Francisco Colasanto is the author of Max/Msp ( avg rating, 0 ratings, 0 reviews , published ). Francisco Colasanto is writing the second volume of his book. ISBN: pending. All rights reserved. Made in México. Translation: Roberto Becerra . Translation review: Tim Poulin. Cover design: Francisco Colasanto.
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Those of us around him have seen the growth of the project had been planned even before the birth of CMMAS and have seen the tenacity and conviction with which he has worked on this new step in extending the scope of such a significant project. Program Guide for Artists” in its new phase represents a tangible sign of concern Colasanto for sharing their knowledge of the transcendent tool in recent years with the composers and sound artists interested in technology.
There are also many people doing things in Spain, of course. Procedures, examples and levels of depth and complexity that controls the reader and allows then, whenever we need to rethink review.
In the first instance could be identified as the result of fgancisco new phase of work CMMAS, where we try to actualize and utilize the latest technologies for the creation, dissemination and distribution of content.
I studied Csound a lot, and when I found Max it was like a revelation.
Max 6: Interface
Did you feel that it was important to provide a solid foundation of message-based patching before delving into signal-processing? There was no Max literature into Spanish, and in fact I think my book is actually the first Spanish book on this topic. Today, in a world of technology that becomes obsolete at birth, we wonder what the meaning of a text about a specific tool.
To do this, each new francosco comes with a sample patch using only the studied object and the objects that had been reviewed at the moment, so the student is able to confirm several times how these objects work in different situations. You can expect a very detailed and step-by-step guide to get introduced in Max programming.
New Max/MSP ebook in Spanish and English
It also demonstrates a commitment colaxanto teaching and research seriously and I dare say is unique in its kind in Latin America and probably internationally. I thank Francisco for sharing with us, so selfless and creative, knowledge and experience are now available through the new mobile devices, this paper has shown that serves the needs of many artists since its first edition printed in As far as I know, there is no any other version in Spanish.
The second will be entirely related to signal processes, i. This text is then the result of a personal and professional long time and tremendous effort that went from being single to being a team project. With this, the Centre aims to become an alternative capable of promoting the intelligent use of professional and advanced tools. Is there anyone using Max in really wonderful ways or people who deserve more attention?
The first thing I did was to migrate all my orchestras from CSound to Max. I think the same happens when you learn Max. In this interview, we get a chance to catch up with Francisco and learn more about his in-depth book as well as his work at CMMAS in Mexico and elsewhere. However, there is also not enough literature into English. Nov 27 4: Muchas gracias un saludo.
This text complements the editorial efforts of Francisc so unique in that it becomes the most ambitious training and research. Where are you from?
Francisco Colasanto (Author of Max/Msp)
But this kind of phrases teaches us the structure of a language and how to build it. How were you introduced to Max? Sign in to reply.
What can someone expect to learn from reading this book? I started working with Max in At that time I was working in a small electroacoustic music laboratory in Buenos Aires. It is without doubt a final step in our attempt to show that in Mexico can be a space of international scope that can promote the creation, training and production, while it remains a public nature center. Published September 28, Thus, it supports a form of learning that transcends specific versions and models.
You focus a large portion of the book on Max objects and MIDI, leaving sound processing for the later chapters. The methodology I used was to build knowledge as a pyramid, reviewing past concepts as new ones are introduced, so knowledge is enlarged and solidified. There are many artists currently working with interactive techniques and many others interested in getting started.
In Patagonia, in fact, a multimedia course was founded at Rio Negro University, and they want to use my book as an important part of their literature.
For CMMAS ,sp a central step in the consolidation of the aspirations of becoming a space for reflection on what technology and its implementation means for creative work.
CMMAS – Max/MSP: guÃa de programaciÃ³n para artistas Volumen 2. | Events, activities, news
This text Francisco has made all Max can understand from a perspective that is useful to us as artists. Are you planning to write other books on Max? Artists working with Max are able to present their job there as well as at “Visiones sonoras”, our international music and new technologies festival that takes place coladanto year in November. I can remember myself spending many hours a day studying Max, and I did so for 5 years of my life. colasantto
CMMAS is then a space of connection and transfer of knowledge through creative processes that can be shared only through experience and conscious reflection on the meaning and impact of new colaswnto. Although my book about Max took almost 3 years of my life, I’m composing music for mixed media when I’m not writing.