{"id":17,"date":"2011-12-15T13:42:35","date_gmt":"2011-12-15T12:42:35","guid":{"rendered":"http:\/\/www.coones.de\/?page_id=17"},"modified":"2016-12-20T01:04:29","modified_gmt":"2016-12-20T00:04:29","slug":"replace-participants","status":"publish","type":"page","link":"https:\/\/www.mediaarthistory.org\/?page_id=17","title":{"rendered":"re:place participants"},"content":{"rendered":"


\n<\/strong><\/span><\/p>\n

Alexander <\/span>Amir Alexander<\/a> (US):\u00a0Death in Paris: When Mathematics became Art<\/a><\/span><\/span>
\nAristarkhova\u00a0Irina Aristarkhova<\/a> (RU\/US):\u00a0Stepanova’s ‘Laboratory’ <\/a>
\nArns\u00a0Inke Arns<\/a> (DE):\u00a0The Avant-Garde in the Rear View Mirror <\/a>
\nBallard <\/span>Su Ballard<\/span><\/a> (NZ): ‘Real Time’: Early Encounters with Immersive Installation in Aotearoa New Zealand<\/a><\/span><\/span>
\nBardiot <\/span>Clarisse Bardiot<\/a> (FR):\u00a0The Artists and Engineers of 9 Evenings: Theatre and Engineering, New York, 1966<\/a><\/span><\/span>
\nBarker\u00a0Michele Barker<\/a> (AU):\u00a0From Life to Cognition: investigating the rol of biology and neurology in new media arts practice <\/a>
\nBochnek <\/span>Ross Bochnek<\/a> (US):\u00a0When Clinical Neuropsychology Met Time-Based Art<\/a><\/span><\/span>
\nBorelli\u00a0Arianna Borrelli <\/a>(IT\/DE):\u00a0The Media Perspective in the Study of S<\/a><\/span>cientific Abstraction <\/span><\/a><\/span>
\nBroeckmann\u00a0Andreas Broeckmann <\/a><\/span>re:place co-chair
\nJochen Br\u00fcning<\/span><\/span> <\/a>– Helmholtz Zentrum
\nCentury\u00a0Michael Century<\/a> (CA\/US):\u00a0Encoding motion in the early computer: knowledge transfers between studio and laboratory<\/a>
\nChapple\u00a0Boo Chapple<\/a> (AU):\u00a0Sound, Matter, Flesh: A history of crosstalk from medicine to contemporary art and biology<\/a>
\nChowdhury\u00a0Manosh Chowdhury<\/a> (Bangladesh\/JP):\u00a0Can there be an ‘Art History’ in the South?: Myth of Intertextuality and Subversion in the Age of Media Art <\/a>
\nChun\u00a0Wendy Hui Kyong Chun<\/a> (US):\u00a0The Enduring Ephemeral, or the Future is a Memory <\/a>
\nClements <\/span>Wayne Clements<\/a> (UK):\u00a0The Descent of New Media: Art, Warfare and Cambridge Cybernetics<\/a><\/span><\/span>
\nCox\u00a0Geoff Cox<\/a> (UK):\u00a0Software Art has No History<\/a>
\nDarroch\u00a0Michael Darroch<\/a> & Janine Marchessault<\/a> (CA)\/(CA):\u00a0Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53)<\/a>
\nDaston <\/span>Lorrain Daston:\u00a0Dreams of a Perfect Medium<\/a><\/span> <\/span><\/span>
\nSara Diamond -Moderator
\nDolanova <\/span>Lenka Dolanova<\/a> (CZ):\u00a0What They Were Cooking in There: Cooks, Their Kitchen and the Taste of Fresh Video<\/a><\/span><\/span>
\nDruckrey\u00a0Timothy Druckrey (US): <\/strong>Cinemedia: Archaeologies of Computation and AI in Cinema<\/a><\/strong><\/span><\/span><\/span><\/span>
\n<\/strong><\/span>Dunbar\u00a0Christina Dunbar-Hester<\/a> (US):\u00a0Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950-1980 <\/a>
\nEdmonds <\/span>Ernest Edmonds<\/a> (UK\/AU):\u00a0Human and Robot Behaviour: Art meets AI<\/a><\/span><\/span>
\nFachinello <\/span>Yara Guasque<\/a> (BR), Sandra Albuquerque Reis Fachinello <\/a>(BR), Silvia Guadagnini<\/a> (BR):\u00a0Skipping Stages<\/a><\/span><\/span>
\nFarley\u00a0Kathryn Farley<\/a> (US):\u00a0Generative Systems: The Art and Technology of Classroom Collaboration<\/a>
\nFogue Kuate <\/span>Francis Arsene Fogue Kuate<\/a> (Cameroon):\u00a0Media and society in Cameroon: from the French Period to the beginning of the XXIst century<\/a><\/span><\/span>
\nFranco <\/span>Francesca Franco<\/a> (IT\/UK):\u00a0New Media Art and an Institutional Crisis in the History of the Venice Biennale, 1968<\/a><\/span><\/span>
\nFritz <\/span>Darko Fritz<\/a> (HR\/NL):\u00a0Vladimir Bonacic: Dynamic Objects (1968-1971) – computer-generated works made in Zagreb within New Tendencies art network <\/a><\/span><\/span>
\nGansing\u00a0Kristoffer Gansing<\/a> (SE):\u00a0Humans thinking like Machines – Incidental Media Art in the Swedish Welfare State<\/a>
\nGoriunova\u00a0Olga Goriunova<\/a> (RU):\u00a0Cultural critique of technology in philosophy of technology and religious philosophy of early XX century Russia <\/a>
\nGrau\u00a0Oliver Grau<\/a> –\u00a0MediaArtHistory – Image Science – Digital Humanities<\/a>
\nGuadadnini <\/span>Silvia Guadagnini<\/a>,(BR)\u00a0Yara Guasque<\/a> (BR), Sandra Albuquerque Reis Fachinello <\/a>(BR):\u00a0Skipping Stages. <\/a><\/span><\/span>
\nGuasque <\/span>Silvia Guadagnini<\/a>,(BR)\u00a0Yara Guasque<\/a> (BR), Sandra Albuquerque Reis Fachinello <\/a>(BR):\u00a0Skipping Stages.<\/a><\/span><\/span>
\nHamel\u00a0Catherine Hamel<\/a> (CA):\u00a0Crossing Into The Border – an intersection of vertical and horizontal migration<\/a>
\nHansson\u00a0Karl Hansson<\/a> (SE):\u00a0Haptic Connections – On Hapticality and the History of Visual Media <\/a>
\nHigh <\/span>Kathy High<\/a> (US), Carolyn Tennant<\/a> (US):\u00a0The Experimental Television Center <\/a><\/span><\/span>
\nHudek\u00a0Antony Hudek<\/a> &\u00a0Antonia Wunderlich<\/a>:\u00a0Between Tomorrow and Yesterday: charting Les Immat\u00e9riaux as technoscientific event<\/a>
\nHuhtamo\u00a0Erkki Huhtamo<\/a> (FI\/US):\u00a0Intercultural Interfaces: Correcting the pro-Western Bias of Media History <\/a>
\nIngham <\/span>Karen Ingham<\/a> (UK):\u00a0A Ticket to The Theatre of The Dead: Re-framing Interdisciplinarity in the Bio-medical Theatre<\/a><\/span><\/span>
\nJones\u00a0Stephen Jones<\/a> (AU):\u00a0The Confluence of Computing and Fine Arts at the University of Sydney, 1968-1975<\/a>
\nKaniari\u00a0Assimina Kaniari<\/a> (GR\/UK), Morphogenesis in Action: D’Arcy Thompson and the experimental in Leonardo from LL Whyte to now<\/a>
\nKluetsch\u00a0Christoph Kl\u00fctsch<\/a> (DE):\u00a0The roots and influences of information aesthetics in Germany, Canada, US, Brazil and Japan <\/a>
\nKluszczynski\u00a0Ryszard W. Kluszczynski<\/a> (PL):\u00a0From Media Art to Techno Culture. Reflections on the Transformation of the Avant-Gardes (the Polish case) <\/a>
\nKusahara\u00a0Machiko Kusahara <\/a>(JP):\u00a0A Turning Point in Japanese Avant-garde Art: 1964 – 1970<\/a>
\nLangill\u00a0Caroline Seck Langill<\/a> (CA):\u00a0Corridors of Practice I: Technology and Performance Art on the North American Pacific Coast in the 1970s and Early 80s <\/a>
\nLigier <\/span>Maude Ligier<\/a> (FR):\u00a0How cybernetics entered the world of art? The case of Nicolas Sch\u00f6ffer<\/a><\/span><\/span>
\nLink\u00a0David Link<\/a> (DE):\u00a0Memory for Love Letters. Computer Archaeology of a Very Early Program.<\/a>
\n<\/span>Thomas Macho<\/span><\/span> – Helmholtz Zentrum
\nMarchessault\u00a0Janine Marchessault<\/a> (CA)&\u00a0Michael Darroch<\/a> (CA):\u00a0Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53)<\/a>
\nMarks\u00a0Laura Marks<\/a> (CA):\u00a0Artificial life from classical Islamic art to new media art, via 17th-century Holland <\/a>
\nMcConville <\/span>David McConville<\/a> (US): Cosmological Cinema: Pedagogy, Propaganda, and Perturbation in Early Dome Theaters<\/a><\/span><\/span>
\nMichelkevici <\/span>Vytautas Michelkevicius<\/a> (LT):\u00a0(Post)Photography and Media Art: Rethinking Institutionalization and Public Curatorship in Lithuania<\/a><\/span><\/span>
\nMills <\/span>Simon Mills<\/a> (UK): framed: Interviews with New Media Writers and Artists<\/a><\/span><\/span>
\nMonteiro <\/span>Rosana Horio Monteiro<\/a> (BR):\u00a0Art and Science Playing on the Margins. On the discovery of photography in the 19th century Brazil<\/a><\/span><\/span>
\nMoraga\u00a0Eva Moraga<\/a> (ES):\u00a0The Computation Center at Madrid University, 1966-1973: An example of true interaction between art, science and technology<\/a>
\nNadarajan – re:place co-chair
\nOppenheimer\u00a0Robin Oppenheimer<\/a> (US\/CA):\u00a0Network Forums and Trading Zones: How Two Experimental, Collaborative Art and Engineering Subcultures Spawned the “9 Evenings: Theatre and Engineering” and E.A.T. <\/a>
\nOsthoff\u00a0Simone Osthoff<\/a> (BR\/US):\u00a0Philosophizing in Translation: Vilem Flusser’s Brazilian Writings <\/a>
\nPalmer\u00a0Daniel Palmer<\/a> (AU):\u00a0Media Art and Its Critics in the Australian Context<\/a>
\nParikka\u00a0Jussi Parikka<\/a> (FI): Insect Media of the Nineteenth Century <\/a>
\n<\/span>Miklos Peternak<\/span><\/strong><\/span> – Moderator<\/span>
\nPetty\u00a0Sheila Petty<\/a> (CA):African Digital Imaginaries <\/a>
\nIngeborg Reichle (DE) – Moderator
\nRoeller\u00a0Nils R\u00f6ller<\/a> (DE\/CH):\u00a0An Individual Academy: Vilem Flusser’s passage from institutional to individual practices <\/a>
\nSalter\u00a0Christopher Salter<\/a> (US\/CA):\u00a0Unstable Events: Performative Science, Materiality and Machinic Practices<\/a>
\nSamuel <\/span>Nina Samuel<\/a> (DE\/CH):\u00a0Re-Reading Fractals: Towards an Archeology of the Digital Form<\/a><\/span><\/span>
\nBernd Scherer – Moderator
\nEdward Shanken – Moderator
\n<\/span><\/strong>Smith\u00a0Brian Reffin Smith<\/a> (UK\/DE):\u00a0Hijack! How the computer was wasted for art<\/a>
\nSonvilla <\/span>Stefan Sonvilla-Weiss<\/a> (AT\/FI):\u00a0Paul Otlet\u2019s impact on visual knowledge building in current developments of Web 2.0<\/a><\/span><\/span>
\nSukaityte\u00a0Renata Sukaityte<\/a> (LT):\u00a0Electronic art in Estonia, Latvia and Lithuania: the interplay of local, regional and global processes<\/a>
\nTennent <\/span>Carolyn Tennant<\/a> (US), Kathy High<\/a> (US):\u00a0The Experimental Television Center <\/a><\/span><\/span>
\nThomas <\/span>Paul Thomas<\/a> (AU):\u00a0Constructed infinite smallness<\/a> <\/span><\/span>
\nThurtle <\/span>Phillip Thurtle<\/a> (US),\u00a0Claudia X. Valdes<\/a>:\u00a0From Spiderman to Alba: transgenics in a post-nuclear world<\/a><\/span><\/span>
\nTillberg\u00a0Margareta Tillberg<\/a> (SE\/DE):\u00a0Cybernetics and Arts: The Soviet Group Dvizhenie (Movement) 1962-1972 <\/a>
\nTilly <\/span>Ariane Noel de Tilly<\/a> (CA):\u00a0The different ‘versions’ of John Massey’s As the Hammer Strikes (A Partial Illustration)<\/a><\/span><\/span>
\nValdes <\/span>Claudia X. Valdes<\/a> (CL\/US),\u00a0Phillip Thurtle<\/a> (US):\u00a0From Spiderman to Alba: transgenics in a post-nuclear world<\/a><\/span><\/span>
\nVoehringer\u00a0Margarete Voehringer<\/a> (DE):\u00a0‘Space, not Stones’ Nikolai Ladovski’s Psychotechnical Laboratory for Architecture, Moscow 1926 <\/a>
\nVoropai\u00a0Lioudmila Voropai <\/a>(RU\/DE):\u00a0Institutionalisation of Media Art in the Post-Soviet Space: The Role of Cultural Policy and Socioeconomic Factors<\/a>
\nWard\u00a0Cynthia Ward<\/a> (US):\u00a0Minding Realities: Geometries of Cultural Cognition<\/a>
\nWunderlich\u00a0Antonia Wunderlich <\/a>&\u00a0Antony Hudek<\/a>:\u00a0Between Tomorrow and Yesterday: charting Les Immat\u00e9riaux as technoscientific event<\/a>
\n<\/span>Siegfried Zielinski:<\/span> On Deep Time Relations between Arts, Sciences, and Technologies – Questioning the Established Concepts of Media<\/span><\/strong><\/span>
\n<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Alexander Amir Alexander (US):\u00a0Death in Paris: When Mathematics became Art Aristarkhova\u00a0Irina Aristarkhova (RU\/US):\u00a0Stepanova’s ‘Laboratory’ Arns\u00a0Inke Arns (DE):\u00a0The Avant-Garde in the Rear View Mirror Ballard Su Ballard (NZ): ‘Real Time’: Early Encounters with Immersive Installation in Aotearoa New Zealand Bardiot Clarisse Bardiot (FR):\u00a0The Artists and Engineers of 9 Evenings: Theatre and Engineering, New York, 1966 Barker\u00a0Michele Barker (AU):\u00a0From Life to Cognition: investigating the rol of biology and neurology in new media arts practice Bochnek Ross Bochnek (US):\u00a0When Clinical Neuropsychology Met Time-Based Art Borelli\u00a0Arianna Borrelli (IT\/DE):\u00a0The Media Perspective in the Study of Scientific Abstraction Broeckmann\u00a0Andreas Broeckmann re:place co-chair Jochen Br\u00fcning – Helmholtz Zentrum Century\u00a0Michael Century (CA\/US):\u00a0Encoding motion in the early computer: knowledge transfers between studio and laboratory Chapple\u00a0Boo Chapple (AU):\u00a0Sound, Matter, Flesh: A history of crosstalk from medicine to contemporary art and biology Chowdhury\u00a0Manosh Chowdhury (Bangladesh\/JP):\u00a0Can there be an ‘Art History’ in the South?: Myth of Intertextuality and Subversion in the Age of Media Art Chun\u00a0Wendy Hui Kyong Chun (US):\u00a0The Enduring Ephemeral, or the Future is a Memory Clements Wayne Clements (UK):\u00a0The Descent of New Media: Art, Warfare and Cambridge Cybernetics Cox\u00a0Geoff Cox (UK):\u00a0Software Art has No History Darroch\u00a0Michael Darroch & Janine Marchessault (CA)\/(CA):\u00a0Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53) Daston Lorrain Daston:\u00a0Dreams of a Perfect Medium Sara Diamond -Moderator Dolanova Lenka Dolanova (CZ):\u00a0What They Were Cooking in There: Cooks, Their Kitchen and the Taste of Fresh Video Druckrey\u00a0Timothy Druckrey (US): Cinemedia: Archaeologies of Computation and AI in Cinema Dunbar\u00a0Christina Dunbar-Hester (US):\u00a0Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950-1980 Edmonds Ernest Edmonds (UK\/AU):\u00a0Human and Robot Behaviour: Art meets AI Fachinello Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR), Silvia Guadagnini (BR):\u00a0Skipping Stages Farley\u00a0Kathryn Farley (US):\u00a0Generative Systems: The Art and Technology of Classroom Collaboration Fogue Kuate Francis Arsene Fogue Kuate (Cameroon):\u00a0Media and society in Cameroon: from the French Period to the beginning of the XXIst century Franco Francesca Franco (IT\/UK):\u00a0New Media Art and an Institutional Crisis in the History of the Venice Biennale, 1968 Fritz Darko Fritz (HR\/NL):\u00a0Vladimir Bonacic: Dynamic Objects (1968-1971) – computer-generated works made in Zagreb within New Tendencies art network Gansing\u00a0Kristoffer Gansing (SE):\u00a0Humans thinking like Machines – Incidental Media Art in the Swedish Welfare State Goriunova\u00a0Olga Goriunova (RU):\u00a0Cultural critique of technology in philosophy of technology and religious philosophy of early XX century Russia Grau\u00a0Oliver Grau –\u00a0MediaArtHistory – Image Science – Digital Humanities Guadadnini Silvia Guadagnini,(BR)\u00a0Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR):\u00a0Skipping Stages. Guasque Silvia Guadagnini,(BR)\u00a0Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR):\u00a0Skipping Stages. Hamel\u00a0Catherine Hamel (CA):\u00a0Crossing Into The Border – an intersection of vertical and horizontal migration Hansson\u00a0Karl Hansson (SE):\u00a0Haptic Connections – On Hapticality and the History of Visual Media High Kathy High (US), Carolyn Tennant (US):\u00a0The Experimental Television Center Hudek\u00a0Antony Hudek &\u00a0Antonia Wunderlich:\u00a0Between Tomorrow and Yesterday: charting Les Immat\u00e9riaux as technoscientific event Huhtamo\u00a0Erkki Huhtamo (FI\/US):\u00a0Intercultural Interfaces: Correcting the pro-Western Bias of Media History Ingham Karen Ingham (UK):\u00a0A Ticket to The Theatre of The Dead: Re-framing Interdisciplinarity in the Bio-medical Theatre Jones\u00a0Stephen Jones (AU):\u00a0The Confluence of Computing and Fine Arts at the University of Sydney, 1968-1975 Kaniari\u00a0Assimina Kaniari (GR\/UK), Morphogenesis in Action: D’Arcy Thompson and the experimental in Leonardo from LL Whyte to now Kluetsch\u00a0Christoph Kl\u00fctsch (DE):\u00a0The roots and influences of information aesthetics in Germany, Canada, US, Brazil and Japan Kluszczynski\u00a0Ryszard W. Kluszczynski (PL):\u00a0From Media Art to Techno Culture. Reflections on the Transformation of the Avant-Gardes (the Polish case) Kusahara\u00a0Machiko Kusahara (JP):\u00a0A Turning Point in Japanese Avant-garde Art: 1964 – 1970 Langill\u00a0Caroline Seck Langill (CA):\u00a0Corridors of Practice I: Technology and Performance Art on the North American Pacific Coast in the 1970s and Early 80s Ligier Maude Ligier (FR):\u00a0How cybernetics entered the world of art? The case of Nicolas Sch\u00f6ffer Link\u00a0David Link (DE):\u00a0Memory for Love Letters. Computer Archaeology of a Very Early Program. Thomas Macho – Helmholtz Zentrum Marchessault\u00a0Janine Marchessault (CA)&\u00a0Michael Darroch (CA):\u00a0Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53) Marks\u00a0Laura Marks (CA):\u00a0Artificial life from classical Islamic art to new media art, via 17th-century Holland McConville David McConville (US): Cosmological Cinema: Pedagogy, Propaganda, and Perturbation in Early Dome Theaters Michelkevici Vytautas Michelkevicius (LT):\u00a0(Post)Photography and Media Art: Rethinking Institutionalization and Public Curatorship in Lithuania Mills Simon Mills (UK): framed: Interviews with New Media Writers and Artists Monteiro Rosana Horio Monteiro (BR):\u00a0Art and Science Playing on the Margins. On the discovery of photography in the 19th century Brazil Moraga\u00a0Eva Moraga (ES):\u00a0The Computation Center at Madrid University, 1966-1973: An example of true interaction between art, science and technology Nadarajan – re:place co-chair Oppenheimer\u00a0Robin Oppenheimer (US\/CA):\u00a0Network Forums and Trading Zones: How Two Experimental, Collaborative Art and Engineering Subcultures Spawned the “9 Evenings: Theatre and Engineering” and E.A.T. Osthoff\u00a0Simone Osthoff (BR\/US):\u00a0Philosophizing in Translation: Vilem Flusser’s Brazilian Writings Palmer\u00a0Daniel Palmer (AU):\u00a0Media Art and Its Critics in the Australian Context Parikka\u00a0Jussi Parikka (FI): Insect Media of the Nineteenth Century Miklos Peternak – Moderator Petty\u00a0Sheila Petty (CA):African Digital Imaginaries Ingeborg Reichle (DE) – Moderator Roeller\u00a0Nils R\u00f6ller (DE\/CH):\u00a0An Individual Academy: Vilem Flusser’s passage from institutional to individual practices Salter\u00a0Christopher Salter (US\/CA):\u00a0Unstable Events: Performative Science, Materiality and Machinic Practices Samuel Nina Samuel (DE\/CH):\u00a0Re-Reading Fractals: Towards an Archeology of the Digital Form Bernd Scherer – Moderator Edward Shanken – Moderator Smith\u00a0Brian Reffin Smith (UK\/DE):\u00a0Hijack! How the computer was wasted for art Sonvilla Stefan Sonvilla-Weiss (AT\/FI):\u00a0Paul Otlet\u2019s impact on visual knowledge building in current developments of Web 2.0 Sukaityte\u00a0Renata Sukaityte (LT):\u00a0Electronic art in Estonia, Latvia and Lithuania: the interplay of local, regional and global processes Tennent Carolyn Tennant (US), Kathy High (US):\u00a0The Experimental Television Center Thomas Paul Thomas (AU):\u00a0Constructed infinite smallness Thurtle Phillip Thurtle (US),\u00a0Claudia X. Valdes:\u00a0From Spiderman to Alba: transgenics in a post-nuclear world Tillberg\u00a0Margareta Tillberg (SE\/DE):\u00a0Cybernetics and Arts: The Soviet Group Dvizhenie (Movement) 1962-1972 Tilly Ariane Noel de Tilly (CA):\u00a0The different ‘versions’ of John Massey’s As the Hammer Strikes (A Partial Illustration) Valdes Claudia X. Valdes (CL\/US),\u00a0Phillip Thurtle (US):\u00a0From Spiderman to Alba: transgenics in a post-nuclear world Voehringer\u00a0Margarete Voehringer (DE):\u00a0‘Space, not Stones’ Nikolai Ladovski’s Psychotechnical Laboratory for Architecture, Moscow 1926 Voropai\u00a0Lioudmila Voropai (RU\/DE):\u00a0Institutionalisation of Media Art in the Post-Soviet Space: The Role […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":25,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/17"}],"collection":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17"}],"version-history":[{"count":5,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/17\/revisions"}],"predecessor-version":[{"id":2367,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/17\/revisions\/2367"}],"up":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/25"}],"wp:attachment":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}