The Tao of Maceo: An Interview Of Multi-Disciplinary Artist & Behavioral Economist Maceo Paisley


interview by Summer Bowie

photographs by Dan Johnson

What does it mean to be a twenty-first century renaissance man? For Maceo Paisley, a wide range of disciplines comes together in a positive feedback loop that supports his indefatigable exploration of human behavior. Using embodied inquiry, he investigates his own identity and presents his findings in performance and film. A prolific writer of prose, he just released his first book Tao of Maceo, which takes inventory of his personal beliefs and aims to define his perspective more acutely. Stepping off the stage, he cultivates community through his Chinatown gallery, Nous Tous and a multi-pronged community practice/social innovation agency called Citizens of Culture. When he’s not writing, choreographing, curating, advising, and organizing, you might find him modeling or dancing for the likes of AirBnb or Justin Timberlake, respectively. Or you might find him enjoying a day to himself with a great book in hand. In the following interview, we learned about Maceo’s ever-expanding artistic practice, his time in the Army, and his unique approach to community organizing.

SUMMER BOWIE: Your short film, Dynamite investigates gender and identity, specifically the black, male experience through embodied inquiry. Can you talk a bit about the concept of embodied inquiry and any discoveries you made about your identity through this process?

MACEO PAISLEY: Yes, embodied inquiry, as I see it is a practice that deepens the thinking process by approaching ideas through the body. From the neurological perspective, we tap into kinetic intelligence, and somatics. From the more spiritual or philosophical perspective we tap into the bodies natural, sensual wisdom, as a reference point for our conceptual understanding.  

The most interesting discoveries have been around relationships, in partner dancing, where trust, communication, vulnerability, and boundaries aren’t just metaphorically applied, but fully actualized in the bodies of two dancers.

BOWIE: Speaking of masculine expression, I understand that before your career as an entrepreneurial creative, you earned a Bronze Star for your service with the Army in Iraq. Can you describe your tour in Iraq and do you feel this is a testament to your masculinity, or something else completely?

PAISLEY: I think that my time in the Army, was challenging, but it gave me access to a kind of masculinity that, when untempered appears as violent aggression, but when honed, can actually be useful as clarity and assertion.  It took me going to the extreme to know what limits I was comfortable with, but through that expression and exploration I was able to find a balance point and operate from there.

Iraq was a mixed bag, everyday was different, some days were almost boring, and other days there were mortar rounds blasting over our heads.

BOWIE: Aside from being a multi-disciplinary artist, you’re also a model, behavioral economist, an entrepreneur, a writer/magazine publisher, the president and director of Nous Tous Gallery in Chinatown and you oversee strategy and vision for a nonprofit called Citizens of Culture. That’s a lot to unpack and we’ll come back to these projects in detail, but have you always been such a polymathic person, and how do you manage to wear so many hats?

PAISLEY: It seems to me that my work is actually quite dynamic in practice but almost singular in focus. At core, I am deeply interested in the humanities as a field, so that might be the qualitative measurement of human behavior, or it could be the observational study of a couple arguing in a coffee shop, or the of publishing of works across whichever medium is most suitable for the audience.  

Art & science are often posed as opposites, but I believe that they are like twins separated at birth, who are both often misunderstood, yet each necessary to gain as robust a picture of humanity and it’s surroundings as possible.


BOWIE: You just had your first book published, Tao of Maceo, a personal inventory of your beliefs in writing. You say that by putting your views on paper, you gain a better understanding of your fallacies and limiting beliefs. What’s the most important thing you learned about yourself through the writing process?

PAISLEY: The most important thing I learned about myself has to be that for as much as I am open and perceived as vulnerable in my work, I am a very private person, who isn’t nearly as open in my relationships as I am in the controlled context of sharing art.

BOWIE: You’re an avid reader and you publish a biannual print magazine called Correspondence. Who are some of the authors and magazines that inspire your writing and publishing, respectively? 

PAISLEY: Well, in 2016 I read about 115 books, both fiction and non-fiction. I really have to say that Oliver Sacks is one of my favorite non-fiction writers because of his range of experience dealing with the human mind. In the fiction realm, Octavia Butler is really a titan, that I keep wanting to go back to. As far as periodicals, I really love the Copenhagen Institute for Cultural Studies magazine SCENARIO, it has the most fabulous images, and deep insights about culture and identity from the individual and macro perspective.

BOWIE: You seem to be on a highly proactive odyssey toward excellence. Are you seeking an arrival point, or are you simply trying to see how much you can accomplish within your lifespan?

PAISLEY: The latter, I don’t know that “excellence” is the goal, it certainly was at one point. Now, I am more focused on finding peace and living in an urban environment, and contemporary society makes that a worthy challenge. My biggest goal at the moment is to understand what “enough” means to me, and how that idea changes accordingly with changes in my environment, and at various stages of life.

BOWIE: I want to talk about Nous Tous (French for all of us). What made you decide to open a gallery/community space and what does the decision process look like when curating artists and hosting events?

PAISLEY: Well, to be frank, we’ve never really said “No.” to anyone who wanted to show at Nous Tous. It would be contradictory to the name if we were to be exclusionary. Instead, I see my role as gallerist to be more of an editor, highlighting the best elements of whatever work is brought my way, and to coach the artist to trust in a shared vision, or in some cases, simply submit to the artist’s vision, and work to support it as best we can within our parameters and resources.

We have a manifesto that we reference, and works that fit naturally within it are usually what we attract, and other times we offer rental agreements to allow works to be shown with more autonomy. We then use that financial support to uplift other programs.


BOWIE: Can you talk a bit about Citizens of Culture? How it came about and what you guys do.

PAISLEY: Citizens Of Culture is really about creating a place to have all the conversations we find difficulty having otherwise. Whether it be race, sex, politics, death, money, or morality, we support individuals and businesses as they approach cultural challenges in the hopes of providing the kind of clarity that can inform values-based actions. Practically, we are consultants for innovation, diversity and belonging, in companies, and that work supports, free or low-cost programs that are art-based, therapeutic, or support economic empowerment.

We have weekly meetings on Wednesdays, 7pm at Nous Tous in Chinatown if anyone wants to pop in and check it out.

BOWIE: Through Citizens of Culture you conducted a dating social experiment called, No Pressure, No Shame. What do you think are some of the current challenges that single people face in our current dating culture, and do you have any wisdom to impart for those who are currently trying to navigate the dating scene?

PAISLEY: The biggest challenge is that we have only been trying to marry for love for a short while in human history, and we don’t really have stale or universal definitions for what “love” is. So there is this mythology around it that we are trying to live up to, all while the ground shifts beneath us as to how we are supposed to go about achieving a loving relationship.

We first try to encourage people to clarify their intentions in the dating world, and that might mean having a flexible, working definition of what love looks like, and how a romantic partner might fit in to an ideal life. The next thing would be to set up some goals and boundaries that feel appropriate for our stage in life, and realizing that the work is never really done, so having compassion for ourselves and others along the way.

BOWIE: Is this an ongoing project or was it more of a one-time thing?

PAISLEY: No Pressure No Shame, started in 2015 with a 150-person queer, sex-positive, consent-based dating event, and we have been activating different iterations of the program as talks, art events, and parties ever since then. We activate something larger each October.

BOWIE: I’m really interested in a video series you feature on Citizens of Culture called Talking in Circles. Can you talk a bit about the concept of this series and any future topics you plan to cover?

PAISLEY: We believe that every great movement in humanity starts with people coming together to make collective decisions. Every one of our programs has some element of this, in the past we have covered technology, religion, police brutality, gentrification, and other issues, and moving forward I think we should be speaking more to addiction, sex-work, ideas of normalcy, economy, and mental health. As we move forward, we would like to be a go-to place for all of the most important conversations of our time.


Maceo Paisley will be officially releasing Tao of Maceo and signing books Thursday March 14 from 7:30-9:30pm @ NAVEL 1611 South Hope Street. Please join us for a screening and performance of DYNAMITE, as well as a short Q&A with Maceo Paisley & Summer Bowie.

Just A Gut Feeling: An Interview With interdisciplinary Artist Eric Parren

Eric Parren on the swell of a new wave of artists that are borrowing from the forces of science to create major artistic statements. Parren, an interdisciplinary artist who lives and works in Los Angeles, combines facets of art, science, technology and investigates the human connection with deeply complex notions about the technologies that shape our future – often without our knowing – such as artificial intelligence, synthetic biology, and space exploration. The works are often deeply sensory experiences dealing with modes of perception and the physics of light and sound. For instance, Parren has genetically manipulated the e. coli bacteria, which are naturally occurring in the intestine, to light up red, green and cyan – he then filmed them with a time-lapse laser-scanning confocal microscope. With the visuals of dancing bacteria, like microscopic ballerinas, he played an algorithmically composed composition based on the biosynthetic pathways of the e. coli’s genome. The project, entitled Gut Feeling, was presented as an audiovisual performance to an audience and as an installation. Parren has also created The Synesthesia Glasses, which allows the wearer to experience what it would be like to have synesthesia, a condition where the person can see sounds.  Indeed, through close study of the histories of media arts, composition, and film, Eric’s work makes connections between the past, the present, and what is to come. Parren is also a member of the art collective Macular, which includes a number of artists within the same technologically and scientifically advanced artistic milieu. In the following interview, Parren talks about his unique interdisciplinary practice, genetically manipulating e. coli bacteria for the sake of art and how rave culture influenced his trajectory as an artist. 

Joe McKee: Tell me about your practice.

Eric Parren: My practice is a little all over the place, but sound and music is definitely a part of it.

JM: It was really exciting to stumble upon your work. You’re doing something with academically-inclined ideas, but it’s fun and engaging.

EP: In my work, I put myself in this triangle of art, science, and technology. That’s where the future is happening. We need all these things to go forward. I want to go towards the future. But an important thing with music and with art is that they are experiential. There’s an academic background, and there’s research behind it. But the work in itself has to be something that you can experience. You don’t have to read ten pages of explanation before you understand what’s going on. For me, it’s a sensory thing. Sensory experience of art and music is the most important way of experiencing it. The thought processes of that are another layer. Initially, I want to give people a direct, sensory experience.

JM: Sometimes art can be so alienating. It’s nice to invite people in and create something immersive for them.

EP: The most recent project that I’ve done was in the same show with William Basinski at the Pasadena Art & Science Festival. It was organized by the Pasadena Arts Council - some of the members part of an organization called Volume. They are an organization that brings sound artists here to do performances. So, they got these people from Europe who have been working on this project called Sphaerae. It’s three big domes that are inflated to this 1960s style experiential thing that you can go in. Projections were set up to project all over the ceiling. There was an amazing sound system. The project I did there is called “Gut Feeling.”

JM: Yeah, can you talk a little more about Gut Feeling?

EP: It’s research that I did at UCLA—the California Nanosystems Institute. They have all these crazy microscopes—things that can see the size of an atom. I got interested in these devices that could extend our senses. I asked him if I could work in the lab and use the microscopes. They didn’t give me the most expensive, craziest microscope, but he did give me an interesting microscope—a laser-scanning confocal microscope. It doesn’t look at things for what they are, but it shoots lasers at the sample. Whatever fluorescence is the image. At first, I was just learning how the thing worked, just putting different things under it. The microscope is used a lot in biosciences, so I met this synthetic biologist. She helped me get my hands on genetically-modified E coli bacteria that have this specific gene in them so they light up when you shoot a laser at them. I used (maybe abused) those in the microscope, and took all these time-lapse images with them. I did all kinds of crazy experiments with them. The original idea was to make a film with them, but now I’ve been using the visuals in live performances.  The sound part of it is a synthesizer that looks at the biological processes inside the E coli bacteria, and turns those into micro-sound elements. It’s a songification of the processes.

JM: Can you tell me about Macular?

EP: Macular is this artist collective that I started with a friend of mine in Holland in 2009. It started as a live cinema group. Live cinema is a big thing in Holland—the idea is that live visuals are generated with live sound. It’s not some musician and some video guy; it’s people who are doing those things at the same time. You’re working together to create a whole. We started out in super-analog stuff. We were hacking online analog/video processors—color correctors, that kind of stuff. And then, we plugged the video into the audio mixer. You get these amazing sounds. Over time, it grew into a super-complicated setup in which digital and analog were feedbacking on each other. We had created a monster that was just alive, doing its own thing. If you tweaked one knob, all this stuff would happen. We started working together on other projects also. We started doing installations. The focus of Macular had always been synesthesia—how to induce artificial synesthesia in people. We’re evolving the organization of Macular into more of a label, a research institute, and a studio. We’re interested in natural and emergent processes, and synesthesia.

"I always got in big fights with the professor about what sculpture was. But I always wanted to do audio-visual stuff. It might come from raves. I’ve been going to those since I was fifteen. A rave is an audio-visual experience. I always want to translate that into a different setting."

JM: When you say natural processes, what do you mean by that?

EP: Emergence is something that everyone in Macular has worked with at one point. Emergence is the idea that simple, individual rules can lead to unexpected, big patterns. The classic example is a school of fish. Every fish is his own fish, but is also trying to follow the other fish. You get these beautiful patterns of fish swirling around. We’re playing that into installations, sound work. We’re trying to set up an online repository in which we have this research to share with each other and the world. We’re also trying to set up a label so we can produce our own work, then a studio so we can work.

JM: How did you find yourself at this point, creatively? Did you come from a musical background or a visual background? Was it a science background?

EP: I wish I had a science background. What I’ve learned is how to learn. If you understand how to learn, you don’t have to go to school. The information is there. You can teach yourself.  I come from media-arts background. In Holland, after high school, you don’t go to college. You immediately decide what you’re going to study. I went to art school—doing painting, sculpture, all that. I always got in big fights with the professor about what sculpture was. But I always wanted to do audio-visual stuff. It might come from raves. I’ve been going to those since I was fifteen. A rave is an audio-visual experience. I always want to translate that into a different setting.

JM: In the academic world and art world, sound art is still trying to find its way in.

EP: There are certain places that understand that better. Santa Barbara has a Media Arts and Technology program that has a very clear understanding of sound. Rensselaer Polytechnic Institute in Troy has an amazing experimental media performing arts center. They’ve built this whole temple for performance, music, and sound. It’s an interesting problem—how to get sound art integrated.

JM: Perhaps it shouldn’t be. In which case, we have to find a model to allow people to experience it.

EP: Performance art also has a really hard time. There’s an audience; there are people interested in it, but it’s hard to integrate.

JM: Also, performance art is such a temporal thing. Sound art can suffer from the same thing. Not that they have to be temporary.

EP: It’s time-based. It’s loud.

JM: It creates this noise pollution.

EP: But that’s still a part that I love about it. For me, interacting with an artwork, something that I’ve taught myself to do is force myself to spend ten, fifteen minutes with the work. You get so much more out of it. With sound stuff, it automatically is temporal. You get that engagement already with the work. You can’t interact with a sound piece for two seconds, or however people long people look at a painting. It requires patience and engagement. That interests me about the artwork itself. It actively asks the audience to spend more time with the work.

You can learn more about Eric Parren by visiting his website. You can also follow him on Twitter to stay up to date with performances and exhibitions. Watch below video of "Gut Feeling." Interview by Joe McKee. Text by Oliver Maxwell Kupper. Follow Autre on Instagram: @AUTREMAGAZINE