CMU Computing Services Equipment Rental<\/span><\/a><\/p>\nMODULES<\/h1>\nVideo
\n![\"\"](\"http:\/\/mycours.es\/timebasedmedia\/files\/2019\/01\/decasia.png\")
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This module will explore video as a mode of art practice. Through workshops and creative projects, we will explore various forms of video recording and editing techniques, as well as practical camera operation and lighting principles in both controlled studio environments and in the field. We will touch upon filmic and experimental applications of video production within a studio art context, and as tools to communicate subjective points of view.<\/p>\n
Practical Learning Objectives<\/strong>
\n\u25cf Video camera survey: overview of camera types and affordances
\n\u25cf Video camera operation: exposure and aperture, focus, frame rates, recording
\nformats, light metering controls, in-camera audio recording and microphone inputs
\n\u25cf Studio lighting: three-point and five-point lighting configurations, color temperature,
\nfocus and diffusion, high-key and low-key lighting.
\n\u25cf Video Editing (Adobe Premiere): footage organization (file management),
\ntranscoding and proxy-footage workflows, continuity editing and match cutting,
\nrhythm, transitions, color grading
\n\u25cf Audio (Adobe Audition): in-camera audio recording, levels and metering, basic audio
\nediting, cleanup, noise reduction, and effects<\/p>\nConceptual Learning Objectives<\/strong>
\n\u25cf Storytelling strategies: shot grammar; sequence structure; color and light language;
\nMise-en-sc\u00e8ne; understanding relationships between story, plot, and narrative.
\n\u25cf Modes of approach: poetic, expository, participatory, observational, reflexive, and
\nperformative.
\n\u25cf Subjectivity: expressing a point of view; exploring meaningful relationships between
\nauthor, subject, object, and audience.<\/p>\nProject: Found footage video<\/h3>\n
Choose a soundtrack among the ones provided. Edit a video for the soundtrack using exclusively footage found on the internet.
\n– Try to limit your visuals to one particular domain (home movies, world fair news report, etc).
\n– Your edit should “vibe” with the song; your imagery should be inspired by the mood and texture of the soundtrack; it should respond to the rhythm or dynamics of the song in some way.
\n– If you are not using the entire track, find an appropriate point in the track to fade out.
\n– Duration: at least 1 minute.
\n– Individual assignment.<\/p>\n
Screenings – found footage:<\/strong>
\nDara Birnbaum – Technology Transformation (1978)
\nCraig Baldwin – Tribulation 99: Alien anomalies under America (1991) (excerpt)
\nMatthias Muller Dirk Schaefer – Home Stories (1990)
\nMartin Arnold – Alone (1998)
\nBill Morrison – Decasia (2002) (excerpt)
\nTakeshi Murata \u2013 Monster Movie (2005)
\nLyn Elliot – The Boy in the Air (2005)
\nChris Beckman – Oops (2011)
\nAlison Nguyen – Dessert-Disaster (2017)
\nPeggy Ahwesh -The Falling Sky (2017)
\nArthur Jafa – Love is the Message and the Message is Death (2016)<\/p>\nProject: Three Seconds of Wonder<\/h3>\n
Work in groups of 2 or 3 to capture some compelling footage outside of campus.
\nTry to capture 20 “moments”. Each \u201cmoment\u201d should be a continuous shot of about 3-5 seconds.<\/p>\n
– Make sure everybody in the team gets to use the camera
\n– Pay special attention to composition and light.
\n– Use a tripod whenever you can
\n– You can make the moment happen with some kind of performance but don\u2019t rely on acting.
\n– You can have some kind of concept when filming and editing these moments together but don’t worry if they are disjointed or if they don’t “mean” anything.
\n– You are shooting video, so make sure there is something moving in the frame
\n– Do not rely on camera movements or zoom to make your video more dynamic. You just don’t have the right equipment for good camera movements.
\n– If filming people in a recognizable way ask for consent first, or permission to use the footage after you take it.
\n– Duration: capture at least 20 minutes of raw footage. Edit a video of 1-2 minutes, quality over quantity.
\n– You can deliver one video per team or one per student if you are unable to meet for the editing or have different ideas.<\/p>\n
Screenings – filming:
\n<\/strong>Lumiere Brothers’ First Films (1895-1897)
\nDziga Vertov \u2013 Man With A Movie Camera (1929)
\nDoug Aitken \u2013 Migration (empire) (2008)
\nStan Douglas – Monodramas (1991)
\nLenka Clayton and James Price \u2013 People in Order (2006)
\nEverynone \u2013 Words (2011)
\nHow to with John Wilson s1e1 (2019) (excerpt)
\nRawane Nassif \u2013 Turtles Are Always Home (2016)<\/p>\nProject: Interdimensional Public Access Television<\/h3>\n
Shoot a short TV segment in front of the green screen as if it was coming from another dimension or from the future. Composite the background using found or stock footage.
\n– Use an existing format: newscast, advertisement, cooking show, weather report, etc.
\n– Plan it and script it beforehand, including props.
\n– Shoot in portrait mode.
\n– We are going to edit them together as if we were zapping TV channels so it can be a fragment
\n– Groups of 3
\n– Duration: 5 seconds – 1 min<\/p>\n
Screenings – compositing:<\/strong>
\nGeorge Melies – L’homme orchestre (1900)
\nHermine Freed – Art Herstory (1974)
\nPeter Campus – Three Transitions (1973)
\nNam June Paik – Global Groove (1973) (excerpt)
\nZbigniew Rybczynski – Tango (1981)
\nMichel Gondry – The Chemical Brothers – Let Forever Be (1999)
\nMarco Brambilla – Evolution (Megaplex) (2009)
\nNation Estate – Larissa Sansour (2013)
\nSondra Perry \u2013 Lineage for a Multiple-Monitor Workstation: Number One (excerpt) (2015)
\nRashaad Newsome – Knot (2014) (excerpt)
\nShana Moulton – the mountain where everything is upside down (2013)<\/p>\nSound<\/h2>\n
![\"\"](\"http:\/\/mycours.es\/timebasedmedia\/files\/2019\/01\/holly.png\")
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This module will focus on different forms of sound recording and editing. Through a series of workshops engaging field and studio recording practices, we will examine the relationship between sound and image, place and presence. Informed by practices of \u201cdeep listening\u201d (Pauline Oliveros), we will work together to become attuned to the aural elements of our environments and the media we consume. As we work, we will consider the materiality of sonic frequencies, how sound and silence have their own associations and vocabularies, and how audio can be used as a tool to create vivid sensory experiences for audiences\/ viewers.<\/p>\n
Practical Learning Objectives<\/strong><\/p>\n\n- Recorders and Microphones: An overview of the recorder (levels, channels, etc.) and the types of microphones\/ manners of mic\u2019ing sounds and subjects (onboard, shotgun, contact, omnidirectional, lavalier, etc.)
\nField Recording: How to record environments & isolated sounds in the field. We will explore the relationship between sound and environment (not only how to record in the field, but considering using the field as a place to record!)<\/li>\n - Foley: Using your body and objects to create sounds (that relate to images \u2013 or not!)<\/li>\n
- Studio Recording: An introduction to the basics of studio production including how to use the CFA sound booth to record VoiceOver and foley. We will also discuss how to create ideal DIY recording environments in your home\/ studio.<\/li>\n
- Sound editing: Working in Adobe Audition, we will learn about waveforms and audio clean-up techniques. We will experiment with effects (i.e. modulation, filters, compression, distortion, equalization) and panning to work our sounds like clay as we accentuate or alter the samples\u2019 textures and resonance.<\/li>\n<\/ul>\n
Conceptual Learning Objectives<\/strong><\/p>\n\n- Listening: We will focus on listening techniques that develop our vocabularies around sound so that we can respond to what we hear, feel, and experience in the classroom with precision that allows dialogues around recorded audio to flourish and expand our understanding of sound\u2019s relationship to the body.<\/li>\n
- Accumulation, Indexing, and Appropriation: We will become collectors of sound, collecting, sampling, and organizing archives\/ libraries of audio for current and future projects.<\/li>\n
- Storytelling through Sound: Is your use of sound narrative, expository, literal, non-narrative, poetic, experimental, linguistic\/ non-linguistic? How does the form assist your storytelling\/ art-making approach?<\/li>\n
- Creating sonic environments\/ textures\/ moods. We will discuss the affect of sound, the difference between diegetic and non-diegetic sounds, and the many ways of crafting a relationship between sound and image.<\/li>\n<\/ul>\n
Project: Sound Safari<\/h3>\n
Create a library of 10-15 sound effects by recording different locations around campus. Back in the classroom you will edit your recordings down to the individual sounds, label them, and clean them up using equalization, audio compression (not data compression), and normalization.
\n– Find at least one sound for each of the following categories: buzz, hum, beep, rustle, creak, murmur, whirr, clatter.
\n– Capture some sounds that are characteristic of that location.
\n– Try to capture them in the wild, as opposed to creating the noises.
\n– Points off for wind\/mic contact, so USE YOUR HEADPHONES!
\n– Possible locations: CFA, Schenley Park, Hunt Library, the pond @ Schenley, Doherty Hall machine shops, the cut, CUC, Peace Garden, etc.
\n– Groups of 2 – depending on equipment availability.<\/p>\n
Playlist – Listening\/recording
\n<\/strong>Stephen Vitiello – World Trade Center Recordings: Winds After Hurricane Floyd (1999\/2002)
\nJanet Cardiff and George Bures Miller – Forest (for a thousand years) (2012)
\nJanet Cardiff and George Bures Miller – Alter Bahnhof Video Walk (2012)
\nJana Winderen – Ultrafield (2013)
\nJana Winderen – The Wanderer (2016)
\nChristina Kubisch – Electrical Walks (2003-)
\nChristine Sun Kuim – Game of Skill 2.0 (2015)
\nPaul Pfeiffer – Red Green Blue (2022)
\nRaven Chacon – Storm Pattern (2021)
\nRaven Chacon – Aviary (2024)<\/p>\nTED Talk Bernie Krause: The voice of the natural world<\/p>\n
Project: Foley<\/h3>\n
In preparation for the next project, you will record 10-15 sound effects in the recording booth using a variety of props and noise makers you supply. You will clean, label and share all the sound effects.
\n– If you use messy materials, you must protect studio equipment and surfaces.
\n– Groups of 3<\/p>\n
Playlist – Making noise<\/strong>
\nLuigi Russolo – Risveglio di una Citta\u0300 per intonarumori (1913)
\nJohn Cage – Water walk (1959)
\nDelia Derbyshire – Reel-to-Reel Beat Matching clip
\nHip Hop Evolution – S1E1 – (excerpt 22’45)
\nCamille Norment – Lull – So Ro (2016)
\nNikita Gale – HOT WORLD, 2019
\nKevin-Beasley – A view of a landscape 2018<\/p>\nProject: Un Chien Andalou Sonified<\/h3>\n
Given a one minute section of Un Chien Andalou, add a foley track that matches and enhances the visuals.
\n– It\u2019s a surrealist movie, the soundtrack can be surreal as well!
\n– You can use up to 5 sound clips that you did not record.
\n– You cannot use pre-recorded music, but you can have musical elements such as rhythms, tones and short cues.
\n– Individual<\/p>\n
Animation<\/h2>\n
![\"\"](\"http:\/\/mycours.es\/timebasedmedia\/files\/2019\/01\/rotoscope.png\")
<\/p>\n
The etymology of the term animation evokes the breath of life. In this unit, you will explore the principles of animation as frameworks for meaningful movement and personal expression. This module will primarily focus on various methods of creating animated sequences. Through a series of workshops engaging with frame-based animation practices, we will examine the relationship between time, drawn and photographed sequences, and sound, to gain the ability to generate the illusion of liveness. Through a technical and historical overview of animation methods, technologies, software, and artists, we will gain a grounding in the basics of implementing the principles of animation with the intent of creating our own digital animation projects.<\/p>\n
Practical Learning Objectives<\/strong><\/p>\n\n- 12 Principles of Animation: An overview of each principle with examples, including Squash and Stretch, Anticipation, Staging, Straight Ahead Action and Pose-to-Pose, Follow Through and Overlapping Action, Ease In, Ease Out, Arcs, Secondary Action, Timing, Exaggeration, Solid Drawing, and Appeal.<\/li>\n
- Frame-Based Animation: How to create a workflow for making image sequences with a drawing tablet and Photoshop timeline, as well as with simple stop motion techniques. Topics of Rhythm, Plasticity, Transformation, Animism, and Character movement will be discussed.<\/li>\n<\/ul>\n
Conceptual Learning Objectives<\/strong><\/p>\n\n- Movement and Timing: We will discuss Animation\u2019s inherent ability to simulate movement to create the illusion of liveness, while focusing on the impact that speed and duration have on our perception of the implied meaning of movements carried out over time.<\/li>\n
- Storytelling through The Illusion of Liveness: Is your use of animation narrative, expository, literal, non-narrative, poetic, experimental, linguistic\/ non-linguistic? How does the form assist your storytelling\/ art-making approach?<\/li>\n<\/ul>\n
Project: Rotoscoped Muybridge<\/h3>\n
Rotoscope a sequence of images from a Muybridge plate, adding a personal style, texture, or character.
\n<\/span>– You can use a digital tool like Procreate or physical media (stop motion).
\n<\/span>– You can completely alter the subject as long as you keep the motion patterns recognizable.<\/span><\/p>\nScreening – rotoscoping<\/strong>
\nRichard Linklater \u2013 Waking Life (2001)
\nOrgesticulanismus \u2013 Mathieu Labaye (2008)
\nMarina Zurkow \u2013 Poster Children (2007)
\nJoseph Pierce \u2013 A Family Portrait (2010)
\nNaomi Uman – Removed (1999)
\nDARK MIXER Hirotoshi Iwasaki (2014)<\/p>\nProject: Organic machine<\/h3>\n
Create a short animated loop that incorporates at least 3 of Disney’s principles of animation. The theme is organic machine.
\n– Start from real life references (actual mechanism, lifeforms, scientific imagery, or documentation of the Machine of Rhythm exercise done in class) and abstract them
\n– use a limited color palette, no more than 4 colors.
\n– format: square
\n– duration: 3-5 seconds<\/p>\n
Screening – abstraction, loops, organic forms<\/strong>
\nHeider Simmel – Attribution of causality – Empathy (1944)
\nNorman McLaren – Dots (1940)
\nMax Hattler – Collision (2011)
\nLight Forms by Malcolm Sutherland (2010)
\nLand by Masanobu Hiraoka (2013)
\nExtrapolate – johan rijpma (2016)
\nBloody Dairy – Min Liu (2015)
\nSocialist Circle – Pansak Bas (2014)
\nAtsushi Wada – The Mechanism of Spring (2010)<\/p>\nProject: Mouth Sync<\/h3>\n
Starting from a fragment of spoken audio, design an original character that is either meaningfully related or humorously non-related to it. Make a credible mouth-sync animation.<\/p>\n
Screening – voice<\/strong>
\nNick Park – Creature Comforts (1996)
\nMarcel the Shell with Shoes On – Dean Fleischer-Camp (2010)
\nShe was the one – The Rauch Brothers (2010)
\nBelly – Julia Pott (2011)
\nHidden – Hanna Heilborn David Aronowitsch (2002)
\nWorld of Tomorrow by Don Heartzfeldt (2015)
\nHi Stranger – Kirsten Lepore (2016)<\/p>\nBonus Screening – storytelling<\/strong>
\nEgg – Martina Scarpelli (2020)
\nSlug Life – Sophie Koko Gate (2019)
\nOrdinary Life – Yoriko MIZUSHIRI (2025)<\/p>\nFinal Project: Essay Film<\/h2>\n
![\"\"](\"http:\/\/mycours.es\/timebasedmedia\/files\/2019\/01\/hito.png\")
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Assignment:<\/strong> using any combination of techniques you learned this semester, create an experimental video piece centered around a text. The narrative can be a monologue, a manifesto, a diary entry, an essay, a poem, original or not. The text can be delivered through voice over or words on screen – avoid acting unless you are working with trained actors.<\/p>\nScreenings:
\n<\/strong>Martha Rosler \u2013 Semiotics of the Kitchen (1975)
\nMartine Syms \u2013 Notes on Gesture (2015)
\nJorgen Leth \u2013 The Perfect Human (1967)
\nJorge Furtado \u2013 Island of Flowers (1989)
\nMatt McCormik \u2013 the subconscious art of graffiti removal (2001)
\nPenny Lane – The Voyagers (2010)
\nThe Violence of a Civilization Without Secrets \u2013 Adam and Zack Khalil Ojibway (2018)
\nThe Midnight Gospel Ep2. Officers and Wolves (2020) (or ep3)
\nForensic Architecture \u2013 Triple-Chaser (2019)
\nHito Steyerl \u2013 How not to be seen (2013)
\nDuke and Battersby \u2013 Being fucked up (2000)
\nFrank Mouris – Frank Film (1973)<\/p>\nGRADING<\/h1>\n
Qualitative feedback during in-class critiques is the most important form of evaluation, but we live in a quantified society so grades need to happen. You will be evaluated on both technical and conceptual execution.\u00a0Here’s a handy checklist:<\/p>\n
> What did you intend to achieve with the work? Was it successful in your own terms?
\n> Did the class “get it”? Did it spark an interesting conversation during critique?
\n> Did the project demonstrate an understanding of the medium, its history and the contemporary practices associated to it?
\n> Did you do original research, looked for references beyond what you’ve seen in class?
\n> Did the project demonstrate a mastery of the techniques and tools employed?
\n> Was the project’s form suited to its concept and vice versa?
\n> Was it formulaic and derivative? Did you take risks?<\/p>\n
Final grade composition
\n<\/strong>
\nFound footage video 10%
\nThree Seconds of Wonder 5%
\nInterdimensional Public Access Television 5%
\nSound Safari 5%
\nFoley 5%
\nUn Chien Andalou Sonified 10%
\nRotoscoped Muybridge 10%
\nOrganic machine (loop) 5%
\nEssay film 20%
\nParticipation, films and readings 25%<\/p>\nPOLICIES<\/h2>\n
I\u2019ll ask you to read and sign a short contract. We will discuss it and amend it on the first day of class.<\/p>\n
* Absences:
\n<\/b>I will inform the professor and my teammate of my absences via email at least one hour before class.
\nI\u2019m entitled to a total of 4 absences over the course of the semester.
\nThis class doesn\u2019t differentiate between justified and unjustified absences.
\nI am not required to give my professor any justification nor explanation for my absences.
\nI am aware that more than 4 absences will cause a drop of one letter grade and may trigger a check from my academic advisor, the university\u2019s health services, or disability resources.
\nI am responsible to catch up with the class, and to look into the material that I have missed.
\nI understand my assessment method may different if I miss a critique or a discussion.
\nI will not expect any online or hybrid accommodation if I\u2019m not able to attend class.<\/p>\n
* COVID 19<\/strong>
\nI will comply with\u00a0CMU<\/a>\u00a0and the\u00a0CDC coronavirus policies<\/a>\u00a0regarding isolation and quarantine.
\nI understand absences due to COVID may have to be validated by the university.<\/p>\n* Tardiness
\n<\/b>Arriving over 15 minutes after the scheduled start time will count as absence.<\/b><\/p>\n
* Participation
\n<\/b>I will\u00a0engage actively in discussions and critiques.
\nI expect the professor to adopt a variety of critique formats to account for different personality types.<\/p>\n
* Net addiction
\n<\/b>I value face-to-face interaction, so I commit to not use phones and computers during lectures, critiques, and discussions, ie. any time somebody is presenting to the class, except for taking notes.<\/p>\n
*\u00a0Communications
\n<\/strong>I will use the class Discord to keep up with asynchronous communications, announcements, and questions that could be of general interest.
\nTo keep a proper record, I will use the CMU email for personal communication with the professor.
\nI will never DM the professor through Discord or other social media.<\/p>\n*Assignments
\n<\/b>I will negotiate late assignment submissions with the professor at least 24 hours before the deadline.
\nI understand it will have to be justified and will not be automatically granted.
\nI will be present and I will participate to critiques even if I don\u2019t have my assignment.<\/p>\n
*Office hours<\/strong>
\nI am entitled to a one-to-one meeting with the professor for feedback and general check-in every semester.<\/p>\n*Plagiarism and \u201ccollaborations\u201d
\n<\/b>I acknowledge that\u00a0the concept of plagiarism is somewhat elusive in digital media as we working with open source tools and libraries, remixing and building upon the work of a multitude of people.
\nI will credit all the work and components that I use according to the licenses applied to them.
\nI will not outsource the class work to other people nor plagiarize assignments and exercises from my classmates.<\/p>\n
*Generative AI<\/strong>
\nI will not use generative AI tools such as ChatGPT in the creation of the assigned projects, unless previously negotiated with the professor, or when they are embedded in the assigned tools (e.g. AI for upscaling or stabilizing video).
\nI’m aware that any unauthorized use of text, video, and sound generated by AI may be considered plagiarism and treated as such.
\nI will transparently account for authorized uses of AI, citing all the tools and processes.
\nWhen using generative AI for research, text editing and manipulation, I will assume all responsibility for inaccuracies, biases and hallucinations, and take extra care to verify the output.<\/p>\n*Community agreements<\/strong>
\nThese statement apply to both student and instructors: We will speak from our own experiences (make \u2018I\u2019 statements).
\nWe will respect differences; we\u2019re all privileged in some ways.
\nWe agree to critique ideas, not people.
\nWe will not assume the identity of others, nor ask individuals to speak for their perceived social group.
\nWe will hold this as a\u00a0brave space<\/em>, where we take risks, be vulnerable and hold each accountable with love and respect.
\nWe agree to have only \u2018one mic\u2019: we will listen respectfully without interrupting.
\nWe agree to practice active listening: when someone is speaking, we will listen without also thinking about how we are going to respond\/rebut.
\nWe may share what we learn but will keep others\u2019 stories and personal experiences in confidence.
\nWe will \u2018move up, move up\u2019: those who tend to speak a lot will \u2018move up\u2019 their listening; those who tend to hold back and listen will \u2018move up\u2019 their speaking.<\/p>\n\n
INCLUSIVITY STATEMENT<\/h1>\n
It is my intent that students from all diverse backgrounds and perspectives be well served by this course, and that the diversity that students bring to this class be viewed as a resource, strength and benefit. It is my intent to present activities that accommodate and value a diversity of gender, sexuality, disability, age, socioeconomic status, ethnicity, race, and culture. I will gladly honor your request to address you by your preferred name and gender pronoun. I commit to make individual arrangements to address disabilities or religious needs (e.g. religious events in conflict with class meetings). Please advise me of these preferences and needs early in the semester so that I may make appropriate changes to my plans and records. Debate and free exchange of ideas is encouraged but I will not tolerate harassment, i.e. a pattern of behavior directed against a particular individual with the intent of humiliating or intimidating.<\/p>\n
CONTENT\/TRIGGER WARNINGS<\/h1>\n
Being in an art school, you should expect to be exposed to content that challenges your moral, ethical, and aesthetic values. In case of extremely graphic content I will warn the class in advance, but if you have a history of PTSD please let me know privately if there are types of content that are known to act as trauma triggers for you.<\/p>\n
STRESS CULTURE<\/h1>\n
Collaborative work and projects also fulfilling other classes\u2019 requirements are encouraged as long as it makes sense, and the other professors agree.\u00a0Official university language:<\/em>\u00a0Take care of yourself. Do your best to maintain a healthy lifestyle this semester by eating well, exercising, avoiding drugs and alcohol, getting enough sleep and taking some time to relax. This will help you achieve your goals and cope with stress. All of us benefit from support during times of struggle. You are not alone. There are many helpful resources available on campus and an important part of the college experience is learning how to ask for help. Asking for support sooner rather than later is often helpful. If you or anyone you know experiences any academic stress, difficult life events, or feelings like anxiety or depression, we strongly encourage you to seek support. Counseling and Psychological Services (CaPS) is here to help: call 412-268-2922 and visit their website at\u00a0http:\/\/www.cmu.edu\/counseling\/<\/a>. Consider reaching out to a friend, faculty or family member you trust for help getting connected to the support that can help.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"This studio is an introduction to audio-video and animation production within the artistic practice. Coursework explores the making and critiquing of moving-image and audio works across a variety of contexts, and takes an active approach in learning how to produce your own new media works using both standard and experimental production techniques. Through analysis of … Continue reading “Syllabus”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":31,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/pages\/6","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/comments?post=6"}],"version-history":[{"count":82,"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/pages\/6\/revisions"}],"predecessor-version":[{"id":1753,"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/pages\/6\/revisions\/1753"}],"wp:attachment":[{"href":"https:\/\/mycours.es\/timebasedmedia\/wp-json\/wp\/v2\/media?parent=6"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}