{"id":557,"date":"2011-12-07T15:35:33","date_gmt":"2011-12-07T14:35:33","guid":{"rendered":"http:\/\/www.mediaarthistory.org\/?page_id=557"},"modified":"2023-09-23T07:46:54","modified_gmt":"2023-09-23T06:46:54","slug":"declaration","status":"publish","type":"page","link":"https:\/\/www.mediaarthistory.org\/?page_id=557","title":{"rendered":"Declaration"},"content":{"rendered":"

MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT – International Declaration <\/strong><\/h3>\n
download full text and signatories list as PDF<\/a>\n <\/strong><\/pre>\n
State of Affairs<\/strong><\/em><\/p>\n
Digital technology has fundamentally changed the way art is made. Over the last forty years, Media Art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, Media Art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.<\/p>\n
As a result of rapid changes in technology, many major works made even 10 years ago can no longer be shown or are disappearing without a trace. If this situation is not addressed, we face losing an art form that is a central part of our post-industrial digital culture. To date, systematic global preservation and documentation campaigns do not exist.<\/p>\n
Many important online documentation and research projects are also disappearing from the web. As they falter, we risk losing their valuable material forever. Contemporary scientific research relies on access to shared data. The same is true of the Arts and Humanities, which lack a concerted international policy for sustainability and support of the digital heritage, such as exists partly in the natural sciences.<\/p>\n
Several science disciplines have developed large collective projects to address the challenges and opportunities of our time by way of networked digital environments, based on a sustainable and international support structure. International Media Art research needs similar global organisation and collaboration.<\/p>\n
Goals<\/strong><\/em><\/p>\n
a.) Establish international and sustainable funding structures<\/p>\n
Therefore it is essential to establish international and sustainable funding structures that can guarantee the persistence of these valuable resources, and to make use of networked collaboration to archive key data in a cooperative process of knowledge transfer between artists, institutions and researchers internationally. While many nations are devoting funds for interdisciplinary e-research, we urgently need global networked collaboration in Media Art research.<\/p>\n
Such an international structure\/alliance needs the actively supported membership of media art organisations, archives and individuals. It should be supported with adequate funding and expertise from the existing networks of funding agencies, archives, online initiatives and research institutions.<\/p>\n
b.) Supporting an International Association\/Institution for Shared Data<\/p>\n
We urgently need global networked collaboration in Media Art research across the aforementioned networks. We need as many bridges into society as possible: archives, conferences, text repositories, collective database documentation, and preservation.<\/p>\n
This alliance will promote collaboration and advocate the sustainability, understanding and appreciation of media art heritage by:<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Recognizing and building upon existing knowledge and resources<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Providing and fostering channels of communication<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Enabling the international research community to create\/upload\/access data to be shared.<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Encouraging peer exchange and addressing the new challenges of Media Art<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Developing scientific technologies for documentation and preservation of Media Art<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Providing inspiration and resources for curators, artists, scholars, educators and audiences<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Supporting the Media Art History network, its conference series, text repositories and scientific publications<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Promotion of new ways of understanding media art, science, technology and its histories<\/p>\n
Only when we develop systematic strategies to address these challenges will we be able to fulfill the task that digital culture and its research demands of us in the 21st Century.<\/p>\n
download full text and signatories list as PDF<\/a><\/p>\n
Signing Instructions<\/em><\/p>\n
Governments, universities, research institutions, researchers, artists, academics, funding agencies, foundations, libraries, museums, archives, learned societies and professional associations who share the vision expressed in this Declaration are invited to join the signatories that have already signed the Declaration.<\/p>\n
Chair. Prof. Dr. Sean CUBITT, Goldsmiths College, University of London
\nChair. Prof. Dr. Oliver GRAU, Academia Europea \/ Soc. Histories of Media Art, Science and Technology
\nChair. Prof. Dr. Ross HARLEY, COFA, University of New South Wales, Sydney, Australia
\nProf. Dr. Christiane PAUL,The New School, New York, USA
\nProf. Dr. Diana DOMINGUES, Universidade de Bras\u00edlia, Brazil
\nProf. Lanfranco ACETI, Goldsmiths and Sabanci University, UK \/ Turkey
\nProf. Dr. Frieder NAKE, University of Bremen, Germany
\nProf. Dr. h.c. Peter WEIBEL, Chairman and CEO ZKM | Center for Art and Media Karlsruhe
\nProf. Dr. Roy ASCOTT, University of Plymouth, UK
\nSir Nicholas SEROTA\u00a0: Director- Tate, London
\nDr. Martin WARNKE, Leuphana University, Germany
\nProf. Mike STUBBS, Director of FACT Liverpool, UK
\nBenjamin WEIL, Artistic Director, LABORAL, Spain
\nDr. Andreas BROECKMANN, Director of the Leuphana Arts Program, Germany
\nChair. Prof. Jeffrey SHAW, City University Hong Kong School of Creative Media
\nProf. Eduardo KAC, Arts Institute Chicago
\nProf. Dr. Christa SOMMERER, Professor for Interface Culture, University of Art and Design Linz, Austria
\nProf. Dr. Laurent MIGNONNEAU, Professor for Interface Culture, University of Art and Design Linz, Austria
\nAlex ADRIAANSENS – former director of V2_ Institute for the Unstable Media, Rotterdam, Netherlands
\nProf. Dr. Horst BREDEKAMP, Institut fuer Kunst- und Bildgeschichte,\u00a0Humboldt-Universit\u00e4t zu Berlin
\nHoward BESSER, Professor \/\u00a0Director, Moving Image Archive and Preservation Program,\u00a0NYU’s Tisch School of the Arts,\u00a0Cinema Studies Department
\nVanina HOFMAN, PhD; Universitat Oberta de Catalunya, Founder of Taxonomedia, Spain \/ Argentina
\nAss. Prof. Ianina PRUDENKO, National Pedagogical Dragomanov University, Kyiv, Ukraine.
\nProf. Dr. Anna Maria GUASCH,\u00a0Universitat de Barcelona, Spain.
\nSara DIAMOND, President OCAD University, Toronto, Canada
\nProf. Dr. Barbara Maria STAFFORD, Georgia Institute of Technology, Atlanta, Ga.
\nDarko FRITZ, freelance curator, researcher and artist, Croatia \/ NL
\nDr. Lisa GYE, Swinburne University, Melbourne, AU
\nAssoc. Prof. Dr. Anna MUNSTER, National Institute for Experimental Arts, Sydney, AU
\nDr. Stephen JONES, Stephen Jones & Associates P\/L (Video Conservation), Sydney, AU
\nDr. Andy WILLIAMSON, Digital Strategist and Commentator, UK
\nProf. Em.Vera FRENKEL, FRSC, Faculty of Fine Arts, York University
\nProf. Dr. Gilbertto PRADO, Visual Arts Departement, ECA\/USP – Sao Paulo University, Brazil.
\nWinnie FU, Curator and Chairperson of Microwave International New Media Arts Festival, Hong Kong
\nProf. Stephen PARTRIDGE, Duncan of Jordanstone College of Art and Design, University of Dundee, UK
\nProf. Dr. Paul THOMAS, COFA, University of New South Wales, Sydney, Australia
\nAdj. Prof. Alessandro LUDOVICO, Academy of Art Carrara, Editor in chief of Neural magazine, Italy
\nDr. Vince DZIEKAN, Monash University, Melbourne, Australia
\nJon IPPOLITO, Associate Professor of New Media, Still Water lab, The University of Maine
\nProf. Dr. Darren TOFTS, Swinburne University, Melbourne Australia
\nProf.\u00a0em. Itsuo SAKANE, Institute of Advanced Media Arts and Sciences, Tokyo, Japan
\nMitsuhiro TAKEMURA, Professor, Sapporo City University, Faculty of Design, Media Design Lab.
\nProf. Dr. Lev MANOVICH, University of California, San Diego, USA
\nProf. Dr. ZHANG Ga, The New School \/ Tsinghua University, US and China
\nDr. Michele BARKER, COFA, University of New South Wales, Sydney, Australia
\nAndreas LANGE, Director of the Computerspielemuseum, Berlin, Germany
\nProf. Pier Luigi CAPUCCI, NABA, Milan; NoemaLab, Italy
\nProf. Dr. Jin-Woo Lee, Ph.D., Chair Professor, Division of Humanities and Social Sciences, Pohang University of Science and Technology, Korea
\nAssoc. Prof. Nina CZEGLEDY, University of Toronto, Canada
\nProf. Paul Alsina GONZ\u00c1LEZ, Universitat Oberta de Catalunya, Spain
\nProf. Dr. Peter MATUSSEK, Chair for Media Aesthetics, University of Siegen, Germany
\nProf. Mikel ROTAECHE y GONZ\u00c1LEZ de Ubieta, Universidad Complutense de Madrid, Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid, Spain
\nDr. Nelson VERGARA, National University of Colombia, Bogota, Colombia
\nProf. Wolfgang MUENCH, Dean Faculty of Media Arts, LASALLE College of the Arts, Singapore
\nGabriela BALDOM\u00c1, Directora del Instituto de Investigaci\u00f3n, Conservaci\u00f3n y Restauraci\u00f3n de Arte Moderno y Contempor\u00e1neo, Argentina
\nProf. Dr. Ryszard W. KLUSZCZYNSKI, University of Lodz, Poland
\nDr. Raivo KELOMEES, Estonian Academy of Arts, Tallinn, Estonia
\nDr. Mike LEGGETT, Creativity & Cognition Studios, University of Technology, Sydney
\nProf. Dr. Anne-Marie DUGUET, University of Paris 1, France
\nPaul BROWN, independent artist and writer; visiting professor, Centre for Computational Neuroscience and Robotics, University of Sussex, UK;\u00a0Synapse artist-in-residence, Centre for Intelligent Systems Research, Deakin University, Geelong, Australia
\nProf. Dr. Will STRAW, Department of Art History and Communications Studies, McGill University, Canada.
\nSteve DIETZ, President and Artistic Director of Northern Lights.mn, USA
\nDmitry BULATOV, Curator at the National Center for Contemporary Arts, Kaliningrad branch, Russia
\nProf. Dr. Gunalan NADARAJAN, Maryland Institute College of Art (MICA), Baltimore, USA
\nAss. Prof. Maurice BENAYOUN, University Paris 8, France
\nProf. Dr. Cleomar ROCHA, Universidade Federal de Goi\u00e1s, Goi\u00e2nia, Brasil
\nLynn HERSHMAN LEESON, Artist;\u00a0 Professor Emeritus, University of California, Davis; Chair, Film Department, San Francisco Art Institute
\nProf. Dr. Akihiro KUBOTA, Tama Art University, Tokyo, Japan
\nAndres BURBANO, PhD researcher at the University of California, Santa Barbara, USA
\nEric KLUITENBERG, Chief of Tactical Media Files, Chelsea College of Art and Design, London
\nProf. Dr. Edward A. SHANKEN, University of Amsterdam, Netherlands
\nAndreia MAGALHAES, PhD researcher at the Fine Arts Faculty, Porto, Portugal
\nProf. Dr. Felipe Cesar LONDO\u00d1O, International Image Festival, University of Caldas, Colombia.
\nProf. em. Frank POPPER, University of Paris VIII,Paris, France
\nAss. Prof. Dr. Caitlin FISHER, York University,Toronto, Canada
\nProf. Dr. habil Marion G. M\u00dcLLER, Research Center Visual Communication and Expertise (VisComX), Jacobs University Bremen, Germany
\nProf. Dr. Timothy Conway MURRAY, Rose Goldsen Archiveof New Media Art, Cornell University, New York
\nProf. Dr. Douglas KAHN, National Institute for Experimental Arts, University of New South Wales, Sydney, Australia
\nAss. Prof. Dr. Baruch GOTTLIEB, transmediale, Germany
\nProf. Dr. Angel KALENBERG, Instituto Valenciano deArte Moderno (IVAM), Spain
\nRafael LOZANO-HEMMER B.Sc., Independent artist,Mexico, Madrid, Montreal
\nPredrag RISTIC, Gradina FM, Member (Macedonia, Balkans) \u2013 design of collaborative working practices and implementation of IT systems.
\nPatrick LICHTY, Critical Artist and Theorist, Columbia College Chicago
\nDr. Lewis KAYE, Sound artist; instructor, Dept. of Communication Studies, Wilfrid Laurier University, Waterloo, Canada
\nMaira Monteiro FROES, Prof. \/Research Neuroscience, ArtSci Interface Federal University of Rio de Janeiro Brazil
\nAss. Prof. Dejan GRBA, University of the Arts \/ Faculty of Fine Arts in Belgrade, Serbia
\nAss. Prof. Shane MECKLENBURGER, Art & Technology, The Ohio State University Dept of Art, Columbus, OH
\nDr. Martin E. ROSENBERG, Independent Scholar, Pittsburgh, PA USA
\nProf. Mariela CANTU, Researcher, Curator. Founder of Arca Video Argentino -On line Archive and Database of Argentinian Videoart-. Universidad de La Plata\/Universidad del Cine\/Instituto Universitario Nacional del Arte.
\nAss. Dir. Sherry Miller HOCKING, Experimental Television Center, Owego, NY, USA
\nLaura BERAZADI, Executive Director, InterAccess Electronic Media Arts Centre, Toronto, Canada
\nDr. Mikhail A. STEPANOV, Russian Institute for Cultural Research, St. Petersburg, Russia
\nDir. Helen SLOAN, SCAN, UK
\nDr. Jussi PARIKKA, Winchester School of Art\/University of Southampton
\nJennifer Kanary NIKOLOVA, Artist, Researcher and Tutor Art and Research Honours Programme Gerrit Rietveld Academie\/University of Amsterdam
\nPo-Wei WANG, Art Critic, Curator, Representative of the Digital Art Center, Taipei, Taiwan
\nDr. Clarissa RIBEIRO, Director of The Double Collective, researcher at ECA \u2013 USP \/ School of Communications and Arts, University of Sao Paulo, Brazil
\nProf. Dr. Bong Keun Yoo, Institute of Media Art, Seoul, Korea
\nDr. Dmitry GALKIN, Institute for Arts and Culture, Tomsk State University, Russia
\nAssoc. Prof. Bent FAUSING, Aesthetics and Visual Communications in Modern Media, University of Copenhagen, Director of the international research program: Sensoric Image Science, Denmark
\nDr. Suzana MILEVSKA, Art historian and Curator, Faculty of Fine Arts, Skopje
\nDr. Melentie PANDILOVSKI, Director, Video Pool Media Arts Centre, Winnipeg, Manitoba, Canada
\nNina SOSNA, Russian University for Humanities
\nDr. Karin WENZ, Director of studies MA Media Culture, Maastricht University
\nDr. Emmanuelle LOUBET, New Media artist, sound creator, programmer and\u00a0web developer, researcher, Canada \/ Japan
\nDr. Mathias FUCHS, University Potsdam\/ Germany and University of Salford , UK
\nDr. Annette FINNSDOTTIR, Design & E-Concept Developing at Zibat, Campus K\u00f8ge bei K\u00f8ge Business School, Kopenhagen, Denmark
\nUniv.Prof.Dr.phil.habil. Ram\u00f3n Reichert, Professor for New Media, Institute for Theater-, Film- und Media Studies, University of Vienna
\nDr. Rudolf FRIELING, Curator of Media Arts, San Francisco Museum of Modern Art
\nDr. Kathy CLELAND, Director of the Digital Cultures Program, the University of Sydney, Australia
\nPD Dr. Lutz MUSNER, IFK Internationales Forschungszentrum Kulturwissenschaften an der Kunstuniversit\u00e4t Linz
\nProf. Dr. Bernhard SEREXHE, Chief Curator ZKM | Media Museum, Karlsruhe, Germany
\nLidia STARODUBTSEVA, Director of the Center of Media Communications and Visual Studies, V.N.Karazin National University, Ukraine
\nProf. Dr. Birte KLEINE-BENNE, Ludwig Maximilians University Munich, Germany
\nLynn Hershman LEESON, Artist\/Filmmaker Professor Emeritus U.C. David, Visiting Artist New School for Social Engagement.<\/p>\n
CONTINUED LIST : click here<\/a><\/p>\n
to add your signature send an email to wendy.coones(at)donau-uni.ac.at<\/p>\n","protected":false},"excerpt":{"rendered":"
MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT – International Declaration download full text and signatories list as PDF State of Affairs Digital technology has fundamentally changed the way art is made. Over the last forty years, Media Art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, Media Art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions. As a result of rapid changes in technology, many major works made even 10 years ago can no longer be shown or are disappearing without a trace. If this situation is not addressed, we face losing an art form that is a central part of our post-industrial digital culture. To date, systematic global preservation and documentation campaigns do not exist. Many important online documentation and research projects are also disappearing from the web. As they falter, we risk losing their valuable material forever. Contemporary scientific research relies on access to shared data. The same is true of the Arts and Humanities, which lack a concerted international policy for sustainability and support of the digital heritage, such as exists partly in the natural sciences. Several science disciplines have developed large collective projects to address the challenges and opportunities of our time by way of networked digital environments, based on a sustainable and international support structure. International Media Art research needs similar global organisation and collaboration. Goals a.) Establish international and sustainable funding structures Therefore it is essential to establish international and sustainable funding structures that can guarantee the persistence of these valuable resources, and to make use of networked collaboration to archive key data in a cooperative process of knowledge transfer between artists, institutions and researchers internationally. While many nations are devoting funds for interdisciplinary e-research, we urgently need global networked collaboration in Media Art research. Such an international structure\/alliance needs the actively supported membership of media art organisations, archives and individuals. It should be supported with adequate funding and expertise from the existing networks of funding agencies, archives, online initiatives and research institutions. b.) Supporting an International Association\/Institution for Shared Data We urgently need global networked collaboration in Media Art research across the aforementioned networks. We need as many bridges into society as possible: archives, conferences, text repositories, collective database documentation, and preservation. This alliance will promote collaboration and advocate the sustainability, understanding and appreciation of media art heritage by: \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Recognizing and building upon existing knowledge and resources \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Providing and fostering channels of communication \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Enabling the international research community to create\/upload\/access data to be shared. \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Encouraging peer exchange and addressing the new challenges of Media Art \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Developing scientific technologies for documentation and preservation of Media Art \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Providing inspiration and resources for curators, artists, scholars, educators and audiences \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Supporting the Media Art History network, its conference series, text repositories and scientific publications \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Promotion of new ways of understanding media art, science, technology and its histories Only when we develop systematic strategies to address these challenges will we be able to fulfill the task that digital culture and its research demands of us in the 21st Century. download full text and signatories list as PDF Signing Instructions Governments, universities, research institutions, researchers, artists, academics, funding agencies, foundations, libraries, museums, archives, learned societies and professional associations who share the vision expressed in this Declaration are invited to join the signatories that have already signed the Declaration. Chair. Prof. Dr. Sean CUBITT, Goldsmiths College, University of London Chair. Prof. Dr. Oliver GRAU, Academia Europea \/ Soc. Histories of Media Art, Science and Technology Chair. Prof. Dr. Ross HARLEY, COFA, University of New South Wales, Sydney, Australia Prof. Dr. Christiane PAUL,The New School, New York, USA Prof. Dr. Diana DOMINGUES, Universidade de Bras\u00edlia, Brazil Prof. Lanfranco ACETI, Goldsmiths and Sabanci University, UK \/ Turkey Prof. Dr. Frieder NAKE, University of Bremen, Germany Prof. Dr. h.c. Peter WEIBEL, Chairman and CEO ZKM | Center for Art and Media Karlsruhe Prof. Dr. Roy ASCOTT, University of Plymouth, UK Sir Nicholas SEROTA\u00a0: Director- Tate, London Dr. Martin WARNKE, Leuphana University, Germany Prof. Mike STUBBS, Director of FACT Liverpool, UK Benjamin WEIL, Artistic Director, LABORAL, Spain Dr. Andreas BROECKMANN, Director of the Leuphana Arts Program, Germany Chair. Prof. Jeffrey SHAW, City University Hong Kong School of Creative Media Prof. Eduardo KAC, Arts Institute Chicago Prof. Dr. Christa SOMMERER, Professor for Interface Culture, University of Art and Design Linz, Austria Prof. Dr. Laurent MIGNONNEAU, Professor for Interface Culture, University of Art and Design Linz, Austria Alex ADRIAANSENS – former director of V2_ Institute for the Unstable Media, Rotterdam, Netherlands Prof. Dr. Horst BREDEKAMP, Institut fuer Kunst- und Bildgeschichte,\u00a0Humboldt-Universit\u00e4t zu Berlin Howard BESSER, Professor \/\u00a0Director, Moving Image Archive and Preservation Program,\u00a0NYU’s Tisch School of the Arts,\u00a0Cinema Studies Department Vanina HOFMAN, PhD; Universitat Oberta de Catalunya, Founder of Taxonomedia, Spain \/ Argentina Ass. Prof. Ianina PRUDENKO, National Pedagogical Dragomanov University, Kyiv, Ukraine. Prof. Dr. Anna Maria GUASCH,\u00a0Universitat de Barcelona, Spain. Sara DIAMOND, President OCAD University, Toronto, Canada Prof. Dr. Barbara Maria STAFFORD, Georgia Institute of Technology, Atlanta, Ga. Darko FRITZ, freelance curator, researcher and artist, Croatia \/ NL Dr. Lisa GYE, Swinburne University, Melbourne, AU Assoc. Prof. Dr. Anna MUNSTER, National Institute for Experimental Arts, Sydney, AU Dr. Stephen JONES, Stephen Jones & Associates P\/L (Video Conservation), Sydney, AU Dr. Andy WILLIAMSON, Digital Strategist and Commentator, UK Prof. Em.Vera FRENKEL, FRSC, Faculty of Fine Arts, York University Prof. Dr. Gilbertto PRADO, Visual Arts Departement, ECA\/USP – Sao Paulo University, Brazil. Winnie FU, Curator and Chairperson of Microwave International New Media Arts Festival, Hong Kong Prof. Stephen PARTRIDGE, Duncan of Jordanstone College of Art and Design, University of Dundee, UK Prof. Dr. Paul THOMAS, COFA, University of New South Wales, Sydney, Australia Adj. Prof. Alessandro LUDOVICO, Academy of Art Carrara, Editor in chief of Neural magazine, Italy Dr. Vince DZIEKAN, Monash University, Melbourne, Australia Jon IPPOLITO, Associate Professor of New Media, Still […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":65,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/557"}],"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=557"}],"version-history":[{"count":75,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/557\/revisions"}],"predecessor-version":[{"id":4603,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/557\/revisions\/4603"}],"wp:attachment":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}