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. 

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.

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

While warfare continues inflicting damage and suffering in today’s world, and rape of women is still used as an instrument of armed conflicts, it is critical to bring the narratives of the “Comfort Women” into public memory.

Kang Jeong-sook majored in the women's history of modern Korea, and currently works as a researcher at the Centre for East Asian History at Sungkyunkwan University. She contributed greatly to the early studies on the ‘Comfort Women’, by investigating the truth of the ‘Comfort Women’ issue, recording the testimonies of the ‘Comfort Women’ victims, etc. while working at the Korean Institute of Japanese Military Sexual Slavery and the Truth Commission on Forced Mobilization.

Similar to what the researchers considered in the fourth collection of testimonies, the line placement and long pauses in Emily Jungmin Yoon’s poems would be the mimesis for the testifiers’ persistent pain, long silence, faltering, and hesitation that are manifested through poetic deviation.

The author – an ethnomusicologist – invites us to listen to “Comfort Women” survivors’ songs as a way to understand their lives and to remember them.

The “Comfort Women” system was not only a violation of women’s rights, but also a grave infringement of children’s rights. In this article, Professor Ñusta Carranza Ko examines how imperial Japanese authorities systematically violated the rights of underage girls, in direct contravention of international conventions of the time, reframing the issue as a case of child rights violations.

The documentary film , directed by Cecilia Kang, a second-generation Argentine of Korean descent, follows the journey of the protagonist, Melanie Chong, as she confronts and grows increasingly aware of the issue of the Japanese military “Comfort women.”

The Japanese military “comfort women” have been a subject of transnational feminism that criticizes the patriarchy of war and talks about peace and a symbol connected to the unfinished issue, sexual violence against women.

In the era of “One Left” illustrated in a novel written by author Kim Soom, what we have to do now is not count the number of government-registered survivors, but call out the names of “the drowned” between 240 and 200,000 victims and “save” those who are still drowning.