The presentation examines four artworks reflecting on the indefinite detention of Mexican residents with Japanese heritage during WWII. It focuses specifically on the use of voice, human and AI generated, as conveyor of identity and territory as well as on the conceptual use of digital space and AI systems. The first project, Outside-in: exiled at home, an installation that utilises machine learning to reflect on systematic discrimination, tears apart four classic fiction films continuously within a projection room. Its system selects, separates and reassembles films' fragments into new orders, evoking the condition of being robbed of your right to be in the place to which you belong. The second, Senninbari , is an algorithmic video projection amulet that constitutes a landscape formed by the identity of the word doctor. It uses Japanese literature as an identity element in representing the former pandemic from the perspective of the territory of Morelos. The third, Castle Grounds, is an interactive map of voices portraying what monuments mean in two different geographies. One of the monuments is Kumamoto castle in Japan and the other, also a castle, is situated in Morelos, Mexico. The one in Mexico was designed and constructed by a son to honor the memory of his deceased father's most beloved tree (a ficus Moraceae). The father, a doctor, spent several years unjustly detained in Morelos' former segregation camp for citizens of Japanese heritage during WWII. The last artwork, There, in the hole, is a landscape of voices pronouncing a specific text about the transition into knowing how to sing. It belongs to the Chontal tradition and was translated to Japanese by an orthodontist residing in Tehuantepec.
Annabel Castro (Fri,) studied this question.
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