{"id":78,"date":"2022-09-20T17:40:37","date_gmt":"2022-09-20T21:40:37","guid":{"rendered":"https:\/\/experimentalstudio.ca\/gradseminar\/?p=78"},"modified":"2022-09-20T17:40:54","modified_gmt":"2022-09-20T21:40:54","slug":"art-and-climate-change","status":"publish","type":"post","link":"https:\/\/experimentalstudio.ca\/gradseminar\/2022\/09\/20\/art-and-climate-change\/","title":{"rendered":"Art and Climate Change"},"content":{"rendered":"\n<ul class=\"wp-block-list\"><li>Several references are from the readings<\/li><\/ul>\n\n\n\n<ol class=\"wp-block-list\" type=\"1\"><li><em>WORLD ON FIRE: How should Art Reckon with Climate Change? <\/em>New York Times Magazine, 2022.<\/li><\/ol>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-the-new-york-times wp-block-embed-the-new-york-times\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.nytimes.com\/2022\/03\/25\/t-magazine\/art-climate-change.html\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">2. <em>Dowsing for Remediation with Alana Bartol<\/em>, Val\u00e9rie Frappier, C Magazine 2022. PDF on blog.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3. Plastiglomerate: On Kelly Jazvac, Kirsty Robertson, e-flux journal, 2016. <a href=\"https:\/\/www.e-flux.com\/journal\/78\/82878\/plastiglomerate\/\">Article link<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>What is the ethical duty of artists?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Environmentalist Bill McKibben asked &#8211;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cWhere are the books? The poems? The plays? The goddamn operas?\u201d he wrote in an op-ed for Grist. \u201cCompare it to, say, the horror of AIDS &#8230; which has produced a staggering outpouring of art that, in turn, has had real political effect.\u201d For future generations looking back on the present, \u201cthe single most significant item will doubtless be the sudden spiking temperature. But they\u2019ll have a hell of a time figuring out what it meant to us.\u201d<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>What can art and artists actually do?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Chicago-based curator and early supporter of environmental art Stephanie Smith cautioned that a glut of superficially righteous exhibitions could give hits of easy virtue to viewers and museums alike &#8211; <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u201cIf sustainability or climate change become art trends du jour, we risk providing a palliative to ourselves and to our audiences without contributing much to artistic production, nuanced debate or lasting social change\u201d<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>How are artists representing the environment? <\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Representing nature as the sublime and untouched \u2013 Thomas Cole<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"906\" height=\"1024\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.16.47-PM-906x1024.jpg\" alt=\"\" class=\"wp-image-93\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.16.47-PM-906x1024.jpg 906w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.16.47-PM-266x300.jpg 266w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.16.47-PM-768x868.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.16.47-PM.jpg 1239w\" sizes=\"auto, (max-width: 906px) 100vw, 906px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Spoiled and poisoned, developed \u2013 Ed Burtinsky<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.cbc.ca\/radio\/sunday\/solitary-confinement-edward-burtynsky-manjusha-mail-tent-cities-anne-carson-1.3820890\/the-beauty-and-the-horror-in-edward-burtynsky-s-photographs-1.3822594\">https:\/\/www.cbc.ca\/radio\/sunday\/solitary-confinement-edward-burtynsky-manjusha-mail-tent-cities-anne-carson-1.3820890\/the-beauty-and-the-horror-in-edward-burtynsky-s-photographs-1.3822594<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"628\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.26-PM-1024x628.jpg\" alt=\"\" class=\"wp-image-94\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.26-PM-1024x628.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.26-PM-300x184.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.26-PM-768x471.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.26-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"913\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.39-PM-1024x913.jpg\" alt=\"\" class=\"wp-image-95\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.39-PM-1024x913.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.39-PM-300x267.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.39-PM-768x685.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.18.39-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>How are contemporary artists re-imagining our place in the natural world, and proposing alternative relationships with our environment?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Imagining alternative relationships \u2013 Mary Mattingly, Future Farmers<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"680\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.22.14-PM-1024x680.jpg\" alt=\"\" class=\"wp-image-96\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.22.14-PM-1024x680.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.22.14-PM-300x199.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.22.14-PM-768x510.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.22.14-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Just over a mile up the Bronx River from Hunts Point,\u00a0<a href=\"https:\/\/www.artnews.com\/t\/mary-mattingly\/\">Mary Mattingly<\/a>\u00a0has docked her newest floating project,\u00a0<em><a href=\"https:\/\/www.artnews.com\/t\/swale\/\">Swale<\/a><\/em>, a garden on a 130-by-40-foot steel barge. After discovering it is illegal to forage or even grow food in public parks in New York City, Mattingly conceived of producing a forest of edible plants on the water, to circumvent those laws and let people gather food for free.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.artnews.com\/gallery\/art-in-america\/aia-photos\/swale\/2-12165\/\">https:\/\/www.artnews.com\/gallery\/art-in-america\/aia-photos\/swale\/2-12165\/<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Amy Franchescini (Future Farmers)<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Collaborative Art with Amy Franceschini | KQED Arts\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/LhbXDLw4x8w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Making the absurdity of our moment visible <\/strong>&#8211;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Space of persuasion\/affective experience of large and complex concepts \u2013<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Educating\/making the scope of the catastrophe felt &#8211; and ACTUAL remediation: Alana Bartol<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/alanabartol.com\/home.html\">https:\/\/alanabartol.com\/home.html<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"544\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.36.40-PM-1024x544.jpg\" alt=\"\" class=\"wp-image-98\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.36.40-PM-1024x544.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.36.40-PM-300x159.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.36.40-PM-768x408.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.36.40-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"543\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.33.02-PM-1024x543.jpg\" alt=\"\" class=\"wp-image-97\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.33.02-PM-1024x543.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.33.02-PM-300x159.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.33.02-PM-768x408.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.33.02-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The artists is interested in reciprocal relationships to land, and asks &#8211; &#8220;How do (I and other settlers) actually relate to land, and to what it&#8217;s already communicating? <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She is exploring &#8220;extractive capitalism&#8221; while simultaneously &#8220;entangled with and benefitting from it.&#8221;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Kelly Jazvac<\/strong>&#8211; Plastiglomerates: <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/outdoorschool\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-10.jpg?resize=800%2C655&amp;ssl=1\" alt=\"\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIn 2013, at the suggestion of oceanographer Charles Moore, geologist Patricia Corcoran and artist Kelly Jazvac travelled to Kamilo Beach, Hawaii to study a new stone formation. What they found was a new substance that was a mix of melted plastic and natural materials such as coral, sand, wood and volcanic rock. They called the stones \u201cPlastiglomerate\u201d and a co-authored manuscript of their findings can be found here:\u00a0<a href=\"http:\/\/www.geosociety.org\/gsatoday\/archive\/24\/6\/article\/i1052-5173-24-6-4.htm\">http:\/\/www.geosociety.org\/gsatoday\/archive\/24\/6\/article\/i1052-5173-24-6-4.htm<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From&nbsp;<a href=\"http:\/\/www.kellyjazvac.com\/Stones\/Stones.html\">Kelly Jazvac&nbsp;<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-1.jpg\"><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-1.jpg?resize=660%2C540\" alt=\"KELLY-1\" class=\"wp-image-1124\"\/><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;Human action on the beach had created what Corcoran and Jazvac named \u201cplastiglomerate,\u201d a sand-and-plastic conglomerate. Molten plastic had also in-filled many of the vesicles in the volcanic rock, becoming part of the land that would eventually be eroded back into sand.&#8221;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;The term \u201cplastiglomerate\u201d refers most specifically to \u201can indurated, multi-composite material made hard by agglutination of rock and molten plastic. This material is subdivided into an in situ type, in which plastic is adhered to rock outcrops, and a clastic type, in which combinations of basalt, coral, shells, and local woody debris are cemented with grains of sand in a plastic matrix.\u201d (KJ)\u00a0More poetically, plastiglomerate indexically unites the human with the currents of water; with the breaking down, over millennia, of stone into sand and fossils into oil; with the quick substration of that oil into fuel; and with the refining of that fuel into polycarbons\u2014into plastic, into garbage. &#8220;<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-10.jpg\"><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-10.jpg?resize=660%2C540\" alt=\"KELLY-10\" class=\"wp-image-1123\"\/><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;The naming and dating of the Anthropocene, an as-yet formally unrecognized and heavily debated term for a geologic epoch evidencing human impact on the globe, relies \u201con whether humans have changed the Earth system sufficiently to produce a stratigraphic signature in sediments and ice that is distinct from that of the Holocene epoch.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Whichever (if any) start date is chosen, plastiglomerate\u2014a substance that is neither industrially manufactured nor geologically created\u2014seems a fraught but nonetheless incontrovertible marker of the anthropogenic impact on the world; it is evidence of human presence written directly into the rock.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After collection, the samples gathered at Kamilo Beach were analyzed so as to categorize the plastics and the natural sediments that together created the plastiglomerate whole. Following this, Jazvac showed the plastiglomerate in art exhibitions as sculptural ready-mades, to demonstrate human impact on nature.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/outdoorschool\/wp-content\/uploads\/sites\/4\/2015\/11\/S05E02_GAL02_01.jpg?resize=635%2C602&amp;ssl=1\" alt=\"s05e02_gal02_01\" class=\"wp-image-3315\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Plastic soon shed its utopian allure, becoming hard evidence for the three c\u2019s\u2014the triple threat of capitalism, colonialism, and consumerism\u2014as well as a kind of shorthand for all that was inauthentic and objectionable about postwar everyday life.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Plastiglomerate is a remainder, a reminder, an indicator of the slow violence of massive pollution. It brings together deep geological time and current consumerism.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Plastiglomerate is what Heather Davis calls \u201caccidentally or incidentally\u201d aesthetic.\u00a0It is precisely the facticity of plastiglomerate, its infrangibility, its constituent components and analysis as both artwork and geological specimen that make it fascinating. Plastiglomerate demonstrates an already existent artistic relationship between human and planetary action that can\u2019t really be improved by rendering that relationship as solely human. Or perhaps more disturbing still, it demonstrates the Anthropocene as a performance, an artwork with the end act of planetary destruction.<\/p>\n\n\n\n<figure class=\"wp-block-image is-resized\"><a href=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-jazvac-plastiglomerate-and-plastic-samples-detail-1-conglomerate-rocks-gathered-on-kamilo-beach-with-geologist-patricia-corcoran-hawaii-and-ceramic-stands-2013.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/experimentalstudio.ca\/sart-4660-f15\/wp-content\/uploads\/sites\/4\/2015\/11\/kelly-jazvac-plastiglomerate-and-plastic-samples-detail-1-conglomerate-rocks-gathered-on-kamilo-beach-with-geologist-patricia-corcoran-hawaii-and-ceramic-stands-2013.jpg?resize=660%2C440\" alt=\"Kelly Jazvac - Plastiglomerate and Plastic Samples (detail 1) (conglomerate rocks gathered on Kamilo Beach with geologist Patricia Corcoran, Hawaii, and ceramic stands) 2013\" class=\"wp-image-1120\" width=\"816\" height=\"544\"\/><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The ready-made geologic being of plastiglomerate speaks to more than pollution: also geology, the deep time of Earth, colonization, human-animal knowledges, currents of water, and the endless unfolding and collapse of life on Earth. We might conclude that \u201cwe have come into existence with and because of so many others, from carbon to microbes to dogs. And all these creatures and rocks and air molecules and water all exist together, with each other, for each other. To be a human means to be the land and water and air of our surroundings.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Excerpts from Plastiglomerate: On Kelly Jazvac, Kirsty Robertson, e-flux journal, 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Spaces of reflection, remembrance \u2013 <\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-2.45.31-PM-1024x644.jpg\" alt=\"This image has an empty alt attribute; its file name is Screen-Shot-2022-09-20-at-2.45.31-PM-1024x644.jpg\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Roni Horn, Library of Water, 2007 &#8211; ongoing<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.west.is\/en\/service\/library-of-water\">https:\/\/www.west.is\/en\/service\/library-of-water<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"8 Artists on Water\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/j-Gih7feKuI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>Water covers 70 per cent of the earth\u2019s surface. \u201cIt\u2019s always the same and it\u2019s never the same,\u201d says Finnish artist <strong>Elina Brotherus<\/strong>. Hear her, <strong>Olafur Eliasson, Bill Viola, Marina Abramovi\u0107<\/strong> and four other artists on the vital substance. Water: a place of danger and opportunity. American video artist Bill Viola, in whose work water is a stable participant, fell into a lake at the age of six and saw \u201cprobably the most beautiful world I\u2019ve ever seen.\u201d Danish-Icelandic artist Olafur Eliasson uses water as an \u201celement of something moving in an otherwise static landscape\u201d in his 2014 installation \u2018Riverbed\u2019 and Danish artist group <strong>Superflex <\/strong>uses water in their \u201cpost-apocalyptic movie\u201d \u2018Flooded McDonald\u2019s\u2019. A substance with many uses, meanings and possibilities, Nigerian architect <strong>Kunl\u00e9 Adeyemi <\/strong>\u2013 praised for his ability to build innovative architecture on water \u2013 says: \u201cThere\u2019s a whole life cycle in water, a whole economy.\u201d Also featured in this video is Serbian artist <strong>Marina Abramovi\u0107, Czech artist Klara Hobza and American artist Roni Horn.<\/strong><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Transform our experience of time\/scale of our lives relative to the world \u2013 John Cage, Katie Patterson<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"344\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM-1024x344.png\" alt=\"\" class=\"wp-image-103\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM-1024x344.png 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM-300x101.png 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM-768x258.png 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM-1536x516.png 1536w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.42.57-PM.png 1662w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-the-new-york-times wp-block-embed-the-new-york-times\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.nytimes.com\/2020\/09\/07\/arts\/music\/john-cage-as-slow-as-possible-germany.html#:~:text=The%20long%2C%20slow%20performance%20of,change%20%E2%80%94%20the%20first%20since%202013.\n<\/div><figcaption>https:\/\/www.nytimes.com\/2020\/09\/07\/arts\/music\/john-c.<a href=\"https:\/\/www.nytimes.com\/2020\/09\/07\/arts\/music\/john-cage-as-slow-as-possible-germany.html#:~:text=The%20long%2C%20slow%20performance%20of,change%20%E2%80%94%20the%20first%20since%202013.\">https:\/\/www.nytimes.com\/2020\/09\/07\/arts\/music\/john-cage-as-slow-as-possible-germany.html#:~:text=The%20long%2C%20slow%20performance%20of,change%20%E2%80%94%20the%20first%20since%202013.<\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"774\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.41.16-PM-1024x774.jpg\" alt=\"\" class=\"wp-image-102\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.41.16-PM-1024x774.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.41.16-PM-300x227.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.41.16-PM-768x580.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.41.16-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"775\" height=\"1024\" data-id=\"107\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.05-PM-775x1024.jpg\" alt=\"\" class=\"wp-image-107\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.05-PM-775x1024.jpg 775w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.05-PM-227x300.jpg 227w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.05-PM-768x1015.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.05-PM.jpg 1059w\" sizes=\"auto, (max-width: 775px) 100vw, 775px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"760\" height=\"1024\" data-id=\"106\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.54.53-PM-760x1024.jpg\" alt=\"\" class=\"wp-image-106\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.54.53-PM-760x1024.jpg 760w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.54.53-PM-223x300.jpg 223w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.54.53-PM-768x1034.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.54.53-PM.jpg 1004w\" sizes=\"auto, (max-width: 760px) 100vw, 760px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"739\" data-id=\"108\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.32-PM-1024x739.jpg\" alt=\"\" class=\"wp-image-108\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.32-PM-1024x739.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.32-PM-300x217.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.32-PM-768x555.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.55.32-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.youtube.com\/watch?v=D2BUq2Q8_6M&amp;ab_channel=KatiePaterson\">KP: Fossil Necklace<\/a><\/li><li><\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.youtube.com\/watch?v=D2BUq2Q8_6M&amp;ab_channel=KatiePaterson\">KP: Future Library<\/a><\/li><li><a href=\"https:\/\/www.mindfood.com\/article\/smart-thinker-katie-patersons-future-library\/\">https:\/\/www.mindfood.com\/article\/smart-thinker-katie-patersons-future-library\/<\/a><\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"886\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.52.24-PM-1024x886.jpg\" alt=\"\" class=\"wp-image-105\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.52.24-PM-1024x886.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.52.24-PM-300x260.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.52.24-PM-768x664.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-3.52.24-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Modelling\/embodying alternative cultures and worldviews \u2013Tania Willard, Bush Gallery<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">BUSH MANIFESTO:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"915\" height=\"1024\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.07-PM-915x1024.jpg\" alt=\"\" class=\"wp-image-110\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.07-PM-915x1024.jpg 915w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.07-PM-268x300.jpg 268w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.07-PM-768x859.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.07-PM.jpg 1251w\" sizes=\"auto, (max-width: 915px) 100vw, 915px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"877\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.23-PM-1024x877.jpg\" alt=\"\" class=\"wp-image-109\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.23-PM-1024x877.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.23-PM-300x257.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.23-PM-768x658.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-4.05.23-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">READ THE MANIFESTO:<br><a href=\"https:\/\/cmagazine.com\/issues\/136\/bush-manifesto\">https:\/\/cmagazine.com\/issues\/136\/bush-manifesto<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8211;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Protest, fight \u2013 Public Studio<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"583\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.38.37-PM-1024x583.jpg\" alt=\"\" class=\"wp-image-115\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.38.37-PM-1024x583.jpg 1024w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.38.37-PM-300x171.jpg 300w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.38.37-PM-768x437.jpg 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.38.37-PM.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"914\" height=\"1024\" src=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1-914x1024.png\" alt=\"\" class=\"wp-image-117\" srcset=\"https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1-914x1024.png 914w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1-268x300.png 268w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1-768x860.png 768w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1-1371x1536.png 1371w, https:\/\/experimentalstudio.ca\/gradseminar\/wp-content\/uploads\/sites\/12\/2022\/09\/Screen-Shot-2022-09-20-at-5.39.07-PM-1.png 1580w\" sizes=\"auto, (max-width: 914px) 100vw, 914px\" \/><figcaption>From the Declaration of Responsibilities and Guarantee of Rights and Freedoms, Public Studio, 2018, Toronto. <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Express hope\/resist cynicism and apathy &#8211;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Transform\/reduce environmental impact of art\u2019s production and exhibition \u2013<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Tara Donovan and Piet Hein Eek<\/strong> \u2013 who have made discarded, everyday materials the centre of their work. Watch their exciting approach to re-using materials. \u201cThe materials wait to be used again.\u201d British sculptor <strong>Phyllida Barlow<\/strong> (b.1944) uses materials from her former sculptures \u2013 from their experimental stage. To Barlow, sculpturing is not about perfection but about recovering lost moments. Flexibility is key to American artist <strong>Elliott Hundley<\/strong> (b. 1975), who uses materials he\u2019s found washed up on a beach in his artwork. Wrapping paper, rocks and beads are all part of a magnificent collage pieced together by chicken wire and straight pins. \u201cIn a way the artist works with remnants, society\u2019s remnants.\u201d Danish poet, writer and artist <strong>Morten S\u00f8kilde <\/strong>(b. 1974) dubs himself \u201ca thing-finder\u201d and uses these things he finds on e.g. the street to create his poetic, dream-like miniature models. When re-using materials in such a manner, there are suddenly infinite possibilities, and one\u2019s own ideas are the only limitation. American fabric sculptor and performance artist <strong>Nick Cave<\/strong> (b. 1959) describes his art as \u201ca second skin that hides gender, race, class.\u201d An array of discarded materials makes up his artwork, and he often frequents thrift stores and flea markets, searching for something \u201cthat has a pulse to it\u201d and can be the beginning of something new. \u201cIt always starts with material,\u201d says Dutch designer <strong>Piet Hein Eek <\/strong>(b. 1967), who uses e.g. scrap wood to build furniture \u2013 his goal being to optimize and take maximum advantage of the things around him. Starting out, people thought he was crazy to use leftover-material, but his approach has now set a new trend. American artist <strong>Tara Donovan<\/strong> (b. 1969) was initially drawn to everyday materials \u2013 such as straws \u2013 because they were easily accessible, inexpensive and mass-produced. She works to the point where the flexible material, which makes up her magical sculptures, transcends itself, thus creating a sort of artistic structure. All interviews by Marc-Christoph Wagner, Christian Lund and Jonas Hjorth, Louisiana Museum of Modern Art.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"6 Artists on The Poetry of Discarded Materials | Louisiana Channel\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HSwCP4xE5PI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Several references are from the readings WORLD ON FIRE: How should Art Reckon with Climate Change? New York Times Magazine, 2022. 2. Dowsing for Remediation with Alana Bartol, Val\u00e9rie Frappier, C Magazine 2022. PDF on blog. 3. Plastiglomerate: On Kelly Jazvac, Kirsty Robertson, e-flux journal, 2016. Article link What is the ethical duty of artists? [&hellip;]<\/p>\n","protected":false},"author":18,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-78","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/posts\/78","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/comments?post=78"}],"version-history":[{"count":17,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/posts\/78\/revisions"}],"predecessor-version":[{"id":119,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/posts\/78\/revisions\/119"}],"wp:attachment":[{"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/media?parent=78"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/categories?post=78"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/experimentalstudio.ca\/gradseminar\/wp-json\/wp\/v2\/tags?post=78"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}