2017. “Uneasy Listening: Perspectives on Sound Art after the Digital”. In Digital Dynamics in Nordic Contemporary Art. Bristol: Intellect (in press).
2017. “Hyper-listening: Praxis”. In Mateus-Berr, R., and Reitstätter, L. (eds.). Art & Design Education in Times of Change. Conversations Across Cultures, de Gruyter (in press).
2016. “The Well Tempered City: participation and intervention in sound art”, Leonardo Electronic Almanac, The Cybernetic Issue, Volume 21 No. 2, The MIT Press (in press).
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.
Articles in peer-reviewed journals:
2017. “Talking Field: Listening to the Troubled Site.” Journal for Artistic Research 13.
2017. “Beyond Matter: Object-disoriented Sound Art.” Seismograf/DMT (in press).
2017. “Reconstructing Atmospheres: Ambient Sound in Film and Media Production.” Communication and the Public. London: Sage Publication (submitted).
2017. “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films”. Music, Sound, and the Moving Image. Liverpool: Liverpool University Press (submitted).
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.
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.
2017. “Decomposing Landscape: Hearing the Troubled Site”, ISEA2017 (accepted).
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.