#budhaditya chattopadhyay

[embodiedlistening]

Four primary strands of knowledge can be generated by this sonic intervention into the Souths, such as Temporality: time in sound perception and listening – such as temporally expanding sonic events in the Dhvāni and Sphoṭa theories pursued in South Asian aesthesis. Spatiality: practice of sonic space and distance, depth of field, and three-dimensionality – such as traditional sonic gatherings and indigenous public address systems. Chance: discourses on indeterminacy and contingency to examine notions of emergence – such as traditional tuning systems and instruments. Subjectivity: the roles of the listening subject in being, sensing, and meaning-making – such as the navarasas or nine emotional states in Rasa theory encompassing the emotions generated in listening.

Re-sounding Souths By Budhaditya Chattopadhyay. Published January, 2023

https://www.ctm-festival.de/magazine/re-sounding-souths

[thenewobjective]

Budhaditya Chattopadhyay ~ Withering Field

Budhaditya Chattopadhyay ~ Withering Field

How do we manage  the process of loss and alienation when looking from the perspective of the soon to be lost? What kind of empathy should we develop as listeners towards an effaced, or soon to be effaced, habitat? What is an ecological crisis in an era where an accelerated need to improve, industrialise and colonise becomes the norm in countries of the Global South? What is there to be saved and…

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[radiophd]

budhaditya chattopadhyay -- the well-tempered city: book I

[is71076acs]

Week 3 Leonardo Journal vs JAR

In this week of the Computational Arts-based research and theory module we were asked to consider the differences between the Journal for Artistic Research (JAR) and the Leonardo Journal. I had chosen an article from each resource to compare any similarities and contrasts. To begin I shall briefly summarise the content of each of my articles.

From JAR I chose the article ‘Talking Field: Listening to the Troubled Site’ by Budhaditya Chattopadhyay. In the text he investigates anthropocentric climate change by means of digitally processing some site specific recordings his gathered from Tumbani, India. He explores the parallels between phonography and photography which are both used to document an authentic moment in time. In the spirit of musical concrete, the artist intends to capture ‘the musical essence and narrative of the site through abstraction’ and make an artistic statement on India’s rapid industrialisation.  

Contrastingly I chose an article from Volume 18 of the Leonardo Music Journal entitled ‘Why Live? Performance in the Age of Digital Reproduction’ by Nicolas Collins. In this piece he briefly explores how in this era of online piracy it seems that the ‘exclusivity’ and ‘unpredictability’ of live music has reinvigorated the modern music industry’s economy.

Initially I was excited to read the article by Nicolas Collins, since I am already a fan of his work, however surprisingly I found the piece by Budhaditya Chattopadhyay much more creatively inspiring. I believe this ties in to the fundamental differences between the Leonardo Journal and JAR, to which the later seems to appeal to my interests more as an artist practitioner.

We discussed in class how, although both sources are dependent on peer-reviewed journals, the two fundamentally differ in their core mission statements. The Leonardo Journal is focused on a scientific approach to computer music and art whereas JAR is more centered on artistic research through investigation. However, despite their different styles of research, they are still mutually exclusive with the Leonardo Journal being the ‘Computational’ to JAR’s ‘Arts’.

References • http://jar-online.net/talking-field-listening-to-the-troubled-site/ • https://www.mitpressjournals.org/toc/lmj/18

Image from Talking Field: Listening to the Troubled Site by: Budhaditya Chattopadhyay

Image from Talking Field: Listening to the Troubled Site by: Budhaditya Chattopadhyay

[snitnation]

‘Not-responding’ is a usual tactic employed by many to undermine the integrity of a sender or speaker and her/his intention to communicate. The tactic reflects the gesture of ignoring other voices that might differ the receiver’s views – politically, socially or culturally. The potential satisfaction derived by someone not responding to an email or text message lies in the game of practicing power and establishing a hierarchy where the sender is deliberately placed below. The sender is forced to leave its legitimate messages in thin air, and keep the expectation of receiving a due response on hold. The gesture embedded in the adopted silence can be deciphered in many ways, which can vary from ‘you wait, I will see’ to something like ‘you don’t exist in my view’. Be it an institution or an individual, ‘not-responding’ as a strategy can trigger ‘negative expectancy’ in communication, forcing the sender or speaker to abandon communicating, which is the motive behind receiver’s deliberate closure of a response.

Budhaditya Chattopadhyay, The Politics of Not-listening – Sonic Field

[snitnation]

‘Not-responding’ is a tactic employed to undermine the integrity of a sender or speaker and her/his vociferous voice. The tactic reflects the gesture of ignoring the other voices that differ the receiver’s views – politically, socially or even emotionally. The potential pleasure derived by someone not responding to an email or text message lies in the game of practicing power and establishing a hierarchy where the sender is deliberately placed at the lowest. The sender is forced to leave its legitimate messages in thin air, and keep the expectation of receiving a due response on hold.

The Politics of Not-listening – Sonic Field