{"id":12324,"date":"2023-03-13T14:33:06","date_gmt":"2023-03-13T13:33:06","guid":{"rendered":"https:\/\/letrat.eu\/?p=12324"},"modified":"2024-04-09T04:25:49","modified_gmt":"2024-04-09T03:25:49","slug":"ex-machina-pollock-dhe-automatizmi-artistik","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=12324","title":{"rendered":"Ex Machina, Pollock dhe “Automatizmi” Artistik!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, Sh 2015 (V\u00ebshtrim eseistik)<\/em><\/p>\n

(…sikur vet\u00eb arti \u00ebsht\u00eb kthyer n\u00eb nj\u00eb “veg\u00ebl” p\u00ebr t\u00eb pushtuar gjith\u00e7ka p\u00ebrbri e p\u00ebranash tij, sa m\u00eb shum\u00eb q\u00eb t’jet\u00eb e mundur artificialitete paralele, e madje dhe p\u00ebr ta pushtuar “vetveten” si business<\/strong>…)<\/p>\n

\"\"<\/a><\/p>\n

“Jackson Pollock. Piktori i “sp\u00ebrkatjes”, piktor sp\u00ebrkatxhiu, e linte mendjen e tij t\u00eb boshatisej, dhe dora e tij shkonte aty ku ajo vet\u00eb d\u00ebshironte. Jo q\u00ebllimisht, jo rast\u00ebsisht; diku n\u00eb mes t\u00eb q\u00ebllimit dhe rast\u00ebsis\u00eb. Artin e tij e quajt\u00ebn art automatik. \/…\/ \u00c7far\u00eb n\u00ebse Pollock ta kishte p\u00ebrmbysur sfid\u00ebn? \u00c7far\u00eb n\u00ebse n\u00eb vend t\u00eb b\u00ebrit art pa e angazhuar intelektin, pa e lodhur mendjen, t\u00eb thoshte: “E dini \u00e7far\u00eb? Nuk mund t\u00eb pikturoj asgj\u00eb n\u00ebse t’mos e dija sakt\u00ebsisht p\u00ebrse jam duke pikturuar”. \u00c7far\u00eb do t’kishte ndodhur? Pollock kurr\u00eb s’do ta kishte b\u00ebr\u00eb as nj\u00eb njoll\u00eb t\u00eb vetme n\u00eb kanavac. Nuk \u00ebsht\u00eb sfid\u00eb p\u00ebr t\u00eb vepruar automatikisht. Por \u00ebsht\u00eb p\u00ebr ta gjetur nj\u00eb veprim q\u00eb nuk \u00ebsht\u00eb automatik…” – (shk\u00ebputur nga “Ex Machina” – Alex Garland, 2015)<\/p>\n

N\u00eb skenarin p\u00ebr “Ex Machina” (prodhim i 2015), Alex Garland e inkuadron “automatizmin” e Jackson Pollock dhe “n\u00ebndijen” e tij artistike p\u00ebr t\u00eb sugjeruar se n\u00eb natyr\u00eb gjith\u00e7ka \u00ebsht\u00eb e programuar, ndoshta dhe vet\u00eb mendja jon\u00eb. Dhe si rrjedhoj\u00eb jo vet\u00ebm inteligjenca artificiale por dhe ajo e jona natyrale e ka si “sfid\u00eb” t\u00eb veproj\u00eb diku n\u00eb mes t\u00eb q\u00ebllimit dhe rast\u00ebsis\u00eb. “Nuk \u00ebsht\u00eb sfid\u00eb p\u00ebr t’vepruar automatikisht por p\u00ebr ta gjetur nj\u00eb veprim q\u00eb nuk \u00ebsht\u00eb automatik” – sugjeron Garland.<\/p>\n

Megjithat\u00eb, inkuadrimi i “automatizmit” t\u00eb Pollock ishte ajo \u00e7far\u00eb mua m\u00eb pati shtyr\u00eb ta vras mendjen, e madje eventualisht dhe t\u00eb buz\u00ebqeshja. Dikujt tjet\u00ebr mund t’mos i ket\u00eb r\u00ebn\u00eb n\u00eb sy fare \u00e7\u00ebshtja e Pollock. Dhe tutje ndokush tjet\u00ebr mund t’ket\u00eb buz\u00ebqeshur p\u00ebr ndonj\u00eb arsye fare tjet\u00ebr. Psh. Helen Lewis \u00ebsht\u00eb “intriguar” lidhur me aspektin e feminizmit q\u00eb “Ex Machina” ng\u00ebrthen. N\u00eb nj\u00eb artikull t\u00eb publikuar n\u00eb Janar 2015 Lewis shkruan: “Alex Garland sugjeron se ag\u00ebsholi guximtar i Inteligjenc\u00ebs Artificiale nuk do t\u00eb “lirohet” nga dinamikat tona gjinore. A mund t\u00eb jet\u00eb nj\u00eb film q\u00eb ka t’b\u00ebj\u00eb me nj\u00eb krijes\u00eb t\u00ebrheq\u00ebse robotike, fanta-shkenc\u00eb feministe?” – pyet Lewis.<\/p>\n

***
\nN\u00eb Prill t\u00eb v. 2011 piktura me titull “Les joueurs de cartes” e C\u00e9zanne qe shitur me \u00e7mimin astronomik prej 259 milion\u00eb dollar\u00eb. Llogaritet se \u00e7mimi i p\u00ebrshtatur tani, duke marr\u00eb parasysh indeksin inflativ t\u00eb “ekonomikave” amerikane dhe t\u00eb k\u00ebmbimit… do ishte rreth 274 milion\u00eb. Mir\u00ebpo ca milion\u00eb m\u00eb shum\u00eb apo m\u00eb pak, p\u00ebr hir t\u00eb k\u00ebtij shembulli s’\u00e7ojn\u00eb fare pesh\u00eb. P\u00ebr shkrimin ton\u00eb sot, le pra C\u00e9zanne t\u00eb jet\u00eb di\u00e7 si “kufiri i ep\u00ebrm i \u00e7menduris\u00eb”. Nd\u00ebrsa p\u00ebr t’mos ngelur pa “kufirin e posht\u00ebm” at\u00ebher\u00eb le t’jet\u00eb “sp\u00ebrkatja No. 5” e Pollock kufizimi nga “posht\u00eb i \u00e7menduris\u00eb” : )<\/p>\n

Sepse aktualisht piktura e Pollock “No. 5”, sa i p\u00ebrket shtrenjt\u00ebsis\u00eb \u00ebsht\u00eb n\u00eb vendin e dyt\u00eb, pas piktur\u00ebs s\u00eb C\u00e9zanne. N\u00eb v. 2006, p\u00ebr “aksion-sp\u00ebrkatjen gjysm\u00eb-t\u00eb vet\u00ebdijshme” t\u00eb amerikanit Pollock, p\u00ebr piktur\u00ebn “No. 5”, bler\u00ebsi David Martinez pati paguar jo m\u00eb pak por 140 milion\u00eb dollar\u00eb.<\/p>\n

Hm, duke mos e “kontestuar” as sakt\u00ebsin\u00eb as kredibilitetin e “automatizmit t\u00eb n\u00ebndijsh\u00ebm” t\u00eb Pollock, n\u00eb t\u00eb cilin Alex Garland referohet n\u00eb “Ex Machina”, megjithat\u00eb sikur duhet shtruar ca pyetje!<\/p>\n

Athua Garland “harron” q\u00eb p\u00ebrpara sp\u00ebrkatxhiut Pollock, p\u00ebrpara “automatizmit” t\u00eb tij, kishte mjaft artist\u00eb nga e kaluara q\u00eb mendonin se po ashtu ishin t\u00eb “prirur nga influencat e n\u00ebndijes”!?<\/p>\n

Athua Garland e “harron” ndikuesin m\u00eb t\u00eb madh n\u00eb teknik\u00ebn “aksion-sp\u00ebrkatje” t\u00eb Pollock, piktorin Max Ernst, i cili qe martuar me Peggy Guggenheim, nj\u00ebra nga adhurueset, klientesha kryesore dhe p\u00ebrkrah\u00ebsja m\u00eb e r\u00ebnd\u00ebsishme e Pollock?!<\/p>\n

Athua Garland “harron” q\u00eb sikur t’mos ishte Guggenheim (gruaja e tij dhe mikja e Pollock) shum\u00eb e pasur, ndoshta Pollock do t’kishte ngelur nj\u00eb alkoholist i pandreqsh\u00ebm, p\u00ebrgjithmon\u00eb. Sikur t’mos ishte Guggenheim ashtu e “\u00e7mendur” pas artit t\u00eb tij, Pollock mbase s’do kishte mundur t\u00eb huazonte nga ajo shuma t\u00eb m\u00ebdha parash p\u00ebr t’bler\u00eb sht\u00ebpi, p\u00ebr t’u martuar me gruan e vet (piktore po ashtu) etj.<\/p>\n

Athua Garland “harron” q\u00eb piktori Max Ernst, burri i pun\u00ebdh\u00ebn\u00ebses – huadh\u00ebn\u00ebses s\u00eb Pollock, e pati “zhvilluar nj\u00eb metod\u00eb” pikturimi duke p\u00ebrdorur “boj\u00eb q\u00eb pikonte nga nj\u00eb kov\u00eb e shpuar”, p\u00ebrpara se ta b\u00ebnte Pollock t\u00eb nj\u00ebjten. Ose tekefundit as artistja Janine Antoni nuk i p\u00ebrdor brushat p\u00ebt t’i p\u00ebrlyer p\u00eblhurat e veta n\u00eb dysheme. Ajo ia b\u00ebn me flok\u00ebt, i zhyt\u00eb n\u00eb kovat me boj\u00eb dhe… i p\u00ebrlyen p\u00ebrlhurat aq bukur sa dhe vet\u00eb Pollock do t’ia kishte zili p\u00ebr origjinalitetin! Vall\u00eb si duhet ta quajm\u00eb tani “teknik\u00ebn” e Janine Antoni!? Mos ndoshta “aksion-njollosje”, p\u00ebr dallim nga “aksion-sp\u00ebrkatje” e Pollock!<\/p>\n

Athua Garland “harron” q\u00eb termi “action-painting” qe shpikur nga kritiku amerikan H. Rosenberg, i cili aludonte n\u00eb “teknik\u00ebn e Pollock me boj\u00ebn q\u00eb pikon mbi kanavac”. Mir\u00ebpo Rosenberg, p\u00ebrpara se ta quante teknik\u00ebn e “boj\u00ebs q\u00eb pikon” t\u00eb Pollock (se i takon k\u00ebtij), m\u00eb e sakt\u00eb do ishte q\u00eb “aksion-teknik\u00ebn e sp\u00ebrkatjes” t’ia atribuonte influencuesit t\u00eb tij, piktorit Max Ernst!<\/p>\n

Athua Garland “harron” se disa vepra p\u00ebrhumben e mb\u00ebshtillen n\u00eb vler\u00ebn e tyre reale mes kthetrash t\u00eb “fetishizmit modern” – nga vrapi n\u00eb gar\u00eb i koleksionisteve, disa veprave artistike iu rritet vlera deri n\u00eb ekzagjerime, e disa t\u00eb tjera sikur nuk “ekzagjerohen” aq sa duhet!?<\/p>\n

Athua Garland “harron” se arti si art, si\u00e7 funksionon n\u00eb koh\u00ebt moderne, nuk konceptohet tutje vet\u00ebm si “amusement” apo arg\u00ebtim, as vet\u00ebm si v\u00ebrtet\u00ebsi e vizion, as thjesht si “art p\u00ebr hir t\u00eb artit”, m\u00eb tep\u00ebr sikur vet\u00eb arti \u00ebsht\u00eb kthyer n\u00eb nj\u00eb “veg\u00ebl” p\u00ebr t\u00eb pushtuar gjith\u00e7ka p\u00ebrbri e p\u00ebranash tij, sa m\u00eb shum\u00eb q\u00eb t’jet\u00eb e mundur artificialitete paralele, e madje dhe p\u00ebr ta pushtuar “vetveten” si business!?<\/p>\n

Athua Garland “harron” se \u00e7mimi astronomik i nj\u00eb p\u00eblhure t\u00eb sp\u00ebrkatur t\u00eb Pollock prej 140 milion\u00eb dollar\u00eb, \u00ebsht\u00eb thjesht ekzagjerim fetishistik prej biznismen\u00ebsh!?<\/p>\n

***
\nApo Garland s’ka harruar asgj\u00eb, “automatizmi” i Pollock, qoft\u00eb dhe si klishe-stereotipik artistik, p\u00ebrputhet n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrkryer me inteligjenc\u00ebn artificiale (AI) t\u00eb bukuroshes robotike n\u00eb “Ex Machina”. Robot i cili ndoshta \u00ebsht\u00eb “more human, than human” (m\u00eb njer\u00ebzor se njeriu), robot i cili \u00ebsht\u00eb n\u00eb gjendje t’i lexoj\u00eb t\u00eb gjitha mikro-shprehjet e fytyrave t\u00eb njer\u00ebzimit, q\u00eb mund t’i ndiej\u00eb t\u00eb gjitha ndjenjat, e madje q\u00eb ka dhe “nj\u00eb vrim\u00eb” mes k\u00ebmb\u00ebve… p\u00ebr aventurat seksuale – sepse p\u00ebr di\u00e7 tjet\u00ebr nuk i duhet vrima robotike!<\/p>\n

Garland shprehet: “mes q\u00ebllimit dhe rast\u00ebsis\u00eb”, pra ai sikur ka d\u00ebshir\u00eb t’i jep m\u00eb shum\u00eb sens non-sensit t\u00eb “sp\u00ebrkatjes”, qoft\u00eb asaj horizontale, qoft\u00eb vertikale. Edhe pse Pollock m\u00eb mir\u00eb ndjehej kur sp\u00ebrkaste mbi p\u00eblhurat e dyshemes\u00eb, mbi p\u00eblhurat e shtrira, sepse mund t\u00eb v\u00ebrtitej rreth e rrotull dhe sikur futej “diku brenda” artit. Garland s’ka harruar se metodat automatiste t\u00eb artist\u00ebve surrealist\u00eb nuk ishin krejt\u00ebsisht t\u00eb pa ndjenja, t\u00eb pavet\u00ebdijshme. Vizatimet-pikturimet e tyre nuk ishin 100% automatike, krijimi i surrealist\u00ebve p\u00ebrfshinte nj\u00eb shkall\u00eb t\u00eb nd\u00ebrhyrjes s\u00eb vet\u00ebdijshme, nj\u00eb doz\u00eb t\u00eb manipulimit t\u00eb nd\u00ebrgjegjsh\u00ebm.<\/p>\n

***
\nArti, secil\u00ebn her\u00eb e m\u00eb shum\u00eb, sikur na v\u00ebrtetohet se \u00ebsht\u00eb di\u00e7 mjaft kompleks si “fenomen”, do ta m\u00ebsojm\u00eb k\u00ebt\u00eb secil\u00ebn dit\u00eb e m\u00eb tep\u00ebr, tek ecim andej kah e ardhmja. Kush mund ta dij\u00eb se ku jemi nisur dhe ku do t\u00eb arrijm\u00eb!
\nIronikisht, i gjith\u00eb subjekti p\u00ebr artin dhe p\u00ebr at\u00eb q\u00eb nuk \u00ebsht\u00eb art (por q\u00eb ka t’b\u00ebj\u00eb me artin, secil\u00ebn her\u00eb e m\u00eb shum\u00eb) sikur t\u00ebrthurohet brenda th\u00ebnies s\u00eb vet\u00eb Pikasos, “babait” t\u00eb artit modern: “\u00e7do vler\u00eb pozitive e ka \u00e7mimin e vet n\u00eb terma negativ… gjenialiteti i Ajnshtajnit i sjell Hiroshimat”.<\/p>\n

Tmerri dhe pasojat e L. s\u00eb Par\u00eb Bot\u00ebrore e pat\u00ebn l\u00ebkundur fuqish\u00ebm besimin n\u00eb moralin borgjez, jo vet\u00ebm n\u00eb aspektin “politik”. N\u00eb aren\u00ebn evropiane t\u00eb artit, depresioni dhe kriza “morale” sikur pashmangsh\u00ebm do t\u00eb \u00e7onin n\u00eb shfaqjen e rrym\u00ebs anti-art, t\u00eb njohur si Dada. Dhe tutje dadaist\u00ebt do b\u00ebheshin vet\u00eb “varrmih\u00ebsit” e k\u00ebsaj di\u00e7kaje t\u00eb re, pik\u00ebrisht n\u00ebp\u00ebrmjet anti-vler\u00ebs dhe estetik\u00ebs s\u00eb tyre nihiliste. Kund\u00ebrvlera dhe anti-arti sikur soll\u00ebn p\u00ebrfundimisht d\u00ebshtimin e vet\u00eb struktur\u00ebs ideatike dadaiste. Athua vall\u00eb arti i mir\u00ebfillt\u00eb e njeh d\u00ebshtimin – n\u00eb fund t\u00eb fundit di\u00e7 s’mund t\u00eb jet\u00eb e “vdekshme” n\u00ebse kurr\u00eb as nuk ka lindur! Por a ishte di\u00e7 e re, a ishte “d\u00ebshtim”, a ishte “l\u00ebvizje e re”, a ishte gjall\u00eb di\u00e7 e palindur?<\/p>\n

Ndoshta ky “d\u00ebshtim” ishte thjesht v\u00ebshtir\u00ebsia e “nevojshme” e procesit p\u00ebr nj\u00eb lindje (rilindje). N\u00eb shikim t\u00eb par\u00eb, sikur historia e artit na paratakon me nj\u00eb paradoks (logjik), por jo, sepse tutje jan\u00eb vet\u00eb dadaist\u00ebt ata q\u00eb luajt\u00ebn rolin e tyre n\u00eb sjelljen e risive artistike. N\u00eb fakt, sipas meje dadaizmi nuk ishte as lindje as rilindje, nuk p\u00ebrfaq\u00ebsonte gj\u00eb… as kitsch as art, as avancim as avangardiz\u00ebm, as stagnim as p\u00ebrparim, as kthim mbrapa as shkuarje para… Sepse si negacion ndeshej me vet\u00eb fondamentin e pozitivizmit artistik. Dadaizmi m\u00eb par\u00eb ishte si “refuzim” p\u00ebr t\u00eb lindur, q\u00ebkur anti-arti s’ka t\u00eb b\u00ebj\u00eb me artin (duke qen\u00eb si kund\u00ebrshti themelore e vet\u00eb artit). Dadaizmi ishte nj\u00eb dehje e “p\u00ebrkohshme” depresive e koh\u00eblinj\u00ebs artistike.
\nRigrupimi i vet\u00eb dadaist\u00ebve t\u00eb dikursh\u00ebm e solli lindjen e Surrealizmit!<\/p>\n

***
\nTermi “art automatik” \u00ebsht\u00eb b\u00ebr\u00eb pjes\u00eb e zhargonit teknik t\u00eb artit modern dhe t\u00eb atij postmodern, ndoshta q\u00eb nga vitet ’20-30 t\u00eb shekullit t\u00eb kaluar. N\u00eb fund t\u00eb ’40-ave dhe fillim t\u00eb ’50-ave ve\u00e7 e kemi t\u00eb njohur nj\u00eb grupnaj\u00eb kanadeze t\u00eb artist\u00ebve t\u00eb ashtuquajtur “Les Automatistes”. Pra dhe vet\u00eb emri sugjeronte p\u00ebr tro\u00e7\u00ebsin\u00eb e k\u00ebsaj rryme-l\u00ebvizje. “Automatizmi” si teknik\u00eb ekspresive qe praktikuar kryesisht nga artist\u00eb-p\u00ebrfaq\u00ebsues t\u00eb Surrealizmit, mir\u00ebpo ndikimi i “automatizmit” \u00ebsht\u00eb ndjer\u00eb dhe n\u00eb l\u00ebvizjet e tjera t\u00eb m\u00ebhershme, psh. edhe p\u00ebr Dadaist\u00ebt “automatizmi” ka luajtur rolin e vet.<\/p>\n

“Automatizmi” i referohet nj\u00eb teknike n\u00eb t\u00eb cil\u00ebn artisti gjat\u00eb pikturimit ose vizatimit “lejon” t\u00eb bjer n\u00ebn kontroll t\u00eb pjes\u00ebrish\u00ebm t\u00eb n\u00ebndijes s\u00eb vet krijuese. Mjaft artist\u00eb surrealist\u00eb t\u00eb shek. XX pretendonin “zhbllokimin” e energjis\u00eb bazike kreative, e cila gjoja na pask\u00ebsh qen\u00eb gjithmon\u00eb e strukur diku n\u00eb skutat e thella t\u00eb personalitetit t\u00eb artist\u00ebve.<\/p>\n

Nga njoh\u00ebsit e historis\u00eb s\u00eb artit dhe nga kritik\u00ebt askush nuk e kund\u00ebrshton pohimin q\u00eb mbase figurat m\u00eb eminente t\u00eb “automatizmit artistik” ishin piktor\u00ebt Salvador Dali dhe Jackson Pollock. T\u00eb till\u00eb surrealist\u00eb, automatizmin krijues n\u00eb art e shihnin si t\u00eb vetmen m\u00ebnyr\u00eb p\u00ebr shp\u00ebtimin nga “barrierat” kulturore, n\u00ebnkulturore, intelektuale, e madje dhe nga kufizimet “historike”.<\/p>\n

Kjo qasje e re krijuese, ky \u00e7lirim i energjis\u00eb nga “brendia, n\u00ebp\u00ebrmjet kontrollit n\u00ebndijor”, ose automatizmi artistik i surrealist\u00ebve t\u00eb “brendsh\u00ebm”, bllokonte elementet e pad\u00ebshirueshme t\u00eb art-kultur\u00ebs borgjeze, dhe m\u00ebtonte p\u00ebrfaq\u00ebsimin e nj\u00eb form\u00eb m\u00eb fisnike, m\u00eb t\u00eb lart\u00eb, t\u00eb sjelljes e t\u00eb qasjes artistike. N\u00ebse p\u00ebr hi\u00e7gj\u00eb tjet\u00ebr, at\u00ebher\u00eb sepse pik\u00ebpamja ose q\u00ebndrimi nga adhuruesit e artb\u00ebrjes s\u00eb “jashtme” ishte fare ndryshe; sipas surrealist\u00ebve k\u00ebta t\u00eb fundit e shihnin kultur\u00ebn dhe edukimin personal si nj\u00eb lloj “k\u00ebmishe” p\u00ebrforcuese p\u00ebr kreativitetin e tyre artistik.<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, Sh 2015 (V\u00ebshtrim eseistik) (…sikur vet\u00eb arti \u00ebsht\u00eb kthyer n\u00eb nj\u00eb “veg\u00ebl” p\u00ebr t\u00eb pushtuar gjith\u00e7ka p\u00ebrbri e p\u00ebranash tij, sa m\u00eb shum\u00eb q\u00eb t’jet\u00eb e mundur artificialitete paralele, e madje dhe p\u00ebr ta pushtuar… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-12324","post","type-post","status-publish","format-standard","hentry","category-ese"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/12324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12324"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/12324\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12324"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12324"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}