Books/Monographs:
2024. Sonic Perspectives from the Global South: Connecting Resonances. New York: Bloomsbury Academic (accepted after review).
2023. Sound in Indian Film and Audiovisual Media: History, Practices, and Production. Amsterdam: Amsterdam University Press.
2022. Sound Practices in the Global South: Co-listening to Resounding Plurilogues. London: Palgrave Macmillan.
2021. Between the Headphones: Listening to the Practitioner. Newcastle upon Tyne: Cambridge Scholars Publishing.
2021. The Auditory Setting: Environmental Sounds in Film and Media Arts. Edinburgh: Edinburgh University Press.
2020. The Nomadic Listener. Berlin: Errant Bodies Press.
2017. Audible Absence: Searching for the Site in Sound Production (Doctoral Dissertation). Leiden: Leiden University Press (limited edition).
Book chapters:
2024. “Mise-en-sonore: Placemaking in Fiction Film versus Audiovisual Media Artwork”. In Roche, D. and Gaudin, A. (eds.), Sound/Space in Film: Craft, Aesthetics, Theory. Edinburgh: Edinburgh University Press. (Forthcoming).
2024. “Sonic Disjunctions: Critical Listening to Ashish Avikunthak’s Filmworks,” in Paunksnis, S (ed.), The Epistemic Archaeology of Ashish Avikunthak: Cinema and Religiosity of Everyday Life. NY: Bloomsbury. (In Press).
2023. “Forward,” in Purgas, P. (ed.). Subcontinental Synthesis Electronic Music at the National Institute of Design, India 1969–1972. London: Strange Attractor Press.
2023. “OM,” in Herzogenrath, B. (ed.), A Sound Word Almanac. NY: Bloomsbury.
2023. ”Hyper-listening and Co-listening: Reflections on Sound, Selfhood, and Solidarity”, in Woodland, Sarah and Vachon, Wolfgang (eds.), Sonic Engagement: The ethics and aesthetics of community engaged audio practice. London: Routledge.
2023. “Dhvāni: Resonance”, in Herzogenrath, B. (ed.), Concepts: A Travelogue. New York: Bloomsbury.
2023. Co-listening: Theory and Practice, in The Listening Biennial Reader. Berlin: Errant Bodies Press.
2023. Howl Redux: On Noisific(a)tion, in Law and the Senses: Hear. London: University of Westminster Press.
2021. “The Sonic Drifter: A Psychogeographic Approach to Understand a Re-emerging City”. In Piga, B., Siret, D., and Thibaud, J-P. (eds.). Experiential Walks: Experiencing, Interpreting, Representing the (Multisensory) Environment. New York: Springer.
2021. Unrecording Nature, in Kuljuntausta, Petri (ed.), Sound, Art, and Climate Change. Helsinki: Frequency Association.
2019. “Uneasy Listening: Perspectives on (Nordic) Sound Art after the Digital”. In Digital Dynamics in Nordic Contemporary Art. Bristol: Intellect/The Chicago University Press.
2018. The Well-Tempered City: participation and intervention in sound art, Leonardo Electronic Almanac Vol 22, No. 2, Cybernetics Revisited issue. Cambridge, MA: MIT Press.
2018. “Cosmic Resonance: Sounding outside, listening within”, in Stuart Hyatt (ed.), Metaphonics: The Field Works Listener’s Guide. Heijningen: Jap Sam Books.
2017. Hyper-listening: Praxis, in Mateus-Berr, R., and Reitstätter, L. (eds.). Art & Design Education in Times of Change (pp. 171-5). Conversations Across Cultures, Vienna: de Gruyter.
2016. “Endnotes on the Margin of Listening”. In Dirty Ear Report #1 (pp. 60 – 71). Berlin: Errant Bodies Press.
2016. “Émergence de nouvelles conceptions sonores”. In Térésa Faucon and Amandine D’Azevedo (eds.), In/dépendances des cinémas indiens. Cartographie des formes, des genres et des régions (pp. 40 – 44). Paris: Presses Sorbonne Nouvelle.
2013. Interview. In Cathy Lane & Angus Carlyle (eds.), In the Field: The Art of Field Recording (pp. 49 – 59). London: Uniformbooks.
Articles in peer-reviewed journals:
2022. On Pre-colonial Indigenous (Sound) Technologies, in Proceedings of Politics of the Machines – Rogue Research (POM 2021). Berlin: BCS Learning & Development Ltd.
2022. Room Ambience: Home as Heard in Film and Media Arts. Journal of Sonic Studies 22 (Special Issue: Home).
2021. Uncolonising Early Sound Recordings. The Journal of Media Art Study and Theory Vol. 2, No. 2 (Special Issue: Sound, Colonialism, and Power).
2020. Post-immersion: Towards a Discursive Situation in Sound Art, RUUKKU Studies in Artistic Research 13.
2019. Listening in/to Exile: Migration and Media Arts. VIS – Nordic Journal for Artistic Research 2.
2019. Eye Contact with the City: A Discourse on Contemporary Urban Sounds, [in]Transition: Journal of Videographic Film & Moving Image Studies 6.2, 2019
2018. Orphan Sounds: Locating Historical Recordings in Contemporary Media. Organised Sound 23/2: 181 – 188, Cambridge: Cambridge University Press.
2018. The World Within the Home: Tracing the Sound in Satyajit Ray’s Films. Music, Sound, and the Moving Image 11/2: 131 – 156. Liverpool: Liverpool University Press.
2017. Reconstructing Atmospheres: Ambient Sound in Film and Media Production. Communication and the Public 2/4: 352-364. London: SAGE Publication.
2017. Beyond Matter: Object-disoriented Sound Art. Seismograf/DMT (special issue).
2017. Talking Field: Listening to the Troubled Site. Journal for Artistic Research 13.
2016. Being There: Evocation of the Site in Contemporary Indian Cinema. Journal of Sonic Studies 12. Leiden: Leiden University Press.
2015. Auditory (Con)texts: Writing on Sound. Ear │ Wave │ Event, issue 2.
2015. The Auditory Spectacle: designing sound for the ‘dubbing era’ of Indian cinema. The New Soundtrack 5.1 (pp. 55–68). Edinburgh: Edinburgh University Press.
2014. An Elegy for the City: Composing the Urban Character, Leonardo Music Journal, Vol. 24, Nr. 12 (pp. 49-51). Cambridge, MA: MIT Press.
2014. Sonic drifting: sound, city and psychogeography. SoundEffects vol. 3.3. special issue ‘Urban Sound’ (pp. 138 – 152).
2014. Object-Disoriented Sound: Listening in the Post-Digital Condition. A Peer-reviewed Journal About volume 3, issue 1.
2013. Auditory Situations: Notes from Nowhere. Journal of Sonic Studies. Vol. 4. Special Issue: Sonic Epistemologies.
2013. The cinematic soundscape: conceptualising the use of sound in Indian films. SoundEffects, Vol 2, No 2 (pp. 65 – 78).
2012. Sonic menageries: composing the sound of place. Organised Sound, Volume 17, Issue 3 (pp. 223-229). Cambridge: Cambridge University Press.
2007. Sound Memories: In search of lost sounds in Indian cinema, Journal of the Moving Image, issue 6 (pp. 102-111). Kolkata: Jadavpur University Press.
Shorter essays and commissioned pieces:
2023. An Equal Sound, Rewire Festival 2023.
2023. Re-sounding Souths, CTM Festival Journal.
2023. “The Nomadic Listener”, in Going Out: Walking, Listening, Soundmaking, Brussels: Q-O2.
2022. Sound from the Ground: Pre-modern Sonic Practices in India, Write Art Connect, Serendipity Arts Festival.
2021. Hyper-listening to the City, The Writing Platform.
2020. Unperforming Sound: From the Margins of Artistic Research, in Nivel 13 (Proceedings of Carpa6), Theatre Academy, University of the Arts Helsinki publication.
2020. Poetic Presence: New Environments in Media Arts, Sonic Field, March.
2018. Canonization and the Color of Sound Studies, Sounding Out!, August.
2017. Against Immersion, Sonic Field, August.
2017. Autolistening, Exercises in Listening issue 3.
2016. The Politics of Not-listening, Sonic Field, November.
2016. Ambient sound: presence, embodiment and the spatial turn, Sonic Field, June.
2014. Budhaditya Chattopadhyay’s Object Disorientation, NY Arts Magazine, April issue.
2014. “The Invisible Sound: A study in the trajectories of sound practice in Indian films by online archival research”, IASA journal No 42, January.
2013. Two thousand and thirteen: the Grande Syntagmatique, or an attempt to provide an exhaustive classification of the segmentation of a yearly narrative, The year in retrospective, Part III, The Field Reporter.
2012. Certain Observations on the Evolution of Sound in Indian Cinema, CPH PIX Catalogue, Copenhagen, Denmark.
2012. Soundhunting in a city: chronicles of an urban field recording expedition, Field Notes, issue 03.
2010. “Documenting sound: notes from the field“, Docschool, Issue January-April. pp. 43-46.
2009. Recording the environment: creating an archive of ambience, IASA Journal, Issue 34, December.
2006. “Remembrance of a forgotten melody“, IASA Journal, issue 28, December.
Conference papers:
2021. “Connecting Resonances: On Pre-modern Indigenous (Sound) Technologies”, Politics of the Machines, Technische Universität Berlin.
2020. “Post-immersion: Towards a Discursive Situation in Media Arts.” ISEA2020, Montreal.
2020. “Hyper-listening: Conceptualizing Urban Media Poetics”. Methods in Artistic Research.
2019. “Uneasy Listening”, RE:SOUND, Histories of Media Art, Science and Technology, Aalborg, Aug.
2019. “AI 2.0: Artificial Idiocy and Sound (Art)”, Politics of the Machines, Beirut, May.
2019. “The Brown Canon: Non-Western Perspectives in Sound Studies”, Sonologia, São Paulo, April.
2018. “Sounding the Unsocial: A Nomadic Listener”, Affective Atmospheres, American University of Beirut.
2018. “Mise-en-sonore”, Space, Sound and the Improvisatory, Onassis Cultural Centre, Athens, October.
2018. “Post-immersion”, Global Control, RIXC Art Science Festival, September.
2017. “Against Immersion: Towards a Discursive Situation in Media Art”, inSonic-Festival, ZKM | Center for Art and Media Karlsruhe, December.
2017. “Expanded Object: Rereading the History of Sound Art”, RESONANT WORLDS: Sound, Art & Science / ISACS 2017, ZKM Karlsruhe, September.
2017. “Migration and Media Arts”, University of Cologne, September.
2017. “Decomposing Landscape: Hearing the Troubled Site”, ISEA2017, Manizales, June.
2016. “Making Sites Audible: Ambient Sound in Practice.” Sonologia – Out of Phase: International conference on Sound Studies, São Paulo, November.
2016. “Beyond Matter: Object-disoriented Sound Art”, International conference: Sound Art Matters, Aarhus University, June.
2016. “Unwriting Sound: A Poetic Intervention”, International Conference on Artistic Research, The Royal Academy of Art, and Royal Conservatoire, The Hague, April.
2015. “Writing on Sound/Writing with Sound”, Media Art History Re-CREATE 2015, Hexagram and UQAM, Montréal, November.
2014. “Audible Evidence: Recognition of site in the contemporary sound artworks”, Visible Evidence 21, Jawaharlal Nehru University, New Delhi, December.
2014. “The Sonified Cinema: a study in the emergence of sound in the Indian popular culture”, ADI conference, University of Copenhagen, October.
2014. “From Soundtrack to the Sound Environment: Listening in the Post-digital Cinema”, ESSA2014, Sound Studies Conference, University of Copenhagen, June.
2013. “Auditory (Con)texts: Textualizing the Sonic Phenomena”, International conference: ‘Literature, Media, Sound’, Aarhus University, November .
2013. “Hyper-listening: sound, contemplation and the sonic explosion”, Dirty Ear Forum, Bergen Academy of Art and Design, Norway, November.
2013. “Sonified Cinema”, International conference: ‘Dépendance/Indépendance: les cinémas indiens’, Université Sorbonne nouvelle-Paris 3, France, November.
2013 ‘Subject-Oriented Sound Art: The Curious Case of Auto-Curating’, ISACS, ZKM Karlsruhe, Germany, August.
2012. “Post-cinematic Sound: theorizing sound in the digital realm of cinema”. Conference: ‘Expression, Sensation, Mediation’, Copenhagen, December.
2012. “The Well Tempered City: participation and intervention in sound art”, IMAC Conference/RE-NEW, Aalborg University, Copenhagen, Denmark, November.
2012. “Sonification of Cinema: studying the use of location sound in Indian films”, Music & The Moving Image conference proceedings, June, NYU, New York.
2011. “Archive as social media lab: Creative dissemination of digital sound and audiovisual collection”, IASA conference proceedings. Frankfurt Am Main, Germany.