ACA, AGF, Agnès Gayraud, Al Cameron, Alan Licht, Alexander Hawkins, Algorithmic Lis­ten­ing, Alice Hackney, Alina Popa, Allenheads, Allenheads Contemporary Arts, Amy Ireland, Andrew Chung, Ann Winsper, Anna Greenspan, Anthony Nine, Anton Lukoszevieze, Art & Illusion, Art & Illusion for Sound, Artist, Assembly, Atau Tanaka, Audint, Audio Art, Audio Inkblot, Audio Pareidolia, Audio Rorschach, Audio Spectre, Audio Spectres, Auditory Ambiguity, Auditory Apophenia, Auditory Illusion, Auditory Inkblot, Auditory Pareidolia, Auditory Rorschach, Aura Satz, Barbican Art Gallery, BBC Radio, BBC Radio 3, BBC Radio 4, BBC Sounds, BBC Wales, BBC World Service, BCC, Ben Barwise, Bill Viola, Bonds, Breakthrough, Brisbane, Brooker Buckingham, Bruce Russell, Case Foundation, CAVE, Cave Leeds, CCA, CCA Glasgow, CCRU, Centre for Audio Visual Experimentation, Centre for Contemporary Arts, Charlie Blake, Chisenhale, Chisenhale Dance Space, Chisenhale Gallery, Chris Cutler, Claire Biddles, Claire Sawers, CM von Hausswolff, Contemporary Art Museum St. Louis, Contra Listening, Cybernetic Culture Research Unit, Daniel Glaser, Dave Tompkins, David Roberts Art Foundation, David Toop, David Tyler, Day of the Dead, Dead Lines, Diana Deutsch, Disinformation, DRAF, Drone Music, Drone Rorschach, Earwitness Theatre, Electromagnetic Frequency Detector, Electronic Music, Electronic Voice Phenomena, Eleni Ikoniadou, Erik Davis, Eugene Thacker, EVP, Excessive Lis­ten­ing, Experimental Music, FACT, FACT Liverpool, Félicia Atkinson, Flora Yin-Wong, Florian Hecker, Folkestone Biennial, Foren­sic Audiology, Foren­sic Lis­ten­ing, Free Thinking, Friedrich Jürgenson, Fugi­tive Lis­ten­ing, Gallery 31, Georgina Rochefort, Ghost, Ghost Detector, Ghost Formula, Ghost Hostings, Ghost in the Machine, Ghost Machine, Ghost Tide, Ghost Voice, Ghost Voices, Ghosts, Ghosts In The Machine, Glasgow, Goldsmiths, Goldsmiths College, Goodiepal, Goodiepal and Pals, Great Learning, Grim Beeper, Grim Beeper Ghost Detector, Guest Ghost Host Machine, Gulf of Understanding, Hackspace, Halloween, Halloween 2018, Haroon Mirza, Haunted Machines, Hauntology, Hear and Now, Hearing, Hecker, Helen Frosi, High Static, High Static Dead Lines, How To Wreck A Nice Beach, HRM199, Hyperdub, Ian Stonehouse, Ikon Birmingham, Ikon Gallery, Ikon Gallery Birmingham, In the Studio, INS, Inspiral London, Institute of Modern Art, Institute of Modern Art Brisbane, It, Jack Jelfs, Jenna Sutela, Jo Barratt, Joe Banks, John Drever, Jonathan Sterne, Julian Cowley, Julian Henriques, Kate Carr, Kelly Grovier, Ken Hollings, Kingston University, Kirk Degiorgio, Kodwo Eshun, Konstantin Raudive, Krakow, Kristen Gallerneaux, Late Junction, Laurence Scott, Laurie Spiegel, Laurie Taylor, Lawrence Abu Hamdan, Lawrence Lek, Lea Bertucci, Lee Gamble, Lendl Barcelos, Liquid Architecture, Liquid Architecture Melbourne, Lisa Blanning, Lis­ten­ing to His­tory, Lisson Gallery, Live to Air, London, Louis Moholo-Moholo, Luciana Parisi, Machine Listening, Mack Hagood, Madeleine Byrne, Magic Lantern, Manchester Metropolitan University, Mara Mills, Margery Crandon, Mark Andrejevic, Mark Pilkington, Mary Jane Leach, Matana Roberts, Matthew Fuller, Mazen Kerbaj, Mike Barnes, Mike Kelley, Mike Stubbs, Mina Crandon, Mishearing, MIT Press, More than Human, Music Hackspace, Natalie D Kane, Natalie Kane, Nate Wooley. The Wire, National Taiwan Museum of Fine Arts, Nick Ryan, Nicola Masciandaro, No Such Thing As Gravity, Noel Meek, Noise Music, NTMoFA, Object Hereafter, Olga Gurionova, Oonagh Cousins, Operational Listening, Pana­cousti­cism, Parapsychology, Pareidolia, Paul Purgas, Penguin, Penguin Random House, Pete Bebergal, Peter Bebergal, Phantasma Humana, Phantom Chips, Phantom Power, Phantom Power Podcast, Phantom_Chips, Pick of the Week, Political Effects of Listening, Politics of Listening, Pozzitive, Presence, Pseudoscience, Psychoacoustic Ambiguities, Psychoacoustics, Psychology of Magic, Radio, Radio 3, Radio Phrenia, Radio Phrenia Live to Air, Radiophrenia, Radiophrenia Live-to-Air, Ramona Naddaff, Random House, Re: Cognition, Recognition, Recording Technology, Rob la Frenais, Robert Fripp, Robin Rimbaud, Rorschach Audio, Rorschach Audio - Art & Illusion for Sound, Rothschild Foundation, S. Ayesha Hameed, Sadie Coles, Sadie Coles HQ, Sarah Sparkes, Scanner, Serpentine Gallery, Serpentine Radio, Seth Kim-Cohen, Shelley Trower, Shelter Press, Shirley Collins, Sil­i­con Ear, Smoke & Mirrors, Smoke and Mirrors, SODA, Somerset House, Somerset House Studios, Sonic Agency, Sonic Art, Sonic Epis­teme, Sonic Inkblot, Sonic Pareidolia, Sonic Phantoms, Sonic Rorschach, Sonic Spectre, Sonic Spectres, Sonic Studies, Sonic Warfare, Sonology, Sophie Cooper, Sophie Scott, Sound Artist, Sound Practice Research, Sound Pressure, Sound Studies, Souzana Zamfe, Speak Sprit Speak, Spectres, Spirit Voices, SPR, Steve Goodman, Steve Rajam, Steven Rajam, Steven Shaviro, Strange Attractor, Strange Attractor Journal, Strange Attractor Press, Strange Frequencies, Strange Telemetry, Susan Hiller, Tara Pattenden, Telegraphic Imaginary, Test Subjects, Thames-Side Studios, The Ghost Formula, The Ghost Machine, The Ghost Tide, The Great Learning, The Gulf of Understanding, The Gulf of Understanding (Re:cognition), The Hauntening, The Hear­ing, The Hum, The Occulture, The Psychology of Magic, The Unit for Sound Practice Research, The Wire Magazine, Tim Hecker, Tobias Revell, Toby Heys, Toby Revell, Tom McCarthy, Tom Neenan, Transfer of Knowledge, Ubi Sunt, Undead, Unit for Sound Practice Research, University of London, University of the Arts, Unsound, Unsound Festival, Unsound Krakow 2018, Unsound: Undead, Urbanomic, Viral, Vocal Phantoms, Voice Recognition, Walter Stinson, Wire Magazine, Wire­tap­ping, Witte de With, Witte de With Center for Contemporary Art, Yan Jun, Zabludowicz, Zabludowicz Collection