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Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research article aims to study the influence and changes that information and communications technologies (ICT) have generated in the judicial process regarding the correction of the claim and testimonial evidence, as well as the effects of digital justice to hold judicial hearings in person or virtually studied in the constitutionality Statement C-134 of May 3, 2023 issued by the Constitutional Court of Colombia in which the constitutionality of the bill that modifies the law is reviewed statutory regulation of the administration of justice —Law 270 of 1996—. It is concluded that by applying technology and virtuality to the judicial process, the correction of the claim must be integrated into a single document and the testimonial evidence has been modified in the way in which the spontaneity of the witness is protected and the inconveniences of being ruled out due to inability when the witness has a relative inability to testify virtually. Likewise, the Constitutional Court's affinity for virtual hearings, whether or not they involve evidence, and the judge's determination to define the modality of the hearing, stand out. For its preparation, the dogmatic method of legal research has been used, which takes into account the legal provisions, doctrine and jurisprudence of the high courts in Colombia. [ABSTRACT FROM AUTHOR]

Jesús Abad Colorado's photographic exhibition "El testigo" (2018) portrayed the Colombian conflict through a human rights perspective centred on the victim. The show took place at a time when the recent process of transitional justice was threatened by the election of a government hostile to it. This article argues that, even if the exhibition served as a powerful instance of symbolic reparation, its focus on the revelation of the victim – more than 550 photographs – had the opposite effect, causing what I here term a "limits epidemic", by which the majority of the images, and therefore the victims, escaped the audience's attention. The exhibition thus echoed a similar effect to that of other transitional justice processes, which in revealing victims end up concealing them. Three of the photos of the paramilitary horror, victims absent in all of them, nevertheless had a different effect, causing an "oscillation epidemic". That is: a reciprocal relationship between spectator and image that elicits an exploration of testimony beyond its function as proof and of the vestiges of the paramilitary apparatus as a siege on memory. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ideas y Valores is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article has evolved from an exhibition produced with PROOF: Media for Social Justice entitled "My Body Is a War Zone," which was part of a larger project ("Legacy of Rape") consisting of stories from women in four postconflict regions. Drawing on interviews conducted with women in Santa Marta, Colombia, in May 2012 and January 2017, I explore the use of testimony, photography, and exhibition as a means of empowering survivors to become activists. Using the Colombian example, I argue that such exhibitions can transform national and public dialogue by engaging audiences on a personal and emotional level. [ABSTRACT FROM AUTHOR]

Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios de Derecho is the property of Estudios de Derecho and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ABSTRACT Proxy citizenship is the mechanism through which certain rights of citizenship-the ability to make claims for redress to a state-are conferred on activists through relationships with NGOs. Focusing on advocacy from within the policy process, U.S. and Colombian NGOs channeled political legitimacy and rights of access to Colombians, whose claims emerge from the experience of governance as articulated through testimony. This process, and its roots within the shared history of the Putumayo region of Colombia and Washington, DC, reveals emerging practices of citizenship claims and transnational political participation. [ABSTRACT FROM AUTHOR]

Working from the description of the public writing project named "De su puño y letra. Polifonía para la memoria. Las voces de las víctimas del conflicto armado en Medellín" (From their own hand. Polyphony for memory. The voices of the victims of the armed conflict in Medellin), this article advances towards the construction of a theoretical and methodological framework to value it as a strategy in the construction of memories. As such, the line it follows becomes a connection which links two basic questions: what happened and how do we write the story of what happened. The first acts as a motivation to evoke, remember, enunciate, and publish stories of the ominous events of the past (communication and pedagogic strategy); the second tends to describe the narrative mechanisms of each author (autobiographical method and genetic critique). [ABSTRACT FROM AUTHOR]