#bitmask weave

[processzine-org]

Drafted some possible inner sleeves for the signal // NOISE double LP today, in case the pressing route includes printed inners. The supplier artwork templates had the option, so it felt rude not to at least prototype what those might look like.

I’d been stuck on what to print here – everything I tried felt like a repeat of the gatefold or scroll – until I remembered the SRT→Image renderer inside the Between Lines app. So:

took four tracks: 1, 8, 9, 16

converted each mixdown to an SRT subtitle file

fed those SRTs back into Between Lines

rendered one image per side using four different engines: Base64, Radial, Bitmap Weave, Supershape

The result: four abstract “subtitle spectrograms” – sound rewritten as a visual-first language, which feels about right for APD and lip-reading as default I/O.

LP1 // SIGNAL gets black on white (caption-rows for Side A, radial rings for Side B). LP2 // NOISE stays white on black (rain-/static-weave for Side C, starburst interference for Side D).

Artwork mockups here show how the spectrogram fields sit under the die-cut centre, with the cochlear/HA press-on labels peeking through. Records literally sliding back into their own miscaptioned diagrams.

[processzine-org]

Subtitle Spectrograms (v1.1) — new renderers

Picking up from the first batch of subtitle spectrogram experiments, I’ve now added three new renderers into the mix (tested here with Perfect Blue):

Supershape → distinct silhouette forms, where punctuation ratios and bursts of speech bend the geometry.

Bitmask Weave → patterned interference fields, a glitch-like textile woven out of line density.

PolyGlyph → convex hull “signatures” that shift with the film’s lexical variety, punctuation energy, and rhythm of silence.

I’ve also layered some of the raw renders together into composite panels — more chaotic, more textile, but already suggesting directions for future ProcessZine spreads, posters, and even album packaging.

These shapes aren’t spectrograms in the audio sense; they’re closer to misheard timelines, where captions collapse into patterns that look as much like language residue as visual echoes.

Each renderer has its own eccentricities — the task now is less about “cleaning” and more about curating difference: finding the settings, weights, and accidents that make each film unmistakable.

All valuable material for the archive, and for the future zines/graphic outputs.