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Entry 343Filed under Breeding

Birds and bytes: how Benn Jordan taught a starling to reproduce data in sound

Benn Jordan’s starling experiment did not put a PNG file in a bird’s brain. It used a sound-based image encoding and a vocal mimic’s ability to reproduce unusual acoustic patterns.
10-minute read By Animalso Team
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Benn Jordan’s starling did not become a biological hard drive. In a July 2025 video, Jordan converted a simple bird drawing into a sound whose time-frequency pattern could be viewed as an image. After exposing a vocal-learning European starling named The Mouth to the sound, he reported finding a later vocalization whose spectrogram contained a recognizable version of that pattern.

That is best described as acoustic pattern learning and reproduction—not byte-for-byte PNG storage.

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Short answer: Benn Jordan did not teach a starling to understand a PNG file or store computer bytes in its brain. He converted a simple drawing into an acoustic pattern, exposed a vocal-learning European starling to that sound, and later found a bird vocalization whose spectrogram contained a recognizable version of the encoded shape. The result is best understood as acoustic pattern learning and reproduction—not literal biological hard-drive storage.

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What Benn Jordan’s starling experiment actually did

In a video published in July 2025, YouTuber and musician Benn Jordan described an attempt to make a European starling carry image information in its vocalizations. The bird, identified in coverage as The Mouth, had been raised around people and was already known for copying unusual environmental and artificial sounds.

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Jordan began with a simple PNG drawing of a bird. Instead of treating the file as a sequence of ordinary computer bytes, he transformed the drawing into sound. The sound was designed so that its changing frequencies over time would reproduce the drawing’s shape when displayed as a spectrogram.

After playing the artificial sound during a recording session, Jordan reviewed the resulting audio. In a later vocalization by The Mouth, he reported finding a similar image-like pattern in the spectrogram. The recovery chain was:

  1. Drawing: a simple bird image.
  2. Encoding: visual features mapped onto frequencies and time.
  3. Acoustic exposure: the resulting sound played around the starling.
  4. Vocal reproduction: the bird produced a later sound containing enough of the pattern to analyze.
  5. Recording: the vocalization captured for inspection.
  6. Decoding: the recording displayed as a spectrogram, revealing a recognizable approximation of the original drawing.

That is a remarkable demonstration. But it is materially different from a bird memorizing a file and retrieving it byte for byte.

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How a spectrogram turns sound into a picture

A spectrogram is a visual map of sound. In its usual form, the horizontal axis represents time, the vertical axis represents frequency—roughly, how high or low each component of the sound is—and brightness or color represents intensity.

Because a spectrogram is already a time-versus-frequency image, it can also be used as a kind of canvas. A designer can arrange energy at selected frequencies and moments so that the resulting sound looks like a line, curve, or silhouette when analyzed visually.

For example, a rising tone creates a diagonal trace. A brief burst at one frequency creates a small horizontal mark. Many carefully timed tones can form a more complicated outline. The speaker may hear chirps, sweeps, or other synthetic sounds, while the spectrogram reveals an image that was hidden in the sound’s structure.

Jordan’s technique used this relationship in reverse: rather than drawing a spectrogram after recording ordinary sound, he synthesized sound from a visual pattern. The starling’s task was therefore not to identify the meaning of a bird picture. It was to reproduce an unusual sequence of acoustic features.

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Why a starling was a plausible “read/write head”

European starlings (Sturnus vulgaris) are unusually capable vocal mimics. They produce whistles, rattles, trills, and other varied sounds, and they can imitate other birds and noises from their surroundings. Their repertoire may include human-made sounds when they have enough exposure to them.

Behavioral research has documented human-voice mimicry in European starlings and connected vocal learning with social experience. Other work on captive starlings describes them as open-ended learners: they can incorporate new song types rather than being restricted to a single fixed vocal repertoire. That flexibility can decline with age, which helps explain why an individual’s background and learning history matter.

The Mouth was not a random choice of animal. According to the coverage of the experiment, the starling had a human-centered upbringing and a history of copying artificial sounds. Those traits made it a more plausible subject for an audio-imitation experiment than a species with a narrow, rigidly inherited call set.

Still, the biology does not imply that the bird understood the encoded information. A starling can imitate the shape of a sound without knowing that the sound represents a bird drawing, a compressed file, or anything else meaningful to a human observer. The vocal system supplies a way to reproduce a signal; the signal’s human interpretation comes afterward.

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What was “stored” in the bird?

The phrase “a bird stored a PNG” is an attention-grabbing shorthand, but it needs several qualifications.

A PNG is a structured digital file. It contains headers, metadata, compressed image data, and exact byte values that software can check and reproduce. The reported starling experiment did not demonstrate that The Mouth retained those original bytes. It demonstrated that the bird reproduced an acoustic representation closely enough for an image-like pattern to reappear in a spectrogram.

A more precise description is:

The starling learned and reproduced an artificial acoustic pattern that carried visual information.

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That is still significant. Information does not need to be understood semantically in order to be carried by a signal. A modem can transmit data without understanding a photograph, and a magnetic tape can preserve music without knowing what a song means. In this case, the bird was part of the signal pathway—but a biological, variable, living part rather than a reliable storage device.

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What the reported 176 KB and 2 MB/s figures mean

Jordan and reports about the video described the reproduced signal as representing approximately 176 kilobytes of uncompressed information. Jordan also discussed a theoretical transfer rate approaching 2 megabytes per second under particular assumptions about the signal and its compression.

Those figures should be attributed to Jordan. They are not independently established measurements of a starling’s memory capacity or sustained biological data-transfer performance.

The 2 MB/s figure is especially easy to misunderstand. It does not mean that a starling can reliably accept arbitrary files at 2 megabytes per second. A practical rate would have to account for much more than the acoustic bandwidth of one reproduced pattern, including:

  • the time needed to expose the bird to the sound;
  • the time and repetition required for learning;
  • the bird’s own motivation, attention, and vocal variability;
  • failed or partially reproduced attempts;
  • the time spent searching recordings for a useful vocalization;
  • spectrogram settings and analysis; and
  • errors introduced when the bird changes, omits, or adds parts of the signal.

It is more accurate to call the number a back-of-the-envelope information-rate estimate for the acoustic representation—not a demonstrated throughput benchmark.

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What the experiment did not prove

The demonstration is creator-produced evidence, not a peer-reviewed storage study. The available reporting does not establish a controlled experiment with preregistered methods, multiple subjects, independently audited error rates, a released raw dataset, or a successful replication by another laboratory.

It therefore does not establish that:

  • European starlings generally make dependable data-storage media;
  • the starling reproduced an arbitrary file rather than one specially designed for spectrogram visibility;
  • the original PNG was recovered byte for byte;
  • the bird could retrieve the information on demand or at random positions;
  • the pattern would remain stable over a defined long-term period;
  • the bird could reproduce the pattern repeatedly with a known error rate; or
  • the signal was retained independently of contextual cues, playback, or the surrounding recording session.

Even the claim that this was the first time anyone had stored data in an animal should be treated as a claim made by Jordan or repeated in media coverage, not as a settled scientific priority claim. Demonstrations involving biological signals can be difficult to compare: “storage” might mean genetic encoding, neural learning, behavioral imitation, or simply information preserved in an animal-produced signal.

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Why this is more than a clever visual trick

The novelty is not that songbirds can learn sounds. That ability is well established. Studies of European starlings show that they can discriminate complex vocal motifs, acquire new material, and learn in ways influenced by social and auditory experience. More recent comparative work has also examined starlings’ ability to imitate complex artificial sounds, including synthesized multiphonic material.

The creative step was to make an artificial sound carry a visual pattern. Jordan used the starling’s existing vocal-learning ability as an unusual transmission channel. The bird did not need a concept of pixels or files; it only needed to reproduce enough of the sound’s time-frequency structure for the decoding process to work.

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That distinction illustrates an important boundary in animal communication research: an organism can preserve structured information without understanding its human meaning. A mimic may reproduce a sound because it is salient, socially reinforced, or learnable—not because it knows what the sound encodes.

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Could a person reproduce the experiment?

In principle, the digital portion is straightforward: create an image, map its visual features to time and frequency, synthesize an audio file, record the result, and inspect the recording with spectrogram software. The difficult and unpredictable portion is the animal-learning step.

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A responsible reproduction would need to distinguish exposure from learning. If a bird hears the source sound immediately before producing a similar sound, that does not by itself prove the pattern was retained. Stronger evidence would require controlled timing, repeated trials, blinded analysis of recordings, comparison with baseline vocalizations, and an objective way to measure how much of the encoded pattern survived.

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Any work with a companion or captive bird should also prioritize welfare over the result. Birds should not be deprived, frightened, repeatedly stressed, or pressured to vocalize. For wild birds, playback and close approaches can alter behavior, attract predators, disrupt territories, or disturb nesting animals. A spectrogram project is not a reason to treat an animal as a recording device.

So did a starling become a computer?

No—but it became part of an extraordinary demonstration of information carried through biological behavior.

The strongest defensible claim is narrow: The Mouth, a European starling with strong mimicry abilities, reportedly reproduced an artificial acoustic pattern closely enough that its encoded bird-shaped structure could be seen again in a recording’s spectrogram. That shows the power of vocal learning and a clever way to represent visual information in sound.

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It does not show bit-perfect PNG storage, a reliable read/write architecture, a validated 176 KB memory capacity, or a sustained 2 MB/s biological connection. Ordinary flash storage remains incomparably better for keeping files. The experiment’s value is conceptual: it makes visible the difference between understanding information and carrying information—and shows that a living vocal learner can sometimes do the latter in a surprisingly recognizable way.

Frequently Asked Questions

Did the starling really store a PNG file?

No. The bird did not demonstrably retain the original PNG’s headers, compression, and exact bytes. It reproduced an acoustic representation of a drawing well enough for a similar image-like pattern to appear in a spectrogram.

How can sound contain a picture?

A spectrogram shows frequency over time. By designing sound with energy at carefully selected frequencies and moments, a visual shape can be hidden in the spectrogram and later inspected as an image-like pattern.

What do the 176 KB and 2 MB/s claims mean?

They are figures attributed to Benn Jordan and reports about his video. The approximately 176 KB description concerns uncompressed information, while the nearly 2 MB/s figure is a theoretical acoustic information-rate estimate, not a demonstrated sustained transfer speed.

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Why was a starling used for the experiment?

European starlings are skilled vocal mimics and can learn varied sounds, including artificial and environmental noises. The Mouth reportedly had a human-centered upbringing and a history of copying unusual sounds, making it a plausible subject for this kind of demonstration.

The Bottom Line

Bottom line: Benn Jordan’s starling experiment demonstrated acoustic pattern reproduction, not literal PNG storage. A specially encoded sound was exposed to The Mouth, and a later bird recording reportedly recreated enough of its time-frequency structure for the original drawing-like pattern to reappear in a spectrogram. The result is fascinating evidence of vocal mimicry carrying structured information, but the reported 176 KB and 2 MB/s figures are estimates—not validated biological storage or throughput benchmarks.

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