This achievement of historical research will serve as a basis for listening to testimonies in depth beyond the narrow standard of “fact verification.”

This is where the validity of the questions posed by this tangible AI interactive testimony content to the viewer lies: bringing up issues again about what to ask, not what to listen to. That’s because asking well must be accompanied by the constant consideration of the questioner. This, of course, would be to restore asking within the process of listening, not a reconversion or return to asking. 

Being simultaneously vulnerable, damaged, in the midst of anger, yet refusing to be consumed by that anger, courageous, and a fighter is the unique struggle of victims. Paradoxically, victims possess a special dignity in the minute possibility of becoming all of these beings at once.

Kim Soom’s novel  “One Left”(Hyundae Munhak) is a work that announces a new turning point in the era of testimony. worldview formed ahead of these final moments, and can it present us with meaningful realistic possibilities not only in literary terms but also social and historical ones?

The first “art teacher” of the “Comfort Women” survivors who live in the House of Sharing. I met and listened to the story of artist Kyung-Shin Lee, the author of “Flowers Unbloomed,” which contains the behind story of the painting class she conducted for five years from 1993.

As of now, one victim of these atrocities remains alive in Timor-Leste. While the passage of time may have dimmed the memories of these atrocities, the quest for justice and accountability remains as relevant as ever.

She deals with the issues of how the victimization of women in the post-colonial Korean society is represented, what type of gaze operates here, and what the gaze ultimately strives to see.

Historian Harrison C. Kim traces how discourse on “Comfort Women” in North Korea has evolved—at times in dialogue with the outside world—while developing distinct advocacy practices and perspectives.

the blanks in written language can connect us to the past more powerfully than the original voice, depending on how we relate to the testimonies.

Film researcher Hwang Miyojo sheds light on the documentary film “The Silence” produced by female director Park Su-nam, a second-generation Korean-Japanese. Director Park documented the struggle of Lee Ok-sun, who demanded that the Japanese government apologize and provide compensation, together with 14 colleagues.

The Women's International War Crimes Tribunal on the Trial of Japan's Military Sexual Slavery in 2000 (hereinafter the ‘Women's International War Crimes Tribunal 2000’), which was hosted in Tokyo, Japan from December 8 to 12, 2000, was a people’s tribunal[1] that held the Japanese government – the perpetrating state - and Emperor Hirohito responsible for war crimes. It was viewed as the most appropriate alternative plan devised at a time when it was no longer feasible to hold a legally effective international court with any cooperation from the Japanese government.