made changes to ttstt at makefile

master
ange 7 years ago
parent 9b29889b84
commit 26318959cc

@ -32,6 +32,7 @@ clean: ## removes output (target) files
dirs: ## create the dirs in working dir dirs: ## create the dirs in working dir
@-mkdir -p images/ @-mkdir -p images/
@-mkdir -p output/ @-mkdir -p output/
@-mkdir -p ocr/
@echo $(color_r)'Directories made': images/ output/ @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 cat $? | espeak
ttstt: ocr/output.txt##text to speech, speech to text 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

@ -0,0 +1,4 @@
images/0004.jpg
images/0006.jpg

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[J MASTHEAD
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Masthead
Editorial Team
Ana (liruilhu
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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
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A Readers 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 were tallxii
about.
We hope you like our system.
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” EDITOR'S LETTE
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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 otour 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'ln-thr-r it lIIdl]lli“--l-fi itsr-ll' III .1 worktlow innirporatiiig lmilI
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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 pldkt oi history and the promise
of the future in harmoniously melding our media.
Were looking at tolds. sprays. cuts and prints. Were looking
.it mapping worlds onto each other. In short, in this issue.
we're looking .it collisions:

@ -0,0 +1,2 @@
o=open('output/sound.wav', 'r')
original = o.read()
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