Visitors to the Art League gallery can get an idea of what the audio interpretations might sound like by donning headsets at four stops.
At home, it might be audio and video players or computer printers, MP3 music servers or Internet appliances that it can communicate with.
Just recently Wired wrote about how companies might use audio to transfer data, which may be part of Google's plan for Redux.
For example, if you're a fan of a particular sports team, and they won their last game, you might hear audio content featuring more praise and cheering from the commentators; but if your team lost, the news returned may have a less emotional tone.
When Fenda went dark, many speculated on what its real tech problem might be: audio is much harder to censor than text.
Other sections might include audio controls, a "tool box," special effects, a place to add titles, and a second video screen to check imported footage.
In fact, my mind's been abuzz with ideas for how anarchic artists might secretly spirit audio overlays into all kinds of theatrical productions.
In a recent conversation in advanced digit-English with The Times's new-media guru, Martin Nisenholtz, C.E.O. of Times Company Digital, I was told that my column might someday, in audio or video form, be part of streaming media.
The audio might get kind of rough.
In practical application scenarios, for example, transmitting an unknown music clip through cell phone and wireless telecom network, the audio might often be contaminated by various audio distortions like lossy compression, environmental noise, echo adding, time stretching, and pitch shifting.
