35MW, A Counter-Map, A Crisis, A-side B-side Gallery, ABQ London, Acousmatic Paranoia, Acoustic Atmospheres, Adaadat, Adaadat Records, Adrian Edwards, Aernoudt Jacobs, Agency Gallery, AGF, AHRC, Aimee Selby, Akitoshi Honda, Alan Licht, Alessandra Eramo, Alex Mor, Alexander Hawkins, Alfred Hitchcock, Alice Hackney, All of Them Loved, Allegorical Portrait of J. Robert Oppenheimer, Alva Noto, Amanda Beech, Ami Clarke, An Allegorical Portrait of J. Robert Oppenheimer, Andrew Chung, Andrew Lister, Andrew Walsh Lister, Andy Wicks, Anna Barham, Anna Longo, Annika Kahrs, Anthony Pateras, Anton Lukoszevieze, APRA AMCOS Art Music Fund, Aquascutum, Architecture of Atmospheres, Archive, Argos, Argos Brussels, Argos Centre, Argos Centre for Art and Media, Argos Centre for Audiovisual Arts, Arrival, Ars Electronica, Art & Illusion, Art & Illusion for Sound, Art & Language, Art as Research, Art as Research as Art, Art Research, Artist, Artist in Residence, Artistic Research, Arts & Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Ash International, Assembly, Assembly 2020, Audio Art, Audio Rorschach, Audio Sphere, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Audiovisual Culture, Auditory Perception, B-Side Festival, Balzer Projects, Banner Repeater, BBC Four, BBC World Service, BBC4, Bea De Souza, Beate Gartner, Beatrice Dillon, Beautiful Language, Beautiful Meme, Being Human, Ben Barwise, Between The Ear and the Mouth, Between the Lines, Between the Lines – Maddox Gallery, Between the Lines – Maddox Street, BFTK, Blackest Ever Black, Blood Stretched Out, Bloomberg, Bloomberg New Contemporaries, Bohemia Place, Bonds, Brew for Two, Bricks from the Kiln, Brisbane's Institute of Modern Art, British Library, Broadcasts, Brody Neuenschwander, Bruce Nauman, Bruce Russell, Building Outside the Building, Burberry Outlet, C.W. Morris, Café Oto, Caleb Kelly, California Institute of the Arts, Call & Response, Call and Response, Camberwell, Camberwell College of Arts, Carsten Holler, Carsten Nicolai, Case Foundation, Castor, Castor Projects, Catalyst Radio, CAVE, Cave Leeds, CCA, CCA Glasgow, Cedric Fauq, Center for Art and Media Karlsruhe, Center for Discursive Inquiry, Centre for Art and Media, Centre for Audio Visual Experimentation, Centre for Audiovisual Arts, Centre for Contemporary Arts, Centre for Modern and Contemporary Writing, Ceri Hand, Chalton Gallery, Chalton Gallery London, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chris Cutler, Christian Boltanski, Christina Kubisch, Christoph Cox, Christoph De Boeck, Christy MacLear, Claire Biddles, Claire Sawers, CM von Hausswolff, Colin Cherry, Communications, Communications Theory, Conceptual Art, Contemporary Art Museum St. Louis, Contra Listening, Copenhagen, Courtisane, Courtisane Festival, Courtisane Gent, Courtisane Ghent, CRISAP, Critical Media Lab Basel (IXDM), Daniel Sacilotto, Danielle Arnaud, Danielle Arnaud Gallery, Danni Zuvela, David Roberts Art Foundation, David Sington, David Toop, DCA Dundee, De La Warr Pavilion, Deviant and Dandy, Deviant and Dandy Taproom, Dimensions of Language, Dis Magazine, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Disinformation My Misinformation, Domo Baal, Dr Louise Banks, Dr Sarah Hayden, Dr. Saskia Steinmann, DRAF, DRAF Broadcasts, Drone Music, Dundee Contemporary Arts, DWLP Bexhill, Dynamics of Language, EAM, Ear and Mouth, Ear and the Mouth, Eartheater, Earwitness Theatre, El Reina, El Reina Sofía, Ele Carpenter, Electric, Electronic Music, Elektronische Art & Music, Elektronische Art and Music, Emily Bick, Emma Harrison, Emma Wolukau-Wanambwa, Entropics, Eric La Casa, Ewan Clayton, Expanded Listening, Experimental Music, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, FACT Liverpool, Felix Kubin, FHNW Basel, Fieldwave, Flat Time House, Flora Yin-Wong, Florian Hecker, Fossil, Fossils, Fracture Patterns, Francisco Lopez, Future City, Future Pace, Futurecity, Future\Pace, Gallery 31, Gauld Architecture, Georgia Stephenson, Gieves & Hawkes, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goldsmiths Press, Goodiepal, Goodiepal Equation, GR-Uniforma, Graham Foundation, Great Learning, Gulf of Understanding, Gustav Metzger, Hackney Walk, Hackspace, Hana Noorali, Haroon Mirza, Haus der Elektronischen Kunst, Haus der Elektronischen Kunst Basel, Hayward Gallery, HeK, HEK Basel, Helen Frosi, Histories of Listening, History of Writing, HRM199, Hugh Sington, Hush: Media and Sonic Self Control, Hyperdub, Iklectik Art Lab, Ikon Birmingham, Ikon Gallery, Ikon Gallery Birmingham, Imperfect Librarian, In Cold Print, In the Studio, Information, Information Disinformation, Inigo Wilkins, Installation Art, Institute of Modern Art Brisbane, Intermission, Intertitles, Irene Revell, Irving Finkel, Isn’tses, IXDM Basel, J. Robert Oppenheimer, Jack Jelfs, Jack Smurthwaite, James Mansell, James Webb, James Wiltgen, Jana Winderen, Jeremy Deller, Jeremy Keenan, Jerwood Arts, Jess Chandler, Jez Riley French, Jo Barratt, Jo Melvin, Joe Banks, John Hansard Gallery, John Latham, John Macedo, John Reardon, Jorgen Teller, Joseph, Journal of Artistic Research, Juergen Teller, Julian Cowley, Julian Mader, Julie Hill, Julien Breton, Juun J, Kader Attia, Karst, Karst Plymouth, Kate Carr, Kathleen Forde, Keira Greene, Kirk Degiorgio, Kirsty Ogg, Kode 9, Lampo, Lampo Chicago, Language, Language and its Possible Worlds, Language and Perception, Language and Possible Worlds, Language Art, Language as a Material, Language as a Medium, Language as Material, Language as Medium, Language as Technology, Language is Meta-Technology, Language is MetaTechnology, Language is the technology that contains all others, Language Tech, Language Technology, Language [as] Meta-Technology, Language [as] Metatechnology, Late Night Chameleon Cafe, Laura Netz, Laure Genillard, Laure Genillard Gallery, Laure Prouvost, Laurie Spiegel, Lawrence Abu Hamdan, LCC, Lea Bertucci, Lee Berwick, Let There be Language, Leverhulme Trust, LG Notations, Library X, Linguistic Relativity, Linguistics, Liquid Architecture, Liquid Architecture Melbourne, Lisa McKendrick, Lisson Gallery, Listening, Listening as Critique, Listening: A Crisis, Liza Sylvestre, LN-CC, LNCC, London College of Communication, Louis d’Heudieres, Louis Moholo-Moholo, Louise Banks, Lydia Wilson, Lynton Talbot, Mack Hagood, Maddox Gallery, Madeleine Byrne, Makiko Yamamoto, Making Your Mark, Malgorzata Plysa, Manick Govinda, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Marc Glimcher, Margot Heller, Margot Mottaz, Marijn Ottenhof, Marius Schwarz, Mark Andrejevic, Mark Leckey, Mark Pilkington, Martin Creed, Martin de la Fouchardière, Mary Jane Leach, Mat Schulz, Matana Roberts, Material Symbolic, Material Symbolic and Signal Inscriptions, Matt Lewis, Matthew Stuart, Maureen Paley, Max Prediger, Mazen Kerbaj, Media and Sonic Self Control, Meme, Memetics, Meta Culture, Meta Culture 2020, Meta-Tech, Meta-Technology, Metaculture, Metaculture 2020, Metatech, Metatechnology, Michael Erdman, Michael Frayn, Michael Petry, Mike Barnes, Mike Kelley, Mira Calix, MIT Press, Mobile Homestead, MOCA London, Mollie Dent-Brocklehurst, MONA Hobart, Mona Tasmania, Mondriaan Fund, MondriaanFund, Mor Charpentier, Moth Club, Mounir Fatmi, Mountain of Art Research, Museo Nacional Centro de Arte Reina Sofía, Museo Reina Sofía Madrid, Museo Reina Sofia, Museum of Old and New Art, Music & Sound, Music & Sound: Sound Thought, Music and New Art Forms, Music Concrète, Music Concrete - Building Outside the Building, Music Hackspace, Nate Wooley. The Wire, Nathan Gray, Nature Morte, New Approaches, New Art Forms, New Contemporaries, Nick Barratt, Nick Ryan, Nicole Yip, Niharika Dinkar, Nike Factory, Nike Factory Outlet, Nike Store, Noam Chomsky, Noel Meek, Noise, Noise: A Counter-Map, Nonclassical, Nottingham Contemporary, Nuclear Culture, Oonagh Cousins, Operational Listening, Oppenheimer, Origin of Writing, Outlands, Outlands Network, Overtoon, Overtoon Brussels, Overtoon Platform for Sound Art, Pace Gallery, Pace London, Parrhesiades, Passen–gers Offsite, Passengers Offsite, Pedro Novo, Peter Toth, Peter Weibel, Phenomenology of Perception, Philippe Charpentier, Platform for Sound Art, Political Effects of Listening, Politics of Listening, Polly Gould, Porta 33, Porta33, Possible Worlds, Primer, Printed Heritage, Printed Heritage Collections, Prototype Publishing, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Psycholinguistics, Queen Sofía Museum, Quinn Latimer, Radio Arts, Radio Arts Catalyst, Raf Simons, Raina Mehler, Rarely Unable, Raster Noton, RCA, RCA London, Re: Cognition, Recognition, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Research Artwork, Research as Art, Research as Art Practice, Resonance FM, Richard Chartier, Richard Espley, RKSS, Robert Fripp, Roberta Tenconi, Robin Mackay, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Rorschach Audio, Rothschild Foundation, Royal College of Art, Ryan Kearney, Ryoji Ikeda, Sabine Himmelsbach, Sadie Coles, Sadie Coles HQ, Saint Jerome, Salagrama, Saligram, Saligram Shila, Saligram Shilas, Salvador Dali, Sarah Derat, Sarah Hayden, Sarah Peace, Scanner, Scarlett Schauerte, School of Critical Studies, SCHQ, SCHQ Electric, Science Gallery, Science of Signs, Scope, Secret History, Secret History of Writing, Semiconductor, Semiology, Semionaut, Semionautic, Semionautics, Semiotics, Senate House, Sensorium of Animals, Shaligram, Shaligram Shila, Shaligram Shilas, Shannen SP, She Who Loves Silence, Shintaro Miyazaki, Shirley Collins, Shiva Feshareki, Signal, Signal Inscriptions, Silent Sound, Simon Parris, Sine-Wave Speech, SLG, Sluice, Sluice HQ, Sluice Magazine, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sofia Lemos, Somerset House, Somerset House Assembly 2020, Somerset House Studios, Sonic, Sonic Anomaly, Sonic Anomaly Sideshow, Sonic Art, Sonic Continuum, Sonic Electronics, Sonic Electronics Festival, Sonic Futures, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sonic Self Control, Sonic Writing, Sonic Writing Technologies, Sonic Writing Technologies of Material Symbolic and Signal Inscriptions, Sophie Cooper, Sound & Music, Sound Artist, Sound as a Technological Medium, Sound as a Technology, Sound Practice Research, Sound Thought, Sound Thought 2018, Sounding Out, Sounding Out Practice, South London Gallery, Speech Science, Spellbound, St John at Hackney, Steven Pinker, Stoffel Debuysere, Story of Your Life, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Sung Tieu, Super Blue, Superblue, Susan Hiller, Susanna Hertrich, Synthetic Statistics, Takashi Murakami, Ted Chiang, Test Centre, Text Art, Thames & Hudson, The Act of Creation, The Agency, The Agency Gallery, The Beautiful Language, The Beautiful Meme, The Ear and the Mouth, The Great Learning, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The Library, The Library - the Imperfect Librarian, The MIT Press, The Origin of Language, The Origin of Painting, The Origin of Writing, The Secret History of Writing, The Situationist, The Unit for Sound Practice Research, The Voice and Acoustic Atmospheres, The Wire, The Wire Magazine, The Word is Art, Theophany, This Ain’t My First Rodeo, Thor Magnusson, Tim Drage, Tim Spooner, Tom Morton-Smith, Tone Foundation, Tone Foundation - Music and New Art Forms, Touch Music, Touch Records, Tracey Emin, Transfer of Knowledge, Ubi Sunt, Umberto Eco, Undone in the Face, Unit for Sound Practice Research, University of Westminster, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Lab, Unsound Lab 2020, Urbanomic, Urbanomic Press, Video Feedback, Video Organism, Violence of Abstraction, Vishnu, Vision Signs, Vitrine, Vitrine Gallery, Viviana Troya, VLF Radio, Voice & How To Hear It, Voice of God, Voice Recognition, Voiceover, Voiceover as an Art-Form, Voiceover as an ArtForm, Voices in the Gallery, Voicing the Political, Wade Wallerstein, Werner Moebius, Whitstable Biennale, Willem de Rooij, William Burroughs, Wire Magazine, Witte de With, Witte de With Center for Contemporary Art, Word is Art, Word Power, WordPower - Language as Medium, Writing, Writing Making Your Mark, Yan Jun, Zabludowicz, Zabludowicz Collection, Zentrum für Kunst und Medientechnologie, ZKM, ZKM Karlsruhe