{"id":3999,"date":"2022-08-24T10:18:30","date_gmt":"2022-08-24T10:18:30","guid":{"rendered":"http:\/\/electropixel.org\/?p=3999"},"modified":"2022-09-19T13:21:10","modified_gmt":"2022-09-19T13:21:10","slug":"electropixel-12-exposition-paris-collectif-irrationnel","status":"publish","type":"post","link":"https:\/\/electropixel.org\/index.php\/2022\/08\/24\/electropixel-12-exposition-paris-collectif-irrationnel\/","title":{"rendered":"Electropixel 12 – exposition – Paris – Collectif Irrationnel"},"content":{"rendered":"
Du 22 septembre au 2 octobre 2022
\nPlateforme Paris<\/div>\n
Vernissage le jeudi 22 septembre \u00e0 18h30<\/div>\n
Visite de l’exposition le vendredi 23, samedi 24 et dimanche 25, mercredi 28, jeudi 29, vendredi 30 et samedi 1er octobre de 15h \u00e0 19h<\/div>\n
<\/div>\n
Avec les artistes:<\/div>\n
Romaric Sobac, Leandro barzabal, Charalambia Englezou, Solar Return, Horspiel Machine, Jenny Pickett, Julien Ottavi, Ben Owen, Nikki Lindt, Seth Cluett, Heidi Neilson, Amble Skuse, Ga\u00ebl Segalen, Marinos Koutsomichalis, Dinah Bird, Jean-Philippe Renoult<\/div>\n
<\/div>\n
\n
—————<\/div>\n
Romaric Sobac<\/div>\n
Performeur affili\u00e9 au Non-jazz depuis 2007.
\nInstruments favoris : piano droit, cornet de Saint Nazaire, balles de tennis.
\nJoue actuellement dans Suicide Motorhead (avec Paul Laurent & friends) et Le nouveau d\u00e9fi des Ovnis (avec Victor Michaud et Fran\u00e7ois Cazaux), Friponnes de porc, Straub Mocky et d\u2019autres formations \u00e0 effectif variable. Son travail plastique prend forme dans le d\u00e9tournement d\u2019objets du quotidien dans un chaos dada\u00efste percutant et d\u00e9cal\u00e9.<\/div>\n
<\/div>\n
<\/div>\n
Leandro Barzabal<\/div>\n
Leandro travaille depuis 2001 en tant qu\u2019autodidacte dans le domaine de la musique exp\u00e9rimentale, de l\u2019improvisation et des arts performatifs et notamment autour de l\u2019instrument embl\u00e9matique du rock : la guitare \u00e9lectrique. A travers elle, qui est soumise \u00e0 diverses contraintes, il travaille sur la rupture de l\u2019instrument tout en produisant une succession esth\u00e9tique de sons. Il d\u00e9veloppe des exp\u00e9riences physico-musicales.
\nIl se sert de l\u2019espace et des objets environnants pour composer avec le r\u00e9el et s\u2019attache \u00e0 construire ses propres instruments.
\nDepuis juin 2018, il est bas\u00e9 \u00e0 Paris o\u00f9 il est impliqu\u00e9 dans la sc\u00e8ne exp\u00e9rimentale, ayant jou\u00e9 dans les espaces suivants : Le Wonder artist-run space, Garage MU, Glassbox Paris, Les Instants Chavir\u00e9s, le cycle Le Non-Jazz, CAPC Mus\u00e9e d\u2019Art Contemporain Bordeaux, Mus\u00e9e des Beaux-Arts de Lyon, le festival Un \u00c9t\u00e9 au Havre, le Festival Autistic Campaign (Rouen), Festival Bruitisme (Bourges), Festival Brigade Rouge Po\u00e9sie Noire (Paris), Festival Inact (Strasbourg), Festival D\u00e9cadance (Vanves), etc.
\nEn 2021 il a fond\u00e9 le studio GRM Parall\u00e8le (Asni\u00e8res-sur-Seine) d\u00e9di\u00e9 \u00e0 la construction d\u2019instruments musicaux, au soutien de musicien.ne.s souhaitant d\u00e9velopper des projets \u00e9lectroniques DIY et \u00e0 la recherche sonore.<\/div>\n
<\/div>\n
Charalambia Englezou<\/div>\n
Charalambia Englezou est une designer et artiste bas\u00e9e \u00e0 Chypre avec une formation en multim\u00e9dia et en arts graphiques. Ses int\u00e9r\u00eats tournent autour de l\u2019\u00e9cologie et de la nature qu\u2019elle explore dans le contexte de l\u2019art. Plus pr\u00e9cis\u00e9ment, la fusion de la technologie et de la nature et la relation entre l\u2019homme et l\u2019\u00e9cologie. Elle a \u00e9galement un vif int\u00e9r\u00eat pour les produits tangibles et le bricolage utilisant des technologies de fabrication modernes pour la cr\u00e9ation de designs uniques.<\/div>\n
<\/div>\n
Julien Ottavi<\/div>\n
Il d\u00e9veloppe un travail de recherche et de cr\u00e9ation croisant, musique, art sonore, po\u00e9sie sonore, nouvelles technologies, construction de dispositifs \u00e9lectroniques et performance physique. Artiste impliqu\u00e9 dans le mouvement du libre, il agence son approche musicale \u00e0 partir d\u2019outils de composition et de lutherie open source et copyleft. Sa pratique d’\u00e9criture musicale se d\u00e9cline autour de performance machininique avec la mise en place de syst\u00e8me de composition programmatique o\u00f9 le programme informatique devient la partition. Il est autant interpr\u00e8te du r\u00e9pertoire de ces cinquante derni\u00e8res ann\u00e9es (John Cage, Cornelius Cardew, Earle Brown, James Tenney\u2026) que compositeur dans le sens de cr\u00e9ation de nouvelle musique (percussion, musique mixte, \u00e9lectronique, \u00e9lectroacoustique, noise, po\u00e9sie sonore, musique g\u00e9n\u00e9rative, machine al\u00e9atoire, programm\u00e9, t\u00e9l\u00e9matique\u2026) et \u00e9criture graphique.
\nDe m\u00eame \u00e0 travers le corps toujours au centre \u00e0 la fois comme animalit\u00e9, ou comme \u00eatre \u00e0 soi et aux autres, mettant en action de nombreuses performances sur le devenir du corps, le corps mutant, le corps et la voix, le corps urbain\u2026etc pouvant osciller entre situation urbaine ou contexte de workshop. Mouvement d\u2019aller et retour dans l\u2019\u00e9criture, le texte et le langage ont aussi une grande importance dans sa pratique, exp\u00e9rimentation th\u00e9orique et po\u00e9tique, de la page au dire, il a \u00e9crit plusieurs textes autour des pratiques sonores, art et mouvement du libre mais aussi sur le hacking, la d\u00e9rive et la perte du langage. Au-del\u00e0 des m\u00e9diums et des cat\u00e9gories, l\u2019activation et la mise en ab\u00eeme d\u2019\u00e9nergies, de concepts et de forces par l\u2019exp\u00e9rience est une des ses mani\u00e8res de pratiquer la cr\u00e9ation dans ses r\u00e9alit\u00e9s mat\u00e9rielles, sociales, sensorielles, sensibles et conceptuelles.<\/div>\n
<\/div>\n
<\/div>\n
Jenny Pickett<\/div>\n
Jenny Pickett r\u00e9alise des \u0153uvres collectives, \u00e0 la fois dans la musique contemporaine, les arts visuels, num\u00e9riques et sonores. Elle cr\u00e9e des installations in situ ainsi que des sculptures sonores et des performances \u00e0 partir d\u2019enregistrements qu\u2019elle r\u00e9alise sur place pour inviter \u00e0 reconsid\u00e9rer les impressions que nous avons de notre environnement. D\u00e9veloppe une approche artistique singuli\u00e8re utilisant la vid\u00e9o interactive, sonore, l\u2019installation et la sculpture, \u00e0 partir d\u2019outils open source, ainsi que du code et de l\u2019\u00e9lectronique DIY (\u00ab do it yourself \u00bb) en combinaison avec des objets trouv\u00e9s et autres bricolages.
\nPickett est membre du collectif d’artistes et elle enseigne actuellement l’art et les techniques de repr\u00e9sentation \u00e0 l’Ecole Nationale Sup\u00e9rieure d’Architecture de Nantes (ensa). Elle est \u00e9galement doctorante au Media art and Design Lab de l’Universit\u00e9 de technologie de Chypre. Sa th\u00e8se est: \u201cLe faire avec d’autres (DIWO) : m\u00e9thodologies pour une production artistique et p\u00e9dagogique\u201c<\/div>\n
<\/div>\n
<\/div>\n
Solar Return<\/div>\n
Les artistes franco-anglais Jenny Pickett et Julien Ottavi cr\u00e9ent Solar Return en 2009. Prenant les ph\u00e9nom\u00e8nes \u00e9lectromagn\u00e9tiques comme point de d\u00e9part de leurs cr\u00e9ations sonores. Ils ont produit diverses partitions pour des synth\u00e9s audio doubles\/oscillateurs\/\u00e9lectroniques de bricolage, etc. qui refl\u00e8tent des mod\u00e8les et des \u00e9v\u00e9nements \u00e9lectromagn\u00e9tiques tels que des \u00e9ruptions solaires et des m\u00e2ts de t\u00e9l\u00e9phonie mobile dans les centres-villes, des environnements sonores cach\u00e9s ainsi que le monde audio insondable des appareils de cuisine. \u00c0 travers leurs performances, le duo p\u00e9n\u00e8tre profond\u00e9ment dans le monde de la fr\u00e9quence, de la statique et du son en tant qu\u2019exp\u00e9rience physique, o\u00f9 ils m\u00e9langent des enregistrements environnementaux du cosmos aux pyl\u00f4nes en passant par les centrales nucl\u00e9aires avec de l\u2019\u00e9lectronique en direct et diverses antennes comme instruments. Jenny Pickett a \u00e9t\u00e9 la premi\u00e8re \u00e0 se produire en direct en utilisant l\u2019\u00e9norme antenne VLF comme instrument avec sa performance Cosmic Power Lines \u00e0 la HAB Galerie \/ Mus\u00e9e des Beaux-Arts de Nantes en 2013 puis avec Solar Return jouant l\u2019espace physique, le public et le l\u2019architecture du lieu par un mouvement.<\/div>\n
<\/div>\n
The Horspiel Machine avec les artistes sonores :
\nBen Owen, Nikki Lindt, Seth Cluett, Heidi Neilson, Amble Skuse, Ga\u00ebl Segalen, Jenny Pickett & Julien Ottavi, Marinos Koutsomichalis, Dinah Bird & Jean-Philippe Renoult<\/div>\n
Lors d\u2019Electropixel 12, onze artistes du monde entier proposent une pi\u00e8ce sonore pour alimenter la Horspiel Machine.
\n\u201cLes premiers exemples d\u2019utilisation du m\u00e9dium radio pour produire de l\u2019art se trouvent dans le H\u00f6rspiel allemand (pi\u00e8ce radiophonique), une forme de th\u00e9\u00e2tre radiophonique qui m\u00eale documentaire, paysage sonore et musique \u00e9lectroacoustique avec des techniques de montage sonore. L\u2019un des premiers exemples a \u00e9t\u00e9 le 24 octobre 1924, lorsque la radio de Francfort a diffus\u00e9 \u2018Zauberei auf dem Sender : Versuch einer Rundfunkgroteske\u201d [Enchantement on the Air : Tentative de radio grotesque] \u00e9crit et produit par le directeur artistique Hans Flesch. Dans cette pi\u00e8ce radiophonique exp\u00e9rimentale, un l\u2019\u00e9mission est interrompue par un sorcier qui s\u00e8me le chaos dans le studio afin d\u2019hypnotiser les auditeurs avec des illusions sonores.\u201d (John Barbier)<\/div>\n
<\/div>\n
—————-<\/div>\n
Ev\u00e9nements en lien avec l’exposition : Soir\u00e9e Electropixel 12 \u00e0 Mains d’Oeuvres \u00e0 St Ouen le 23 et le 24 septembre.
\nhttps:\/\/fb.me\/e\/2DyZzhl2Y<\/a>
\nhttps:\/\/fb.me\/e\/1P1ko4usO<\/a><\/div>\n
\n
<\/div>\n
—————-<\/div>\n<\/div>\n<\/div>\n
<\/div>\n
Electropixel Festival #12 – “Collectif Irrationnel”<\/strong>
\nPour cette nouvelle \u00e9dition du festival Electropixel, nous envisageons d\u2019approfondir la relation au collectif et \u00e0 la cr\u00e9ation partag\u00e9e \u00e0 travers un r\u00e9seau d’\u00e9changes internationaux. Le festival continue \u00e0 imaginer et \u00e0 penser les nouvelles modalit\u00e9s de cr\u00e9ations artistiques pendant la pand\u00e9mie et notamment la d\u00e9sagr\u00e9gation de l\u2019id\u00e9e de commun et de partage.Il nous faut Trouver des liens dans la cr\u00e9ation, de nouvelles fa\u00e7ons d\u2019explorer les nouvelles \u00e9critures ensemble plut\u00f4t que d\u2019\u00eatre isol\u00e9s, confin\u00e9s, s\u00e9par\u00e9s. Comment construire des cr\u00e9ations qui repr\u00e9sentent des collectifs multiples et d\u00e9localis\u00e9s.<\/div>\n
\u00a0<\/strong><\/div>\n
Les Festival Electropixel<\/strong><\/div>\n
Festival des cultures num\u00e9riques \u00e9mergentes et pratiques \u00e9lectroniques libres,
\nElectropixel s\u2019inscrit dans un r\u00e9seau international de festivals d\u2019arts \u00e9lectroniques. Le festival ouvre un espace singulier permettant la rencontre d\u2019artistes (audiovisuels, musiciens, plasticiens, intermedia, performeurs, etc.), th\u00e9oriciens, programmeurs, bidouilleurs, et inventeurs de tous bords et des fabriques du quotidien.<\/div>\n
<\/div>\n
\n

English<\/p>\n

From September 22 to October 2, 2022<\/p>\n

Paris Platform
\nOpening Thursday, September 22 at 6:30 p.m.
\nVisit of the exhibition on Friday 23, Saturday 24 and Sunday 25, Wednesday 28, Thursday 29, Friday 30 and Saturday 1 October from 3 p.m. to 7 p.m.<\/p>\n

With the artists:
\nRomaric Sobac, Leandro Barzabal, \u00a0Charalambia Englezou, Solar Return, Horspiel Machine, Jenny Pickett, Julien Ottavi, Ben Owen, Nikki Lindt, Seth Cluett, Heidi Neilson, Amble Skuse, Ga\u00ebl Segalen, Marinos Koutsomichalis, Dinah Bird, Jean-Philippe Renoult<\/p>\n

—————<\/p>\n

Romaric Sobac
\nPerformer affiliated with Non-jazz since 2007.
\nFavorite instruments: upright piano, Saint Nazaire cornet, tennis balls.
\nCurrently plays in Suicide Motorhead (with Paul Laurent & friends) and The New Challenge of Ovnis (with Victor Michaud and Fran\u00e7ois Cazaux), Friponnes de porc, Straub Mocky and other bands with variable numbers. His plastic work takes shape in the diversion of everyday objects in a striking and offbeat Dadaist chaos.<\/p>\n

 <\/p>\n

Leandro Barzabal
\nLeandro has been working since 2001 as an autodidact in the field of experimental music, improvisation and performing arts, particularly around the emblematic instrument of rock: the electric guitar. Through it, which is subject to various constraints, he works on the rupture of the instrument while producing an aesthetic succession of sounds. He develops physico-musical experiences.
\nHe uses space and surrounding objects to compose with reality and strives to build his own instruments.
\nSince June 2018, he has been based in Paris where he is involved in the experimental scene, having performed in the following spaces: Le Wonder artist-run space, Garage MU, Glassbox Paris, Les Instants Chavir\u00e9s, Le Non-Jazz cycle, CAPC Museum of Contemporary Art Bordeaux, Museum of Fine Arts of Lyon, the festival A Summer in Le Havre, the Autistic Campaign Festival (Rouen), Festival Bruitisme (Bourges), Festival Brigade Rouge Po\u00e9sie Noire (Paris), Festival Inact (Strasbourg) , Decadance Festival (Vanves), etc.
\nIn 2021 he founded the GRM Parall\u00e8le studio (Asni\u00e8res-sur-Seine) dedicated to the construction of musical instruments, the support of musicians wishing to develop DIY electronic projects and sound research.<\/p>\n

 <\/p>\n

Charalambia Englezou
\nCharalambia Englezou is a designer and artist based in Cyprus with a background in multimedia and graphic arts. Her interests revolve around ecology and nature which she explores in the context of art. Specifically, the fusion of technology and nature and the relationship between man and ecology. She also has a keen interest in tangible products and DIY using modern manufacturing technologies to create unique designs.<\/p>\n

Julien Ottavi
\nHe develops a work of research and creation crossing, music, sound art, sound poetry, new technologies, construction of electronic devices and physical performance. Artist involved in the free movement, he organizes his musical approach using open source and copyleft composition and lutherie tools. His musical writing practice revolves around machine performance with the implementation of a programmatic composition system where the computer program becomes the score. He is as much an interpreter of the repertoire of the last fifty years (John Cage, Cornelius Cardew, Earle Brown, James Tenney\u2026) as a composer in the sense of creating new music (percussion, mixed music, electronics, electroacoustics, noise, sound poetry, generative music, random machine, programmed, telematics\u2026) and graphic writing.
\nLikewise through the body always at the center both as animality, or as being to oneself and to others, bringing into action numerous performances on the becoming of the body, the mutant body, the body and the voice, the urban body… etc. that can oscillate between an urban situation or a workshop context. Back and forth movement in writing, text and language also have great importance in his practice, theoretical and poetic experimentation, from the page to the saying, he has written several texts around sound practices, art and movement of free but also on hacking, drift and loss of language. Beyond mediums and categories, the activation and mise en abyme of energies, concepts and forces through experience is one of his ways of practicing creation in its material, social, sensory, sensitive and conceptual.<\/p>\n

 <\/p>\n

Jenny Pickett
\nJenny Pickett produces collective works, both in contemporary music, visual, digital and sound arts. She creates in situ installations as well as sound sculptures and performances from recordings that she makes on site to invite us to reconsider the impressions we have of our environment. Develops a singular artistic approach using interactive video, sound, installation and sculpture, from open source tools, as well as DIY (\u201cdo it yourself\u201d) code and electronics in combination with found objects and other crafts.
\nPickett is a member of the artists’ collective and currently teaches art and representational techniques at the Ecole Nationale Sup\u00e9rieure d’Architecture de Nantes (ensa). She is also a PhD candidate at the Media art and Design Lab of the Cyprus University of Technology. His thesis is: \u201cDoing it with others (DIWO): methodologies for artistic and pedagogical production\u201c<\/p>\n

Solar Return
\nFranco-English artists Jenny Pickett and Julien Ottavi created Solar Return in 2009. Taking electromagnetic phenomena as a starting point for their sound creations. They have produced various scores for dual audio synths\/oscillators\/DIY electronics etc. which reflect electromagnetic patterns and events such as solar flares and cell phone masts in city centers, hidden sonic environments as well as the unfathomable audio world of kitchen appliances. Through their performances, the duo go deep into the world of frequency, statics and sound as a physical experiment, where they mix environmental recordings from the cosmos to pylons to nuclear power plants with electronics. live and various antennas as instruments. Jenny Pickett was the first to perform live using the enormous VLF antenna as an instrument with her performance Cosmic Power Lines at the HAB Galerie \/ Mus\u00e9e des Beaux-Arts de Nantes in 2013 and then with Solar Return playing physical space, the public and the architecture of the place by a movement.<\/p>\n

Electropixel Festival #12 – “Irrational Collective”<\/strong>
\nFor this new edition of the Electropixel festival, we plan to deepen the relationship to the collective and to shared creation through a network of international exchanges. The festival continues to imagine and think about new methods of artistic creation during the pandemic and in particular the disintegration of the idea of \u200b\u200bcommon and sharing. We need to find links in creation, new ways of exploring new writings together rather than being isolated, confined, separated. How to build creations that represent multiple and delocalized collectives.<\/p>\n

 <\/p>\n

The Horspiel Machine with sound artists:
\nBen Owen, Nikki Lindt, Seth Cluett, Heidi Neilson, Amble Skuse, Ga\u00ebl Segalen, Jenny Pickett & Julien Ottavi, Marinos Koutsomichalis, Dinah Bird & Jean-Philippe Renoult
\nDuring Electropixel 12, eleven artists from all over the world offer a sound piece to feed the Horspiel Machine.
\n\u201cEarly examples of the use of the radio medium to produce art can be found in the German H\u00f6rspiel (radio play), a form of radio theater that blends documentary, soundscape and electroacoustic music with sound editing techniques. One of the earliest examples was on October 24, 1924, when Frankfurt Radio broadcast ‘Zauberei auf dem Sender: Versuch einer Rundfunkgroteske’ [Enchantment on the Air: Grotesque Radio Attempt] written and produced by artistic director Hans Flesch . In this experimental radio play, a broadcast is interrupted by a wizard who wreaks havoc in the studio in order to hypnotize listeners with sound illusions. (John Barber)<\/p>\n

 <\/p>\n

—————-
\nEvents related to the exhibition: Electropixel 12 evening at Mains d’Oeuvres in St Ouen on September 23 and 24.
\nhttps:\/\/fb.me\/e\/2DyZzhl2Y<\/a>
\nhttps:\/\/fb.me\/e\/1P1ko4usO<\/a><\/p>\n

—————-<\/p>\n

Electropixel Festival #12 – “Irrational Collective”<\/strong>
\nFor this new edition of the Electropixel festival, we plan to deepen the relationship to the collective and to shared creation through a network of international exchanges. The festival continues to imagine and think about new modalities of artistic creations during the pandemic and in particular the disintegration of the idea of \u200b\u200bcommon and sharing. We need to find links in creation, new ways of exploring new writings together rather than being isolated, confined, separated. How to build creations that represent multiple and delocalized collectives.<\/p>\n

The Electropixel Festivals<\/strong>
\nFestival of emerging digital cultures and free electronic practices,
\nElectropixel is part of an international network of electronic arts festivals. The festival opens a unique space allowing the meeting of artists (audiovisual, musicians, visual artists, intermedia, performers, etc.), theoreticians, programmers, hackers, and inventors of all stripes and everyday factories.<\/p>\n","protected":false},"excerpt":{"rendered":"

Du 22 septembre au 2 octobre 2022 Plateforme Paris Vernissage le jeudi 22 septembre \u00e0 18h30 Visite de l’exposition le vendredi 23, samedi 24 et […]<\/p>\n","protected":false},"author":6,"featured_media":4036,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":"","footnotes":""},"categories":[505],"tags":[636,488,539,638,545,543,542,549,546,605,637,514,540,603,558,37],"class_list":["post-3999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-paris-22","tag-alexandre-meyrat-lecoz","tag-amble-skuse","tag-ben-owen","tag-collectif-irrationnel","tag-dinah-bird","tag-gael-segalen","tag-heidi-neilson","tag-horspiel-machine","tag-jean-philippe-renoult","tag-leandro-barzabal","tag-lou-villapadierna","tag-marinos-koutsomichalis","tag-nikki-lindt","tag-romaric-sobac","tag-seth-cluett","tag-solar-return"],"_links":{"self":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/comments?post=3999"}],"version-history":[{"count":7,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3999\/revisions"}],"predecessor-version":[{"id":4040,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3999\/revisions\/4040"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/media\/4036"}],"wp:attachment":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/media?parent=3999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/categories?post=3999"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/tags?post=3999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}