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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However, there is also not enough literature into English.
Max/Msp: Guía de Programación para artistas – Francisco Colasanto • BookLikes (ISBN)
Today, in a world of technology that becomes obsolete at birth, we wonder what the meaning of a text about a specific tool. Who is this book for?
Manual authorization, support cases, and manual order processing will be delayed. You can expect a very detailed and step-by-step guide to get introduced in Max programming. Do you see a lot of Max usage in Spanish-speaking countries?
In the first instance could be identified as the result of the new frahcisco of work CMMAS, where we try to actualize and utilize the latest technologies for the creation, dissemination and distribution cplasanto content. I’ve also read Todd Winkler’s book, but that was all.
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I can remember myself spending many hours a day studying Max, and I did so for 5 years of my life. We’ve seen some really phenomenal technology-based work and New Media institutions popping ftancisco in Latin America in mxa years, but North Americans are largely unaware of these developments.
Could you put a link back to us? That’s why I think is critical to provide a solid base of the message-based patching before delving into signal-processing.
I thank Francisco for sharing with us, colawanto 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 Thus, it supports a form of learning that transcends specific versions and models.
You usually don’t learn German by reading Goethe or Italian reading Dante; instead, you start with simple phrases, sometimes a bit dumb, and usually without a specific daily use. Where are you from? Did you learn from the English tutorials that ship with Max or was there something in Spanish that you were able to access?
As far as I know, there is no any other version in Spanish. It also demonstrates a commitment to teaching and coladanto seriously and I fraancisco say is unique in its kind in Latin America and probably internationally. That’s why Max is always present in our activities.
An Interview with Francisco Colasanto.
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. Muchas gracias un saludo. But this kind of phrases teaches us the structure of a language and how to build it. Areas of activity Achievements Agreements Academic advisors Staff. Did you feel that it was important to colsaanto a solid foundation of message-based patching before delving into signal-processing?
Sep 27 8: I think the same happens when you learn Max. What can someone expect to learn frahcisco reading this book?
CMMAS – Max/MSP: guÃa de programaciÃ³n para artistas Volumen 2. | Events, activities, news
I’ve already begun to write it. With this, the Centre aims to become an alternative capable of promoting the intelligent use of professional and advanced tools.
This text complements the editorial efforts of CMMAS so unique in that it becomes the most ambitious training and research.
This project is a cornerstone for achieving this goal and I’m sure will be an important part of a change in the landscape for Spanish-speaking artists to which the text will provide the necessary information to join, so prepared and criticism, technological artistic medium internationally.
The same happens in Mexico, we currently organize regular courses at CMMAS, and there are always many people interested in them.
In my opinion, there’s a strong demand in Latin America. An Interview with Francisco Colasanto — Cycling My intention was always to write a book that could be used by anyone wanting to get started with this, so the first chapter mxx the first concepts of Max and its interface. There was no Max literature into Spanish, and in fact I think my book is actually the first Colasatno book on this topic.
I started working with Max in How would you describe the teaching methodology used here? 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 several things worth mentioning. 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 every year in November. 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.
At that time I was working in a small electroacoustic music laboratory in Buenos Aires. Published September 28, After following all the projects proposed and when you finish the book, you should be ready to create complex and useful patches for the development of an interactive project. Can be used as a reference source on the Max programming language, which has become essential for all artists interested in the control of audio, MIDI devices and current cutting edge technologies, but at the same time I am sure to be a invaluable resource for those who are interested in learning step by step programming language that is installed as central today and experience it so clearly linked to the creative process.
I love exploring the interaction between acoustic instruments and electronics.