2008
Goldsmiths College (London) 12 Nov 2008
Anomalous Psychology Research Unit (London) 26 Feb 2008
Thursday Club (London) 31 Jan 2008
Goldsmiths College (London) 24 Jan 2008
Goldsmiths College (London) 31 Oct 2007
Dorkbot, State 51 (London) 21 June 2007
Broadway Cinema (Nottingham) 11 May 2007
Kinetica Museum (London) 7 Feb 2007
London College of Communications, 25 Jan 2007
Latvian National Museum of Art (Riga) 26 Aug 2006
UKISC conference (London) 12 Feb 2006
FACT Beta (Liverpool) 5 Nov 2005
School of the Art Institute of Chicago, 14 April 2005
Subliminal Festival (Brussels) 19 Jan 2005
Q Arts / Quad (Derby) 30 June 2004
Hull Time Based Arts, 2 Feb 2004
MUU (Helsinki) 10 March 2002
Cinémathèque (Brighton) 13 Dec 2001
UKISC conference (Dartington) 17 Feb 2001
Royal British Society of Sculptors (London) 29 May 2000
The lectures at Oxford University Museum of Natural History and Saint Patrick’s Irish Club were organised by Café Scientifique, while the Anomalous Psychology Research Unit, Thursday Club and UKISC 2006 lectures all took place at Goldsmiths College. Apologies to anyone who attended for the talks in Riga and Helsinki, which were cancelled owing to serious unforeseen problems (the MUU talk was, I believe, presented to attendees as a printed script).
Thanks to everyone who attended, and to talk organisers and hosts – Eve Anderson, Newton Armstrong, Colette Bailey, Steven Barfield, Tim Blackwell, Zeynep Bulut, Xavier Cejudo, Steve Cleary, Louise Clements, Andrew Clifford, Nic Collins, David Crowley, David Cunningham, Peter Cusack, Ross Dalziel, Martin Dodds, Xabier Erkizia, Jose-Luis Espejo, Andrew Fenchel, Gregg Fisher, Rob Flint, Chris French, Olga Gorionova, Anna Gritz, Barry Hale, Ceri Hann, Dianne Harris, Graham Harwood, Susanna Hertrich, Peter van Hoesen, Rebecca Horrox, Aernoudt Jacobs, Janis Jefferies, Nathan Jones, Marcelo Liberato, Sam Lindley, Rita Leppiniemi, Hans de Man, Stefan Marianski, Ray McFee, Alex McLean, Drew McMillan, Kerryn McMurdo, Armin Medosch, Matthew Miller, Shintaro Miyazaki, Marianne Mulvey, Mikel Nieto, Francis Parker, Martin Parker, Rachel Quarrell, Peter Ride, Rasa Smite, Marq Smith, Raitis Smits, Claire Staunton, Joel Stern, Ive Stevenheydens, Mike Stubbs, Nick Thurston, Ivan Ward, Alexandra Warwick, Liz Whitehead, James Wilkes and Jon Wozencoft (with apologies for any omissions).
Finally thanks also to everyone who came to the (packed) Spring Roll-Call event in Chelsea (see earlier post)…
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