{"id":7461,"date":"2016-08-19T14:30:32","date_gmt":"2016-08-19T14:30:32","guid":{"rendered":"http:\/\/artjournalstg.wpenginepowered.com\/?p=7461"},"modified":"2019-11-21T22:02:36","modified_gmt":"2019-11-21T22:02:36","slug":"between-negative-dialectics-and-biological-aesthesis","status":"publish","type":"post","link":"http:\/\/artjournal.collegeart.org\/?p=7461","title":{"rendered":"Between Negative Dialectics and Biological Aesthesis<\/em>"},"content":{"rendered":"
\"Klaus<\/a>
Klaus Spiess and Lucie Strecker, Spit Party<\/em>, 2014,<\/strong> looping performance video, 12 min., 19 sec. (artwork \u00a9 Klaus Spiess and Lucie Strecker; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

Wetware: Art, Agency, Animation<\/em> at the Beall Center for Art + Technology, University of California, Irvine, February 6\u2013May 7, 2016<\/strong><\/p>\n

The daring neologism \u201cwetware\u201d proved to be the most apposite term to coalesce the intermedia work of nine international artists affiliated with bioart into one exhibition. Bioart is the field of creative expression in which artists use living matter \u2013 cells, bacteria, embryos, plants, flesh, and more \u2013 to make works of art, installations, and performances. Like the art it described at the Beall Center for Art + Technology at the University of California, Irvine, the word \u201cwetware” is at once specific and suggestive, capacious while difficult to pin down. Not to be confused with hardware, software, or meatware\u2014the last being its closest variant\u2014wetware names the interface between the biological and mechanical that makes uneasy, blurry distinctions between the living and nonliving, the natural and artificial, and the animate and inanimate. The fluidity of this crossing point lies at the center of Wetware: Art, Agency, Animation<\/em>, an exhibition cocurated by Jens Hauser and David Familian, with work by Adam Brown, Gilberto Esparza, Thomas Feuerstein, Klaus Spiess and Lucie Strecker, Orkan Telhan, Evelina Domnitch and Dmitry Gelfand, and Anna Dumitriu. Similar to \u201cbiomediality,\u201d Hauser\u2019s word for the convergence of \u201chard, soft, and wetware,\u201d the exhibition was motivated by the merging of fields, epistemologies, and materials.1<\/a><\/sup> The greater field of biology within art is based on a fusion of many fields, the most central of which are art, architecture, design, synthetic biology, genetics, and biocomputation.<\/p>\n

\"Gilberto<\/a>
Gilberto Esparza, Pepenadores (Gleaners)<\/em>, 2010\u20132015,<\/strong> motors from toys, galvanized wire and technological scraps (artwork \u00a9 Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

The concept of wetware is not just about machines, but an everyday life molded and manipulated by science as an industrial complex. Wetware circulates widely through epigenetic passageways in and beyond our bodies. It is in our homes through mass-market Direct-to-Consumer Genetic products, in our food through Big Agriculture\u2019s use of antibiotics in animal feed, and in our environment writ large through mammalian waste effluence that is collectively permeated by a gamut of drugs, from the antibacterial to psychotropic. \u201cWith the advent of disciplines such as synthetic biology\u2026 \u2018meaty\u2019 and \u2018wet\u2019 living machines\u2026may largely reproduce, proliferate, and become pervasive, while being hardly identifiable,\u201d explains Hauser.2<\/a><\/sup> In this context, \u201cwetware<\/em>\u2026 can mean protocols and devices used in molecular biology and synthetic biology. It encompasses the biological and systems theoretical understanding of life and disrupts the border between organisms and machines.\u201d3<\/a><\/sup> While it is everywhere, wetware can feel like it is nowhere not only because of its constructed and staged naturalism, but also because of the ambiguity which reigns from it. It is one of several forces destabilizing the definition of \u201clife\u201d within the natural sciences, connected to the field of synthetic biology and the miraculous gene-editing tool CRISPR.4<\/a><\/sup><\/p>\n

\"Gilberto<\/a>
Gilberto Esparza, Moscas (Flies)<\/em>, 2010\u20132014,<\/strong> motor from cellular phone, copper wire, and controller (artwork \u00a9 Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

According to the Oxford English Dictionary<\/em>, \u201cwetware\u201d first appeared in 1975 in the journal Nature<\/em> to distinguish an electronic computer made up of \u201chard and software\u201d from a \u201cchemical automaton\u201d which \u201cneeds an additional component, a chemical reaction system which might be called \u2018wetware.\u2019\u201d5<\/a><\/sup> Rudy Rucker published Wetware<\/em> in 1988, a science fiction thriller about \u201cmeatbops,\u201d a new life form based on the fusion of robots, software codes, and \u201cDNA wetware.\u201d6<\/a><\/sup> While newly created, it is still a term with historicity\u2014Hauser claims wetware is the most recent incarnation of \u201cthe historical fascination with staging aliveness<\/em>,\u201d which \u201cpermeates cultural history\u201d in the form of \u201canthropomorphic statues and pneumatic figures.\u201d7<\/a><\/sup> Writing in 2002, Jessica Riskin situated the term within this history, focusing in particular on examples of \u201ceighteenth-century wetware,\u201d such as Pierre Jacquet-Droz and Jacques de Vaucanson\u2019s automata.8<\/a><\/sup> With the normativity of algorithms, computers, and digital technology, the term has become common in the new millennium. Theorist Richard Doyle cast it in the plural with the 2003 publication of Wetwares: Experiments in Postvital Living<\/em>. Here, wetware is not just a thing but field of possibilities: a set of \u201cfamiliars\u2014a zone of interactivity between humans and animals\u2026that blur the contours of human subjectivity,\u201d while, \u201csupplement[ing] [William] Burroughs\u2019s analysis of weapons and their ecologies.\u201d9<\/a><\/sup> Neuroscientist Dennis Bray underscored the computational nature of cell function in the 2009 book Wetware: A Computer in Every Living Cell<\/em>. Bray elides computer into biological function by way of shared temporality, explaining wetware as the \u201cshort-term memory<\/em>\u201d of bacteria \u201cthat tells them whether conditions are better at this instant of time than a few seconds ago.\u201d10<\/a><\/sup><\/p>\n

\"Adam<\/a>
Adam Brown, The Great Work of the Metal Lover<\/em>, 2012,<\/strong> glass alchemical bioreactor, gas manifold and gas tank filled with hydrogen and carbon dioxide, made in collaboration with Kazem Kashefi (artwork \u00a9 Adam Brown; photograph provided by Beall Center for Art + Technology, University of California, Irvine). View of the alchemical installation.<\/figcaption><\/figure>\n

Camouflaged by both the seamlessness and user-friendly nature of biotechnology today, wetware is everywhere. The bio-performance art of Klaus Spiess and Lucie Strecker pivots on the hidden-in-plain-sight omnipresence of wetware. Installed in the exhibition as a single-channel video, Spit Party<\/em> is a genetic performance project in which the two act out with an audience the process of home genetic testing known as \u201cdirect-to-consumer genetics\u201d or DCG. The duo espouses \u201cfree speech and free spit,\u201d inspiring interest in the audience to make their genetic information public as visual information. They distribute tubes and informed consent forms, asking for permission to harvest individual saliva samples, which are then visualized as large images of DNA bands. Participants are encouraged to interact with projected DNA images.<\/p>\n

\"Adam<\/a>
Adam Brown, The Great Work of the Metal Lover<\/em>, 2012,<\/strong> scanning electron microscope showing gold deposits produced by bacteria, twenty-four-karat gold leaf, made in collaboration with Kazem Kashefi (artwork \u00a9 Adam Brown; photograph provided by Beall Center for Art + Technology, University of California, Irvine). View of image made with gold using a scanning electron microscope.<\/figcaption><\/figure>\n

Anthropologist of science Stefan Helmreich, whose thinking influenced the curators of Wetware<\/em>, demarcates the ambiguous space of life with \u201climit biologies.\u201d11<\/a><\/sup> Limit biologies set in relief life in the extreme. They embody \u201ca worry about ends\u201d and an \u201cargument from the future,\u201d which above all else \u201cpoint to larger instabilities in concepts of nature\u2014organic, earthly, cosmic.\u201d12<\/a><\/sup> Helmreich\u2019s three examples of limit biologies\u2014artificial life, oceanic extremophiles, and astrobiology\u2014inscribe the thresholds of biological life shaping the exhibition Wetware<\/em>. Gilberto Esparza\u2019s work approximates Helmreich\u2019s artificial life while bearing the mechanical trappings of artificial intelligence. Esparza\u2019s Pepenadores (Gleaners)<\/em>, made from recycled motors of toys, crawl amid mechanical detritus, while Moscas (Flies)<\/em>, mechanical insects made from discarded cell phone vibrators attached to invisible metal lines, zigzag above and around viewers\u2019 heads. Adam Brown\u2019s work catalyzes marine bacteria to create a natural element, deploying marine extremophiles\u2014deep-sea bacterial life that defies all odds by living in hypersaline habitats, high pressures, and extreme temperatures. Brown\u2019s The Great Work of the Metal Lover<\/em> is an alchemical machine hosting the metallotolerant extremophilic bacterium Cupriavidus metallidurans<\/em> that, under the engineered atmosphere created in the gallery, produces gold. Evelina Domnitch and Dmitry Gelfand\u2019s Luminiferous Drift<\/em> delves into astrobiology to ponder the signature of life as extraterrestrial. The viewer walks into a dark room cordoned off by black curtains and looks over a small whirling, circular bath of water in which primordial cellular conditions have been recreated. From nano- to meso-, the scales of life overlap and fuse. While the living matter within the works is often invisible to the bare eye, the works themselves\u2014given full shape by various armatures, frames, podia, and mechanical contraptions\u2014are at the scale of mid-size sculptures.<\/p>\n

\"Evelina<\/a>
Evelina Domnitch and Dmitry Gelfand, Luminiferous Drift<\/em>, 2016,<\/strong> pneumatic macro-chip, mixed aqueous solutions (including chemo-luminescent enzymes), oil, rotating bath of water, sound by Richard Chartier (artwork \u00a9 Evelina Domnitch and Dmitry Gelfand; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

The exhibition destabilizes scientific definitions of life in order to disfigure and decenter anthropocentrism across fields. It is one of several recent bioart exhibitions with this motivation. Emergent Ecologies<\/em>, curated by Eben Kirskey and a \u201cswarm\u201d of other curators, was an exhibition held in spring 2016 featuring almost 100 artists that took place at Kilroy Metal Ceiling, a large, makeshift space in Brooklyn.13<\/a><\/sup> The exhibition focused on emergent forms of life that are deleterious and beneficial, and how diseases as well as new forms of post-volcanic life subvert \u201cdominant political strategies, economic systems, or agricultural practices.\u201d14<\/a><\/sup> Two exhibitions, Mind the Gut<\/em>\u2014forthcoming at the Medical Museion in Copenhagen, Denmark15<\/a><\/sup> \u2014and Gut Instinct: Art, Design, and the Microbiome<\/em>\u2014an online exhibition sponsored by the SciArt Center of New York\u2014focus on gut bacteria, the microbiome, the gut-brain axis, and how putative mind is organismal and extends beyond the brain across the body.16<\/a><\/sup><\/p>\n

\"Anna<\/a>
Anna Dumitriu, Engineered Antibody<\/em>, 2015\u20132016,<\/strong> twenty-one amino acids, polymer clay, Coomassie Brilliant Blue dye, jewellery wire, cotton calico, vintage tatted linen lace, silk, and embroidery, based on research by Xiang Li (Liu Lab, University of California, Irvine) (artwork \u00a9 Anna Dumitriu; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

The work in Wetware<\/em> bears the intellectual and material challenges of high conceptualism and new media art. The work demands much scientific and technological knowledge on the part of its viewers, and an openness to the idea that machines and biotechnological effects (lab work involving enzymes, viruses, and genetic information) constitute a form of art. It would be remiss to understand Anna Dumitriu\u2019s three projects in the exhibition\u2014Engineered Antibody<\/em>, Necklace<\/em>, and Faster Mutation<\/em>\u2014solely in terms of how they look according to the leitmotifs of femininity and traditional women\u2019s work. They are also fundamentally about her collaboration with scientists, a result of her residency working with researchers in the Liu Lab for Synthetic Evolution at the University of California, Irvine. Dumitriu\u2019s Engineered Antibody <\/em> looks like a colorful strand of beads atop a filigree of blue lace. Its deeper meaning is woven into what it is: a necklace made up of 452 handmade beads containing the actual twenty-one amino acids of an antibody purified from the blood of an HIV positive patient. Living matter connects to language in that their biological stuff is connected to the metaphor that amino acids are the \u201cbeads of life\u201d\u2014the idea that scientists enlist to describe structures of proteins constructed from chains of amino acids.<\/p>\n

\"Anna<\/a>
Anna Dumitriu, Necklace<\/em>, 2015\u20132016,<\/strong> modified E. coli bacteria containing mutated engineered antibody, agar, Petri dishes, made in collaboration with Felix Grun (Center for Complex Biological Sciences, University of California, Irvine) with scientific support from Liu Lab, University of California, Irvine (artwork \u00a9 Anna Dumitriu; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

For most viewers, a full understanding of this work would require long, explanatory exhibition plaques (which were happily absent at the Beall), a lot of background reading, and an interview with the artist. Given that none of these things were readily available, Dumitriu\u2019s work and the exhibition overall might seem opaque, intransigent, and frustrating. For many viewers this kind of difficulty\u2014what Theodor Adorno called a \u201cnegative dialectic\u201d\u2014is the quintessence of true art. It constitutes a mode of resistance that is political in its refusal to be easily consumed, exchanged within the marketplace, and co-opted by bourgeois norms of taste and beauty. While the bioart of Wetware<\/em> depends on the ongoing innovation of science within a free market, it does not heedlessly condone that industry or market. Rather, it evaluates and interrogates these systems, which are imbedded in other systems, combining scientific methodologies with the tools of abstract thinking inherent to art. It creates an instance of what I have elsewhere identified as the \u201cBildung<\/em> of bioart\u201d\u2014 the formation, culture, maturation, up-building, and education of bioart.17<\/a><\/sup><\/p>\n

\"Anna<\/a>
Anna Dumitriu, Faster Mutation<\/em>, 2015\u20132016,<\/strong> replica plating velvet squares printed with engineered yeast cells, embroidery, appliqu\u00e9, and plasmid DNA, made in collaboration with Ziwei Zhong (Liu Lab, University of California, Irvine) (artwork \u00a9 Anna Dumitriu; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n
\"Anna<\/a>
Anna Dumitriu, detail of Faster Mutation<\/em>, 2015\u20132016,<\/strong> replica plating velvet squares printed with engineered yeast cells, embroidery, appliqu\u00e9, and plasmid DNA, made in collaboration with Ziwei Zhong (Liu Lab, University of California, Irvine) (artwork \u00a9 Anna Dumitriu; photograph provided by Beall Center for Art + Technology, University of California, Irvine)<\/figcaption><\/figure>\n

That said, the exhibition fortunately did not sacrifice aesthetic form and matter for an ethics of iconoclasm rooted in biotechnology. There were plenty of art cues in the form of shapes, sounds, and materials. Installers carefully positioned works on pedestals, scrupulously choreographed spaces, smartly painted the walls dark grey, and judiciously orchestrated lighting in the large exhibition space of the Beall. Aesthetics occupied a unique position here for, while the show was not concerned with connoisseurship or the classical delectation of beautiful objects, there was an intended and staged aesthesis<\/em>\u2014a bodily recognition of form and ideas\u2014present throughout the entire exhibition space. Each work triggered the deep-felt frisson that comes with the \u201caha\u201d of new knowledge, scientific literacy, and making connections between art, science, and their shared history. This genre of work catalyzes the awe and wonder that comes with recognition of biological complexity that few other forms of art can.<\/p>\n

\n

Charissa Terranova<\/strong> is associate professor of aesthetic studies at the University of Texas at Dallas, author of Art as Organism: Biology and the Evolution of the Digital Image<\/em> (2016) and Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art<\/em> (2014), and coeditor (with Meredith Tromble) of The Routledge Companion to Biology in Art and Architecture<\/em> (2016). She is the inaugural director and curator of Centraltrak: The UT Dallas Artists Residency, and regularly curates and writes art criticism. With Davidson College Professor of Biology Dave Wessner, in February 2016 she cocurated Gut Instinct: Art, Design, and the Microbiome<\/em>, an online exhibition about art, the gut-brain axis, and gastrointestinal microbiome. In the fall of 2015 at Gray Matters Gallery in Dallas, Texas Terranova curated Chirality: Defiant Mirror Images<\/em>, an exhibition about art and the scientific concept of \u201cchirality,\u201d or non-superimposable mirror images.<\/p>\n

\n
<\/div>\n
    \n
  1. Jens Hauser, \u201cHard Scrap, Soft Politics, and Wet Machines: Toward an Unnecessary Human,\u201d Cultivos<\/em>, ed. Gilberto Esparza (Mexico Distrito Federal: Consejo Nacional para la Cultura y las Artes, 2015), 337. ↩<\/a><\/span><\/li>\n
  2. Hauser, \u201cIt\u2019s Time for a Wetware Update,\u201d 1. ↩<\/a><\/span><\/li>\n
  3. Ibid. ↩<\/a><\/span><\/li>\n
  4. Heidi Ledford, \u201cCRISPR: Gene Editing Is Just Beginning,\u201d Nature News<\/em>, 531, no. 7593 (2016): 156\u2013159. ↩<\/a><\/span><\/li>\n
  5. \u201cWetware\u201d in Oxford English Dictionary Online<\/em>, as of May 13, 2016. ↩<\/a><\/span><\/li>\n
  6. Rudy Rucker, Wetware<\/em> (New York: Avon Books, 1988), 4. ↩<\/a><\/span><\/li>\n
  7. Jens Hauser, \u201cIt\u2019s Time for a Wetware Update,\u201d WETWARE: Art, Agency, Animation<\/em>, forthcoming catalogue essay (2016), 1. ↩<\/a><\/span><\/li>\n
  8. Jessica Riskin, \u201cEighteenth-Century Wetware,\u201d Representations<\/em> 83 (Summer 2003): 97\u2013125. ↩<\/a><\/span><\/li>\n
  9. Richard Doyle, Wetwares: Experiments in Postvital Living<\/em> (Minneapolis: University of Minnesota Press, 2003), 7. ↩<\/a><\/span><\/li>\n
  10. Dennis Bray, Wetware: A Computer in Every Living Cell<\/em> (New Haven: Yale University Press, 2009), 7. ↩<\/a><\/span><\/li>\n
  11. Stefan Helmreich, Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond<\/em> (Princeton, NJ: Princeton University Press), 16. ↩<\/a><\/span><\/li>\n
  12. Helmreich, 16, and Hauser, \u201cIt\u2019s Time for a Wetware Update,\u201d 3. ↩<\/a><\/span><\/li>\n
  13. Eben Kirskey, Emergent Ecologies<\/em>, exhibition press release (April 30, 2016). The exhibition was curated by Eben Kirksey, Lissette Olivares, Ellie Irons, Grace Glovier, Cody Kohn, Kayli Marshall, Greg Umali, Alexandra Palocz, Jeffrey Bussolini, and Cheto Castellano,and took place April 30\u2013May 21, 2016. The artists in the exhibition were Maria Aiolova, Marcela Anabal\u00f3n, Patricia Alvarez, Krisanne Baker, Steve Barrett, Tarsh Bates, Peter Bauer, Vaughn Bell, Karin Bolender, Rogan Brown, Chloe Byrne, Natalia Cabezas and Montserrat Negrete, Corinne Cappelletti, Cheto Castellano, Alonso Cedillo, Sophia Chao, Atom Cianfarani, Tatiana Czekalska and Leszek Golec, Krista Dragomer, J. D. Doria, Anna Dumitriu, Ellen Driscoll, Grayson Earle, Melanie Fessel, Ivan Fuentealba, Regina Jos\u00e9 Galindo, Mikhail Gervits, Grace Glovier, Yucel Guven, Christian Hamrick, Shandor Hassan, Andrea Haenggi, Elena Tejada Herrera, Kathy High, Jeff Hoelle, Susan Hoenig, Henry Horn, Ellie Irons, Antonia Isaacson, Maca Jimenez, Mitchell Joachim, Sharon Kallis, Anja Kanngieser, Christopher Kennedy, David Khang, Katie King, Eben Kirksey, Kitch, Michael Klingler, Cody Kohn, Miguel Lantigua-Inoa, Lian Lian, Lenore Malen, Matsya, Jane Marsching, Mary Martin, Alex May, Laura McLauchlan, Felipe Molina, Lucia Monge, Sung Moon, Leila Nadir, Eli Neira, NEOZOON, Juan Olivares, Lissette Olivares, Terreform ONE, Alexandra Palocz, Cary Peppermint, Anne Percoco, Eva Perrotta, Angela Petsis, Praba Pilar, Deanna Pindell, Prima and other suspects from the Center for Feline Studies, Danny Reveco Appelger, Peter Richards, Coco Rico, Shark Roth, Christy Rupp, Robyn Shapiro, Sin Kabeza Production, Annie Sprinkle + Beth Stephens, Polly Stanton, Anna-Sophie Springer and Etienne Turpin, Karolina Sobecka, Andi Sutton, Matthew Tarpley, The Natural History Museum (Not an Alternative), Ana\u00efs Tondeur and Marine Legrand, Vandra Thorburn, Marlene Tseng Yu, Greg Umali, Anuj Vaidya, Kamila Varela, Vesper, Artemisia vulgaris, Ruth Wallen, Maria Whiteman, Amanda Yates, JiaChen Xu, and Adam Zaretsky. ↩<\/a><\/span><\/li>\n
  14. Ibid. ↩<\/a><\/span><\/li>\n
  15. See http:\/\/www.museion.ku.dk\/mindthegut\/, as of May 9, 2016 ↩<\/a><\/span><\/li>\n
  16. See http:\/\/www.sciartcenter.org\/gut-instinct.html, as of May 9, 2016. This exhibition marked the culmination of a virtual residency, September 2015\u2013February 2016, conducted through the SciArt Center New York between the author and David Wessner, Professor of Biology at Davidson College. The exhibition includes artwork by artists Anna Dumitriu, Kathy High, Rachel Mayeri, Ken Rindaldo, Meredith Tromble, and Adam Zaretsky and by scientists Mehmet Candas and Fran\u00e7ois-Joseph Lapointe. ↩<\/a><\/span><\/li>\n
  17. Charissa N. Terranova, \u201cBioart and Bildung,\u201d forthcoming in the Journal of Microbiology & Biology Education<\/em>, fall 2016 ↩<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    By Charissa Terranova<\/p>\n

    Charissa Terranova reviews Wetware: Art, Agency, Animation<\/em>, which was on view at the Beall Center for Art + Technology, University of California, Irvine, from February 6\u2013May 7, 2016.<\/p>\n","protected":false},"author":9,"featured_media":7480,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"kia_subtitle":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-7461","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized",""],"_links":{"self":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/7461","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7461"}],"version-history":[{"count":0,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/7461\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/media\/7480"}],"wp:attachment":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7461"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}