35MW, A Counter-Map, A Crisis, A-side B-side Gallery, About Text, ABQ London, Absolutely Cultured, Acceleration Studies Foundation, Acousmatic Paranoia, Acoustic Atmospheres, Action Research, Acts of Creation, Adaadat, Adaadat Records, Adrian Edwards, Aernoudt Jacobs, Agency Gallery, AGF, AHRC, AHRC Open World Research Initiative, AI, Aimee Selby, Akitoshi Honda, Alan Licht, Alessandra Eramo, Alex Mor, Alexander Hawkins, Alexandra Lacroix, Alfred Hitchcock, Alice Hackney, All of Them Loved, Allegorical Portrait of J. Robert Oppenheimer, AltspaceVR, Alva Noto, Amanda Beech, Ambisonic, Ambisonics, Amelia Barratt, Ami Clarke, An Allegorical Portrait of J. Robert Oppenheimer, Andrew Chung, Andrew Fenchel, Andrew Lampert, Andrew Lister, Andrew Walsh Lister, Andy Farnell, Andy Wicks, Angus Carlyle, Anna Barham, Anna Longo, Annette Jael Lehmann, Annika Kahrs, Annotations, Annotations 2, Annotations II, Annotations II: Amelia Barratt - Librarian, 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, Arie Altena, Arrival, Ars Electronica, Art & Illusion, Art & Illusion for Sound, Art & Language, Art and Telecommunications, Art as Research, Art as Research as Art, Art Blocks, Art Research, Artificial Intelligence, Artificial Language, Artist, Artist in Residence, Artistic Research, Arts & Humanities Research Council, Arts Catalyst, Arts Catalyst Radio, Ash International, Assembly, Assembly 2020, Atau Tanaka, Audio Art, Audio Rorschach, Audio Sphere, Audiology, Audiosfera, Audiosphere, Audiosphere: Social Experimental Audio, Audiosphere: Social Experimental Audio Pre- and Post-Internet, Audiovisual Culture, Auditory Perception, Autosuggestions, Axis, 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, Black Obsidian Sound System, Blackest Ever Black, Blake Lemoine, Blood Stretched Out, Bloomberg, Bloomberg New Contemporaries, Bloomsbury, Bloomsbury Festival, Bohemia Place, Bonds, Bonnie Jones, Borbála Soós, BOSS, Brandon LaBelle, Breath, Breathe, Brew for Two, Bricks from the Kiln, Brion Gysin, Brisbane's Institute of Modern Art, British Library, British Telecom, Broadcasts, Brody Neuenschwander, Broken Syntax, Bruce Nauman, Bruce Russell, Building Outside the Building, Bulldog Trust, Burberry Outlet, C.W. Morris, Café Oto, Caleb Kelly, California Institute of the Arts, Call & Response, Call and Response, Call and Response Studios, Camberwell, Camberwell College of Arts, Carsten Holler, Carsten Nicolai, Case Foundation, Castor, Castor Projects, Catalyst Radio, Cathy Lane, CAVE, Cave Leeds, CCA, CCA Annex, CCA Glasgow, CCA Glasgow Annex, CCA Goldsmiths, CCA Project Space, 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 Art, Centre for Contemporary Art Glasgow, Centre for Contemporary Art Goldsmiths, 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, Constellations of Listening, Contemporary Art Museum St. Louis, Contra Listening, Control Machine, Copenhagen, Courtisane, Courtisane Festival, Courtisane Gent, Courtisane Ghent, CRISAP, Crisap LCC, Critical Media Lab Basel (IXDM), Cultural History, Cultural History of the Ghost, Daniel Sacilotto, Daniel van der Velden, Danielle Arnaud, Danielle Arnaud Gallery, Danni Zuvela, David Roberts Art Foundation, David Sington, David Toop, DCA Dundee, De La Warr Pavilion, Dead Fingers Talk, Decentraland, Deciphering, Deciphering a Broken Syntax, Delaine Le Bas, Derrida, Deviant and Dandy, Deviant and Dandy Taproom, Dialogue Applications, Dimensions of Language, Dis Magazine, Discord, Discord Server, 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, Drawing Room, Drone Music, Duncan MacLeod, Dundee Contemporary Arts, DWLP Bexhill, Dynamics of Language, EAM, Ear and Mouth, Ear and the Mouth, Eartheater, Earwitness Theatre, Ebun Sodipo, Echo, El Reina, El Reina Sofía, Ele Carpenter, Electric, Electronic Music, Electronic Revolution, Electronic Writing, Elektronische Art & Music, Elektronische Art and Music, Eleni Ikoniadou, Ella Finer, Elliot Reed, Emily Bick, Emma Bolland, Emma Goltz, Emma Harrison, Emma Wolukau-Wanambwa, Enjoy Civic Life, Entropics, Ephemera, Ephemera Festival, Ephemery, Ephemery Festiwalu, Equitable Vitrines, Eric de Visscher, Eric La Casa, Esther Venrooij, EVP Poetics, Ewan Clayton, Expanded Listening, Experimental Music, Fabien Cante, Fabrica, Fabrica Brighton, Fabrica Gallery, Fabrica Gallery Brighton, Facebook, Facebook Inc., Facebook Portal, Facebook Watch, FACT Liverpool, Fayd, Fayd Digital, Felix Kubin, Festival, Festiwalu, FHNW Basel, Fieldnotes, Fieldnotes Journal, Fieldnotes/Sessions, Fieldwave, First Ghosts, Flat Time House, Flora Yin-Wong, Florian Hecker, Fossil, Fossils, Fracture Patterns, Francisco Lopez, Freedom of Speech, Freie Universität Berlin, Future City, Future Pace, Futurecity, Future\Pace, Gabriel Whaley, Gaika, Gala Porras-Kim, Gallery 31, Gascia Ouzounian, Gauld Architecture, Gazell.io, Gazell.io Project Space, Gazelli, Gazelli Art House, Gazellio, Gazello Art House, Generative Art, Genesis, George Hallett, Georgia Stephenson, Gieves & Hawkes, Giphy, Glasgow, Gold SF, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Goldsmiths Press, Goldsmiths Press - Sonics Series, Goldsmiths Press Sonics, Goldsmiths Shorts, Goodiepal, Goodiepal Equation, Google, GR-Uniforma, Graham Foundation, Grammatology, Grégoire Chelkoff, Great Learning, Gulf of Understanding, Gustav Metzger, Hackney Walk, Hackspace, Hana Noorali, Haroon Mirza, Harvard University, Haus der Elektronischen Kunst, Haus der Elektronischen Kunst Basel, Haus der Kulturen der Welt, Haus der Kulturen der Welt Berlin, Hayward Gallery, HeK, HEK Basel, Helen Frosi, Histories of Listening, History of Writing, HKW, HKW Berlin, HRM199, Hugh Sington, Hull, Human Knowledge, Humber Street, Humber Street Gallery, Humber Street Hull, Hush: Media and Sonic Self Control, Hyperdub, Hypersonica, I Have A Voice, Iarlaith Ni Fheorais, Iklectik Art Lab, Ikon Birmingham, Ikon Gallery, Ikon Gallery Birmingham, Ilan Manouache, Immersive Sound, Immersive Sound Installation, Immersive Spatial Sound, Imperfect Librarian, In Cold Print, In the Studio, Inflamed Invisible, Information, Information Disinformation, Inigo Wilkins, Installation Art, Institute of Modern Art Brisbane, Intermission, Intertitles, Interzone, Invisible Generation, Irene Revell, Irving Finkel, Isn’tses, IXDM Basel, J. Robert Oppenheimer, Jack Jelfs, Jack Smurthwaite, Jacques Derrida, James Mansell, James Webb, James Wiltgen, Jana Winderen, Jeffrey Schnapp, Jennifer Mehigan, Jennifer Walshem, Jennifer Wicks, Jeremy Deller, Jeremy Keenan, Jerwood Arts, Jess Chandler, Jessie Marino, Jez Riley French, Jio Platforms, Jo Barratt, Jo Melvin, Joe Banks, Joel Stern, Joey Holder, Johanna Schindler, John Bingham-Hall, John Hansard Gallery, John Latham, John Macedo, John Reardon, Jonah King, Jonathan Packham, Jorgen Teller, Joseph, Journal of Artistic Research, Joy of Text, Juergen Teller, Julian Cowley, Julian Mader, Julie Hill, Julien Breton, Juun J, Kader Attia, Kareem Al Kabbani, Karst, Karst Plymouth, Kate Carr, Kathleen Forde, Katrin Klingan, Keira Greene, Ken Hollings, Khronos Group, Kim Albrecht, Kim Schoen, Kirk Degiorgio, Kirsty Ogg, Kode 9, Koppel Project, Koppel Project Hive, Kristen Gallerneaux, Kumbirai Makumbe, LAMDA, Lampo, Lampo Chicago, Lampo Folio, Language, Language Acts, Language Acts and Worldmaking, Language Acts and Worldmaking Project, Language and its Possible Worlds, Language and Perception, Language and Possible Worlds, Language Art, Language as a Material, Language as a Medium, Language as a Weapon, Language as Material, Language as Medium, Language as Technology, Language Based Art, Language Experiment, Language for Sale, Language Game[s], Language is a Virus, Language is a Virus from Outer Space, Language is Meta-Technology, Language is MetaTechnology, Language is the technology that contains all others, Language Model, Language Model for Dialogue Applications, Language of Sound, Language Tech, Language Technology, Language Transitions, Language Virus, Language Weapon, 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, Leaky Transmissions, Lee Berwick, Leeds 2023, Leeds2023, Leo Fitzmaurice, Let There be Language, Let's Talk, Let's Talk About Text, Leverhulme Trust, Lexis, Lexis/Axis, LG Notations, Librarian, Library X, Lighthouse Brighton, Limits of Language, Limits of Verbal Language, Linguistic Engineering, Linguistic Relativity, Linguistics, Lins Derry, Liquid Architecture, Liquid Architecture Melbourne, Lisa McKendrick, Lisson Gallery, Listening, Listening Academy, Listening as Critique, Listening Biennial, Listening: A Crisis, Liza Sylvestre, LN-CC, LNCC, Logocentric, Logocentrism, London College of Communication, Louis d’Heudieres, Louis Moholo-Moholo, Louise Banks, Lydia Wilson, Lynton Talbot, Maïa Nunes, Mack Hagood, Maddox Gallery, Madeleine Byrne, Maeve Redmond, Magda Romanska, Magnetic Tape, Makiko Yamamoto, Making Your Mark, Malgorzata Plysa, Mana, Manick Govinda, Manifesto for an Architecture of Atmospheres, Manuel Borja-Villel, Many Voices, Many Voices All of Them Loved, Mapillary, Marc Glimcher, Margot Heller, Margot Mottaz, Marijn Ottenhof, Marius Schwarz, Mark Andrejevic, Mark Coeckelbergh, Mark Leckey, Mark Pilkington, Martin Creed, Martin de la Fouchardière, Mary Doyle, Mary Jane Leach, Massive Music, MassiveMusic, 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, Media Grid, Meme, Memetics, Messenger, Meta, Meta Culture, Meta Culture 2020, Meta Lab Berlin, Meta Lab FU Berlin, Meta Lab Harvard, Meta Platforms., Meta-Tech, Meta-Technology, Meta-verse, Metaculture, Metaculture 2020, Metahaven, Metalab, Metalab Berlin, Metalab FU Berlin, Metalab Harvard, Metatech, Metatechnology, Metaverse, Metaverse Group, Metaverse Roadmap, Metaverse Spatial Audio, Michael Erdman, Michael Frayn, Michael Petry, Microsoft, Microsoft Teams, Mike Barnes, Mike Kelley, Mira Calix, MIT Press, Mobile Homestead, MOCA London, Modern Language, Modern Language Experiment, Mollie Dent-Brocklehurst, MONA Hobart, Mona Tasmania, Mondriaan Fund, MondriaanFund, Mor Charpentier, Moth Club, Mounir Fatmi, Mountain of Art Research, MSCHF, MSCHF art collective, 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 and Sound Residency, Music Concrète, Music Concrete - Building Outside the Building, Music Hackspace, Naked Lunch, Nate Wooley. The Wire, Nathan Gray, Nature Morte, Neal Stephenson, New Approaches, New Art Forms, New Contemporaries, New Landscape, New Landscape of Electronic Writing, Nick Barratt, Nick Houde, Nick Ryan, Nicole Yip, Niharika Dinkar, Nike, Nike Factory, Nike Factory Outlet, Nike Store, Nikita Gale, Nkisi, Noam Chomsky, Noel Meek, Noise, Noise: A Counter-Map, Nonclassical, Nottingham Contemporary, Nour Mobarak, Nova Express, Nuclear Culture, Oculus, Of Grammatology, On Listening, Oonagh Cousins, Open Source Metaverse Project, Open World Research Initiative, Operational Listening, Oppenheimer, Origin of Writing, Outer Space, Outlands, Outlands Network, Outset Study, Overtoon, Overtoon Brussels, Overtoon Platform for Sound Art, Pace, Pace Discord, Pace Gallery, Pace Gallery Discord, Pace London, Pace Verso, Parrhesiades, Passen–gers Offsite, Passengers Offsite, Paul Purgas, Pedro Novo, Peter Toth, Peter Weibel, Phenomenology of Perception, Philippe Charpentier, Phonocentric, Phonocentrism, Platform for Sound Art, Polisonic, Polisonics, Political Effects of Listening, Political Voice, Politics and Sound, Politics of Communication, Politics of Listening, Politics of Sound, Polly Gould, Porta 33, Porta33, Possible Worlds, Post Office Telecommunications, Primary Information, Primer, Printed Heritage, Printed Heritage Collections, Project Space, Prototype Publishing, Psycho Acoustic, Psycho Acoustical, Psycho Acoustics, Psychoacoustic, Psychoacoustical, Psychoacoustics, Psycholinguistics, Queen Sofía Museum, Quinn Latimer, Radio Art Zone, Radio Arts, Radio Arts Catalyst, Radio Silence, Raf Simons, Raina Mehler, Rarely Unable, Raster Noton, RCA, RCA London, Re-Synthesizers, Re: Cognition, Recognition, Reina Sofía, Reina Sofía Madrid, Reina Sofía Museum, Research Artwork, Research as Art, Research as Art Practice, Resonance FM, Resynthesizers, Richard Chartier, Richard Espley, RKSS, Robert Fripp, Roberta Tenconi, Robin Mackay, Robin Rimbaud, Rogue Syntax, Rogue Syntax: Primer, Rorschach Audio, Rosemary Richards, 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 Hennies, Sarah Newman, Sarah Peace, SARU Goldsmiths, Saskia Sassen, Scanner, Scarlett Schauerte, School of Critical Studies, SCHQ, SCHQ Electric, Science Gallery, Science of Signs, Scope, Scripting Silence, Secret History, Secret History of Writing, Self Expression, Semiconductor, Semiology, Semionaut, Semionautic, Semionautics, Semiotext/e, Semiotexte, Semiotics, Semiotics Signs and Language, Semiotics Signs Language, Senate House, Sensorium of Animals, Sergei Tcherepnin, Server, Shaligram, Shaligram Shila, Shaligram Shilas, Shannen SP, She Who Loves Silence, Sheena Calvert, Shintaro Miyazaki, Shirley Collins, Shiva Feshareki, Sign, Sign Systems, Signal, Signal Inscriptions, Signs and Language, Silent Sound, Simon Parris, Sine-Wave Speech, SLG, Slow Compression, Sluice, Sluice HQ, Sluice Magazine, Smalltalk for Lonely Ghosts, Snow Crash, Social Experimental Audio, Social Experimental Audio Pre- and Post-Internet, Sofia Lemos, Somerset House, Somerset House Assembly 2020, Somerset House Studios, Somerset House Studios Music and Sound, Sonic, Sonic Act, Sonic Acts, Sonic Acts Festival, Sonic Agency, Sonic Anomaly, Sonic Anomaly Sideshow, Sonic Art, Sonic Art Research Unit, Sonic Continuum, Sonic Electronics, Sonic Electronics Festival, Sonic Futures, Sonic Scope, Sonic Scope: New Approaches to Audiovisual Culture, Sonic Self Control, Sonic Urbanism, Sonic Urbanism: the Political Voice, Sonic Writing, Sonic Writing Technologies, Sonic Writing Technologies of Material Symbolic and Signal Inscriptions, Sonics, Sonics Series, Sophie Cooper, Sound, Sound & Music, Sound and Language, Sound and Politics, Sound and the Written Word, Sound Art, Sound Artist, Sound Arts Now, Sound as a Technological Medium, Sound as a Technology, Sound Installation, Sound of All Human Knowledge, Sound of Human Knowledge, Sound Politics, Sound Practice, Sound Practice Research, Sound Text, Sound Text Image, Sound Theory, Sound Thought, Sound Thought 2018, Sound-Image, Sounding Out, Sounding Out Practice, Sounding Things Out, South London Gallery, Spambot EVP Poetics, Spatial Audio, Spatial Sound, Speech, Speech and Language, Speech Science, Speech Sounds, Spellbound, St John at Hackney, Stella Sideli, Steve Goodman, Steven Pinker, Stoffel Debuysere, Story of Your Life, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Sum of All Human Knowledge, Sung Tieu, Super Blue, Superblue, Susan Hiller, Susan Owens, Susanna Hertrich, Synaptic Island, Synthetic Statistics, Systems, Takashi Murakami, Talk About Text, Tape Recorder, Tate Publishing, Technology, Technology as Language, Ted Chiang, Telecom, Telecommunication, Telecommunications, Telecommunications Art, Telecoms, Tenderbooks, Tenderpixel, Test Centre, Text, Text Art, Text as a Technology, Text as Technology, Text Technology, Thames & Hudson, The Act of Creation, The Agency, The Agency Gallery, The Beautiful Language, The Beautiful Meme, The Bulldog Trust, THE Campus, The Ear and the Mouth, THE Feature, The Ghost, The Ghost - A Cultural History, The Great Learning, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The Library, The Library - the Imperfect Librarian, The MIT Press, The Modern Language Experiment, The Origin of Language, The Origin of Painting, The Origin of Writing, The Secret History of Writing, The Situationist, The Sound of All Human Knowledge, The Sound of Human Knowledge, The Sum of All Human Knowledge, The Unit for Sound Practice Research, The Voice, The Voice and Acoustic Atmospheres, The Wire, The Wire Magazine, The Word is Art, Theatrum Mundi, Theatrum Mundi Collective, Theophany, THES, This Ain’t My First Rodeo, Thor Magnusson, Ticket that Exploded, Tim Drage, Tim Spooner, Times Higher, Times Higher Education, Tom Gooch, Tom Morton-Smith, Tom Western, Tone Foundation, Tone Foundation - Music and New Art Forms, Top Stories, Touch Music, Touch Records, Tracey Emin, Transfer of Knowledge, Translation Acts, Transmission, Transmissions, Ubi Sunt, Umberto Eco, Underbelly, Undone in the Face, Uniform Books, Uniformbooks, Unit, Unit for Sound Practice Research, Unit Gallery London, Unit London, Unit London Gallery, University of Southampton, University of Westminster, Unsound, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Lab, Unsound Lab 2020, Unsoundu, Unsoundu Festiwal, Urbanism, Urbanomic, Urbanomic Press, Verbal Language, Verso, Victoria Miro, Victoria Miro Gallery, Video Feedback, Video Organism, Vinca Kruk, Violence of Abstraction, Virus, Vishnu, Vision Signs, Visual Carlow, Visual CCA Carlow, Visual Language of Sound, Vitrine, Vitrine Basel, Vitrine Bermondsey, Vitrine Digital, Vitrine Fitzrovia, 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, Weapon, Weapons, Werner Moebius, Whitstable Biennale, Wikimedia, Wikimedia Sound, Wikimedia Sound Logo, Wikipedia, Wikipedia Sound, Wikipedia Sound Logo, Willem de Rooij, William Burroughs, William S. Burroughs, Wire Magazine, Witte de With, Witte de With Center for Contemporary Art, Word is Art, Word Power, WordPower - Language as Medium, Words are Weapons of Sound, Words as Sound Weapons, Words as Weapons, Words Themselves are Weapons of Sound, Writing, Writing Making Your Mark, Yan Jun, Zabludowicz, Zabludowicz Collection, Zentrum für Kunst und Medientechnologie, ZKM, ZKM Karlsruhe