A. L I F E. B E Y O N D.

Where certain artists use manifestos to limit themselves in order to create and write music, others prefer having a unique process in order to obtain a very personal sonic and musical identity. Deantoni Parks is one of them.

Unlike other drummers who play different instruments and record them individually for their solo albums, Deantoni plays the drums in real time on every single one of his tracks. The other sounds come from his laptop. However, they are not pre-recorded. They are also played in real time by Deantoni thanks to a midi keyboard. In facts, he plays with one hand what a lot of good drummers can’t with both hands and uses his other hand to play tiny sample fragments. He calls this method Technoself.

Playing the drums since he was 2 years old, Parks collaborated with John Cale (The Velvet Underground), Omar Rodríguez-López (The Mars Volta), Moby, and was part of the bands KUDU and The Mars Volta. A few years ago, he reduces his number of collaborations in order to focus on his solo career as a drummer and that is how he came up with Technoself.

“I wanted to blend acoustical drumming with the amazing palette of samples together, in real time and let that be the art.”

In 2015, the Californian record label Leaving Records releases his album, Technoself, allowing us to witness Parks’s technique, his precision, and his control. He also states, on the back of the album cover, that “all edits were for lengths” and that “there are no overdubs or loops on this record.”

Even though Technoself is a simple method, it possesses an infinite freedom. Deantoni changes tempo and time signature throughout songs, as it is often the case in Heavy Metal, Prog Rock or Jazz. He doesn’t hesitate in using a large palette of samples, allowing us in recognizing some here and there. In the video below, he utilizes an excerpt from Rush’s song Tom Sawyer.

We know that music and technology are linked and that it is possible thanks to humans. Yet, with his music and his method, Deantoni Parks shows us that the human is at the core of the creative process and that the piece of gear that is the most important when making music is the human body.

As citizens of this world, we have always felt the need to create. Whether it is art or technology, we have always created, may it for the best or for the worst. Giving birth to something is a very strong need for us and perhaps it is the reason why we created so many different musical genres. These different kinds of music exist because, at a point in time, someone started wondering and has attempted to find answers by creating a notation system, an instrument or a tool.

We are now living in a time when we – more or less – have access to music creation tools. Yet, I feel that when we talk about music we forget to mention a very important thing: how it is made. We forget to talk about the production principles, the decisions taken and, the everyday life of musicians, which, during the creative process, can bring up doubts, worries, and helplessness. In order to face these emotions, some artists decide to take a different direction. A path guided by rules to follow, fundamental principles to use, and sometimes, a manifesto.

But what is a manifesto? Why limit yourself when everything is possible? But then, why not? Perhaps it helps the artist to have better focus? To go straight to the point? It may just be the help needed because creating is complicated enough, tedious and emotionally exhausting. I have come to realize that the reasons why one would use a manifest can be all of the above, but most importantly different for each artist  – I am only mentioning a few in order to avoid having to write a book.

In September 1978, Brian Eno writes and publishes his manifesto for the creation of what he calls Ambient Music. In this broad manifesto, he explains why he needs to write it. It is a guide – not of use, but of creation. It is broad enough so that the artist can come back to it at any time when composing ambient music. Eno’s text will also influence many artists who will then use it as a starting point to create – their – ambient music.

This manifesto isn’t the only one facilitating artists to “create” a new musical genre. In 1991, in the US, Kathleen Hanna, lead singer of the band Bikini Kill, publishes in the fanzine “Bikini Kill Zine 2”, the Riot Grrrl movement’s manifesto. It is the realization of their desires of independence, unity but also – and most importantly – of the feminists and humanistic values which are at the core of the movement. As opposed to Brian Eno’s manifesto, the Riot Grrrl’s one is precise, militant and politically charged. It is the foundation of a marginal group among an already alternative movement.

It becomes clear that the manifesto is taking (back) its original meaning which is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. The manifesto has a strong notion of politic activism, as well as its justification and Matthew Herbert’s is one of the most interesting ones. Unlike the previous manifestos, his is personal. He opens it by stating the following:

“This is a template for my own work and not intended to be a definitive formula for writing music, either by me or by other people.”

Therefore, we are presented with a rigid and precise text formulated as a list of rules and limitations that Herbert has to follow – as much as possible – throughout his career. These rules and that manifesto are at the core of his musical practice. Entitled “Personal Contract For The Composition Of Music [Incorporating The Manifesto Of Mistakes]” it presents us the concept of a contract that Matthew has to commit to when writing music. He also states that “the sampling of other people’s music is strictly forbidden” and that “only sounds that are generated at the start of the compositional process or taken from the artist’s own previously unused archive are available for sampling”.

For that particular reason, he has had to manipulate sounds of chicks, the human body food, and yes, explosions. This experimental approach to making music results in defining what it means to live on Earth in today’s context. Thankfully for us and for himself, Matthew Herbert allows himself, from time to time, to make music without his manifesto. During Ableton’s 2016 festival “Loop”, he admits that it is brilliant to take a break and make music without any rules or limitations whatsoever. However, that doesn’t prevent him from feeling a bit of guilt, which may seem strange at first. Yet, if we try to put ourselves in his head and his views about creation, we can only understand his feeling if making a mistake by not respecting them.

In all 3 cases,  working with a manifesto has proven to push the artist in creating in a greater space than the one of individualism and ego. It is a way of working that aspires to inspire others to make better, to have a place that makes sense, that is intelligent and that is constantly reflecting on the way the world works.

As an art and design student, I had to write papers on art and design quite often. It has been a while since I have done that. I feel like now is the time for me to get back into it by talking about a portrait by the American photographer William Eggleston. Probably one of my favorites. Before I begin, here's a disclaimer: what you are about to read is my sole and unique interpretation of the artist's piece.

About a year ago I went to the National Portrait Gallery in London to see William Eggleston's exhibition. This is the second time that I've seen one of his exhibits. The first time was two years ago, in Paris, at the Henri Cartier-Bresson Foundation. I was astonished by his photographs, their compositions as well as their colors. One picture stood out more than the others. It is an untitled portrait of his uncle, Adyn Schuyler Senior, in a dark suit, standing by a white car with his hands in the pockets of his trousers. Behind him, a black man wearing a white blazer and black trousers is standing in the same posture. Jasper Staples is Adyn's assistant/driver/butler. Both men are looking in the same direction, in what appears to be a park by a lake in fall.

I found this photograph extremely powerful because of what it represents to me: the Afro-American history. I don't claim to be an expert on the matter, nor am I one in art history or photography. However, because I have studied in visual communications in art school, and because I have read a lot about Afro-American history during my teenage years, I have a certain understanding of these subjects. I feel that this photograph is not just a portrait of the artist's family, but a representation of America and its history regarding white and black communities.

If we look closely, we can notice that both Adyn and Jasper are holding the exact same posture - may it be intentional or not. I see this as a parallel to both the place and the situation of black people in the USA. Always behind the white (man). We have all heard about slavery, the civil rights movement and Black Lives Matter. However, as much, or as little as we know about these, they are quite difficult to relate to and understand if not part of a minority.

There was a time during which, black men and women were able to live in America, however, under certain conditions, and this situation is what I see in this photograph. I am sure that this was not intended. Regardless, this is what I see.

Jasper, the driver has the right to stand by his employer, in sharp looking clothes and in the exact same posture as Adyn, but a few steps behind. He can basically do the exact same thing as his employer does but on a different level. A lower level. The black community in America has always been able to do the same as the white community has but on a different level. This is why black universities, banks and other businesses/entities exist in America. Because black people couldn't do these things around white people. The same could be applied to other minorities living in the US.

I know that what I wrote above can seem far-fetched, however, this is how I see and read this amazing portrait. You might not read it in the same way and it's ok, as I believe that the true beauty of art isn't the piece itself, but what we take and make of it as a viewer.

It is at the beginning of the early 2000’s that I started to give Hip-Hop a lot more attention. I was reading books and magazines about the culture, as well as watching documentaries about it and listening to rap. There is something that stroke me while learning about the culture. Logos. The logos that rappers, rap groups, clothing brands and crews had been unheard of – to me. I was astonished by the aesthetics involved in Hip-Hop’s visual identity. It was bold, filled with character, colourful, but mainly honest and authentic. It embodied Hip-Hop. While discovering that visual universe, one of the logos hit me more than any other. Wu-Tang Clan’s “W”.

This logomark fascinated me and still does. I remember being obsessed with it. Spending hours drawing it from memory on any piece of paper that I had. It was like if I was possessed. There was a certain satisfaction in being able of (massively) reproducing such an iconic logo. I would then try to draw the different variations of it. I did this because I had found something that spoke to me. It was a shape that was easy to reproduce, while still being unique. The thing is that I had not yet heard any of their music, but was able to still understand the importance of that mark. Not what it meant but more what it represented: the strength in numbers and that the unity of the rap group was as strong as the roots of a 300-year-old tree. It was just like in the old Kung-Fu and Shaolin flicks that my uncle used to watch. It is a symbol of truth, unity and honour and remains one of my favourite logos out there. Not only I have a strong connection to it due to my love for Hip-Hop, but it is also a logo that remains relevant after 20 years of existence, which is the most important that a logo has to do. Staying relevant. This would have not been made possible without Mathematic's mind. Thank you.

Why do we do what we do? Why do we enjoy things that others don’t? Why do certain things in this world fascinate us? Why do we ask “why”? To be honest, I am not sure why. What I do know is that we are curious beings. No matter what it is, we will discover it, research it, read about it, then, we’ll talk about it. We’ve been through these stages several times in our lives. It is the time for me to go through those again.

Yes, this is an article about Los Angeles. A Los Angeles that has fascinated me for years. I am talking about the Los Angeles from Flying Lotus’s album cover “Los Angeles”. I remember the first time that I listened to it. It was at the time when I was studying graphic design in Saint-Etienne, France. I would visit my family and friends in Lyon during the weekend. I was at Thomas’s apartment, who is a great friend of mine. We were listening to music. He started to play the entire “Los Angeles” album. As much as I enjoyed listening to it, it was the cover that caught all my attention. I was puzzled and intrigued. I thought that it was a better version of the famous Massive Attack album cover. Even though I am a trained designer, I was never able to figure out what is on that album cover, until last year.

While researching for a blog post I was writing for work, I found the answers to my questions. It was right before my eyes. I was happy to find out what it was, yet, I felt disappointed. For a while, I considered the image to be the photograph of a Grace Jones type of woman, wearing a strange leather mask covering her whole face, apart from her lips. Later, I moved on to the idea that the black shape on the white background could be a painting or a piece of 3D rendering. It turns out that I was wrong. Unexpectedly, it was a sculpture. I couldn’t believe it. All the images that my brain imagined didn’t exist. None of it was real. The sculpture that Timothy Saccenti photographed for the cover is, however, very real.

I understand why “Los Angeles” looks this peculiar and memorable. I also know why it was so hard to get my head around it. I am happy to know that my brain still sees different things, even if I know that the represented object is a real sculpture. Los Angeles is real and so is my imagination. How is yours doing? I’d love to read about the album cover that made you imagine things that aren’t what they actually are.

As people, it is very common to enjoy simple things. A nice smoked piece of meat, a great song, a sip of freshly squeezed juice. Basically, anything that is good for us. I get to enjoy these things, but I also things such as the shape of a letter. This might sound strange to some people, but for designers and other like-minded folks, this is pretty standard. We all have a few favorite fonts but when it comes to letters, it is a different story. I love Gotham Black’s uppercase G!

I remember the first time I saw that letter. It was in a documentary by French filmmaker Jean-Baptiste de Laubier entitled “Hooligan Disco”. The font was used on a black background in between sharp cuts of Para One’s US touring footage. It was there to introduce the viewer to the upcoming chapter. As simple as it was, I witnessed it’s extreme efficiency and was instantly blown away!

From that point on, I did my best to hunt down that font until I got its name. Gotham. A font named after the imaginary city of Batman was amazing to me. Actually, it still is! This is why knowing its name filled me with great joy! I was still a student at the time, and couldn’t afford to pay hundreds of dollars for a font. I managed to “acquire” a copy of it through a friend’s friend. Once I installed it, I opened Illustrator and typed in the words “Gotham City” in Gotham Black. I remember staring at the capital G. Trying to understand it. Analyse it. I couldn’t break the reason why it is so perfect. Eventually, I gave up and realized that some things aren’t meant to be decoded and understood. Some things are just meant to be admired.