Sound Objects

I was inspired by this concepts in electronic music:

  • In musique concrete and electronic music theory the term sound object (originally l’objet sonore) is used to refer to a primary unit of sonic material and often specifically refers to recorded sound rather than written music using manuscript or a score. It was coined by Pierre Schaeffer in his publication Traité des objets musicaux (1966).
  • Curtis Roads, in his 2001 book ‘Microsound’, while attributing the origin of the term to Pierre Schaeffer, describes the sound object as “a basic unit of musical structure, generalizing the traditional concept of note to include complex and mutating sound events on a time scale ranging from a fraction of a second to several seconds.”

Based on the above concepts, the main ideea was to creat sound installation, sound art, sound objects using A.I. frameworks like MidJourney, and to get a sequence of frames based on the first image generated by AI prompt (text to image). Every first image get a random seed and the rest of frames are generated with the same prompt but the seed number is incremented by 1. So the the sequence of images are very close to each other but with small changes, that in this case simulate a king of morphing or give an organic feeling of the sound objects.

Gallery – Sound Objects – Part I

Gallery – Sound Objects – Part II


  • Schaeffer, Pierre (2002) [1966]. Traité Des Objets Musicaux: Essai Interdisciplines (in French) (2nd/Nouv. ed.). Paris: Éditions du Seuil. p. 271. ISBN 978-2-02-002608-6. OCLC 751268549. For English translation, see: Schaeffer, Pierre (2012). In Search of a Concrete Music. Translated by North, Christine; Dack, John. London: University of California. ISBN 978-0-520-26573-8. OCLC 788263789.
  • Schaeffer (2002), pp. 74-79.
  • Schaeffer, North & Dack, Pierre, Christine, John (2017). Treatise on Musical Objects: An Essay across Disciplines. California: University of California. p. 65. ISBN 9780520294301.
  • Roads, Curtis (2004). Microsound. London: MIT Press. p. 3. and Microsound (2nd ed.). Cambridge, Mass: MIT Press. 2001. p. 409. ISBN 978-0-262-18215-7.
  • Wishart, Trevor (1996). On Sonic Art. Amsterdam: Harwood. p. 146. ISBN 3-7186-5847-X.