{"id":5404,"date":"2025-12-03T06:11:37","date_gmt":"2025-12-03T05:11:37","guid":{"rendered":"https:\/\/hacnumedia.org\/immersion-and-empathy-are-they-really-friends\/"},"modified":"2025-12-27T11:48:52","modified_gmt":"2025-12-27T10:48:52","slug":"immersion-and-empathy-are-they-really-friends","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/immersion-and-empathy-are-they-really-friends\/","title":{"rendered":"Immersion and Empathy: Are they really friends?"},"content":{"rendered":"\n<p class=\"is-style-chapo\"><strong>Immersive XR creations stir strong emotions because they allow us to sensorially retrace the lived experience of someone else. But can immersive technologies really help us understand what others go through? And to what extent can empathy drive these experiences? Beneath the surface, immersion is caught in a paradox\u2014between the growth of the sector, the standardization of formats and a tense political climate\u2026 A context that can, at times, hinder empathy.    <\/strong><\/p>\n\n<p>One emblematic work is <a href=\"https:\/\/beanotherlab.org\/home\/work\/tmtba\/\">The Machine to Be Another<\/a> by the collective BeAnotherLab, remarkable both for its longevity (created in 2012 and still touring) and for the simplicity and emotional power of its setup. Two participants, equipped with headsets, sit back-to-back. By carefully coordinating their movements, they gradually discover the body of the other. The experience is literally lived &#8220;in someone else\u2019s skin.&#8221; Many claim that immersive or XR experiences naturally foster empathy. This is partly true, especially thanks to the specific properties of certain digital technologies. But the full picture is more nuanced than that\u2014starting with the terminology itself.       <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"IDFA 2014 | Trailer | The Machine To Be Another\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/_Wk489deqAQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Empathy or Sympathy?<\/strong><\/h2>\n\n<p>Leaving aside the now well-known semantic ambiguities around the word \u201cimmersive,\u201d the notion of empathy is also easily misunderstood. <a href=\"https:\/\/www.instagram.com\/leadedola\/\">L\u00e9a Dedola<\/a>, artist-researcher and co-author (with <a href=\"https:\/\/www.pressesdesmines.com\/author-book\/fuchs-philippe\/\">Philippe Fuchs<\/a>) of <a href=\"https:\/\/shs.cairn.info\/publications-de-lea-dedola--809796?lang=fr\">Les \u00e9motions dans la cr\u00e9ation artistique : arts num\u00e9riques et films VR<\/a>, offers a helpful definition: \u201cEmpathy comes from research in neuroscience and cognitive science. It refers to cognitive processes that allow one person to put themselves in someone else\u2019s place.\u201d It is often confused with sympathy (sometimes called affective empathy), understood as the ability to feel what someone else feels. Empathy (sometimes called cognitive empathy), however, does not come from an inward, self-centred emotional resonance. We distinguish here an allocentric point of view from an egocentric one. \u201cTo experience empathy, a human has to perform an operation of decentering,\u201d adds L\u00e9a Dedola. Empathy therefore fundamentally refers to alterity\u2014to recognizing the other in their difference. This brings to mind some of the most striking immersive \u201cbest sellers\u201d: <a href=\"https:\/\/www.arte.tv\/digitalproductions\/en\/notes-on-blindness\/\">Notes on Blindness<\/a> (2016),  <em> <\/em>which leads audiences through the progressive loss of sight; <a href=\"https:\/\/www.francetvpro.fr\/contenu-de-presse\/selection-empereur-mostra-de-venise\">Empereur <\/a>(2023), an intimate journey through the brain of a father who became aphasic after a stroke; or <a href=\"https:\/\/ifdigital.institutfrancais.com\/fr\/creation\/noire\">Noire <\/a>(2023), which plunges viewers into the segregated American South\u2026 <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Empereur - voyage po\u00e9tique en Aphasie gr\u00e2ce \u00e0 la VR - La bande annonce\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/JdJr7PrUa_E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>The Intrinsic Effects of Immersive Technologies<\/strong><\/h2>\n\n<p>Immersive technologies undeniably have inherent powers: they allow us to virtually shift perspectives, inhabit another body, and reinforce the feeling of occupying a subjective point of view. Spatial immersion\u2014visual or sonic\u2014and the immediate ability to manipulate scale and scenographic elements are defining characteristics of immersive tools. They affect our senses directly, starting with <a href=\"https:\/\/www.youtube.com\/watch?v=gHi-5_H9ywI\">proprioception<\/a>: our ability to perceive our position in space without relying on sight, touch, or hearing.<br\/><br\/>   <\/p>\n\n<p>The empathic potential of XR also emerges through the notion of the digital avatar\u2014sometimes referred to as a \u201cdigital twin.\u201d <a href=\"https:\/\/univ-avignon.fr\/recherche\/portraits\/portrait-cyrielle-garson-maitresse-de-conferences-en-etudes-anglophones-et-theatrales-upr-ictt\/\">Cyrielle Garson<\/a>, researcher at the University of Avignon and co-author with <a href=\"https:\/\/team.inria.fr\/anima\/remi-ronfard\/\">R\u00e9mi Ronfard<\/a> (INRIA) of <em><a href=\"https:\/\/shs.hal.science\/LJK-GI-ANIMA\/hal-05162040v2\">Le m\u00e9tavers, un nouvel espace vide pour le th\u00e9\u00e2tre<\/a><\/em>, highlights several of these effects: <em>\u201cAn avatar allows us to replicate what makes us human. In live performance, we speak of an alter ego. It\u2019s a continuation of the tradition of the mask, which also makes it possible to embody non-human forms and to play with the virtual environment: a genuine sensory extension of the human body. We call this embodiment.\u201d <\/em>Such embodiment can lead to the <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Effet_Proteus\"><em>Proteus<\/em> <em>effect<\/em><\/a>, <em>in which the user starts confusing their own body with that of their avatar<\/em>. When an avatar has physical traits or attributes that differ strongly from the user\u2019s\u2014height, gender, morphology, species\u2014the user may unconsciously adopt the behaviours that are socially associated with that avatar. This phenomenon is well-known in video games, documented in game studies and popularized by many streamers\u2014including Very Own Sun in the <a href=\"https:\/\/www.youtube.com\/watch?v=zovCQSY3-4A\">video<\/a> \u201c<em>L\u2019\u00e9trange relation entre le joueur et son avatar\u201d<\/em>, which raises a simple question: \u201cAm I Arthur Morgan when I play Red Dead Redemption 2?\u201d On the other hand, when an avatar resembles a human too much without achieving full realism, its minor imperfections can become disturbing\u2014even monstrous. This unsettling response is what the Japanese roboticist Masahiro Mori described as the <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Vall%C3%A9e_de_l%27%C3%A9trange\">Uncanny Valley<\/a>.     <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"L&#039;\u00e9trange relation entre le JOUEUR et son AVATAR\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/zovCQSY3-4A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Empathy Within the Creative Process <\/strong><\/h2>\n\n<p>If we assume that empathy is one of the intended outcomes of an artistic project, then it naturally becomes part of every step of the creative process. This is the case for Isis Fahmy, Antoine Vanel and Marion Sercl\u00e9rat, who spoke during a roundtable on empathy organised by AADN and GRAME as part of the <a href=\"https:\/\/www.grame.fr\/productions\/aadn-x-grame-lancent-sonarea-1er-dispositif-de-residences-croisees-pour-les-arts-immersifs-en-metropole-lyonnaise\">SONAREA<\/a> residency. <a href=\"https:\/\/www.isisfahmy.com\/\">Isis Fahmy<\/a>\u2014director and dramaturge\u2014talks about <a href=\"https:\/\/www.isisfahmy.com\/lavinia\"><em>LAVINIA<\/em><\/a> (2023), created with Beno\u00eet Renaudin, in which three women decide to resurrect an overlooked ancient female figure. <em>\u201cWe struggled to model LAVINIA\u2019s avatar because the available models of women were burdened with clich\u00e9s and stereotypes. We said to ourselves we needed to break away from norms.\u201d<\/em> Empathy therefore requires a critical examination of one\u2019s own representations. Before being a work about the other, it is first a work on oneself. This idea is echoed by <a href=\"https:\/\/www.grame.fr\/productions\/elyette-gauthier-marion-serclerat-temoigner-pour-lutter-690b67cb45cd5\">Marion Sercl\u00e9rat<\/a>, digital artist-designer.   <em> <\/em>Her current work, <em><a href=\"https:\/\/www.grame.fr\/productions\/elyette-gauthier-marion-serclerat-temoigner-pour-lutter-690b67cb45cd5\">T\u00e9moigner pour lutter<\/a><\/em>\u2014created with Elyette Gauthier\u2014gathers examples of intersectional feminist struggles both online and in physical urban space. <em>\u201cOur work consists in collecting existing resources and references and weaving them into an audiovisual performance. Empathy manifests through sorority, through acknowledging these lived experiences and forms of oppression, without ever speaking for a cause.\u201d<\/em> Similarly, Antoine Vanel\u2014also known as <a href=\"https:\/\/blindsp0t.com\/\">Blindsp0t<\/a>\u2014currently develops <em><a href=\"https:\/\/www.aadn.org\/oeuvre\/blast\/\">BLAST<\/a><\/em> with the company <a href=\"https:\/\/collectifinvivo.com\/\">INVIVO<\/a>, a project exploring the concept of astroturfing (techniques used to manipulate crowds). <em>\u201cOne way to understand a phenomenon is to dive into existing scientific literature and essays,\u201d<\/em> he explains, referring notably to political scientist <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Asma_Mhalla\">Asma Mhalla<\/a>\u2019s recent book Technopolitique (2024). <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1200\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-1800x1200.jpg\" alt=\"\" class=\"wp-image-5193\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-1800x1200.jpg 1800w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-900x600.jpg 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-600x400.jpg 600w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-768x512.jpg 768w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1-1536x1024.jpg 1536w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2025\/11\/citedudesign_040989_BD-1.jpg 2000w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">T\u00e9moigner pour lutter &#8211; Marion Sercl\u00e9rat et Elyette Gauthier<\/figcaption><\/figure>\n\n<p><\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Meeting, Questioning, Collaborating<\/strong><\/h2>\n\n<p>Building an empathic narrative thread also requires real-world encounters. Emilie Anna Maillet\u2014writer and director leading the company <a href=\"https:\/\/www.exvotoalalune.com\/\">Ex Voto \u00e0 la Lune<\/a>\u2014offers another example of integrating empathy into creation. In <em><a href=\"https:\/\/www.radiofrance.fr\/franceculture\/crari-or-not-une-experience-immersive-dans-le-monde-de-l-adolescence-6319997\">Crari or Not<\/a><\/em> (2023), she designs a VR installation that fosters empathy and physical connection with the characters. The setup places spectators in the position of six teenagers during the same evening. Each chapter offers a different take on that night, creating a multi-perspective narrative. <em>\u201cThe writing places the spectator in the skin of a character who undergoes the actions of others rather than acting, which makes them experience the scene from a place of vulnerability. In another chapter, by switching roles, the observer becomes the one who acts\u2014the relationship to the other is reversed.\u201d<\/em> Ahead of the production, Emilie-Anna Maillet ran workshops with youths aged 12 to 16 to address empathy concretely and feed the creative process.    <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Crari or not + To like or not to like\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/hLXQC5Y9EeE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<p>Sometimes these collaborations also take place within a scientific framework. The video game <a href=\"https:\/\/www.youtube.com\/watch?v=Pb9tDLCvfXA\">Hellblade: Senua\u2019s Sacrifice<\/a>, for example, was developed with the support of neuroscience researchers to accurately portray the mental health struggles experienced by its heroine. Similarly, the Belgian XR <a href=\"https:\/\/crew.brussels\/fr\">collective CREW<\/a>, a major figure in immersive creation, developed <a href=\"https:\/\/crew.brussels\/en\/productions\/soulhacker\">Soulhacker<\/a> (2020\u20132022), a project in which neurologists and psychologists actively participated in the creative process. The work offers virtual environments where participants become active agents in their own healing process, placing the empathic experience at the heart of an approach that is simultaneously artistic, scientific, and human.   <\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Emotional Impact Studies<\/strong><\/h2>\n\n<p>So, can empathy be measured? The experience remains fundamentally subjective, and it is difficult to assess using distinct criteria\u2014unlike emotions, which are more easily traceable. The challenge lies in transforming raw data into emotional analysis, in other words, qualifying an emotion as positive or negative. This is precisely what L\u00e9a Dedola focuses on: how to create an emotionally intense artwork, and how to conduct impact studies for artists.<br\/><em>\u201cIt\u2019s complex, because intercultural differences and, at times, an inability to feel or express emotions can bias our studies. So we rely on dimensional models: if an emotion is intense or pleasant, it can manifest as either physiological stress or relaxation.\u201d<\/em> To do so, the artist-researcher uses a range of sensors measuring heart rate, skin temperature or even neural activity. For reasons of ergonomics and cost, the emphasis is often placed on cardiac data, which provides access to the pulse. These physiological signals are then fed into emotional analysis software capable of modelling the body\u2019s reactions to a work or immersive experience. Sometimes these measurements even serve to enhance the artistic performance itself: <em>\u201cWe can place sensors on participants or performers and use these signals as inputs to affect the aesthetic or narrative dimensions of a performance or digital artwork (XR, video games\u2026),\u201d<\/em> Dedola adds. She designs interactions where heart rate can, for example, modify the sound volume or animation speed of a virtual reality experience, as seen in the creation <a href=\"https:\/\/www.youtube.com\/watch?v=v7fO2DW02Ik\"><em>Quand le c\u0153ur se serre<\/em><\/a>.    <\/p>\n\n<h2 class=\"wp-block-heading\"><strong>Between Experimentation, Pragmatism and Ideology<\/strong><\/h2>\n\n<p>XR technologies thus open the door to a multitude of experiences. <em>\u201cIn the world of digital art and immersive theatre, we bend technology so that it becomes a tool serving narrative and emotion. It\u2019s important to distinguish these fields from the creative industries, where experiences tend to be more standardized,\u201d<\/em> explains Antoine Vanel. This industrial logic naturally leads to a normalization of formats. But does it also favour certain emotions? That\u2019s the view of <a href=\"https:\/\/adelinschweitzer.com\/\">Adelin Schweitzer<\/a>, an artist known for his technological d\u00e9tournements and iconoclastic approach to XR: <em>\u201cI believe that this industry, long supported by substantial funding, now has accounts to settle and must demonstrate the relevance of these investments. This often results in appealing, mass-market works built around wonder. As a result, anything experimental or avant-garde becomes harder to finance, since these forms explore emotions other than immediate fascination. But even if they remain more confidential, they often affect audiences more deeply and more sincerely than spectacular blockbuster productions.\u201d<\/em>    <\/p>\n\n<p><br\/>More broadly, the industrialisation of cultural content and the expansion of audiences go hand in hand with influence strategies and ideological battles. This is evident in <a href=\"https:\/\/www.lemonde.fr\/pixels\/article\/2025\/05\/08\/la-realite-virtuelle-nouveau-terrain-de-chasse-du-milliardaire-conservateur-pierre-edouard-sterin_6603993_4408996.html\">Pierre-\u00c9douard St\u00e9rin<\/a>\u2019s recent large-scale investments in projects such as La Cit\u00e9 Viking, La Cit\u00e9 des fables, or <em><a href=\"https:\/\/www.napoleonvr.com\/\">Napol\u00e9on VR<\/a><\/em>\u2014initiatives that function less as cultural offerings than as attempts to rewrite national myths in service of an identitarian, xenophobic narrative. In the world of video games, the influence of far-right movements\u2014well documented in the podcast Le Code a chang\u00e9, in the <a href=\"https:\/\/www.radiofrance.fr\/franceinter\/podcasts\/le-code-a-change\/le-code-a-change-9194623\">episode<\/a> <em>Les jeux vid\u00e9o, nouveau terrain de la guerre culturelle<\/em>\u2014offers a telling glimpse of what could eventually impact the XR field. The parallel is all the more relevant given that the sector still relies heavily on public funding. This raises a legitimate question about whether works such as <em><a href=\"https:\/\/www.aadn.org\/evenement\/toxxic-au-lablab\/\">TOXXIC<\/a><\/em> (2025) by Antoine Briot &amp; Jennifer Gold, which centres on the journey of a sex worker in the metaverse, or <a href=\"https:\/\/competitionimmersive.festival-cannes.com\/selection\/in-the-current-of-being\/\">The Current of Being<\/a> (2025) by Cameron Kostopoulos, inspired by the real story of Carolyn Mercer\u2014a survivor of electroshock conversion therapy aimed at \u201ccorrecting\u201d her gender identity\u2014could find a place in this landscape.    <\/p>\n\n<p><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"In the Current of Being (2025) Haptic VR Trailer\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/DC7wDRa69z4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p><\/p>\n\n<p><br\/>Under these conditions, institutional censorship unquestionably exists within the cultural sphere, as political scientist Guy Saez reminds us in an <a href=\"https:\/\/www.observatoire-culture.net\/quand-senat-alerte-entraves-liberte-creation\/\">article<\/a> published by the Observatoire des politiques culturelles: <em>\u201cwhen a prefect or mayor bans a performance on the grounds of public order, it may concern sexual representation, collective memory, or narratives linked to colonial history.\u201d<\/em> Added to this are forms of self-censorship\u2014more diffuse but equally powerful\u2014which occur upstream in the creative process. Preserving full artistic freedom therefore becomes essential to ensuring the emergence of works truly compatible with the very notion of empathy.  <\/p>\n\n<p class=\"is-style-signature\">Adrien Cornelissen<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Immersive XR creations stir strong emotions because they allow us to sensorially retrace the lived experience of someone else. But can immersive technologies really help us understand what others go through? And to what extent can empathy drive these experiences? Beneath the surface, immersion is caught in a paradox\u2014between the growth of the sector, the standardization of formats and a tense political climate\u2026 A context that can, at times, hinder empathy.    <\/p>\n","protected":false},"author":2,"featured_media":5201,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[43,38,40],"class_list":["post-5404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert","tag-economy","tag-hybrid-creation","tag-society","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/comments?post=5404"}],"version-history":[{"count":1,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5404\/revisions"}],"predecessor-version":[{"id":5406,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/5404\/revisions\/5406"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/5201"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=5404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=5404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=5404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}