{"id":345,"date":"2021-03-14T17:19:58","date_gmt":"2021-03-14T17:19:58","guid":{"rendered":"https:\/\/2022.uroboros.design\/?page_id=345"},"modified":"2021-04-18T18:26:35","modified_gmt":"2021-04-18T18:26:35","slug":"cz","status":"publish","type":"page","link":"https:\/\/2022.uroboros.design\/cs\/cz\/","title":{"rendered":"[CZ]"},"content":{"rendered":"\n

Uroboros \u2013 Design ve znepokojiv\u00e9 dob\u011b<\/h2>\n\n\n\n

[text: Mark\u00e9ta Dolej\u0161ov\u00e1]<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

Festival kritick\u00e9ho a spole\u010densky anga\u017eovan\u00e9ho designu Uroboros zkoum\u00e1, jak\u00fdm zp\u016fsobem m\u016f\u017ee design p\u0159isp\u011bt k pozitivn\u00ed spole\u010densk\u00e9 prom\u011bn\u011b. Hlavn\u00ed festivalov\u00e9 t\u00e9ma Design ve znepokojiv\u00e9 dob\u011b<\/a><\/em> je inspirov\u00e1no symbolem urobora \u2013 mytick\u00e9ho hada, kter\u00fd po\u017e\u00edr\u00e1 sv\u016fj vlastn\u00ed ocas a vyr\u016fst\u00e1 s\u00e1m ze sebe, v nekone\u010dn\u00e9m cyklu znovuvytv\u00e1\u0159en\u00ed. Cyklick\u00fd a zacyklen\u00fd uroboros je v\u00fdsti\u017en\u00fdm obrazem znepokojiv\u00e9 doby, ve kter\u00e9 \u017eijeme. Obraz urobora zachycuje glob\u00e1ln\u00ed spole\u010denskou, politickou a environment\u00e1ln\u00ed frustraci. Je p\u0159\u00edslibem nejasn\u00fdch konc\u016f a za\u010d\u00e1tk\u016f; p\u0159edzv\u011bst\u00ed nekone\u010dn\u00e9ho n\u00e1vratu a zt\u011blesn\u011bn\u00edm neschopnosti vymanit se z kruhu.<\/p>\n\n\n\n

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Obavy z postupuj\u00edc\u00edho socio-ekologick\u00e9ho a politick\u00e9ho kolapsu p\u0159estaly b\u00fdt v\u00fdsadou zainteresovan\u00fdch odborn\u00edk\u016f a staly se b\u011b\u017enou sou\u010d\u00e1st\u00ed ka\u017edodenn\u00edho \u017eivota. Sv\u011btov\u00e9 zpravodajstv\u00ed informuje, ka\u017ed\u00fd den a bez v\u00fdjimky, o buj\u00edc\u00ed spole\u010densk\u00e9 a planet\u00e1rn\u00ed krizi: les ho\u0159\u00ed, ledovec taje, virus mutuje, ekonomika bankrotuje, prezident l\u017ee, technologick\u00fd dohled posiluje, identita se rozpou\u0161t\u00ed a struktur\u00e1ln\u00ed soci\u00e1ln\u00ed nerovnosti jen tak n\u011bco neporaz\u00ed. Radik\u00e1ln\u00ed zm\u011bna spole\u010densk\u00e9ho fungov\u00e1n\u00ed \u2013 \u017eivotn\u00edch hodnot, styl\u016f a ka\u017edodenn\u00edch praktik \u2013 je nal\u00e9hav\u011b nutn\u00e1, na lok\u00e1ln\u00ed i glob\u00e1ln\u00ed \u00farovni.<\/a> Nutnost spole\u010densk\u00e9 transformace je pro \u0159adu z n\u00e1s z\u0159ejm\u00e1; jak takovou komplexn\u00ed zm\u011bnu uv\u00e9st do ka\u017edodenn\u00ed praxe a udr\u017eet ji v pohybu, v\u0161ak z\u0159ejm\u00e9 zdaleka nen\u00ed.<\/p>\n\n\n\n

Design <\/strong>m\u00e1 v tomto transformativn\u00edm kontextu z\u00e1sadn\u00ed roli. Skute\u010dnost, \u017ee design je v\u0161ude kolem n\u00e1s a zasahuje do v\u0161ech oblast\u00ed lidsk\u00e9ho a ne-lidsk\u00e9ho \u017eivota \u2013 a\u0165 u\u017e v podob\u011b materi\u00e1ln\u00edch produkt\u016f, slu\u017eeb, syst\u00e9mov\u00fdch proces\u016f, biologick\u00fdch struktur \u010di imaginativn\u00edch konstrukt\u016f \u2013 snad nen\u00ed t\u0159eba zd\u016fraz\u0148ovat. S ohledem na tuto svou v\u0161udyp\u0159\u00edtomnost, m\u00e1 design ambivalentn\u00ed spole\u010densk\u00fd dopad. Na jedn\u00e9 stran\u011b je jednou z p\u0159\u00ed\u010din glob\u00e1ln\u00ed spole\u010densk\u00e9 krize, p\u0159isp\u00edvaj\u00edc\u00ed ke struktur\u00e1ln\u00edm nerovnostem, technologick\u00e9mu dohledu a postupn\u00e9mu zamo\u0159ov\u00e1n\u00ed planety. O rizic\u00edch a problematick\u00fdch dopadech designov\u00e9ho my\u0161len\u00ed a tvorby ji\u017e bylo \u0159e\u010deno mnoho, sta\u010d\u00ed si p\u0159ipomenout kritickou teoretickou reflexi autor\u016f jako Viktor Papanek<\/a>, Tony Fry<\/a> \u010di Arturo Escobar<\/a>.<\/p>\n\n\n\n

Na stran\u011b druh\u00e9 je v\u0161ak design mo\u017en\u00e9 vn\u00edmat jako nad\u011bjn\u00e9ho hybatele pozitivn\u00ed spole\u010densk\u00e9 prom\u011bny. D\u00edky sv\u00e9mu estetick\u00e9mu a konceptu\u00e1ln\u00edmu potenci\u00e1lu m\u00e1 design funkci imaginativn\u00ed, provokativn\u00ed a kritickou: m\u00e1 schopnost vytv\u00e1\u0159et experiment\u00e1ln\u00ed prostory pro v\u00fdm\u011bnu zku\u0161enost\u00ed, znalost\u00ed, kritick\u00fdch reflex\u00ed sou\u010dasn\u00e9ho spole\u010densk\u00e9ho stavu i spekulac\u00ed o mo\u017en\u00fdch budoucnostech. Jako n\u00e1stroj tzv. utv\u00e1\u0159en\u00ed sv\u011bt\u016f<\/em> (world building)<\/em><\/a> dok\u00e1\u017ee inspirovat kolektivn\u00ed tvorbu narativ\u016f, prototyp\u016f a situac\u00ed navrhuj\u00edc\u00edch alternativy k existuj\u00edc\u00edmu statu quo \u2013 v kontextu ka\u017edodenn\u00edch praktik a individu\u00e1ln\u00edch \u017eivotn\u00edch styl\u016f, i komplexn\u011bj\u0161\u00edch syst\u00e9mov\u00fdch proces\u016f.\u00a0\u00a0<\/p>\n\n\n\n

Pr\u00e1v\u011b tato, v ur\u010dit\u00e9m smyslu unik\u00e1tn\u00ed schopnost podn\u011bcovat imaginativn\u00ed utv\u00e1\u0159en\u00ed sv\u011bt\u016f je kl\u00ed\u010dov\u00e1 pro nahl\u00ed\u017een\u00ed designu jako potentn\u00edho n\u00e1stroje spole\u010densk\u00e9 prom\u011bny. Vymezen\u00ed designu jako soci\u00e1ln\u011b anga\u017eovan\u00e9 praxe s transformativn\u00edmi ambicemi nen\u00ed nikterak nov\u00e9. Design\u00e9\u0159i*rky a designov\u00ed v\u00fdzkumn\u00edci*ce experimentuj\u00ed s r\u016fzn\u00fdmi metodami a technikami jak stimulovat a podporovat udr\u017eitelnou spole\u010denskou zm\u011bnu, ji\u017e bezm\u00e1la p\u016fl stolet\u00ed. Krom\u011b v\u00fd\u0161e zm\u00edn\u011bn\u00fdch teoretik\u016f, m\u016f\u017eeme zm\u00ednit nap\u0159\u00edklad tvorbu autor\u016f a autorek jako Terry Irwin<\/a>, Ann Light<\/a>, Pelle Ehn<\/a>, Erling Bj\u00f6rgvinsson<\/a>, Carl DiSalvo<\/a> a Christopher Le Dantec<\/a>, Thom\u00e1s Maldonado<\/a> a mnoha dal\u0161\u00edch. Jakkoliv se jejich p\u0159\u00edstupy ke spole\u010densky anga\u017eovan\u00e9 designov\u00e9 tvorb\u011b a v\u00fdzkumu r\u016fzn\u00ed, v jejich centru z\u016fst\u00e1v\u00e1 sd\u00edlen\u00e1 orientace na lok\u00e1ln\u00ed a kulturn\u011b specifick\u00e9 kontexty a na participativn\u00ed zapojen\u00ed m\u00edstn\u00edch zainteresovan\u00fdch komunit a jednotlivc\u016f.<\/p>\n\n\n\n

Naivn\u00ed idea o designu jako\u017eto univerz\u00e1ln\u00edm \u0159e\u0161en\u00ed komplexn\u00edch spole\u010densk\u00fdch probl\u00e9m\u016f se kv\u016fli nevyda\u0159en\u00fdm projekt\u016fm typu design thinking<\/a>, ze kter\u00fdch se stal prachoby\u010dejn\u00fd zisk generuj\u00edc\u00ed business-as-usual, uk\u00e1zala jako nesmysln\u00e1, nefunk\u010dn\u00ed ba dokonce \u0161kodliv\u00e1. Design, a\u0165 u\u017e ve form\u011b industri\u00e1ln\u00ed v\u00fdroby, produktov\u00e9 tvorby, kritick\u00e9 spekulativn\u00ed reflexe \u010di anga\u017eovan\u00e9 participativn\u00ed akce, nem\u016f\u017ee p\u0159in\u00e9st univerz\u00e1ln\u011b (planet\u00e1rn\u011b, kulturn\u011b, socioekonomicky) platn\u00e1 \u0159e\u0161en\u00ed. M\u00e1-li b\u00fdt design u\u017eite\u010dn\u00fdm n\u00e1strojem transformativn\u00edho spole\u010densk\u00e9ho procesu, mus\u00ed b\u00fdt schopen reflektovat probl\u00e9my v jejich konkr\u00e9tn\u011b situovan\u00e9m kontextu: zapojovat osoby, kter\u00e9 jsou danou problematickou situac\u00ed ovlivn\u011bny, posilovat jejich schopnost na tuto situaci reagovat a umo\u017e\u0148ovat jim st\u00e1t se aktivn\u00ed sou\u010d\u00e1st\u00ed navrhov\u00e1n\u00ed mo\u017en\u00fdch \u0159e\u0161en\u00ed.\u00a0<\/p>\n\n\n\n

Tato demokratizace designu \u2013 designov\u00fdch metod, proces\u016f, technik a n\u00e1stroj\u016f \u2013 a jeho zp\u0159\u00edstupn\u011bn\u00ed \u0161ir\u0161\u00ed ve\u0159ejnosti za hranicemi uzav\u0159en\u00fdch prostor\u016f univerzit, designov\u00fdch studi\u00ed a korporac\u00ed, je logick\u00e1 a etick\u00e1. Vzhledem k tomu, \u017ee design je v\u0161udyp\u0159\u00edtomnou sou\u010d\u00e1st\u00ed ka\u017edodenn\u00edho \u017eivota, m\u011bli by v\u0161ichni ti, kdo jsou designem ovlivn\u011bni, m\u00edt mo\u017enost jej sami ovliv\u0148ovat. Jin\u00fdmi slovy, rozhodovac\u00ed procesy o tom jak (a zdali v\u016fbec) je design z\u00e1hodno implementovat v \u010dase a prostoru, by m\u011bly b\u00fdt experiment\u00e1ln\u00ed, participativn\u00ed a p\u0159\u00edstupn\u00e9 nap\u0159\u00ed\u010d socio-ekonomick\u00fdm spektrem. <\/p>\n\n\n\n

Kli\u0161\u00e9 typu: „design (respektive design\u00e9r*ka) m\u016f\u017ee ‚upozor\u0148ovat na probl\u00e9my‘ a ‚nastavovat zrcadlo'“ ji\u017e v sou\u010dasn\u00e9m trouchniv\u011bj\u00edc\u00edm socio-ekologick\u00e9m a politick\u00e9m klimatu nesta\u010d\u00ed. Design si mus\u00ed sundat kravatu a sklapnout z\u00e1\u0159iv\u00fd zubat\u00fd \u00fasm\u011bv, opustit omezen\u00fd my\u0161lenkov\u00fd prostor post-itu, ost\u0159\u00edhat sv\u016fj \u0161ediv\u00fd vous a odpoutat se od univerzitn\u00edho diplomu, co mu vis\u00ed na st\u011bn\u011b. Mus\u00ed vyrazit do \u201edivo\u010diny\u201c re\u00e1ln\u00e9ho sv\u011bta \u2013 pozorn\u011b naslouchat t\u011bm, kte\u0159\u00ed v n\u011bm \u017eij\u00ed, respektovat a u\u010dit se z jejich rozmanit\u00e9ho situovan\u00e9ho v\u011bd\u011bn\u00ed<\/a><\/em> a vyz\u00fdvat je k tv\u016fr\u010d\u00edmu experimentu, imaginaci, reflexi a spole\u010dn\u00e9 akci orientovan\u00e9 na specifick\u00e9 lok\u00e1ln\u00ed z\u00e1jmy a pot\u0159eby. Tato orientace na situovan\u00e9 v\u011bd\u011bn\u00ed a diverzitn\u00ed kulturn\u00ed kontexty p\u0159edstavuje protiklad k pom\u00fdlen\u00e9 r\u00e9torice jak\u00e9si \u201eobjektivity\u201c, kter\u00e1 stoj\u00ed v centru top-down model\u016f ekonomick\u00e9ho a politick\u00e9ho vl\u00e1dnut\u00ed.<\/p>\n\n\n\n

Design a design\u00e9\u0159i*rky sami o sob\u011b planet\u00e1rn\u00ed krizi nevy\u0159e\u0161\u00ed. Mohou v\u0161ak hr\u00e1t d\u016fle\u017eitou roli v p\u0159isp\u00edv\u00e1n\u00ed k iterativn\u00edmu \u2013 a ze sv\u00e9 podstaty komplexn\u00edmu a komplikovan\u00e9mu \u2013 procesu spole\u010densk\u00e9 transformace sm\u011brem k socio-ekologick\u00e9 udr\u017eitelnosti. K tomu je v\u0161ak nejprve zapot\u0159eb\u00ed umo\u017enit, aby se design (tedy jeho tvorba, pl\u00e1nov\u00e1n\u00ed, implementace i evaluace) dok\u00e1zal transformovat s\u00e1m o sob\u011b. To zahrnuje p\u0159edev\u0161\u00edm radik\u00e1ln\u00ed prom\u011bnu st\u00e1vaj\u00edc\u00edho syst\u00e9mu design\u00e9rsk\u00e9ho vzd\u011bl\u00e1v\u00e1n\u00ed (zejm\u00e9na vysoko\u0161kolsk\u00e9ho) a jeho odklon od d\u016frazu na rychl\u00e1, kr\u00e1tkodob\u00e1 (a tedy obvykle kr\u00e1tkozrak\u00e1) \u0159e\u0161en\u00ed a p\u0159\u00edpravu student\u016f pro korpor\u00e1tn\u00ed kari\u00e9ru, sm\u011brem k d\u016frazu na dlouhodobost, pluralitu, diverzitu, otev\u0159enost a post-disciplinaritu.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Festival Uroboros<\/strong> usiluje o to b\u00fdt \u0161iroce otev\u0159en\u00fdm, hybridn\u00edm prostorem pro experiment\u00e1ln\u00ed zkoum\u00e1n\u00ed designu a jeho transformativn\u00edho potenci\u00e1lu. Symbol Urobora, tajupln\u00e9ho mytick\u00e9ho stvo\u0159en\u00ed bez konce a za\u010d\u00e1tku, nazna\u010duje, \u017ee toto zkoum\u00e1n\u00ed m\u00e1 kritick\u00fd a sebe-reflexivn\u00ed n\u00e1boj: Uroborova symbolika odkazuje k nejednozna\u010dnosti sou\u010dasn\u00e9ho designu, kter\u00fd, ve snaze ud\u011blat sv\u011bt lep\u0161\u00edm m\u00edstem, opisuje bludn\u00fd kruh hled\u00e1n\u00ed \u0159e\u0161en\u00ed\u2013vytv\u00e1\u0159en\u00ed probl\u00e9m\u016f. <\/p>\n\n\n\n

M\u016f\u017ee b\u00fdt design aktivn\u00edm pluralistick\u00fdm \u010dinitelem spole\u010densk\u00e9 transformace? M\u016f\u017ee design poskytnout experiment\u00e1ln\u00ed n\u00e1stroje k pos\u00edlen\u00ed smyslupln\u00e9 ob\u010dansk\u00e9 anga\u017eovanosti a kolektivn\u00ed autonomizace? Nebo je design sp\u00ed\u0161e potvrzen\u00edm rezignace na d\u016fstojn\u00fd politick\u00fd \u017eivot a jeho redukc\u00ed na pouhou algoritmickou improvizaci? M\u016f\u017ee n\u00e1m design dopomoci k udr\u017eiteln\u00fdm z\u00edt\u0159k\u016fm, nebo bude nav\u017edy spojen s reputac\u00ed povrchn\u00edho tlu\u010dhuby a ledabyl\u00e9ho ni\u010ditele planet\u00e1rn\u00edho ekosyst\u00e9mu?<\/p>\n\n\n\n

Uroboros funguje jako ka\u017edoro\u010dn\u00ed festival doprov\u00e1zen\u00fd \u0159adou men\u0161\u00edch nepravideln\u00fdch event\u016f \u2013 nap\u0159\u00edklad v r\u00e1mci s\u00e9rie Uroboros Bites<\/a>. V n\u00e1vaznosti na lo\u0148sk\u00fd festivalov\u00fd ro\u010dn\u00edk<\/a>, kter\u00e9ho se z\u00fa\u010dastnilo p\u0159es 600 autor\u016f a participant\u016f z cel\u00e9ho sv\u011bta, s radost\u00ed oznamujeme, \u017ee festivalov\u00fd koloto\u010d se nezastavil a Uroboros 2021 prob\u011bhne v obdob\u00ed 5. \u2013 18. kv\u011btna. Design\u00e9\u0159i*rky, um\u011blci*kyn\u011b, teoretikov\u00e9*\u010dky a v\u00fdzkumn\u00edci*ce s prax\u00ed a\/nebo z\u00e1jmem v oblasti soci\u00e1ln\u011b anga\u017eovan\u00e9ho designu jsou zv\u00e1ni, aby se p\u0159ipojili k Uroborovu\u00a0 \u201ekulat\u00e9mu\u201c hybridn\u00edmu stolu, situovan\u00e9mu na pomez\u00ed fyzick\u00e9ho a virtu\u00e1ln\u00edho sv\u011bta. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Cyklick\u00e9 vznik\u00e1n\u00ed a transformaci projektu Uroboros umo\u017e\u0148uj\u00ed kur\u00e1to\u0159i Michal Ku\u010der\u00e1k<\/a>, Lenka H\u00e1mo\u0161ov\u00e1 <\/a>a Mark\u00e9ta Dolej\u0161ov\u00e1<\/a>. Na festivalov\u00e9 mutaci Uroboros 2021 d\u00e1le spolupracuje Tereza Li\u0161kov\u00e1<\/a>, Denisa Reshef Kera<\/a> a Enrique Encinas<\/a>. Projekt Uroboros je sou\u010d\u00e1st\u00ed dlouhodob\u00e9ho projektu Centra pro sou\u010dasn\u00e9 um\u011bn\u00ed DOX s n\u00e1zvem #DATAMAZE \u2013 Datov\u00e9 bludi\u0161t\u011b<\/a>, kter\u00fd p\u0159edstavuje form\u00e1t tzv. roz\u0161\u00ed\u0159en\u00e9 v\u00fdstavy: kombinuje koncept v\u00fdstavy vyv\u00edjej\u00edc\u00ed se v \u010dase (work-in-progress) s p\u0159edn\u00e1\u0161kov\u00fdm prostorem, knihovnou a experimentalnim pracovi\u0161t\u011bm ur\u010den\u00fdm pro aktivity a rozv\u00edjen\u00ed spolupr\u00e1ce nap\u0159\u00ed\u010d oblastmi a t\u00e9maty t\u00fdkaj\u00edc\u00edmi se kritick\u00e9 reflexe na\u0161\u00ed socio-technick\u00e9 existence v digit\u00e1ln\u00edm prost\u0159ed\u00ed.<\/p>\n\n\n\n

Mark\u00e9ta Dolej\u0161ov\u00e1, spolu-kur\u00e1torka projektu Uroboros<\/em>*<\/p>\n\n\n\n

*Pln\u00fd text \u010dl\u00e1nku je dostupn\u00fd na webu \u010dasopisu Material Times zde<\/a>. Pro p\u0159\u00edpadn\u00e9 citace textu pros\u00edm uve\u010fte n\u00e1sleduj\u00edc\u00ed zdroj: <\/p>\n\n\n\n

Dolej\u0161ov\u00e1, M. (2021). Mark\u00e9ta Dolej\u0161ov\u00e1: Uroboros \u2013 Design Ve Znepokojiv\u00e9 Dob\u011b.<\/em> Material Times. Dostupn\u00e9 z: https:\/\/www.materialtimes.com\/jak-to-vidi\/marketa-dolejsova-uroboros—design-ve-znepokojive-dobe\/ <\/p>\n\n\n\n

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Citovan\u00e9 zdroje:<\/p>\n\n\n\n

Erling Bj\u00f6rgvinsson, Pelle Ehn, and Per-Anders Hillgren. 2012. Agonistic participatory design: working with marginalised social movements. CoDesign 8<\/em>, 2\u20133: 127\u2013144.<\/p>\n\n\n\n

Carl DiSalvo. 2012. Adversarial design<\/em>. The MIT Press.<\/p>\n\n\n\n

Pelle Ehn. 2008. Participation in design things. Participatory Design Conference (PDC), Bloomington, Indiana, USA (2008)<\/em>. ACM Digital Library.<\/p>\n\n\n\n

Arturo Escobar. 2018. Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds.<\/em> Durham, NC: Duke University Press.<\/p>\n\n\n\n

Tony Fry. 2017. Design after design. Taylor & Francis,<\/em> 99-102.<\/p>\n\n\n\n

Donna Haraway. 1988. Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist studies 14<\/em>, 3: 575\u2013599.<\/p>\n\n\n\n

Natasha Iskander. 2018. Design Thinking Is Fundamentally Conservative and Preserves the Status Quo. In: Harvard Business Review<\/em>. Retrieved February 17, 2021 from https:\/\/hbr.org\/2018\/09\/design-thinking-is-fundamentally-conservative-and-preserves-the-status-quo#<\/a><\/p>\n\n\n\n

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<\/div>\n","protected":false},"excerpt":{"rendered":"

Uroboros \u2013 Design ve znepokojiv\u00e9 dob\u011b [text: Mark\u00e9ta Dolej\u0161ov\u00e1] Festival kritick\u00e9ho a spole\u010densky anga\u017eovan\u00e9ho designu Uroboros zkoum\u00e1, jak\u00fdm zp\u016fsobem m\u016f\u017ee design p\u0159isp\u011bt k pozitivn\u00ed spole\u010densk\u00e9 prom\u011bn\u011b. Hlavn\u00ed festivalov\u00e9 t\u00e9ma Design ve znepokojiv\u00e9 dob\u011b je inspirov\u00e1no symbolem urobora \u2013 mytick\u00e9ho hada, kter\u00fd po\u017e\u00edr\u00e1 sv\u016fj vlastn\u00ed ocas a vyr\u016fst\u00e1 s\u00e1m ze sebe, v nekone\u010dn\u00e9m cyklu znovuvytv\u00e1\u0159en\u00ed. Cyklick\u00fd […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/pages\/345"}],"collection":[{"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/comments?post=345"}],"version-history":[{"count":29,"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/pages\/345\/revisions"}],"predecessor-version":[{"id":601,"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/pages\/345\/revisions\/601"}],"wp:attachment":[{"href":"https:\/\/2022.uroboros.design\/cs\/wp-json\/wp\/v2\/media?parent=345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}