The concept is simple: 100 of the best underground artists and designers working today were given a scale Darth Vader helmet to customize as they saw fit. Some of the most notable artists involved with the project include: Shag, Peter Kuper, Attaboy, Gary Baseman, Tim Biskup, Dalek, Paul Frank, Ron English, Jeff Soto, Michelle Valigura, Frank Kozik, Wade Lageose, Joe Ledbetter, Alex Pardee, Suckadelic, Cameron Tiede, Mister Cartoon, Marc Ecko, and Amanda Visell. Plus, new artists are added to the lineup from time to time.
Since it's conception in 2007, the Vader Project has been displayed at various Star Wars conventions around the world, but the exhibit at the Warhol marks it's first appearance in a museum setting. So, if you can't make it to Pittsburgh in time, hopefully the project will come to you sometime in the not-too-distant future.
PARA LOS CURIOSOS QUE QUERIAN SABER COMO SE HACE UNA CANCION EN EL GAMEBOY EL "LSDJ" ES UN CASSETTE COMUN Y CORRIENTE CREADO POR Johan Kotlinski(EL ROLE MODEL DE EL CHIPTUNE) EL PROGRAMO EL '"LSDJ" CON LA IDEA DE QUE SE PUDIERAN HACER MELODIAS MAS COMPLICADAS EN UN APARATO QUE SE PUDIERA TRANSPORTAR A TODOS LADOS :D MAS BIEN QUE SIEMPRE PODAMOS TRAER A LA MANO AQUI LES DEJO UN VIDEITO
NO PIENSEN QUE ES FACIL PORQUE NO LO ES ES MUCHO TIEMPO Y MUCHA DEDICACION..ALGO QUE LE PODRIAMOS DECIR MUY PERO MUY GEEK!!
chiptune, or chip music, is music written in sound formats where all the sounds are synthesized in realtime by a computer or video game console sound chip, instead of using sample-based synthesis. The "golden age" of chiptunes was the mid 1980s to early 1990s, when such sound chips were the most common method for creating music on computers. Chiptunes are closely related to video game music, which often featured chiptunes out of necessity. The term has also been recently applied to more recent compositions that attempt to recreate the chiptune sound for purely aesthetic reasons, albeit with more complex technology. Early computer sound chips had only simple tone and noise generators with few channels, imposing limitations on both the complexity of the sounds they could produce and the number of notes that could be played at once. In their desire to create a more complex arrangement than what the medium apparently allowed, composers developed creative approaches when developing their own electronic sounds and scores, employing a diversity of both methods of sound synthesis, such as pulse width modulation and wavetable synthesis, and compositional techniques, such as a liberal use of arpeggiation. The resultant chiptunes sometimes seem harsh or squeaky to the unaccustomed listener.
Historically, the chips used were sound chips such as: Ricoh 2A03 on the Nintendo Entertainment System or Famicom the analog-digital hybrid Atari POKEY on the Atari 400/800 and arcade hardware the MOS Technology SID on the Commodore 64 AY-3-8910 or 8912 on Amstrad CPC, Atari ST, MSX and Sinclair ZX Spectrum Yamaha YM2612 on Sega Mega Drive Yamaha YM3812 on IBM PC compatibles For the MSX several sound upgrades, such as the Konami SCC, the Yamaha YM2413 (MSX-MUSIC) and Yamaha Y8950 (MSX-AUDIO, predecessor of the OPL3) and the OPL4-based Moonsound were released as well, each having its own characteristic chiptune sound. The Game Boy does not have a separate sound chip but both instead use digital logic integrated on the main CPU. Paula is known as the sound chip on Amiga, but is not really a sound generating chip by itself. It is only responsible for DMA'ing samples from RAM to the audio output, similar to the function of modern day sound cards. Most of (but not all) chip sounds are synthesised by simply dividing a clock square wave to get a square wave of desired frequency, and sometimes using a sawtooth/triangle wave from volume LFO or an (ADSR) envelope to get some kind of ring modulation. LFOs are used to control or influence a sound parameter such as pitch or filters in a repeating cycle. The technique of chiptunes with samples synthesized at runtime continued to be popular even on machines with full sample playback capability; because the description of an instrument takes much less space than a raw sample, these formats created very small files, and because the parameters of synthesis could be varied over the course of a composition, they could contain deeper musical expression than a purely sample-based format. Also, even with purely sample-based formats, such as the MOD format, chip sounds created by looping very small samples still could take up much less space. As newer computers stopped using dedicated synthesis chips and began to primarily use sample-based synthesis, more realistic timbres could be recreated, but often at the expense of file size (as with MODs) and potentially without the personality imbued by the limitations of the older sound chips. The standard MIDI file format, together with the General MIDI instrument set, describes only what notes are played on what instruments. General MIDI is not considered chiptune as a MIDI file contains no information describing the synthesis of the instruments. Common file formats used to compose and play chiptunes are the SID, YM, SNDH, MOD, XM, several Adlib based file formats and numerous exotic Amiga file formats.
JAWA BREAKCORE. The Jawa technique is a method of video and audio sequencing developed by Toronto video artist Tasman Richardson. Taking its name from the scavenger race of the Star Wars universe, the Jawa technique edits found material into new compositions, just as the Jawas of Star Wars would rebuild found droids into new droids. Jawa can be seen as an extension of the ideas of musique concrete. a method of composition using sounds outside the normal spectrum of music, a practice that Jawa extends by using the intimate connection of video and audio. Jawa is video concrete. What distinguishes it from other methods of video editing is the attention paid to the relationship between the audio and the source video. Unlike music videos or VJ performances, in which video is added afterwards to accompany the musical composition, Jawa video and audio are taken from the same source. For example, a Jawa piece might use an explosion from a big-budget action movie because it is highly visual, but also because the sound of the explosion can be used as a percussive element in the composition. The sample is sequenced to create both audio and video rhythmical patterns. The repetition of the explosion sample is akin to the rhythm of a techno kick-drum.