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FRANCISCO COLASANTO PDF

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Francisco Colasanto is on Facebook. Join Facebook to connect with Francisco Colasanto and others you may know. Facebook gives people the power to share. Giga-Hertz Award & Walter Fink Prize. Award Ceremony. Projects. Red plaque with “Giga-Hertz-Award” in white letters ยท Giga-Hertz Award. Francisco Colasanto. Buenos Aires (Argentina), Composer. Francisco Colasanto. Complete List of WorksComplete List of Albums.

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Did you feel in writing this that there was a strong demand for such a text?

An Interview with Francisco Colasanto

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. I started working with Max in I’ve already begun to write it. We can also include Brazil, as Brazilian Portuguese is close to Spanish, and many people will be able to read the book there.

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. I love exploring the interaction between acoustic instruments and electronics. I think the same happens when you learn Max. If this book were the start of a series, how would you follow it up?

As far as I know, there is no any other version in Spanish. The second will be entirely related to signal processes, i.

There was no Max literature into Spanish, and in fact I think my book is actually the first Spanish book on this topic. Is there anyone using Max in really wonderful ways or people who deserve more attention?

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I’ve also read Todd Winkler’s book, but that was all.

I studied Csound a lot, and when I found Max it was like a revelation. There are a lot of enthusiastic people in Argentina working in many of the universities in Buenos Aires, Cordoba, Santa Fe, and several others.

Are you planning to write other books on Max?

Francisco Colasanto โ€” electrocd โ€” The Electroacoustic Music Store

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. After following all the projects proposed and when you finish the book, you should be ready to create complex and framcisco patches for the development of an interactive project.

How were you introduced to Max? Although my book about Max took almost 3 years frahcisco my life, I’m composing music for mixed media when I’m not writing.

Francisco Colasanto

Muchas gracias un saludo. We’ve seen some really phenomenal technology-based work and New Media institutions popping up in Latin America in recent years, but North Americans are largely unaware of these developments.

There are many artists currently working with interactive techniques and many others interested in getting started. To do this, each new object 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. Did you feel that it was important to provide a solid foundation of message-based patching before delving into signal-processing? 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.

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In my opinion, there’s a strong demand in Latin America. An Interview with Francisco Colasanto โ€” Cycling Could you put a link back to us? I also wanted to provide some literature on the subject that could be used by Max teachers in Latin America. I can remember myself spending many hours a day studying Max, and I did so for 5 years of my life. At that time I was working in a small electroacoustic music laboratory in Buenos Aires.

You can learn how to write in Max as you learn to speak another language. When you aren’t writing books about Max, what else do you do?

Francisco Colasanto

You focus a large portion of the book on Max objects and MIDI, leaving sound processing for the later chapters. The first thing I did was to migrate all my orchestras from CSound to Max. How would you describe the teaching methodology used here? We’ve linked to you on BlogInterviewer. That’s why I think is critical to provide a solid base of the message-based patching before delving into signal-processing. 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.

I realized that I could create visual program routines using interconnected colasanyo. Sign in to reply.