Exhibition, 2026
Budhaditya Chattopadhyay is a multidisciplinary artist, researcher, and writer. He is a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, and a co-lead of the Work Package: AI in Artistic Processes, at the MishMash Centre for AI and Creativity.
Latest results
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Exhibition, 2026
Archival Intelligence (2026)
The research exhibition Archival Intelligence examines the roles of today’s all-pervasive digital technologies, such as Artificial Intelligence, in extracting data from archives and museums for profit.
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Music performance, 2026
Atomspheres
Atomspheres is a series of performances on elemental listening engagement and meditative environmental attunement, leading to a participatory performance with the co-listeners. The performances attune to the macro-scale crises of the climate and ecology in a planetary context and bridges its intersection with micro-level coping strategies to the crises in a regenerative gathering. The performances resonate with the tradition of free improvisation as well as communal and participatory sonic gatherings for affective and discursive engagement with crises and conflict, practiced in many Global Souths cultures. These performance gatherings involve field recordings of climate variables like wind, water, and woods, comprovised by chance generative processes, accompanied by radio interferences transducing situated weather patterns, weaved together by meditative instrumental interventions of traditional instruments, as well as live electronics and algorithmic interpretation of data and assemblages embracing free improvisational techniques and ethos. As an invocation, the series invites the co-listeners into an exercise of slow listening and slow breathing that try to suspend time, control, ego, and individuality to tap into a humbler mode of fatalism and a distributed self-hood. This philosophical positioning stresses the subjugation of events or actions to fate or destiny and is commonly associated with an attitude of acceptance in the face of future events, which are thought to be inevitable. This approach manifests into yielding control by an emergent form of togetherness, intersubjectivity, and kinship when listening transcends an overt causality, and the psychosomatic condition embraces slow breathing to contemplate, and affective attunement. The project is inspired by the micro-level entanglements of human, more-than-human, and other life forms in a survival context, and explores sensory transduction of environmental conditions to figure how to make them post-immersive and attuning experiences in an openly circular, collaborative performance setting.
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Presentation, 2026
Reading Aloud: Sonic Perspectives from the Global Souths
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Lecture, 2026
Auditory Situationism and Unmedia
Artist and researcher Budhaditya Chattopadhyay will discuss his body of work around sounding and listening to sculpt and give shape to two broad theoretical frameworks, namely Auditory Situationism and Unmedia, within which his works can be contextualised; both ideas are hinting at manifestations of decolonial thought intervening into existing sound studies canon, which Chattopadhyay enters with an outsider, nomadic, and polemical impulse.
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Monograph, 2026
Sonic Perspectives from the Global Souths: Unheard Reciprocity, Resonant Relationality, and Aural Confluence
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Book chapter, 2025
Technologies of Capture and the Global Souths
In this chapter, the colonial intervention of the technologies of capture are examined in the Global South regions, especially in South Asia in the beginning of the twentieth century. I study the ramifications of this entry in the form of mutating everyday sounds and musical practices into commodified sound objects for industrialisation and sale. From a critical decolonial position, this introduction of the technologies of capture is read here as a precarious intrusion into the sounding and listening cultures of the Global Souths, and a moment of emergence of an extractive capitalism through the colonial routes that devastate the sonic symbiosis of the land.
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Conference lecture, 2025
Artificial Consciouness: Regenerating AI Ethics and Aesthetics
Globally, in the arena of everyday practices, AI systems have increasingly been causing a profound effect on contemporary everyday life across the globe. From surveillance to the Internet of Things and domestic consumption, from social media interactions to arts and culture, AI is taking over the processing of information to provide new perceptions and augmented experiences. At the core of this reconfiguration of technologically mediated everyday practice are datasets, used to drive and produce new narratives across wider ranges: consumer behavior and patterns, mobility, and immigration, post-human thinking, scientific in(ter)ventions, media production and propaganda, online and offline social formations, etc. In this context, the proposed panel presents the collective research of the newly formed Center for AI Ethics, Aesthetics and Creative Human Operations (CAIEAC) at The Art Academy – Department of Contemporary Art (KMD), University of Bergen, Norway. The centre aims to reimagine the integration of artificial intelligence in creative human operations and to challenge hegemonial AI tropes. By moving beyond the binary of utopian and dystopian paradigms, the centre embraces a “Prototopian" model that envisions continuous improvement in adjusting AI technologies to society. The centre fosters innovative and critical approaches to AI, focusing on computational aesthetics, the expansion of creativity through human-machine collaboration, and the development of new conceptual frameworks informed by art, media theory, and interdisciplinary research based on a reflective and inclusive AI landscape that integrates ethical considerations, addresses biases, and promotes decolonial and Indigenous knowledge into different AI infrastructures for a diverse society. The proposed panel will address the ethical lapses in AI with a regenerative approach to consciousness. Especially engaging with applied AI in the arts, the panel explores the creativity-induced resistance against a monolithic world of AI that populates contemporary everyday practices, as mentioned earlier. The panel will advocate for an ethical and inclusive AI system for the future that is emergent, self-reflective, and self-regulating, with an aesthetic inclination towards artistic experimentation and radical innovations by being susceptible to the questions of social justice and political agency.
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Conference lecture, 2025
Unmedia: De-modernising Technology
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Exhibition, 2025
Dhvāni
Dhvāni means “resonance” in Sanskrit. Resonances between sounding objects and between people are the starting point for this installation by Indian-born artist and thinker Budhaditya Chattopadhyay. In STUK’s courtyard, a web is stretched with hundreds of Indian ceremonial bells and other instruments, such as wind chimes and ghungroos. By means of a self-built artificial intelligence system, this resounding network responds to human presence: footsteps, voices, hand clapping. Through machine learning, the interconnected system improves its performance over the six weeks of Hear Here, creating a beyond-human resonant organism. In this way, Chattopadhyay links ancient musical traditions with contemporary technologies, inviting visitors to listen empathetically and step outside their judgmental “ego”.