{"id":8480,"date":"2016-02-03T14:46:10","date_gmt":"2016-02-03T14:46:10","guid":{"rendered":"http:\/\/lab.wrkshp.fi\/huopaniemi\/?p=8480"},"modified":"2018-03-19T17:40:41","modified_gmt":"2018-03-19T15:40:41","slug":"2-1-frag-13-r","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/2-1-frag-13-r\/","title":{"rendered":"2.1 Fragment 13"},"content":{"rendered":"<h1><em>2.1<\/em> Fragment 13<\/h1>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-1\" class=\"gallery galleryid-8480 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-6364\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13-768x480.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-1-6364\">\n\t\t\t\tFragment 13, <em><a class=\"glossaryLink\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Research indicates that the small habitual actions associated with web interactions&mdash;clicking the mouse, moving a cursor, etc.&mdash;may be extraordinarily effective in retraining (or more accurately, repurposing) our neural circuitry, so that the changes are not only psychological but physical as well (Hayles 2012, 2).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/adapted-from-hayles-passage-11\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">adapted from Hayles passage 11<\/a><\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<p>With&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13.jpg\">fragment 13<\/a>, the first fragment of the second part of this four-part thesis, the Digital-Artistic-Researcher (DAR) changes the direction of the discussion. Like N. Katherine Hayles does on page two of her book&nbsp;<em>How We Think&mdash;Digital Media and Contemporary Technogenesis&nbsp;<\/em>(2012), DAR too turns to consider the effects&nbsp;of the use of digital technologies on brain activity. This act of mimicking Hayles textually is a direct continuation of&nbsp;DAR&rsquo;s Hayles adaptation in the first part of this work, the&nbsp;<em>Prologue<\/em>.<\/p>\n<p>DAR seems to be consistent in their attempt to follow Hayles, diverging from her only when their artistic practice gives cause for intervention. From their post&nbsp;in between Hayles and the reader, DAR is thus performing not only a rewording or an intralingual translation of Hayles (<a class=\"glossaryLink cmtt_note-2-1en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;In&nbsp;&amp;quot;On Linguistic Aspects of Translation,&rdquo; Roman Jakobson describes three kinds of translation: &amp;quot;1) Intralingual translation or&nbsp;&amp;lt;em&amp;gt;rewording&amp;lt;\/em&amp;gt;&nbsp;is an interpretation of verbal signs by means of other signs of the same language. 2) Interlingual translation or&nbsp;&amp;lt;em&amp;gt;translation proper&amp;lt;\/em&amp;gt;&nbsp;is an interpretation of verbal signs by means of some other language. 3) Intersemiotic translation is an interpretation of verbal signs by means of signs of nonverbal sign systems&rdquo; (Jakobson 1971, 261).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/4en\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.1EN1<\/a>), but a rewrite or&mdash;to take up a concept I will return to shortly&mdash;a&nbsp;<em>repurposing<\/em>. As has been said, here, as in other instances, DAR approaches the subject (the effects of the use of networked technologies on the brain) through practice, i.e. their own artistic practice. Thus, their multidisciplinary expertise positions itself alongside Hayles&rsquo;s differently multidisciplinary expertise.<\/p>\n<h3>Laughter and Other Physical Effects<\/h3>\n<p>In order to approach&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13.jpg\">fragment 13<\/a>, I want to tend to two translation issues that an earlier version of it&nbsp;gives rise to (cf.&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13.jpg\">fragment 13<\/a>&nbsp;from 2017 and the version from 2016 in&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-06-20-11.14.23.jpg\">fig. 2.1.1<\/a>). First, however, owing to a humorous detail that appears in the earlier version of the translation, a more general note is in order: in this thesis, the purpose of the translation images&mdash;or&nbsp;<em>translation boxes<\/em>, as I refer to them&mdash;, as well as the video texts, is to emphasize the key role of algorithmic translation in this study. Since, over time, the gaze has a tendency to pass over algorithmic translations, as I know from my own experience, attention has to be refastened on them. This is for at least two different reasons: 1) algorithmic processes and their results are constantly changing and 2) only by staying in close proximity to them&mdash;or within their sphere of influence&mdash;is it possible to study their effects.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-2\" class=\"gallery galleryid-8480 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-03-22-13.57.28-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-862\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-03-22-13.57.28-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-03-22-13.57.28-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-03-22-13.57.28-768x480.jpg 768w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-03-22-13.57.28.jpg 1440w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-2-862\">\n\t\t\t\tFig. 2.1.1. <em>Fragment 13 (2016)<\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<p>With this in mind, I quote the algorithmic English translation of DAR&rsquo;s Finnish adaptation of Hayles&rsquo;s passage: &ldquo;Even the activities related to the use of the most prosaic computer, such as fingertip and moving the trackpad or double clicks, has been shown to cause significant changes in brain function&rdquo; (cf.&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Screenshot-2016-06-20-11.14.23.jpg\">fig. 2.1.1<\/a>). In this translation, the translation algorithms have changed the place of the adjective, so that &ldquo;prosaic&rdquo; (an accurate&nbsp;translation of the Finnish &ldquo;arkip&auml;iv&auml;inen&rdquo;) no longer refers to the activities related to the use of the computer, but to the computer itself. In addition, the translation program has added a gratuitous &ldquo;and&rdquo; in the part of the sentence describing these activities, strangely disconnecting &ldquo;the finger tip&rdquo; from &ldquo;moving the trackpad.&rdquo;<\/p>\n<p>Thus, in this example of algorithmic translation, we are left with a mundane computer, a displaced fingertip, and computer-related activities that have &ldquo;been shown to cause significant changes in brain function&rdquo; (<a class=\"glossaryLink cmtt_note-2-1en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;On Trujillo&rsquo;s intelligibility scale&mdash;a tool used to evaluate the results of machine translation&mdash;this example could belong in category 3: &amp;quot;The basic thrust of the sentence is clear, but you are not sure of some detailed parts because of grammar and word usage problems. You would need to look at the original source language sentence to clarify the meaning.&rdquo;&nbsp;At best, it might be seen to belong in category&nbsp;2 on the five-point scale: &amp;quot;The meaning of the sentence is clear, but there are some problems in grammar, word usage and\/or style, making the overall quality less than 1.&rdquo; (Tobin 2015, 102)&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/5en\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.1EN2<\/a>). More importantly, the translation seems to imply that the more exciting and unusual the computer&mdash;i.e., the less prosaic&mdash;the greater its effect on brain functioning. Instead of trying to corroborate or refute this statement, I will refer to a phenomenon that has become evident over the course of this research: algorithmic translation gives rise to a particular humor and a complex laughter, which brings the body and corporality into the writing and reading processes.<\/p>\n<p>How this laughter is created or, in other words, how witnessing an algorithmic translation process affects our brains&mdash;more specifically, its language centers, the Broca and Wernicke areas&mdash;would be a fascinating starting point for multidisciplinary research into the impact of networked technologies on the nervous system. In this context, I can point out that the laughter seems to defuse the tension related to all interactions between humans and technologies, but especially that involving language. Witnessing algorithmic translation processes produces many different types of laughter. In addition to the almost compulsive and, ultimately, exhausting laughter that brings tears to the eyes and causes the jaw muscles to ache I also have experience of a calmer, more restrained laughter, both personally and in audiences I have observed.<\/p>\n<p>This latter form of laughter resembles that produced by a joke, which is why it produces a feeling of familiarity and psycho-physical relaxation. The effect of this release of tension, in turn, is that the algorithmic media&mdash;machine translation and speech recognition technology, in this case&mdash;begin to feel familiar, companion-like, even human (<a class=\"glossaryLink cmtt_note-2-1en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Familiarity and &amp;quot;humanness&rdquo; are, indeed, research topics in the field of human-robot interaction (see, for example, M. Kim et al. 2011, 24).&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/2-1en3\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.1EN3<\/a>). This multimedia thesis gives the reader-viewer the opportunity to observe the forms of laughter described here, as well as the other physical effects of algorithmic translation, on their own.<\/p>\n<p>By viewing the images and videos, the reader has the opportunity to experience processes that are, in part, akin to the writing and reading processes in the artistic parts of the research. In this way, the thesis continues and extends the work of the artistic parts in another context (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/21\/\">3.1<\/a>). The psychophysical effects are, in my experience, similar in both cases. The images and videos are thus not merely&mdash;or even primarily&mdash;documentation, but invitations to enter into the above-mentioned close proximity with translation algorithms.<\/p>\n<h3>Repurposing<\/h3>\n<p>The second translation question&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-13.jpg\">fragment 13<\/a>&nbsp;gives rise to has to do with my Finnish translation of the corresponding Hayles passage (see <a class=\"glossaryLink\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Tutkimukset osoittavat, ett&auml; verkon k&auml;ytt&ouml;&ouml;n liittyv&auml;t pienet, tavanomaiset toiminnot &ndash; kuten hiiren klikkaaminen, kursorin liikutteleminen, jne. &ndash; saattavat olla tavattoman tehokkaita uudelleenharjaannuttamaan (tai tarkemmin ottaen&nbsp;mukauttamaan) hermopiirej&auml;mme. Muutokset eiv&auml;t ole vain psykologisia vaan my&ouml;s fyysisi&auml;. (Hayles 2012, 2.)&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/sovitettu-hayles-katkelmasta-11\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">sovitettu Hayles-katkelmasta 11<\/a>). My attention is drawn to Hayles&rsquo;s use of the verb &ldquo;repurpose,&rdquo; which in its basic meaning refers to &ldquo;being used for a new purpose&rdquo; or &ldquo;<em>adapting<\/em>&nbsp;for use in a different purpose.&rdquo; In Finnish, there is no direct equivalent for the verb, and my suggestion &ldquo;mukauttaa&rdquo; is a compromise that actually translates as &ldquo;adapt&rdquo; or &ldquo;assimilate.&rdquo;<\/p>\n<p>Even more important than noting the difficulty of translation, however, is asking,&nbsp;what the use of the verb&mdash;which Hayles encloses in brackets&mdash;suggests. Hayles writes that everyday activities related to computer use &ldquo;may be extraordinarily effective in&nbsp;<em>retraining<\/em>&nbsp;(or more accurately,&nbsp;<em>repurposing<\/em>) our neural circuitry&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Hayles, N. Katherine. 2012.&nbsp;&amp;lt;em&amp;gt;How We Think: Digital Media and Contemporary Technogenesis.&amp;lt;\/em&amp;gt; Chicago &amp;amp;amp;&nbsp;London: The University of Chicago Press.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/hayles-2012\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Hayles 2012<\/a>, 2, emphasis added). The semantic difference between &ldquo;retraining&rdquo; and &ldquo;repurposing&rdquo; strikes me as significant.<\/p>\n<p>For what new or different purposes are our interactions with networked technologies retraining or even adapting our nervous systems? If our own use of technology is the initiator and cause of this process, who or what is, in fact, retraining or repurposing whom or what? What are the implications of this development?<\/p>\n<p>By this stage, at the latest, it would seem evident that in addition to the textual adaptation DAR is performing on and from Hayles&rsquo;s book, there is another, parallel, and fundamental adaptation taking place, namely a biological, evolutionary adaptation, which Hayles calls&nbsp;<em>technogenesis<\/em>: the mutual, reciprocal evolution of humans and digital technologies (Hayles 2012, 10). In this research, the question of technogenesis concerns if and how&nbsp;the extensive use of networked, programmable technology retrains and repurposes us, the human actors involved in the writing of the research, and how we modify technology through our own actions (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/25\/\">3.5<\/a>).<\/p>\n<div class=\"viitteet\">\n<h5>Notes<\/h5>\n<p>2.1EN1<br>\nIn&nbsp;&ldquo;On Linguistic Aspects of Translation,&rdquo; Roman Jakobson describes three kinds of translation: &ldquo;1) Intralingual translation or&nbsp;<em>rewording<\/em>&nbsp;is an interpretation of verbal signs by means of other signs of the same language. 2) Interlingual translation or&nbsp;<em>translation proper<\/em>&nbsp;is an interpretation of verbal signs by means of some other language. 3) Intersemiotic translation is an interpretation of verbal signs by means of signs of nonverbal sign systems&rdquo; (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Jakobson, Roman. 1971. &amp;quot;On Linguistic Aspects of Translation.&rdquo; In&nbsp;&amp;lt;em&amp;gt;Selected Writings, Vol. 2&amp;lt;\/em&amp;gt;, ed. Roman Jakobson, 260&ndash;66.&nbsp;The Hague: Mouton.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/jakobson-1971\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Jakobson 1971<\/a>, 261).<\/p>\n<p>2.1EN2<br>\nOn Trujillo&rsquo;s intelligibility scale&mdash;a tool used to evaluate the results of machine translation&mdash;this example could belong in category 3: &ldquo;The basic thrust of the sentence is clear, but you are not sure of some detailed parts because of grammar and word usage problems. You would need to look at the original source language sentence to clarify the meaning.&rdquo;&nbsp;At best, it might be seen to belong in category&nbsp;2 on the five-point scale: &ldquo;The meaning of the sentence is clear, but there are some problems in grammar, word usage and\/or style, making the overall quality less than 1.&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Tobin, Anthony. 2015. &amp;quot;Is Google Translate Good Enough for Commercial Websites: A Machine Translation evaluation of text from English websites into four different languages.&rdquo; &amp;lt;em&amp;gt;Reitaku review&amp;lt;\/em&amp;gt; 21: 94&ndash;116.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/tobin-2015\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Tobin 2015<\/a>, 102)<\/p>\n<p>2.1EN3<\/p>\n<div class=\"glossary_itemdesc\">Familiarity and &ldquo;humanness&rdquo; are, indeed, research topics in the field of human-robot interaction (see, for example, <a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Kim, M. &amp;amp;amp; Oh, K. &amp;amp;amp; Choi, J. &amp;amp;amp; Jung, J. &amp;amp;amp; Kim, Y. &amp;quot;User-Centered HRI: HRI Research Methodology for Designers.&rdquo; In &amp;lt;i&amp;gt;Mixed Reality and Human-Robot Interaction&amp;lt;\/i&amp;gt;, ed. Xiangyu Wang, 13&ndash;34. Dordrecht: Springer.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/m-kim-et-al-2011\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">M. Kim et al. 2011<\/a>, 24).<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>2.1 Fragment 13 With\u00a0fragment 13, the first fragment of the second part of this four-part thesis, the Digital-Artistic-Researcher (DAR) changes the direction of the discussion. Like N. Katherine Hayles does on page two of her book\u00a0How We Think\u2014Digital Media and Contemporary Technogenesis\u00a0(2012), DAR too turns to consider the effects\u00a0of the use of digital technologies on [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8480"}],"collection":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/comments?post=8480"}],"version-history":[{"count":10,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8480\/revisions"}],"predecessor-version":[{"id":20444,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8480\/revisions\/20444"}],"wp:attachment":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/media?parent=8480"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/categories?post=8480"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/tags?post=8480"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}