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When musicians speak of “practice,” we know they are referring to the laborious procedure of acquiring, improving, or maintaining technical skill and of the process of interpretation and iteration that is an unavoidable part of their profession. Isn’t it fascinating, however, that when designers speak of their “practice,” we assume they are talking about their business?
My interest in exploring this semantic inconsistency stems from my relatively recent coming to design from the field of classical music performance. As a designer, I am interested in exposing the circular, iterative, obsessive process of music through the hybrid, idiosyncratic methodologies I am beginning to call my own.