{"id":3,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/de-caixas-e-interacoes\/"},"modified":"2008-08-08T16:52:14","modified_gmt":"2008-08-08T19:52:14","slug":"de-caixas-e-interacoes","status":"publish","type":"post","link":"https:\/\/idanca.net\/de-caixas-e-interacoes\/","title":{"rendered":"De caixas e intera\u00e7\u00f5es | On boxes and interaction"},"content":{"rendered":"

Sandra Meyer \u00e9 Coordenadora do Curso de Especializa\u00e7\u00e3o em Dan\u00e7a C\u00eanica do Centro de Artes da Universidade do Estado de Santa Catarina e Doutoranda do Programa de Comunica\u00e7\u00e3o e Semi\u00f3tica da PUC\/SP..<\/span>Sandra Meyer coordinates the Specialization Course in Dance at Santa Catarina State University and is finishing her Doctorate in the Communication and Semiotics Program at PUC\/SP.<\/span><\/p>\n

Diante de uma plat\u00e9ia lotada, o Grupo Cena 11 apresentou o Projeto SKR \u2013 Procedimento 1, no dia 29 de agosto, no Teatro do Ita\u00fa Cultural de S\u00e3o Paulo. Na mesma ocasi\u00e3o houve o lan\u00e7amento do livro que estabelece uma an\u00e1lise da obra do grupo, “A Dan\u00e7a dos Enc\u00e9falos Acesos”, de Ma\u00edra Spanghero, ambos contemplados pela primeira edi\u00e7\u00e3o do Programa Rumos Ita\u00fa Cultural Transm\u00eddia. .<\/p>\n

A publica\u00e7\u00e3o da obra da pesquisadora catarinense Ma\u00edra Spanghero, fruto da pesquisa realizada em seu mestrado na Pontif\u00edcia Universidade Cat\u00f3lica de S\u00e3o Paulo, reafirma os la\u00e7os cada vez mais estreitos entre o saber produzido na universidade e o mercado cultural brasileiro, al\u00e9m de registrar com propriedade te\u00f3rica a proposi\u00e7\u00e3o art\u00edstica de uma companhia de dan\u00e7a que j\u00e1 deu provas de sua import\u00e2ncia no contexto art\u00edstico nacional..<\/p>\n

A dan\u00e7a do Cena 11 \u00e9 atravessada por in\u00fameras quest\u00f5es conectadas com a contemporaneidade e que suscitou de Spanghero instrumentos te\u00f3ricos como os estudos ligados ao CorpoM\u00eddia, Teoria da evolu\u00e7\u00e3o cultural e Teoria geral dos sistemas. O livro desenha um mapa da dan\u00e7a-tecnologia, onde a autora insere sua hip\u00f3tese sobre a obra do grupo Cena 11; analisa evolutivamente as seis cria\u00e7\u00f5es da companhia, chamando aten\u00e7\u00e3o para as id\u00e9ias que germinam e florescem de uma obra para outra e descreve as rela\u00e7\u00f5es entre dan\u00e7a e tecnologia singularizadas no conjunto coreogr\u00e1fico composto por Alejandro Ahmed, o core\u00f3grafo e diretor da Cia. O Corpo-marionete, o corpo-aut\u00f4mato, o corpo em risco e outros objetos de pesquisa do grupo que permeiam as obras em fen\u00f3tipos e ambientes distintos – do v\u00eddeo game ao rob\u00f4 – fornecem material para a cuidadosa e preciosa an\u00e1lise de Spanghero. .<\/p>\n

Entendendo a dan\u00e7a enquanto uma \u00e1rea de conhecimento, a companhia de dan\u00e7a catarinense est\u00e1 implementando um percurso com vistas \u00e0 montagem do espet\u00e1culo SKINNERBOX, com estr\u00e9ia prevista para 2004. O Grupo Cena 11 nomeia seu processo criativo como um procedimento investigativo, entendendo que o corpo que dan\u00e7a tamb\u00e9m cria hip\u00f3teses que podem ser comprovadas ou questionadas. Por meio da dan\u00e7a e da tecnologia, prop\u00f5e par\u00e2metros definidos de discuss\u00e3o e intera\u00e7\u00e3o com o p\u00fablico – controle e comunica\u00e7\u00e3o, sujeito e objeto, homem e m\u00e1quina – de olho nas rela\u00e7\u00f5es h\u00edbridas e n\u00e3o hier\u00e1rquicas entre natureza e cultura. .<\/p>\n

A constru\u00e7\u00e3o coreogr\u00e1fica da Cia Cena 11 desta vez abre espa\u00e7os, ainda rel\u00e2mpagos, de uma gestualidade pouco explorada pelo grupo anteriormente. Entre as quedas no ch\u00e3o e a neutralidade na representa\u00e7\u00e3o peculiar ao trabalho do grupo, h\u00e1 toques em partes do corpo e um olhar menos vazado que imprime momentos de maior “humanidade” na proposta do corpo objeto\/boneco pretendida pelo grupo.<\/p>\n

Das a\u00e7\u00f5es motoras j\u00e1 emergem qualidades que as tornam mat\u00e9ria po\u00e9tica, provocando um efeito de reconhecimento de trajetos energ\u00e9ticos, tra\u00e7os fisiol\u00f3gicos e elementos emocionais, sem compactuar, entretanto, com o jogo mim\u00e9tico da a\u00e7\u00e3o dram\u00e1tica. Escapar \u00e0 puls\u00e3o narrativa do espectador e ao figurativo parece tarefa mais \u00e1rdua na dan\u00e7a, visto que a figura humana, com seu repert\u00f3rio de vida, as suscita. Da qualquer forma, as “figuras” da dan\u00e7a, em movimento de fato, sugerem imagens que dificilmente n\u00e3o levar\u00e3o a alguma esp\u00e9cie de narrativa, mesmo que n\u00e3o linear ou dramatizada.<\/p>\n

A conex\u00e3o pretendida pelo grupo entre um homem que \u00e9 objeto e uma m\u00e1quina que admite certa humanidade ganha igni\u00e7\u00e3o pelo pr\u00f3prio tema que permeia o experimento SKR: a quest\u00e3o do comportamento. Os elementos postos em cena ganham conectividade em alguns momentos. Noutros, ela ainda est\u00e1 por vir. Pelo ponto de vista do receptor, relatados no debate ap\u00f3s a apresenta\u00e7\u00e3o, h\u00e1 comunica\u00e7\u00e3o maior de um corpo com o outro pelo toque ou pela aproxima\u00e7\u00e3o que as imagens projetadas em tel\u00e3o dos bailarinos em tempo real provocam, imagens estas provenientes da c\u00e2mera de v\u00eddeo que passeia pelo espa\u00e7o sobre um pequeno prot\u00f3tipo de rob\u00f4 teleguiado.<\/p>\n

Entre os par\u00e2metros eleitos pelo grupo para nortear sua proposta coreogr\u00e1fica a quest\u00e3o do controle se evidencia. As palavras pronunciadas _ “solta”_, e gestos como o de tapar os olhos do outro, pontuam as rela\u00e7\u00f5es de restri\u00e7\u00e3o e permiss\u00e3o do movimento e do comportamento. Mesmo assinando seus atos em primeira pessoa _ seus nomes s\u00e3o mencionados em off e inscritos em seus sapatos _ os corpos dos integrantes da companhia ora agem, ora sofrem a a\u00e7\u00e3o do mundo, pondo em cheque a no\u00e7\u00e3o de sujeito e de objeto, bem como a quest\u00e3o do controle, da imprevisibilidade e da a\u00e7\u00e3o do tempo nas rela\u00e7\u00f5es entre as coisas.<\/p>\n

Em se tratando de um processo e n\u00e3o uma obra acabada, o “Procedimento 1” j\u00e1 exala intelig\u00eancia e vigor e apresenta uma cena elegante e precisa. Tanto a apresenta\u00e7\u00e3o da “formula\u00e7\u00e3o coreogr\u00e1fica”, de aproximadamente 40 minutos, tanto o debate que o sucede, mediado por Fabiana Britto, orientadora do Projeto de Pesquisa, est\u00e3o em constante reavalia\u00e7\u00e3o. O que \u00e9 posto \u00e0 prova e que \u00e9 pass\u00edvel de interven\u00e7\u00e3o do p\u00fablico n\u00e3o \u00e9 bem o processo, mas sim o procedimento resultante de uma hip\u00f3tese. A estrutura coreogr\u00e1fica \u00e9 minimamente alterada e as reflex\u00f5es entre p\u00fablico e o grupo ser\u00e1 levado ao pr\u00f3ximo procedimento.<\/p>\n

Para compor SKINNERBOX, Alejandro Ahmed parte de uma teoria comportamental para desencadear suas reflex\u00f5es. O grande problema que escapa ao determinismo das teorias comportamentalistas que gravitam em torno de Pavlov, Watson e Skinner, o de n\u00e3o considerar a infinita variedade de respostas poss\u00edveis dadas pelo mesmo est\u00edmulo, ser\u00e1 o grande desafio do grupo em sua experimenta\u00e7\u00e3o. Para se cercar de maior objetividade, o Cena 11 prop\u00f5e tr\u00eas par\u00e2metros b\u00e1sicos de leitura de sua abordagem coreogr\u00e1fica, a ser respondida pelo p\u00fablico num formul\u00e1rio: as rela\u00e7\u00f5es entre homem e m\u00e1quina, sujeito e objeto e controle e comunica\u00e7\u00e3o.<\/p>\n

Resta saber os n\u00edveis de permeabilidade e contamina\u00e7\u00e3o a que se prop\u00f5e o grupo ao estabelecer a estrat\u00e9gia de abrir seu procedimento ao p\u00fablico, que \u00e9 convidado a interagir com os pressupostos da proposta coreogr\u00e1fica definidos pelo Grupo. Um exerc\u00edcio de flexibilidade se imp\u00f5e, entre a aceita\u00e7\u00e3o das proposi\u00e7\u00f5es provenientes da recep\u00e7\u00e3o do p\u00fablico e a defesa dos princ\u00edpios pr\u00f3prios da Cia. Quem controlar\u00e1 quem?<\/p>\n

Distribui\u00e7\u00e3o gratuita para bibliotecas e institui\u00e7\u00f5es culturais do livro Dan\u00e7a dos Enc\u00e9falos Acesos, de Ma\u00edra Spanghero, mediante solicita\u00e7\u00e3o ao e-mail atendimento@itaucultural.org.br ou pelo telefone: (11) 3268.1776.<\/p>\n

In front of a crowded auditorium, Cena 11 presented Project SKR\/ Procedure 1, last August 29, at Ita\u00fa Cultural of S\u00e3o Paulo. In the same occasion, took place the launching of the book that establishes an academic analysis of the group\u2019s research, A Dan\u00e7a dos Enc\u00e9falos Acesos, by Ma\u00edra Spanghero, both contemplated by the first edition of the Rumos Transm\u00eddia (a grant given by Ita\u00fa Cultural Arts Center). The publication of the essay of the catarinense researcher Ma\u00edra Spanghero, fruit of the work carried through in her Masters in the Catholic University of S\u00e3o Paulo, reaffirms that the distance between knowledge produced in the university and the Brazilian cultural market is getting narrower each time. It also register with theoretical property the artistic proposal of a dance company that has already proven its importance in the national artistic context.<\/p>\n

The dance of Cena 11 is crossed by innumerable questions hardwired with the contemporary and that is what excited Spanghero to use theoretical instruments such as studies of Bodymedium, cultural evolution and general systems Theory. The book draws a map of the dance-technology, where the author inserts its hypothesis on the research of Cena 11; it evolutively analyzes the six creations of the company, calling attention for the ideas that germinate and blossom of a work to another and describes the relations between dance and technology pointed in the compositions of Alejandro Amhed, coreographer and director of the group. The Body-marionette, the body-automaton, the body in risk and other objects of research for the group in distinct environments – from videogame to robots – supply material to the careful and precious analysis of Spanghero.<\/p>\n

Understanding dance as a knowledge area, the dance company is implementing a complex process that will lead to the new work, SKINNERBOX, with foreseen premiere for 2004. Cena 11 nominates its creative process as a investigative procedure, understanding that the body that dances creates hypothesis that can be proven or questioned. By means of the dance and the technology, it proposes a set of parameters of discussion and interaction with the audience – control and communication, citizen and object, man and machine \u2013 with an eye at the hybrid and not hierarchic relations between nature and culture.<\/p>\n

The choreographic construction of Cena 11 now opens spaces, still like lightning strokes, of gestures little explored by the group previously. Among the hard falls and the neutrality in representation that are peculiar to the group, now there are some parts of the body to be touched and a less transparent look that supply more humane moments in the intended proposal on the body object\/doll.<\/p>\n

From the actions already emerge qualities of poetical substance, provoking recognition of energy passages, traces and emotional elements, without recurring, however, to the mimetic game of the dramatical action. To escape the narrative drive of the spectator and figurative seems an arduous task in dance, since the human figure, with its repertoire of life, excites them. In any form, the dance figures here suggest images that will hardly not lead to a narrative, even if not linear or dramatized.<\/p>\n

The connection intended between a man that is object and a machine that admits certain humanity gains ignition for the proper subject that crosses experiment SKR: the behavior question. The elements ranks in scene gain conectividade at some moments. At others, it is still to come. From the receiver\u2019s point of view, made clear at the debate after the presentation, the bigger communication comes from a body with the other or by the touch or approach that the projected images of the dancers in real time provoke, images comming from the video camera that takes a walk aroun the space on a small remote control robot.<\/p>\n

The question of the control becomes evident among the parameters elected for the group to guide its choreographic proposal. The spoken words _let go _, and gestures such as to cover the eyes of the other, evidenciate the relations of restriction and permission of the movement and the behavior. Despite the fact that their mouvements are signed in first person _ names are mentioned and writen in the shoes _ the dancers bodies, however, suffer action from the world, putting in check the object and citizen notion, as well as the question of the control, the imprevisibility and the time factor in the relations between the things.<\/p>\n

Considered as a process and not a finished work, Procedimento 1, already exhales intelligence and strenght and ipresents an elegant and precise scene. Both the presentation what the group calls the choreographic formulation of approximately 40 minutes, and the debate that succeeds it, mediated by researcher Fabiana Britto, is in constant reevaluation. What it is to be tested and that is open to intervention by the audience is not the process itself, but the resultant procedure of a hypothesis. The choreographic structure is slowly modified and the reflections between audience and the group will be taken to the next procedure.<\/p>\n

To compose SKINNERBOX Alejandro Amhed starts from a behaviour theory to ignite his thought. The great problem that escapes to the determinism of behaviourist theories that gravitate around Pavlov, Watson and Skinner _ not to consider the infinite variety of possible answers given by the same stimulaton _ will be the great challenge for group in its experimentation.<\/p>\n

To surround itself with bigger objetivity, Cena 11 considers three basic parameters for reading its choreographic proposal, to be answered by the audience in a writen form: the relation between man and machine, citizen and object and control and communication.<\/p>\n

It remains to be known at wich levels of permeability and contamination the group will work when establishing a strategy to open its procedure to the audience, who is invited to interact with the choreographic proposal defined by the group. A flexibility exercise imposes itself, between the acceptance of the proposals reorganized by the audience reception and the defense of the principles of the artists in the group. Who will control who?<\/p>\n

Free distribution for libraries and cultural institutions of the book by Ma\u00edra Spanghero, by request to the email atendimento@itaucultural.org.br or by telephone: (55-11) 3268.1776.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sandra Meyer comenta a pesquisa do Cena 11 e o livro sobre o grupo, escrito por Ma\u00edra Spanghero.<\/span>Sandra Meyer comments Cena 11\u2019s research procedures and the book on the group, written by Ma\u00edra Spanghero.<\/span><\/p>\n","protected":false},"author":89,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[46,28],"tags":[166,1275,606,121,167,2313,2052,2312,2311,65,889,678],"yoast_head":"\nDe caixas e intera\u00e7\u00f5es | On boxes and interaction -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/de-caixas-e-interacoes\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De caixas e intera\u00e7\u00f5es | On boxes and interaction -\" \/>\n<meta property=\"og:description\" content=\"Sandra Meyer comenta a pesquisa do Cena 11 e o livro sobre o grupo, escrito por Ma\u00edra Spanghero.Sandra Meyer comments Cena 11\u2019s research procedures and the book on the group, written by Ma\u00edra Spanghero.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/de-caixas-e-interacoes\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2003-01-01T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-08T19:52:14+00:00\" \/>\n<meta name=\"author\" content=\"Sandra Meyer\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sandra Meyer\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/de-caixas-e-interacoes\/\",\"url\":\"https:\/\/idanca.net\/de-caixas-e-interacoes\/\",\"name\":\"De caixas e intera\u00e7\u00f5es | On boxes and interaction -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2003-01-01T00:00:00+00:00\",\"dateModified\":\"2008-08-08T19:52:14+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/e8b261620a75fd4b8b2b4d9e11bace23\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/de-caixas-e-interacoes\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/de-caixas-e-interacoes\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/de-caixas-e-interacoes\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"De caixas e intera\u00e7\u00f5es | On boxes and interaction\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/e8b261620a75fd4b8b2b4d9e11bace23\",\"name\":\"Sandra Meyer\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/03780aa302f28fc106b562ccc3fb7bf1?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/03780aa302f28fc106b562ccc3fb7bf1?s=96&d=mm&r=g\",\"caption\":\"Sandra Meyer\"},\"url\":\"https:\/\/idanca.net\/author\/sandrameyer\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"De caixas e intera\u00e7\u00f5es | On boxes and interaction -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/de-caixas-e-interacoes\/","og_locale":"pt_BR","og_type":"article","og_title":"De caixas e intera\u00e7\u00f5es | On boxes and interaction -","og_description":"Sandra Meyer comenta a pesquisa do Cena 11 e o livro sobre o grupo, escrito por Ma\u00edra Spanghero.Sandra Meyer comments Cena 11\u2019s research procedures and the book on the group, written by Ma\u00edra Spanghero.","og_url":"https:\/\/idanca.net\/de-caixas-e-interacoes\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2003-01-01T00:00:00+00:00","article_modified_time":"2008-08-08T19:52:14+00:00","author":"Sandra Meyer","twitter_misc":{"Escrito por":"Sandra Meyer","Est. tempo de leitura":"11 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/de-caixas-e-interacoes\/","url":"https:\/\/idanca.net\/de-caixas-e-interacoes\/","name":"De caixas e intera\u00e7\u00f5es | On boxes and interaction -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2003-01-01T00:00:00+00:00","dateModified":"2008-08-08T19:52:14+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/e8b261620a75fd4b8b2b4d9e11bace23"},"breadcrumb":{"@id":"https:\/\/idanca.net\/de-caixas-e-interacoes\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/de-caixas-e-interacoes\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/de-caixas-e-interacoes\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"De caixas e intera\u00e7\u00f5es | On boxes and interaction"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/e8b261620a75fd4b8b2b4d9e11bace23","name":"Sandra Meyer","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/03780aa302f28fc106b562ccc3fb7bf1?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/03780aa302f28fc106b562ccc3fb7bf1?s=96&d=mm&r=g","caption":"Sandra Meyer"},"url":"https:\/\/idanca.net\/author\/sandrameyer\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/3"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/89"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=3"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/3\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=3"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=3"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=3"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}