{"id":1560,"date":"2022-09-12T11:33:44","date_gmt":"2022-09-12T09:33:44","guid":{"rendered":"https:\/\/geneve2022.aic-iac.org\/?page_id=1560"},"modified":"2022-12-01T16:10:51","modified_gmt":"2022-12-01T15:10:51","slug":"editorial-conferences-de-membres-aic","status":"publish","type":"page","link":"https:\/\/geneve2022.aic-iac.org\/en\/editorial-conferences-de-membres-aic\/","title":{"rendered":"Editorial: IAC Member Lectures","raw":"Editorial: IAC Member Lectures"},"content":{"rendered":"<table>\n<tbody>\n<tr>\n<td>\n<div id=\"attachment_1642\" style=\"width: 1810px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1642\" class=\"wp-image-1642 size-full\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave.jpg\" alt=\"\" width=\"1800\" height=\"1273\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave.jpg 1800w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave-300x212.jpg 300w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave-1024x724.jpg 1024w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave-768x543.jpg 768w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave-1536x1086.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\" \/><p id=\"caption-attachment-1642\" class=\"wp-caption-text\">\u00a9 Heidi McKenzie, &#8220;First Wave&#8221;<\/p><\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table style=\"width: 100.324%;\">\n<tbody>\n<tr>\n<td style=\"width: 612px; background-color: #c9c6d8;\" colspan=\"2\">\n<h3>\u00a0<\/h3>\n<h3>IAC Member Lectures, editorial<\/h3>\n<p>The call for proposals for IAC Member Lectures resulted in a large number of excellent submissions. Due to the limited number of spaces in the conference programme, the Jury decided that certain topics developed by the members were too interesting and relevant to pass up, and that these lectures would be included in this Editorial section.<\/p>\n<\/td>\n<\/tr>\n<tr style=\"height: 100px;\">\n<td style=\"height: 10px; width: 98.7138%;\" colspan=\"2\"><span class=\"caption\">* Please note that the information on this page is subject to change.<\/span><\/td>\n<\/tr>\n<tr>\n<td>\u00a0<\/td>\n<td>\u00a0<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1602\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm.jpg\" alt=\"\" width=\"978\" height=\"1000\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm.jpg 978w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm-293x300.jpg 293w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm-768x785.jpg 768w\" sizes=\"auto, (max-width: 978px) 100vw, 978px\" \/><\/td>\n<td>\n<h3>Vlad Basarab<\/h3>\n<p>Lecture Title: &#8220;Ceramic Memory&#8221;<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\n<p>The attempt of transposing the human and the natural environment into Vlad Basarab&#8217;s work is deeply connected to the embodiment of memories in matter, for clay renders both human and geological memories. The transformational qualities of clay through the ceramics process allows him to draw parallels to how memory forms. The metamorphosis of ideas is directly linked to the inherent memories and history of ceramics. Clay records human gesture as an attempt to conquer the ephemeral of the maker&#8217;s movement.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7zJ8a4F3mVI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\n<hr \/>\n<\/td>\n<\/tr>\n<tr style=\"height: 303px;\">\n<td style=\"width: 49.3569%; height: 303px;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1601\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy.jpg\" alt=\"\" width=\"776\" height=\"747\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy.jpg 776w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy-300x289.jpg 300w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy-768x739.jpg 768w\" sizes=\"auto, (max-width: 776px) 100vw, 776px\" \/><\/td>\n<td style=\"width: 49.3569%; height: 303px;\">\n<h3>Ray Chen<\/h3>\n<p>Lecture Title: &#8220;Feminism In Artistic Expressions and Its Multiple social Statuses &#8211; Co-Existence of &#8220;The Culture of Gender&#8221; Identity Distinctiveness&#8221;<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\n<p>The nature of gender in our society and family identities of women intertwine have led the cultural norms to cross over. Feminism is a tangible representation that unifies life\u2019s purpose to positive social movements and a quest for gender equality. Feminism addresses and shares its emotional and psychological drives for artistic expressions, ultimately elevating the established perspective of cultural, social and family\u2019s multi-dimensions standards to an co-existence interactive process.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Yc_ZjlXCii4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\n<hr \/>\n<\/td>\n<\/tr>\n<tr style=\"height: 19px;\">\n<td style=\"height: 19px; width: 49.3569%;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1619\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy.jpg\" alt=\"\" width=\"816\" height=\"914\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy.jpg 816w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy-268x300.jpg 268w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy-768x860.jpg 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\" \/><\/p>\n<p>&nbsp;<\/p>\n<\/td>\n<td style=\"width: 49.3569%; height: 19px;\">\n<h3>Paul March<\/h3>\n<p>Lecture Title: &#8220;The Archeology of Cognition&#8221;<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\n<p>In this presentation, Paul March proposes that the mind does not exist in the brain but in a dynamic realisation of materials. Thus, the artistic process gives us a way to conceive of a material culture that does not use the framework of language, but of palpable expression. Here, art serves as a tool to explore the links between ancient Egyptian funerary rituals and the metamorphic life cycle of the zoological order, Lepidoptera.<\/p>\n<p>&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/12\/transcript-lecture_Paul-March_EN.pdf\" target=\"_blank\" rel=\"noopener\">TEXT (in English)<\/a><\/span><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yZAR5PM3SNw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\n<hr \/>\n<\/td>\n<\/tr>\n<tr style=\"height: 19px;\">\n<td style=\"height: 19px; width: 49.3569%;\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1600\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie.jpg\" alt=\"\" width=\"701\" height=\"750\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie.jpg 701w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie-280x300.jpg 280w\" sizes=\"auto, (max-width: 701px) 100vw, 701px\" \/><\/p>\n<\/td>\n<td style=\"width: 49.3569%; height: 19px;\">\n<h3>Heidi McKenzie<\/h3>\n<p>Lecture Title: &#8220;Legacies of Indentureship&#8221;<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\n<p>In her talk, Heidi McKenzie contextualizes the migration of half a million Indians to the Caribbean in the mid-19th century as indentured labourers by showing the ceramic works that she has researched and created over the last three to four years. These workers replaced the emancipated Africans and became \u201cthe new slaves.\u201d This is her father\u2019s history, and she discusses multiple generations\u2019 stories, and the legacy of post-indentureship which she has inherited and rendered through her ceramic practice.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vxOdUna-OHc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\n<hr \/>\n<\/td>\n<\/tr>\n<tr>\n<td><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1617\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0.jpeg\" alt=\"\" width=\"1214\" height=\"1280\" srcset=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0.jpeg 1214w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0-285x300.jpeg 285w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0-971x1024.jpeg 971w, https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0-768x810.jpeg 768w\" sizes=\"auto, (max-width: 1214px) 100vw, 1214px\" \/><\/td>\n<td>\n<h3>Pim Sudhikam<\/h3>\n<p>Lecture Title: &#8220;Making Breccia &#8211; what\u2019s happening in the box?&#8221;<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\n<p>Pim Sudhikam discusses her way of high temperature saggar firing with porcelain and glaze. The result from that process yields a melting, bubbling, rock-like surface together with deep black vitreous body in porcelain work. Sudhikam\u2019s artworks are conceptualized based on these sets of visual language of the material and firing. They refer to the rock cycle phenomena in nature and to time.<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/PH6sYSVSfgA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false,"raw":"<table>\r\n<tbody>\r\n<tr>\r\n<td>\r\n[caption id=\"attachment_1642\" align=\"alignnone\" width=\"1800\"]<img class=\"wp-image-1642 size-full\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave.jpg\" alt=\"\" width=\"1800\" height=\"1273\" \/> \u00a9 Heidi McKenzie, \"First Wave\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<table style=\"width: 100.324%;\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 612px; background-color: #c9c6d8;\" colspan=\"2\">\r\n<h3>\u00a0<\/h3>\r\n<h3>IAC Member Lectures, editorial<\/h3>\r\n<p>The call for proposals for IAC Member Lectures resulted in a large number of excellent submissions. Due to the limited number of spaces in the conference programme, the Jury decided that certain topics developed by the members were too interesting and relevant to pass up, and that these lectures would be included in this Editorial section.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr style=\"height: 100px;\">\r\n<td style=\"height: 10px; width: 98.7138%;\" colspan=\"2\"><span class=\"caption\">* Please note that the information on this page is subject to change.<\/span><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>\u00a0<\/td>\r\n<td>\u00a0<\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1602\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm.jpg\" alt=\"\" width=\"978\" height=\"1000\" \/><\/td>\r\n<td>\r\n<h3>Vlad Basarab<\/h3>\r\n<p>Lecture Title: \"Ceramic Memory\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>The attempt of transposing the human and the natural environment into Vlad Basarab's work is deeply connected to the embodiment of memories in matter, for clay renders both human and geological memories. The transformational qualities of clay through the ceramics process allows him to draw parallels to how memory forms. The metamorphosis of ideas is directly linked to the inherent memories and history of ceramics. Clay records human gesture as an attempt to conquer the ephemeral of the maker's movement.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7zJ8a4F3mVI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 303px;\">\r\n<td style=\"width: 49.3569%; height: 303px;\"><br \/><img class=\"alignnone size-full wp-image-1601\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy.jpg\" alt=\"\" width=\"776\" height=\"747\" \/><\/td>\r\n<td style=\"width: 49.3569%; height: 303px;\">\r\n<h3>Ray Chen<\/h3>\r\n<p>Lecture Title: \"Feminism In Artistic Expressions and Its Multiple social Statuses - Co-Existence of \"The Culture of Gender\" Identity Distinctiveness\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>The nature of gender in our society and family identities of women intertwine have led the cultural norms to cross over. Feminism is a tangible representation that unifies life\u2019s purpose to positive social movements and a quest for gender equality. Feminism addresses and shares its emotional and psychological drives for artistic expressions, ultimately elevating the established perspective of cultural, social and family\u2019s multi-dimensions standards to an co-existence interactive process.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Yc_ZjlXCii4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\"><img class=\"alignnone size-full wp-image-1619\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy.jpg\" alt=\"\" width=\"816\" height=\"914\" \/>\r\n<p>&nbsp;<\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Paul March<\/h3>\r\n<p>Lecture Title: \"The Archeology of Cognition\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>In this presentation, Paul March proposes that the mind does not exist in the brain but in a dynamic realisation of materials. Thus, the artistic process gives us a way to conceive of a material culture that does not use the framework of language, but of palpable expression. Here, art serves as a tool to explore the links between ancient Egyptian funerary rituals and the metamorphic life cycle of the zoological order, Lepidoptera.<\/p>\r\n<p>&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/12\/transcript-lecture_Paul-March_EN.pdf\" target=\"_blank\" rel=\"noopener\">TEXT (in English)<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yZAR5PM3SNw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\">\r\n<p><img class=\"alignnone size-full wp-image-1600\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie.jpg\" alt=\"\" width=\"701\" height=\"750\" \/><\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Heidi McKenzie<\/h3>\r\n<p>Lecture Title: \"Legacies of Indentureship\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>In her talk, Heidi McKenzie contextualizes the migration of half a million Indians to the Caribbean in the mid-19th century as indentured labourers by showing the ceramic works that she has researched and created over the last three to four years. These workers replaced the emancipated Africans and became \u201cthe new slaves.\u201d This is her father\u2019s history, and she discusses multiple generations\u2019 stories, and the legacy of post-indentureship which she has inherited and rendered through her ceramic practice.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vxOdUna-OHc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1617\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0.jpeg\" alt=\"\" width=\"1214\" height=\"1280\" \/><\/td>\r\n<td>\r\n<h3>Pim Sudhikam<\/h3>\r\n<p>Lecture Title: \"Making Breccia - what\u2019s happening in the box?\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>Pim Sudhikam discusses her way of high temperature saggar firing with porcelain and glaze. The result from that process yields a melting, bubbling, rock-like surface together with deep black vitreous body in porcelain work. Sudhikam\u2019s artworks are conceptualized based on these sets of visual language of the material and firing. They refer to the rock cycle phenomena in nature and to time.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/PH6sYSVSfgA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>"},"excerpt":{"rendered":"<p>The IAC Congress 2022 also proposes a few IAC Member lectures, known as &#8220;editorials&#8221;, which are available online.<\/p>\n","protected":false,"raw":"The IAC Congress 2022 also proposes a few IAC Member lectures, known as \"editorials\", which are available online."},"author":2192,"featured_media":1642,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"<table>\r\n<tbody>\r\n<tr>\r\n<td>\r\n[caption id=\"attachment_1642\" align=\"alignnone\" width=\"1800\"]<img class=\"wp-image-1642 size-full\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave.jpg\" alt=\"\" width=\"1800\" height=\"1273\" \/> \u00a9 Heidi McKenzie, \"First Wave\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<table style=\"width: 100.324%;\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 612px; background-color: #c9c6d8;\" colspan=\"2\">\r\n<h3>\u00a0<\/h3>\r\n<h3>Conf\u00e9rences de membres AIC, \u00e9ditorial<\/h3>\r\n<p>L'appel \u00e0 propositions pour les conf\u00e9rences des membres de l'AIC a donn\u00e9 lieu \u00e0 un grand nombre d'excellentes soumissions. En raison du nombre limit\u00e9 de places dans le programme de la conf\u00e9rence, le jury a d\u00e9cid\u00e9 que certains sujets d\u00e9velopp\u00e9s par les membres \u00e9taient trop int\u00e9ressants et pertinents pour \u00eatre laiss\u00e9s de c\u00f4t\u00e9, et que ces conf\u00e9rences seraient incluses dans cette section \u00e9ditoriale.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr style=\"height: 100px;\">\r\n<td style=\"height: 10px; width: 98.7138%;\" colspan=\"2\"><span class=\"caption\">* Veuillez noter que les informations contenues sur cette page peuvent faire l'objet de modifications.<\/span><\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1602\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm.jpg\" alt=\"\" width=\"978\" height=\"1000\" \/><\/td>\r\n<td>\r\n<h3>Vlad Basarab<\/h3>\r\n<p>Titre de la conf\u00e9rence: \"Ceramic Memory\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>La tentative de transposer l'environnement humain et naturel dans le travail de Vlad Basarab est profond\u00e9ment li\u00e9e \u00e0 l'incarnation des souvenirs dans la mati\u00e8re, car l'argile restitue \u00e0 la fois les souvenirs humains et g\u00e9ologiques. Les qualit\u00e9s de transformation de l'argile par le processus de la c\u00e9ramique lui permettent d'\u00e9tablir des parall\u00e8les avec la fa\u00e7on dont la m\u00e9moire se forme. La m\u00e9tamorphose des id\u00e9es est directement li\u00e9e aux souvenirs et \u00e0 l'histoire inh\u00e9rents \u00e0 la c\u00e9ramique. L'argile enregistre le geste humain comme une tentative de conqu\u00e9rir l'\u00e9ph\u00e9m\u00e8re du mouvement de l'artisan.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7zJ8a4F3mVI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 303px;\">\r\n<td style=\"width: 49.3569%; height: 303px;\"><br \/>\r\n<p><img class=\"alignnone size-full wp-image-1601\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy.jpg\" alt=\"\" width=\"776\" height=\"747\" \/><\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 303px;\">\r\n<h3>Ray Chen<\/h3>\r\n<p>Titre de la conf\u00e9rence: \"Feminism In Artistic Expressions and Its Multiple social Statuses - Co-Existence of \"The Culture of Gender\" Identity Distinctiveness\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>La nature du genre dans notre soci\u00e9t\u00e9 et l'imbrication des identit\u00e9s familiales des femmes ont conduit les normes culturelles \u00e0 se croiser. Le f\u00e9minisme est une repr\u00e9sentation tangible qui unifie le but de la vie vers des mouvements sociaux positifs et une qu\u00eate de l'\u00e9galit\u00e9 des sexes. Le f\u00e9minisme aborde et partage ses pulsions \u00e9motionnelles et psychologiques pour des expressions artistiques, \u00e9levant finalement la perspective \u00e9tablie des normes culturelles, sociales et familiales multidimensionnelles \u00e0 un processus interactif de coexistence.<\/p>\r\n<p><br \/>&gt; <a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/CHEN-Editorial-FR.pdf\" target=\"_blank\" rel=\"noopener\">TEXTE (en fran\u00e7ais)<\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Yc_ZjlXCii4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\"><img class=\"alignnone size-full wp-image-1619\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy.jpg\" alt=\"\" width=\"816\" height=\"914\" \/>\r\n<p>&nbsp;<\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Paul March<\/h3>\r\n<p>Titre de la conf\u00e9rence: \"The Archeology of Cognition\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>Dans cet expos\u00e9, Paul March propose que l\u2019esprit n\u2019existe pas dans le cerveau mais dans une r\u00e9alisation dynamique des mat\u00e9riaux. Ainsi, le processus artistique nous donne une voie pour concevoir une culture mat\u00e9rielle n'utilisant pas le cadre du langage, mais celui d\u2019une expression palpable. Ici, l\u2019art sert comme outil pour explorer les liens entre les rituels fun\u00e9raires de l\u2019\u00c9gypte ancienne et le cycle de vie m\u00e9tamorphique de l\u2019ordre zoologique, L\u00e9pidopt\u00e8re.<\/p>\r\n<p>&gt; <a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/12\/transcript-lecture_Paul-March_FR.pdf\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\">TEXTE (en fran\u00e7ais)<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yZAR5PM3SNw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\">\r\n<p><img class=\"alignnone size-full wp-image-1600\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie.jpg\" alt=\"\" width=\"701\" height=\"750\" \/><\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Heidi McKenzie<\/h3>\r\n<p>Titre de la conf\u00e9rence: \"Legacies of Indentureship\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>Dans son expos\u00e9, Heidi McKenzie replace dans son contexte la migration d'un demi-million d'Indiens vers les Cara\u00efbes au milieu du XIXe si\u00e8cle en tant que travailleurs sous contrat, en montrant les \u0153uvres en c\u00e9ramique qu'elle a recherch\u00e9es et cr\u00e9\u00e9es au cours des trois ou quatre derni\u00e8res ann\u00e9es. Ces travailleurs ont remplac\u00e9 les Africains \u00e9mancip\u00e9s et sont devenus \"les nouveaux esclaves\". C'est l'histoire de son p\u00e8re, et elle discute des histoires de plusieurs g\u00e9n\u00e9rations, et de l'h\u00e9ritage de la post-indenture dont elle a h\u00e9rit\u00e9 et qu'elle a rendu \u00e0 travers sa pratique de la c\u00e9ramique.<\/p>\r\n<p><br \/><a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/MCKENZIE-Editorial-FR.pdf\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\">&gt; TEXTE (en fran\u00e7ais)<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vxOdUna-OHc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1617\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0.jpeg\" alt=\"\" width=\"1214\" height=\"1280\" \/><\/td>\r\n<td>\r\n<h3>Pim Sudhikam<\/h3>\r\n<p>Titre de la conf\u00e9rence: \"\u201cMaking Breccia-what\u2019s happening in the box\u201d\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>Pim Sudhikam parle de sa m\u00e9thode de cuisson \u00e0 haute temp\u00e9rature de la porcelaine et de l'\u00e9mail. Le r\u00e9sultat de ce processus donne une surface fondante, bouillonnante et rocheuse ainsi qu'un corps vitreux d'un noir profond dans les \u0153uvres en porcelaine. Les \u0153uvres d'art de Sudhikam sont conceptualis\u00e9es sur la base de ces ensembles de langage visuel du mat\u00e9riau et de la cuisson. Elles font r\u00e9f\u00e9rence aux ph\u00e9nom\u00e8nes du cycle de la roche dans la nature et au temps.<\/p>\r\n<p><br \/><a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/SUDHIKAM-Editorial_FR.pdf\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\">&gt; TEXTE (en fran\u00e7ais)<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/PH6sYSVSfgA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><hr \/>\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_fr_post_name":"editorial-conferences-de-membres-aic","_fr_post_excerpt":"Le Congr\u00e8s AIC 2022 a \u00e9galement certaines conf\u00e9rences de membres AIC, dites \"editoriales\" qui sont mises en ligne.","_fr_post_title":"Editorial: Conf\u00e9rences de membres AIC","_es_post_content":"","_es_post_name":"editorial-conferences-de-membres-aic","_es_post_excerpt":"","_es_post_title":"","_en_post_content":"<table>\r\n<tbody>\r\n<tr>\r\n<td>\r\n[caption id=\"attachment_1642\" align=\"alignnone\" width=\"1800\"]<img class=\"wp-image-1642 size-full\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/HMM6A-First-Wave.jpg\" alt=\"\" width=\"1800\" height=\"1273\" \/> \u00a9 Heidi McKenzie, \"First Wave\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<table style=\"width: 100.324%;\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 612px; background-color: #c9c6d8;\" colspan=\"2\">\r\n<h3>\u00a0<\/h3>\r\n<h3>IAC Member Lectures, editorial<\/h3>\r\n<p>The call for proposals for IAC Member Lectures resulted in a large number of excellent submissions. Due to the limited number of spaces in the conference programme, the Jury decided that certain topics developed by the members were too interesting and relevant to pass up, and that these lectures would be included in this Editorial section.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr style=\"height: 100px;\">\r\n<td style=\"height: 10px; width: 98.7138%;\" colspan=\"2\"><span class=\"caption\">* Please note that the information on this page is subject to change.<\/span><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>\u00a0<\/td>\r\n<td>\u00a0<\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1602\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Vlad-Basarab_Portrait_sm.jpg\" alt=\"\" width=\"978\" height=\"1000\" \/><\/td>\r\n<td>\r\n<h3>Vlad Basarab<\/h3>\r\n<p>Lecture Title: \"Ceramic Memory\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>The attempt of transposing the human and the natural environment into Vlad Basarab's work is deeply connected to the embodiment of memories in matter, for clay renders both human and geological memories. The transformational qualities of clay through the ceramics process allows him to draw parallels to how memory forms. The metamorphosis of ideas is directly linked to the inherent memories and history of ceramics. Clay records human gesture as an attempt to conquer the ephemeral of the maker's movement.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7zJ8a4F3mVI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 303px;\">\r\n<td style=\"width: 49.3569%; height: 303px;\"><br \/><img class=\"alignnone size-full wp-image-1601\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Ray-Chen-Self-Portrait-copy.jpg\" alt=\"\" width=\"776\" height=\"747\" \/><\/td>\r\n<td style=\"width: 49.3569%; height: 303px;\">\r\n<h3>Ray Chen<\/h3>\r\n<p>Lecture Title: \"Feminism In Artistic Expressions and Its Multiple social Statuses - Co-Existence of \"The Culture of Gender\" Identity Distinctiveness\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>The nature of gender in our society and family identities of women intertwine have led the cultural norms to cross over. Feminism is a tangible representation that unifies life\u2019s purpose to positive social movements and a quest for gender equality. Feminism addresses and shares its emotional and psychological drives for artistic expressions, ultimately elevating the established perspective of cultural, social and family\u2019s multi-dimensions standards to an co-existence interactive process.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Yc_ZjlXCii4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\"><img class=\"alignnone size-full wp-image-1619\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/twiat-ans-shout-portrait-LR-copy.jpg\" alt=\"\" width=\"816\" height=\"914\" \/>\r\n<p>&nbsp;<\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Paul March<\/h3>\r\n<p>Lecture Title: \"The Archeology of Cognition\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>In this presentation, Paul March proposes that the mind does not exist in the brain but in a dynamic realisation of materials. Thus, the artistic process gives us a way to conceive of a material culture that does not use the framework of language, but of palpable expression. Here, art serves as a tool to explore the links between ancient Egyptian funerary rituals and the metamorphic life cycle of the zoological order, Lepidoptera.<\/p>\r\n<p>&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/12\/transcript-lecture_Paul-March_EN.pdf\" target=\"_blank\" rel=\"noopener\">TEXT (in English)<\/a><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yZAR5PM3SNw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr style=\"height: 19px;\">\r\n<td style=\"height: 19px; width: 49.3569%;\">\r\n<p><img class=\"alignnone size-full wp-image-1600\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/Heidi-McKenzie.jpg\" alt=\"\" width=\"701\" height=\"750\" \/><\/p>\r\n<\/td>\r\n<td style=\"width: 49.3569%; height: 19px;\">\r\n<h3>Heidi McKenzie<\/h3>\r\n<p>Lecture Title: \"Legacies of Indentureship\"<br \/><em>Identit\u00e9s en mouvement: anthropologie<\/em><\/p>\r\n<p>In her talk, Heidi McKenzie contextualizes the migration of half a million Indians to the Caribbean in the mid-19th century as indentured labourers by showing the ceramic works that she has researched and created over the last three to four years. These workers replaced the emancipated Africans and became \u201cthe new slaves.\u201d This is her father\u2019s history, and she discusses multiple generations\u2019 stories, and the legacy of post-indentureship which she has inherited and rendered through her ceramic practice.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vxOdUna-OHc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\"><hr \/><\/td>\r\n<\/tr>\r\n<tr>\r\n<td><img class=\"alignnone size-full wp-image-1617\" src=\"https:\/\/geneve2022.aic-iac.org\/wp-content\/uploads\/sites\/5\/2022\/09\/image0.jpeg\" alt=\"\" width=\"1214\" height=\"1280\" \/><\/td>\r\n<td>\r\n<h3>Pim Sudhikam<\/h3>\r\n<p>Lecture Title: \"Making Breccia - what\u2019s happening in the box?\"<br \/><em>Alchimie: mat\u00e9riel et transformation, c\u00e9ramique<\/em><\/p>\r\n<p>Pim Sudhikam discusses her way of high temperature saggar firing with porcelain and glaze. The result from that process yields a melting, bubbling, rock-like surface together with deep black vitreous body in porcelain work. Sudhikam\u2019s artworks are conceptualized based on these sets of visual language of the material and firing. They refer to the rock cycle phenomena in nature and to time.<\/p>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td style=\"width: 612px;\" colspan=\"2\">\u00a0<iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/PH6sYSVSfgA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","_en_post_name":"editorial-conferences-de-membres-aic","_en_post_excerpt":"The IAC Congress 2022 also proposes a few IAC Member lectures, known as \"editorials\", which are available online.","_en_post_title":"Editorial: IAC Member Lectures","edit_language":"en","footnotes":""},"class_list":["post-1560","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1560","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/users\/2192"}],"replies":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/comments?post=1560"}],"version-history":[{"count":21,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1560\/revisions"}],"predecessor-version":[{"id":1684,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/pages\/1560\/revisions\/1684"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media\/1642"}],"wp:attachment":[{"href":"https:\/\/geneve2022.aic-iac.org\/en\/wp-json\/wp\/v2\/media?parent=1560"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}