In the second chapter, I examine a play about which many dubious claims have been made: The Eradication of Schizophrenia in Western Lapland (2014) by Jon Haynes and David Woods. The play’s official writeup describes “an audience split in two experiencing auditory hallucinations” (cover copy). Along the same lines, reviewers such as Laura Barnett in The Guardian have said that the show “replicates the experience of having an auditory hallucination” (n.pag). The play features a dividing wall that separates the stage into two sides, with the audience sitting on one side and hearing voices from beyond the wall. Another writeup on the company’s website says that this “innovative staging offers visitors a unique and three-dimensional insight into what it is to be psychotic” (Shows in Rep). In this chapter, I consider the rhetoric of experiencing madness through sound, focusing on the aforementioned metaphor of “replication.” As Brian Kane writes in Sound Unseen, “One central, replicated feature of acousmatic listening appears to be that under-determination of the sonic source encourages imaginative supplementation” (9). Kane adds that acousmatic listening—cutting off sounds from their visual sources—has often been used to give audiences a sense of the transcendental, including a sense of interiority (9). On this point, I question the tendency of critics to downplay the metaphoricity of acousmatic listening in service of a fantasy of aural intersubjectivity. Moreover, the idea that sharing a facsimile of auditory hallucinations can convey the experience of psychosis fails to locate mental illness beyond the mind. What are the consequences, then, of forgetting the “as if” of affective experiences? Or can we ignore such disavowals for the sake of the greater good: identification, empathy, understanding? The acousmatic staging of this play reminds us that all listening involves an element of desire. For this reason, Kane calls the Pythagorean veil (he is rumoured to have lectured behind one) a “screen of fetishism” (211).