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"Image to Audio, Spectrogram Player This app allows you to convert an image to audio file, and Decode, Play a audio file via spectrogram. You can make a sound image that is viewable on a spectrogram. With this app you can convert your images to audio and secretly send them to others. In order to convert an image, you just need to select an image from your computer, Google Drive, Webcam, and Clipboard. This app provides a standard spectrogram audio player. You can also play multiple audio/video file (mp3, m4a, mp4...) with a spectrogram. Supported formats: jpg, jpeg, png, gif, bmp, webp, mp3, m4a, ogg, mp4, webm... A spectrogram is a visual representation of the spectrum of frequencies of sound or other signal as they vary with time. Spectrograms are sometimes called sonographs, voiceprints, or voicegrams."

"If you were to choose to watch live video composer and performer Ana Carvalho's work silent, your brain would be easily guided into a synesthetic experience, assigning sounds to each rhythmic change in color, pace, frame. Her images oscillate…they dance, they breathe. As you experience this, there might be a sense that you have lost your ability to hear the outside world, as these images are clearly attached to, woven with, a part of sound."

"VOSIS is a synthesizer that creates complex wavetables by scanning and filtering greyscale pixel data from images, videos, or live camera input. The audification and filtering of pixel luminance correlates visual shape to sound timbre. Scan rate in terms of octave, interval, and scale allows for use as a musical instrument. Thus, VOSIS is a tool for image sonification, sound design, and visual music composition."

"today there are various sophisticated methods to locate sound (acoustic camera, methods of acoustic holography, microphone arrays), but known visualizations by spectrograms still strongly remind of thermographic images. acoustic shapes, unlike thermographic ones, differ from the contour of the measured object. image overlays make it even more difficult to read and compare the results."

"ELECTROCHROMA is a 58ʼ30" audiovisual work that emerged from the manipulation of light to generate imagery as well as using a combination of extended techniques applied to sonic-material sources, including translation of image to sound to create the 5.1 surround audio composition. The work utilizes various analog and digital procedures and a variety of software processes to manipulate the moving image and sound. The workʼs imagery ranges from dark to light monochromatic spheres, shifting dynamics and intensity, including flickering and pulsating patterns, retinal impact, and sensory overloads. The sound composition focuses on timbre, low ends, modulated frequencies, textures, static noises, and electronic sounds moving through space. Other sonic layers were created through the use of electromagnetism, custom electronic sounds, and voices scored for the work and performed in a recording studio by artist Marylea Martha Quintana."

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

"We use diffusion models to generate spectrograms that look like images but can also be played as sound."

"Of the various forms the nascent art of sound recording took in the late nineteenth century perhaps none was so aesthetically alluring as that invented by Margaret Watts Hughes. Rob Mullender-Ross explores the significance of the Welsh singer's ingenious set of images, which until recently were thought to be lost. "

Writing animation and typography explore the relationship between words, sounds, images and movement.

Kathy Hinde is an audiovisual artist inspired by behaviours and phenomena found in nature and the everyday expressed through audiovisual installations and performances that combine sound, sculpture, image and light. Composed of hand-made objects, electronics and a blend of digital and analogue systems, her work represents a cross between kinetic sound sculptures and newly invented instruments. She frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process.

convert an image into sound

"I'm a huge fan of Joan La Barbara. Her LP The Voice Is The Original Instrument is one of my favorite documents of the 1970's NY avant-garde. La Barbara is a master of advanced vocal technique. In addition to her own remarkable creative output, she's had a long career working with many of the greatest names in avant-garde composition - John Cage, Robert Ashley, Morton Feldman, Philip Glass, Alvin Lucier, Gordon Mumma, David Behrman, David Tudor, and her husband Morton Subotnick. In my wanderings around the internet I've come across some of her wonderful scores and images of performances etc. I thought I'd pass them along. To see and learn more visit her website.   Voice Piece: One-Note Internal Resonance Investigation (1975)   Persistence of Memory (2009)   Circular Song (1975)   In the Shadow and Act of the Haunting Place (1995)   Performing in Berlin 1981   With Gordon Mumma and David Behrman in 1974   Working on Philip Glass' Einstein on the Beach in 1976   In 1974 with Philip Glass Ensemble with Dickie Landry, Richard Peck and Jon Gibson   With David Tudor, Paris 1974   With Dana Reitz and Phill Niblock (1975)   Playing chess with John Cage   Performing in 1976   Performing in 1976   In the studio with Morton Subotnick in 1984 Share this: TwitterFacebook Related at home with morton subotnick and joan la barbara January 29, 2016 Liked by 1 person joan la barbara's voice is the original instrument reissued by arc light editions May 4, 2016 Liked by 2 people on the early immersive music of joan la barbara, via mode records April 2, 2018 Liked by 2 people Post navigation Rising Tones Cross (Full Film)at home with morton subotnick and joan la barbara 2 thoughts on "the beauty of joan la barbara (scores and photographs)" Feminatronic February 9, 2016 at 8:46 pm Reblogged this on Feminatronic and commented: Something a little different as my Todays Discovery is this webs

"Music sketch diary. Prototyping. Generate music and synthesizers by sketching wavetables and scores."

Craig Smith, has digitized and shared a 27GB collection of vintage sound effects. The sounds form three collections. They consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. There are three collections: The Gold and Red Libraries (Gold effects start with "G", Red with "R") consist of high-quality, first generation copies of original nitrate optical sound effects from the 1930s & '40s created for Hollywood studios. They were collected by a prominent sound editor who worked in the industry for 44 years. The fragile optical elements were donated to USC, and transferred to tape by USC Cinema students in the early 1970s. The Sunset Editorial (SSE) Library was also donated to USC around 1990. It includes classic effects from the 1930s into the '80s. These effects are from 35mm magnetic film. They were often several generations removed from the originals, and not as clean, so some careful restoration was done to make them more useful. SSE effects start with "S" About Craig Smith: "I have been recording, editing, & mixing sound since 1964, and teaching sound design and technology at California Institute of the Arts since 1986. In my spare time, I experiment with implied narrative and accidental sound design -- putting together sounds & images that have nothing to do with each other to create unexpected stories."

"What do you think we are not hearing? Can listening encourage us to challenge our assumptions, and change our behaviour and decision-making processes concerning our relations to non-human species? Can human opinions on invertebrates be shifted through listening? I have been developing a process for constructing synthesized "built" soundscapes of hidden sounds. Built Hidden Soundscape: Pipeline Road, Gamboa is a preliminary result from this research. I made the field recordings for this built soundscape while at the Digital Naturalism conference in Gamboa, Panama in August 2019. The video shows a scrolling image of a spectrogram. A spectrogram is a bioacoustic tool that shows how sounds sit together in a soundscape. The Y axis represents frequency (Hz) and the X axis represents time. This spectrogram, however, focuses on 'hidden sounds' - sounds that cannot be heard by humans without the use of technology; sounds that are easily heard by human ears are excluded from this synthesized, artificial rendering of a soundscape. The sound work consists of field recordings from Pipeline Road in Gamboa, bookended by the dynamic dawn and dusk soundscapes of Pipeline Road. This built soundscape includes ultrasonic sounds (above the range of human hearing, played back at lower frequency), substrate-borne vibrations, and otherwise very quiet sounds. "

The project set out to give a rich and rigorous account of human perception of and response to soundscapes. To do this it used overlapping methods from a wide range of disciplines, ranging from the quantitative (e.g. acoustics) to the qualitative (e.g. social science) to the creative (e.g. sound art). Qualitative fieldwork (soundwalks and focus groups) determined that people conceptualised a soundscape into three components: sound sources (e.g. a market), sound descriptors (e.g. rumbling) and soundscape descriptors (e.g. hubbub). Lab-based listening tests along with the fieldwork have revealed that two key dimensions of the emotional response to a soundscape are calmness and vibrancy. In the lab these factors explain nearly 80% of the variance in listener response. Interview responses from real soundscapes further indicate that vibrancy can be expressed in two sub-dimensions expressing variation over time and over sound mix. Physiological validation of the main dimensions is provided by images of changes in the brain during listening from fMRI scans and by changes in heart rate. Artistic work and the public responses to it illustrate the huge range of sounds and soundscapes considered positive. Tools for simulating soundscapes have been developed and seem to be effective for several purposes, including design and public engagement - that is, sound play. The project results will lead to new metrics and assessment methods for soundscapes, new ideas for design and user engagement and, perhaps, better policy on environmental noise.

"Soundwalk Editions features artists and composers who use environmental field recordings as a point of departure in their work. By recording sounds outside of the conventional studio you are in the act field recording, audibly engaged with ears that gradually refine a sonic experience, like the eye looking through a camera lens. Field recording is often synonymous with phonography, in which sound takes the place of image in documenting a location, physical act, or a natural occurrence. Drawing attention to the quality and experiential nature that can exist in the soundscapes of our environment, these works allow the viewer to have an intimate experience with the various compositional approaches practiced by each individual artist. Through listening to these recordings we have the opportunity to become aware of the various dialects that can exist in the language of field recording compositions."

"The design, for a house on a generic suburban lot, mixes sound on two levels. First, "sonic windows," embedded with microphones and tiny cameras, capture images and sounds from outside the house and broadcast them inside. Second, the house encourages family members to mix, layer, and juxtapose pre-recorded sounds with those collected from outside. Think bluebirds chirping along with Beyonce, or the postman slamming the mailbox shut at a climactic moment in a Beethoven symphony."

"Interface: Echolocation Headphones. 10/12 Echolocation Headphones is a project that studies new applications for parametric sound technologies. This study emphasizes on augmentation of the auditory sense by enhancing our current ability of processing omnidirectional sound by providing a focal point to audition, similar to a visual focal point. Currently, human echolocation is being explored by the blind who have reached an increased understanding of sound and spatial relationships. In other species echolocation is facilitated by different evolutionary traits that differ from the current human senses. These headphones provide the opportunity for focal audition similar to a focal point in vision, depicting a more detailed spatial image of the parameters of the space surrounding the subject. "

"The radiofrequency spectrum is at the heart of telecommunications, used by police, emergency personnel and public transport services, as well as the armed forces. Every day, this spectrum ensures the proper functioning of mobile phones and wireless devices. Seen as an essential resource by some and as a health hazard by others, the electromagnetic fields generated by radiofrequency spectrum activity have multiplied exponentially since humans first learned to harness electricity. In his Electrosmog series, Jean-Pierre Aubé searches out ambient radio frequency activity in the urban landscape of Montréal, which for Aubé forms a singular territory, characterized by its density in the city and by the political and economic issues that accompany it. Equipped with a radio, an antenna, and home-made software, the artist sweeps the titular spectrum of radio frequencies. Every tenth of a second, the device takes a snapshot of its readings - a measure of electromagnetic activity on a specific frequency. This information is then paired with images of Montréal, digitally altered by these same measurements, to create a "documentary in sound" of the city's spaces. Montréal, well-known to the artist after years of radiofrequency experiments here, is the eighth city in which Aubé has measured and visually presented this urban Electrosmog. Electrosmog, Montréal, 01.1 MHz - 144 MHz, 2012 Text from the CCA and Elektra - video abstract original length : 11 minutes - built with Processing"