A Conversation with Ulysses Jenkins

Lizzetta LeFalle-Collins—Let’s talk about Z-GRASS from 1983.

Ulysses Jenkins--Z-GRASS was an early graffiti-inspired, computer-generated video composition [that used] a Data Max computer that employed the Z-GRASS paint program to construct cultural commentary on gentrification. In a subtle, effective manipulation of technique, a white graphic icon replicates and assimilates itself over the screen, and then breaks out in a trail of red then into blue.

LLC--Can Z-GRASS be a jumping off point for our conversation about race and digital space?

UJ--Thinking about the relationship to Z-Grass and digital space, at the time that it was created, [there was a] lack of interest in an image, which points at race. It was not entirely what the inspiration of cyberspace was suppose to be about. Utopian design didn't figure in [race] as a construct or a strategy because the technology was supposed to bring in ubiquity and anonymity, as it would relate to identity. Meanwhile, there were a few artist projects developed around the concept of the public selecting and creating from various body part menus to stimulate the opportunity to create your own digital "other"; where invariably the image became an exotic Caucasian (based usually upon the complexion selection). And yet there is the avatar culture of video games or virtual communications websites, in which participants utilize supposed identities via an animated illustrated characterization of themselves.

LLC--Is the lessening the digital divide between Black youth and young adults at the top of dialogs on Black education and the marketplace?

UJ--We don't hear of our community pushing [that hard]. Wherein, the world of commercially sold video games i.e. Grand Thief Auto becomes the norm and expectation for so-called entertainment for Black youth. [Z-GRASS represented] the subliminal suggestion [of] this digital divide--a greater monster than any one is willing to address, where young African-Americans that are dropping out of school just like they've always done.

LLC-We know that there is a problem, but do you have any suggestions that could help to turn the tide to excite Black youth about digital space? I know that many have by-passed computers for their cell phones where they upload images and check My Space. What do you think about how people especially in Black communities access digital space--does it matter which technology as long as they are active participants? Also, aren't there many platforms in digital space that have been increasingly used creatively by Black users?

UJ-What you are inquiring about is the state of an industry affair within the capitalist system. If this technology will pay those whose interest is the business of commodities well yes you'll see a development of these mini devices sold to the African American Youth. You have to remember in the not so distant past, beepers and other communication devices helped sell crack! Unfortunately, it comes down to illegal trade and commodities (the pimp trade and the trafficking of women) that got a lot of underclass people creating networks of communication to move their kind of products and their so-called goods. Could we have a hunger for information and uplifting information--self-improving information that would could inspire lots of under privileged individuals to have the desire to want to be motivated to utilize this technological revolution to create the digital New Negroes?

LLC-There are conferences about this topic with academics discussing things such as the cultural and social baggage that Blacks bring to digital space, reconfiguring the history of racism through digital space, and exerting a more powerful voice, etc. in digital space. Yet, I know smart artists and designers, musicians and geeks who are entrepreneurial, just doing it in digital space. They may not be counted as part of the recognized numbers of Blacks in the new digital space because they are doing their own thing as artists, designers, musicians, and geeks.

UJ-History will be the judge of what we do or don't do. But as long as we as a people allow the interest of corporate heads to determine our interest, there won't be any real change. Of course we want to be progressive and forthright in the directions we want to develop but there is a real spiritual evaluation needed.

LLC-Does any of your work intersect with any of this?

UJ-Well yes and no, but as an artist, you see as an artist and you have to find the balance [between the] worldly expectations which determine the perceptions that surround the interpretation of the work [and the intentionality of the work].

LLC-What other projects are you working on now?

UJ—Last year, I was on a panel at the Getty entitled "Cote a Cote" Jazz from Paris to California. John Outterbridge, George Herms and Ed Bereal were on the panel [and] was I was the moderator-- [It dealt with] artists who use music in their work. I was on another panel [at the Getty] to consider the African-American Avant Garde with Senga Negundi, Maren Hassinger and Barbara McCullough—I’m in a video exhibition at the Getty in March of 2008 from the Long Beach Museum's Video Archive collection.

LLC-What about the web and video? What do you think of YouTube and have you posted videos on the site?

UJ-As for the web and YouTube and posting videos, I guess I've been a little hesitant. But I think I'm about to change some of that this year. That's why I'm doing this interview. Once you enter into cyberspace it becomes a place where others can find you or your thoughts. I sometimes have these notions of independence and a kind of freedom that allows me personally to own my thoughts and feelings. And once one becomes known, as an entity in this digital environment, then there is the chance that others will rely [on you] or desire your [participation]. I know in this self-absorbed psychologically directed western culture, one is expected to become all that one can become.

As for a video I have created these two newer works:

Planet X, c.2005:

With all the predictions dedicated to the pronouncement of an asteroid or comet possibly colliding into the earth, this video metaphorically provides a poetic overview. Planet X is based on the 6,000-year-old Sumerian descriptions of our solar system including one more planet called "Nibiru", which means "planet of the crossing". The Sumerian descriptions of this planet match precisely the specifications of Planet X (the Tenth Planet), which is currently being sought by astronomers in the depths of our own solar system. Views from modern and ancient astronomy, which both suggest a highly elliptical, comet-like orbit, takes planet X into the depths of space, well beyond the orbit of Pluto. The Sumerian descriptions of our solar system are being confirmed with modern advances in science. This claim is based on the anticipated optical and radar tracking opportunities between now and 2014. The various fluctuations in weather patterns on planet Earth as well as the frequent earthquakes and tsunami's, hurricanes and droughts. They all have their influence subjectively due to the possible gravitational relationship to the asteroid. As it advances, it travels from the outer celestial space through the inner celestial space. This comet orbits our sun within and throughout our galaxy [causing] natural disasters such as Hurricane Katrina. The 9th Ward of the City of New Orleans being one of the original African American communities in the history of the USA serves as an example of one of the tragedies to beset the Earth. There have been biblical connections to this myth in the Book of Revelations—see http://www.planetxvideo.com/bibleprophecy.htm. The prophesy of Sun Ra (the avant-garde jazz musician) as he spoke with Tom Schnabel in 1988 on the "Morning Becomes Eclectic" radio broadcast at KCRW, Santa Monica College appears to have come true. Planet X serves as a reminder of all the fragility and vulnerabilities of our time in human existence.

Notions of Freedom, c.2007

This video composition utilizes visual documents and references the history of jazz and its related historical musical forms. These media archival sources date back as far as the 19th Century and references many jazz historical moments. A multi-media composition, it includes the use of motion capture movement technologies and digital animation for the dancing spirit dance figures: Cheryl Banks-Smith formally of the Sun Ra Arkestra and Ulysses Jenkins are portraying the spirit dance figures. The motion captures collaboration and animation imaging by Mugen Suzuki. Kei Akagi created the soundtrack.

Music serves as an inspirational focal point for this work and as such music plays a pivotal role in bringing the video to life. The original soundtrack created by Kei Akagi, entitled "Chief Concern", is based on the mood and music referenced in Miles Davis' "Bitches Brew" album track entitled "Miles Runs the Voodoo Down". Miles Davis' music distills virtually every jazz style, as well as various blues off shoots like R&B, soul, and funk. The music epitomizes a spirit of defiance and self-possession. Akagi is uniquely suited to this work having played in Davis' last performing band. This Notions of Freedom also works as a tribute to the history of jazz and homage to great jazz musician Miles Davis.

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Ulysses Jenkins is an associate professor of video in the Studio Art Claire Trevor School of the Arts and also in the African American Studies Department at the University of California, Irvine.