diff --git a/Makefile b/Makefile index 17be5f9..c062555 100644 --- a/Makefile +++ b/Makefile @@ -32,6 +32,7 @@ clean: ## removes output (target) files dirs: ## create the dirs in working dir @-mkdir -p images/ @-mkdir -p output/ + @-mkdir -p ocr/ @echo $(color_r)'Directories made': images/ output/ @@ -86,6 +87,6 @@ tts: output/chatbot.txt ocr/output.txt ## text to speech. Dependencies: espea cat $? | espeak ttstt: ocr/output.txt##text to speech, speech to text - cat $< | espeak -s 140 -v f2 --stdout > sound.wav + cat $< | espeak -s 140 -v f2 --stdout > output/sound.wav diff --git a/ocr/list.txt b/ocr/list.txt new file mode 100644 index 0000000..887fc17 --- /dev/null +++ b/ocr/list.txt @@ -0,0 +1,4 @@ + +images/0004.jpg +images/0006.jpg + diff --git a/ocr/output.txt b/ocr/output.txt new file mode 100644 index 0000000..3b35384 --- /dev/null +++ b/ocr/output.txt @@ -0,0 +1,199 @@ + + + + +[J MASTHEAD +int-F urniu . : .“l’ll' 'J + +Masthead + +Editorial Team +Ana (liruilhu +gmger twins + +Ritardo Lat-Liente + +Copy editor + +Margaret Burnett + +Pubfisher + +ginger (001’!g + +Community Board +Dave Crossland + +Louis Desmrdms + +AVTTIt'TlL Hansoux + +Alexandre Prokoudine + +Femke Snelting + +Contributors +Daxe Crossland. Maria Figueiredo, Nelson Concalves. Eric de + +Haas Richard Hugheslonathan Puckey, Eric behriiver + +Printed in Port. by Crornotema (http: troinotemapt) and in +T: into M Green Printer (http’ v.wwgreenprinteronlinc-.4 om‘l + +in rerwled paper + +Lli ensed under at redinek ummons Attril-u’iioi‘i-Rhare Alike +lli r‘l'lv: N l rmrsm '\|l . (Intent \hlluld be attributed to II\ +iridiuidiial lUlhIlT all . ante-m \titl‘i-iut :1 stated author 4 (iii lm + +'TE‘dlir-diiiLilitf‘lrir.1[il]ii\ Hagar”):- + +Contacts + +»\ Hi" to u .1! Hlllllllilv“.iiI‘lll11{"L“i.jplili trying i an: + +HTTP: LIBRFl iRAl’Hll 'beU i.( HM + +Images under a ( (' Attribution Sharr- Aliki- “1 Nine + +l’lmii- mi piii‘gvi Vll‘l’)‘, lit, lii-i- all + +I'll ill. u-l Iv’u ii-lu l .illll‘lil“ liv. "\im‘ .ir'..illi“lllliv li-llll‘ ’i "il'|' .Iiililll<.llllil‘dllillilllt‘illl‘llH‘ili‘JluIi‘ iiu-iiliniiiul + +ilu'iu-m ".li ~lli ll‘l'll’l'll'l l‘vi Milt Ilii l'ul'lillilll ml llIV'.|Vl lilgliliinni lll lll" .llllv ll‘ + +lei.‘ ,t‘miiln. .l‘li‘ it il l 'lliltlllI‘ R‘.lll\ ll yr lli rim .1 lllltll‘l (i H» +lllii‘,li,illlili'. iii Jul-la Illil“".lll-lll,i1llil 5pm. .m lllll'l\ll .\ .'.llll loin | l'r lmri +li, l'llll l l i lllll'l +l'li I- ill ' “l'4ll||l)_ lilliii ' llii l l"|i|-ii‘llilli \.ilil-I.iliiiii \‘rlil lix l-'ii ll-Illl lllll‘lllv“. + +Lin, lump- “it l‘-i .) ml I. .II' Ill-Ill | Via ii'nlii-rl‘il Ill i ill|ll|ll|ll\‘l'- + + + +. . , Linn-1.; u“... + +A Reader’s Guide to Libre Graphics Magazine + +In this magazine. you may find concepts. words. ideas and +things which are new to you. Good. That means your +horizons are expanding. The problem with that, of course. is +that sometimes things with steep learning curves are less fun +than those without. + +That's why we're trying to flatten the learning curve. If. while +reading Libre Graphics magazine. you encounter an unfami ar +word. project name. whatever it may be. chances are good +there's an explanation. + +At the back of this magazine. you'll find a glc ary and +resource list. The glossary aims to define we 5 that are +unique to the world ofLibre Graphics. The resource list +provides valuable information about tools. licenses. whatever +items we may be mentioning. + +Practically. this means that if. for example. you're reading an +article about Paper.js (see pages 30 and '31). you can alwc + +flip to the back of the magazine. look up Paperjs in the +resource list and become quickly informed about it. This +provides some instant gratification. giving you the resources +you need to understand. in a moment. just what we‘re tallxii ‘ +about. + +We hope you like our system. + +Images under other li- (‘ll\1‘\ + +l’linlu‘. HI [lepaii ls" l“ ,‘l lx\ lniiiiim Harlem-s .iir iiIi-ler\ \‘ \k’ \-\ Him ueic‘ +['lll‘ll‘.'ll‘il lll'll' \\lllt lllt’ llt'HlIHsIUH iii ilu‘ll .nillini + +«minim- ~. lil'yI‘ imagi- iiml m'liml .il Mil' l-x \\ Ikiiiietlm iisei llieiimli lion-(i l\ in (he +lllll'llk ilniimiii .llhl l .Iii ln‘ imiinl .ii + +llll" A:vll|ilh‘ll\ \\|l\lll\l'\l|.l wig \\iki tile“ \lnilviil Nautical (”lupin Row pm: + +t-i-m'ml +‘\-l\l'lilv(‘lll1'l|l\ \\|lll llic r‘\i(‘|rlll'll n! Hui-.r' “Tie-muting l il-ic \liaplin s Hagaluw. .Ils‘ +iml IN“ i‘-.Illl\ -iv\('1l'\| lu the blanket i L in \~\ il: ruse ll h lit-st in \ hei L \ulii the + +'llil’K‘l I» lln‘v ll'l'lr'd‘lll lic‘lI-n‘ ir'uullig llH‘llI + + + + +in + +” EDITOR'S LETTE + +i.i.i: Liruii If" ’ + +Editor's letter + +ginger coons + +\K'e so often draw a strong distinction between the physical +and the digital. acting as ifthe one is solid. staid and reliable. +while the other is born in ether. unreal and untouchable. This +is far from the case. Not only on occasion. but always. the +physical and the digital are intimately intertwined. + +The digital is merely a subset of the physical. It is a land we've +come to view as different and distinct. despite its reliance on + +the physical. Regardless ot‘our perceptions. the two tick along. + +happily o-operating and relying on one another. As the +digital fails to esCape the bounds of the physical. the physical +comes to embrace its part in the success of the digital. + +I vraphic design and media arts are fields Well atquainted with +the obvious areas oi overlap between the phv. cal and the +digital. From the days of air brushing and drafting by hand. +to the bringing of those same metaphors into the realm of +digital production. designers :tllCl media artists are at the +l'orvlront of both the conilicts and the embraces ol the digital +and the ['ilI\“sI(.'.il, + +\‘x'l‘n-thr-r it lI‘Idl]lli“--l‘-fi itsr-ll' III .1 worktlow innirporatiiig lmilI + +(ll‘c‘Iiul .ii‘nl [il'iVHIMIl I'i‘Ii'llimlS. lo ilIHi‘I'i‘lit Hills HI' WllcllM'I' It Is +.i lI'.II‘i‘-l|iI‘II‘IiiiIiIH which takes plan- iii the slim c lH‘th‘i‘lI tlic +l’i.‘.‘«i I‘i‘.ilI’I’i:-.. llll' point til IIIii'I‘m‘lIliII llt‘lWi'I'II tllt' tllLL’JiJl .Ill(l + +the physical is a special place. And it bears exploring. + +F Loss graphics and art fields are taking up that exploration in +magnificent ways. In the world of F toss. the space where the +digital and the physical collide is becoming beautifully +populated. + +This issue of Litre Graphics magazine is about border caSes. +the role ofintentionality and happy ' cident in the mingling +of physical and digital. and any and a .l points of intersection. +We're exploring the translation from the digital to the +physical. the phys' ‘al to the digital and the careful mapping of +the two. We're looking at the pl‘dkt‘ oi history and the promise +of the future in harmoniously melding our media. + +We‘re looking at tolds. sprays. cuts and prints. We‘re looking +.it mapping worlds onto each other. In short, in this issue. +we're looking .it collisions: + + + \ No newline at end of file diff --git a/src/soundtotext.py b/src/soundtotext.py new file mode 100644 index 0000000..6f1b2d6 --- /dev/null +++ b/src/soundtotext.py @@ -0,0 +1,2 @@ +o=open('output/sound.wav', 'r') +original = o.read() \ No newline at end of file