Editor's Notes: Putting Max in Perspective

Machine Learning as Meta-Instrument: Human-Machine Partnerships Shaping Expressive Instrumental Creation

“…Composers have written of the value of creating "potential for change in the behaviors of computer and performer in their response to each other" (Moon 1997), of interfaces in which "interaction transcends control" (David Rokeby as described by Rowe et al 1993), becoming more "like conversing with a clever friend" (Chadabe 1997, p.287) or "sailing a boat on a windy day and through stormy seas" (Drummond 2009).…”

Programming in Style with bach

“…It has been observed that Max is essentially an imperative system in disguise [9]: as stated before, any nontrivial program in Max requires to take care of states and the order of operations, and analysing even a moderately complex patch can only be done by following the flow of data and the evolution of states over time. This is complicated by the fact that many objects whose purpose is carrying out specific operations also maintain a state that can be used to store values for later use.…”

A função multidisciplinar do compositor eletroacústico Uma abordagem operacional

“…Atualmente, softwares como Csound, MAX, Pure Data, SuperCollider, Open Music, entre outros, são ferramentas cada vez mais recorrentes no meio eletroacústico. Não se trata de linguagem de programação, nem de uma linguagem musical (ROWE et al, 1993). Mas, de instrumentos pessoais para acesso ao material eletroacústico, tanto para análise como para composição ou performance.…”