Beyond Text: Relational Shards for Music, Audio, Image, and Video: A Secretary Suite Project
DOI: [To be assigned]
John Swygert
August 25, 2026
Abstract
This paper generalizes the relational-shard architecture beyond language while preserving an important distinction: all digital media are ultimately encoded as bits and bytes, but the most useful shard boundaries for analysis, reuse, compression, provenance, and reconstruction usually occur at higher representational levels. In audio, a useful unit may be a sample block, spectral event, note, beat, motif, phrase, stem, or section. In images it may be a pixel block, feature region, object, layer, or scene component. In video it may be a frame region, motion segment, shot, transition, scene, object track, or narrative unit. The paper proposes a modality-neutral relational model, multiscale fingerprints, cross-modal provenance, adaptive routing, and future compression experiments. It explicitly distinguishes this work from established perceptual codecs and multimedia fingerprinting: the proposed contribution is an interoperable shard/provenance/reconstruction layer that can sit above or beside conventional codecs and exploit shared higher-order structure when doing so reduces total cost or improves traceability.
1. Language as the First Laboratory
Text is a convenient starting point because symbolic boundaries can be inspected directly. The broader architecture should not depend on words or sentences.
A shard is better defined as a bounded relational information unit at a selected scale.
2. Modality-Neutral Ladder
Signal -> primitive units -> local patterns -> structures -> relational units -> higher-order compositions.
The exact meaning of each level depends on modality.
3. Audio Scales
Physical/sample scale: PCM samples or compressed frames. Signal scale: spectral components, transients, pitch contours, timbral features. Musical scale: notes, beats, chords, motifs, phrases, stems, sections, performances.
Different tasks should choose different shard boundaries.
4. Music as Relational Structure
Music depends heavily on relation: interval, rhythm, repetition, variation, harmony, orchestration, expectation, and temporal hierarchy.
Two passages may be structurally related despite transposition, tempo change, instrumentation change, or local ornamentation. Exact waveform matching alone cannot express those relations.
5. Image Scales
Pixels and blocks support physical compression. Higher levels may include edges, textures, segments, objects, layers, repeated backgrounds, layouts, and semantic regions.
A provenance-aware system could distinguish reuse of an exact asset from independent generation of a visually similar structure.
6. Video Scales
Frames are not the only natural units. Motion tracks, shots, edits, scenes, repeated intros, lower-thirds, backgrounds, animations, and narrative segments can become shards.
Temporal relation is fundamental: order and duration can change meaning without changing the frame inventory.
7. Existing Codecs Remain Essential
JPEG, AVIF, AAC, Opus, H.264/AVC, HEVC, AV1, and successors already provide sophisticated signal compression. The relational layer should not attempt to replace them where they are efficient.
Instead it can reuse known assets, shared segments, templates, and higher-order structures across files or projects.
8. Cross-Asset Deduplication
A production library may contain the same logo, intro, music bed, animation, background, or clip in thousands of outputs. Content-addressed physical blocks can remove exact duplicates; relational shards can also track the logical identity and permitted transformations of the asset.
9. Transform-Aware Reuse
A musical motif transposed to another key, an image resized or color-adjusted, or a video segment cropped and captioned may derive from the same source while differing physically.
Transform-aware provenance can represent source + operation + parameters rather than storing every conceptual relation only as unrelated files. Whether this saves bytes depends on the transform and codec.
10. Multimodal Fingerprints
Fingerprint vectors can contain physical hashes, perceptual hashes, spectral/audio features, motion signatures, object identities, temporal structures, relational patterns, and provenance paths.
Similarity and derivation must remain separate: perceptual resemblance does not prove copying.
11. Cross-Modal Shards
A scene may bind transcript, audio, video, captions, music, and metadata. Treating them as a relational bundle preserves synchronization and provenance while allowing each modality to use its own physical codec.
12. Storage Objective
Store exact recurring assets once where possible; store transformations or references when cheaper; preserve independent versions when reconstruction risk or compute would exceed savings.
Logical relationships should guide reuse without dictating physical encoding.
13. Transmission Objective
If sender and receiver share media assets, a manifest can transmit references, edits, timing, and novel payload instead of entire compositions. This resembles the text relational-codec strategy but must be tested against mature media codecs.
14. Computational Cost
Media reconstruction can be expensive. A tiny transform manifest that requires minutes of rendering may be inferior to sending a compressed asset. Total cost therefore remains the governing metric.
15. Rights and Provenance
Media systems require robust ownership, licensing, attribution, and transformation history. Provenance metadata can be as important as compression because an efficient reconstruction that violates usage rights is not an acceptable result.
16. Experimental Roadmap
Begin with exact repeated assets and simple deterministic transforms. Then test music motif matching, repeated video segments, image components, and cross-modal bundles. Compare against conventional perceptual fingerprinting and codec baselines.
17. Binary Substrate and Meaningful Scale
Every representation ultimately becomes bits and bytes for storage and transmission. That does not imply that bit boundaries are always the best analytical boundaries.
The architecture should move freely between physical and semantic scales, selecting the level that provides the best verified efficiency for the task.
18. Conclusion
The Shard Library can become modality-neutral without pretending that every medium behaves like text. The common principle is relational: preserve identity, transformation, provenance, order, scope, and state at whatever scale makes reconstruction, reuse, compression, or analysis measurably better.
Methodological Guardrails
Compare against strong existing baselines; never claim gains relative only to raw/uncompressed data.
Count manifests, hashes, provenance, indices, repair traffic, and routing overhead as real cost.
Keep logical shard boundaries separate from physical storage/chunk boundaries.
Distinguish exact byte reconstruction from functional or semantic reconstruction.
Treat similarity as evidence of resemblance, not proof of derivation or shared provenance.
Publish crossover points and negative results where conventional methods win.
Use cryptographic integrity checks for exact reconstruction experiments.
Treat security, privacy, and access boundaries as constraints, not optional afterthoughts.
Mappability to TSTOEAO is not validation; empirical advantage must be demonstrated.
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