{"id":6265,"date":"2026-10-05T09:00:00","date_gmt":"2026-10-05T07:00:00","guid":{"rendered":"https:\/\/hacnumedia.org\/?p=6265"},"modified":"2026-09-05T18:07:24","modified_gmt":"2026-09-05T16:07:24","slug":"les-conferences-performees-nouveau-format-nouvelles-opportunites","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/les-conferences-performees-nouveau-format-nouvelles-opportunites\/","title":{"rendered":"Lecture-Performances\u2026 A New Format, New Opportunities?"},"content":{"rendered":"\n<p class=\"is-style-chapo wp-block-paragraph\"><strong><strong>At the opposite end of the spectrum from spectacular forms, some creations favor stripped-back setups centered on speaking and knowledge-sharing. Half lecture, half performance, they are programmed in a wide range of venues and illustrate the emergence of new forms of mediation. An analysis of this trend through the perspectives of digital artists.<\/strong><br\/><\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">What if we learned to speak Alien to open up our imaginaries of the future? This question lies at the heart of <a href=\"https:\/\/rocioberenguer.com\/index.php?lang=fr&amp;project=17\"><em>Misunderstandings<\/em><\/a> (2025), the lecture-performance by <a href=\"https:\/\/rocioberenguer.com\/info.php?lang=fr\">Rocio Berenguer<\/a>. For nearly fifty minutes, the director develops a reflection on the role of AI and our ability to imagine other possibilities. To develop her argument, she combines theoretical concepts, multimedia content and staging, turning her lecture into an object that is both discursive and performative.<br\/><\/p>\n\n<p class=\"wp-block-paragraph\"><\/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=\"MISUNDERSTANDINGS  ou Comment parler Alien? - Rocio Berenguer\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/4QwbNuzOjP4?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 class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">Rocio Berenguer is far from the only artist to appropriate the codes of the lecture. Recently, the format seems to be attracting a growing number of artists from digital cultures. Take, for example, <a href=\"https:\/\/www.leclairobscur.net\/\">Le Clair Obscur<\/a>, led by Fr\u00e9d\u00e9ric Deslias, which uses the format to introduce <a href=\"https:\/\/www.leclairobscur.net\/projects\/sleep-for-earth-2025\/\"><em>Sleep For Earth<\/em><\/a> (2025-2027). This lecture presents a fictional UN program offering humanity the possibility of putting its consumption on hold and easing pressure on planetary boundaries. A speaker presents a radical solution: sleeping for the next two centuries. This is when the immersive experience begins. In a different register, <a href=\"https:\/\/www.instagram.com\/____maaax___\/\">Maxime Arnould<\/a> also draws on the mechanisms of the lecture with <a href=\"https:\/\/www.entropieproduction.be\/Passion-for-fear.html\"><em>Passion 4 Fear<\/em><\/a> (2026). For an hour, they explore the mechanisms of conspiracy thinking through videos and objects manipulated on stage (read the HACNUMedia article). And then there is <a href=\"https:\/\/www.instagram.com\/morganebaffier\/?hl=fr\">Morgane Baffier<\/a>, who focuses on making digital cultures accessible through around ten performances lasting approximately twenty minutes each. In her lecture <a href=\"https:\/\/ifdigital.institutfrancais.com\/fr\/creation\/conference-sur-les-ami\"><em>A(M)I<\/em><\/a> (2024), for example, she examines our relationships with generative artificial intelligence, and more specifically the phenomenon of AI Girlfriends.<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1125\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-1800x1125.png\" alt=\"\" class=\"wp-image-6230\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-1800x1125.png 1800w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-900x563.png 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-768x480.png 768w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-1536x960.png 1536w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-02-09-a-12.20.48-1-2048x1280.png 2048w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Morgane Baffier<\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">All these creations differ in substance, but converge around the same logic: a one-person show, a narrative combining scientific theories and subjective testimony, and the use of multimedia content to bring the whole thing to life. In her article <a href=\"https:\/\/www.academia.edu\/36773434\/TEACHING_AS_ART_The_Contemporary_Lecture_Performance\"><em>Teaching as Art: The Contemporary Lecture-Performance<\/em><\/a> (2011), researcher Patricia Milder traces the phenomenon of lecture-performances back to the 2000s, mentioning artists such as <a href=\"https:\/\/www.youtube.com\/watch?v=f26NY2xciKk\">Andrea Fraser<\/a> and <a href=\"https:\/\/www.youtube.com\/watch?v=HdY__BGcPz0\">William Kentridge<\/a>, who experimented with the format. Since then, terminology has varied, from lecture-performance to its French equivalent \u201clecture-performance,\u201d theatrical lecture, <a href=\"https:\/\/www.youtube.com\/watch?v=n3gOLGzMChU\">gesticulated lecture<\/a>, or even <a href=\"https:\/\/www.youtube.com\/watch?v=OW4qGDfUzpI\">spectacular lecture<\/a>, with these terms largely reflecting the circles from which they emerged. One thing is clear, however: lecture-performances are gaining momentum, as noted in this <a href=\"https:\/\/www.lemonde.fr\/culture\/article\/2024\/12\/15\/les-conferences-spectacles-ou-l-art-de-se-cultiver-en-s-amusant_6450242_3246.html?\">Le Monde article published in 2024<\/a>. The trend can also be found in digital cultures. From the perspectives of creation, dissemination and mediation, what does this format actually change?<\/p>\n\n<h2 class=\"wp-block-heading\"><strong><strong>Between Autonomy and Economy of Means<\/strong><\/strong><\/h2>\n\n<p class=\"wp-block-paragraph\">First of all, the lecture-performance often relies on a relatively stripped-back one-person setup, with few scenic elements or technical systems, which in turn makes it possible to reduce the artistic and technical team. This economy of means is sometimes imposed, sometimes embraced. \u201c<em>I don&#8217;t have storage space, I don&#8217;t have a studio, I work alone. It&#8217;s a form of complete autonomy. That&#8217;s the reality for many young female graduates<\/em>,\u201d says Morgane Baffier, who would now like to move towards projects involving larger teams. Rocio Berenguer, by contrast, fully embraces the choice. \u201c<em>I love scenography, lighting and acting, but for<\/em> Misunderstandings*, I wanted to return to a lighter, more economical form of creation where I had control over every aspect of the creative process.*\u201d While she did work with other artists on the multimedia content, 3D and sound, the one-person format gives her greater material and temporal autonomy throughout the creative process and during performances.<\/p>\n\n<p class=\"wp-block-paragraph\">The apparent lightness of the setup nevertheless needs to be qualified. Director and performer <a href=\"https:\/\/adelinschweitzer.com\/\">Adelin Schweitzer<\/a>, currently developing <a href=\"https:\/\/www.lacomediedereims.fr\/saison-25-26\/disnovxr2000\"><em>DISNOV_XR_2000<\/em><\/a> (2027), a lecture-performance in which an actress wearing a mixed-reality headset plays a Silicon Valley lecturer whose immersive demonstration ends in failure, warns against a common misconception: \u201c<em>A lecture-performance is not necessarily a lightweight form. The fact that there is only one person on stage doesn&#8217;t mean there is no lighting plan, stage management, scenography or direction. A solo isn&#8217;t a simplified form: it&#8217;s a form where the team is offstage. And once the duration becomes substantial, you need staging that can hold the stage over time. That&#8217;s where things become more complex<\/em>.\u201d<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/DISNOV_Entrepeaux&#xA9;Juliette_Talle-2-2-1440x1800.jpg\" alt=\"\" class=\"wp-image-6227\"\/><figcaption class=\"wp-element-caption\">Adelin Schweitzer &#8211; DISNOV_XR_2000<\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<h2 class=\"wp-block-heading\"><strong><strong>A Format Designed to Travel<\/strong><\/strong><\/h2>\n\n<p class=\"wp-block-paragraph\">Lighter lecture-performances nevertheless have one undeniable advantage: they maximize opportunities for dissemination. A smaller team, simplified scenography and limited technical requirements make these proposals easier to host in a wide range of cultural venues (festivals, libraries, museums, theaters, etc.). At a time when programming budgets are tightening, they also offer venues formats that are more technically flexible and less expensive. Rocio Berenguer sees this as an opportunity and recalls the reality by comparing it with touring her other shows: \u201c<em>For my show<\/em> Thebadweeds (2023), <em>we arrive the day before with seven people, plus accommodation costs, fees and all the scenography. It&#8217;s becoming increasingly financially difficult for host venues. For<\/em> Misunderstandings*, I&#8217;m alone and I can arrive on the day itself.*\u201d This agility also makes it possible to move beyond the usual cultural circuits by entering schools, companies and various professional events (trade shows, forums, seminars). \u201c<em>From one day to the next, I can give a lecture. It&#8217;s a real freedom to have such a lightweight creative form<\/em>,\u201d adds the director.<\/p>\n\n<p class=\"wp-block-paragraph\">Morgane Baffier has made the same observation. \u201c<em>My lectures are programmed everywhere from exhibition openings to corporate events.<\/em>\u201d This flexibility even opens the door to specific commissions. \u201c<em>Sometimes I&#8217;m asked to create bespoke lectures. Recently, I gave a lecture at the Palais de Tokyo, as part of a day organized by CIPAC around censorship.<\/em>\u201d For Rocio Berenguer, however, the stakes go beyond dissemination. These lecture-performances primarily make it possible to meet audiences who rarely attend artistic venues. \u201c<em>One day, I performed at eight in the morning in a private mansion in front of an audience made up of politicians, tech professionals and business leaders. It allows me to reach different people, different circles from my own. More audiences, fewer technical constraints<\/em>,\u201d she says with a smile.<\/p>\n\n<h2 class=\"wp-block-heading\"><strong><strong>Redefining Modes of Mediation<\/strong><\/strong><\/h2>\n\n<p class=\"wp-block-paragraph\">This particular form also creates a particular relationship with audiences, moving away from the conventional lecture model, in which an expert transmits knowledge before the traditional question-and-answer session, or Q&amp;A in industry jargon. <a href=\"https:\/\/www.youtube.com\/watch?v=2quEzAIz-mc\"><em>The<\/em> <em>Conference of the Absent<\/em><\/a> (2021) by Rimini Protokoll may be the most radical version, since no invited speaker is actually present at the conference. Instead, audience members in the room take their place live, guided by headphones, to question globalization and the climate emergency.<\/p>\n\n<p class=\"wp-block-paragraph\">Artists drawn to the format favor a more embodied approach, as ironically demonstrated by Fran\u00e7ois Gremaud in <a href=\"https:\/\/www.youtube.com\/watch?v=xAYjW3mCmDU\"><em>AUR\u00c9LIENs<\/em><\/a> (2021), in which the director takes the words of a lecture by astrophysicist Aur\u00e9lien Barraud and turns them into a spontaneous one-person show. Many artists also choose to combine scientific knowledge with personal experience and humor. \u201c<em>In my lecture, when a pink dog starts talking, people laugh. Then I bring people into the performance. These elements go beyond the traditional framework and avoid condescension. I don&#8217;t position myself as someone who knows everything, but as a witness. The idea is to share a line of thought<\/em>,\u201d explains Rocio Berenguer. When leaving her lecture, audiences come away with more questions than ready-made knowledge to reproduce. Morgane Baffier shares this approach. \u201c <em>Humor and references drawn from popular culture make it easier to address complex subjects and frame the issues at stake in a debate.<\/em>\u201d For Maxime Arnould, dismantling the posture of the expert involves directly engaging the audience. During <em>Passion 4 Fear<\/em>, spectators can interact via a Telegram channel opened for the duration of the lecture. The exchange then continues online. \u201c<em>After the show, I do a reaction stream online where audiences can ask questions. I&#8217;m soon going to do it on Twitch. It&#8217;s important to offer this time for exchange, so people aren&#8217;t left stunned in the face of a subject that can sometimes be difficult.<\/em>\u201d<\/p>\n\n<p class=\"wp-block-paragraph\"><\/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=\"Franc\u0327ois Gremaud \u2013 Aure\u0301liens [TEASER]\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/xAYjW3mCmDU?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 class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">These new forms of mediation also concern the way artists address professionals. <a href=\"https:\/\/aoiesteban.com\/\">A\u03a6E company<\/a>, founded by Esteban Lecoq and Aoi Nakamura, uses the lecture-performance <a href=\"https:\/\/aoiesteban.com\/project\/lilithaeon-lectureperformance\/\"><em>LILITH.AI Lecture Performance<\/em><\/a> (2025) as a mediation tool to make the creative process behind the installation <a href=\"https:\/\/aoiesteban.com\/project\/lilithaeon\/\">LILITH.AEON<\/a> (2024) visible. \u201c<em>With every creation, we try to use a keynote to present our approach at professional events. This time, we wanted to make it more interactive. We worked with a director on the codes of the lecture-performance. The aim was to offer a genuine artistic form that would make it possible to grasp all the creative issues at stake.<\/em>\u201d For around forty minutes, the two artists alternate demonstrations, stories and dance to reveal the behind-the-scenes of their work.<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/LILITH-AI-Lecture-Performance-by-A&#x3A6;E-at-New-Drama-Festival-@Tibor-Geci_15-1-1800x1200.jpg\" alt=\"\" class=\"wp-image-6228\"\/><figcaption class=\"wp-element-caption\"><em><em>LILITH.AI Lecture Performance<\/em><\/em><\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<h2 class=\"wp-block-heading\"><strong><strong>Hijacking the Codes of Tech<\/strong><\/strong><\/h2>\n\n<p class=\"wp-block-paragraph\"><strong><br\/><\/strong>The rise of lecture-performances may also be linked to the appropriation of a format that has become familiar in our capitalist world. This is already what The Yes Men were doing with <a href=\"https:\/\/www.youtube.com\/watch?v=ZP_nNemsNT8\"><em>Post Consumer Waste Recycling Program<\/em><\/a> in the 2000s. Pretending to be representatives of the WTO, the duo presented a fake corporate initiative suggesting that fast-food chains could solve world hunger by recycling human digestive waste into edible food. Today, these lectures have been popularized by Silicon Valley keynotes: TEDx-style presentations and startup pitches have established a way of telling a particular story about technological progress. Artists from digital cultures are now taking them up in turn, with critical distance, hijacking their codes to question these technological imaginaries. Beneath the surface, the question is also why these keynotes create an impression of truth. This is precisely what led Adelin Schweitzer to choose this form for <em>DISNOV_XR_2000<\/em>. \u201c <em>Steve Jobs&#8217;s presentations popularized a way of presenting innovation. There is a dramaturgy, an opening hook, convincing fake glitches&#8230; Given the subject I&#8217;m dealing with, the lecture was the ideal format. The one-person show with a mixed-reality headset works like a set of Russian dolls. It made sense for this tech lecturer to be alone on stage with her technology.<\/em>\u201d<br\/><\/p>\n\n<p class=\"wp-block-paragraph\"><\/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=\"Yes Men - Post Consumer Waste Recycling Program (WTO)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ZP_nNemsNT8?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 class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">Emmy Ols pursues a similar approach with <a href=\"https:\/\/www.actoral.org\/residences-dartistes\/emmy-ols\"><em>La Worde, la Wild et le Web<\/em><\/a>, due to premiere in 2027. Her show opens with a lecture before shifting into a performative walk-through. \u201c<em>I play with the codes of tech and have fun with the setup and language of the lecture in order to undermine its technophilic discourses. The lecture only shows part of the iceberg. Then we move into a material and sensory fiction, the show, with everything it hasn&#8217;t told us. In the lecture, we talk about data, figures and concepts.<\/em>\u201d This rupture lies at the heart of the dramaturgy. While the lecture appears to follow the expected structure of a keynote, a malicious bot gradually takes control. Accomplices scattered throughout the audience then lead spectators into a walk-through composed of four scenes. The lecturer eventually reappears as a mass of data, materializing the collapse of the discourse of control that structured the first part. By borrowing the codes of the keynote in order to better subvert them, these artists reveal the mechanisms of persuasion and the implicit promises that accompany technological innovation.<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1462\" height=\"914\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-08-10-183344-1.png\" alt=\"\" class=\"wp-image-6229\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-08-10-183344-1.png 1462w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-08-10-183344-1-900x563.png 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/Capture-decran-2026-08-10-183344-1-768x480.png 768w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Emy Ols &#8211; <em>La Worde, la Wild et le Web<\/em><\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\"><strong><br\/><strong>New Ways of Producing Knowledge<\/strong><\/strong><\/h2>\n\n<p class=\"wp-block-paragraph\"><strong><br\/><\/strong>Against this backdrop, the rise of lecture-performances reflects a shift in how the legitimacy of knowledge is constructed. At a time when popularization is breaking free from academic frameworks and distribution formats are multiplying, particularly through video, these proposals embrace a form of explicitly subjective knowledge. Emotion and experience are no longer seen as the opposite of reflection. The playformances of <a href=\"https:\/\/www.instagram.com\/sous_les_neons\/\">Sous les N\u00e9ons collective<\/a> provide one example. For around thirty minutes, a player uses a video game as the basis for developing a personal lecture. The video game becomes the starting point for a story that can address subjects such as trans identity, racism, eating disorders or meritocracy. \u201c<em>Even when there isn&#8217;t necessarily any scenography or lighting design, something happens when people perform. It opens up other modes of representation. The audience leaves moved, touched, and the discussion continues after the performance,<\/em> \u201d observes Nicolas Ligeon, coordinator of the Sous les N\u00e9ons collective and co-director of Th\u00e9\u00e2tre de l&#8217;\u00c9lys\u00e9e. This desire to combine transmission, lived experience and artistic writing is part of a longer history in which popular education and the desire to make complex or technical subjects accessible intersect, as illustrated by <a href=\"https:\/\/www.youtube.com\/watch?v=kHPI3YhY8aU\">Antoine Defoort&#8217;s lecture-performance on copyright<\/a>. For Morgane Baffier, this evolution therefore opens up a space for emancipation. \u201c<em>I like lectures that disrupt elitist approaches. For a long time, I fantasized about being a researcher, an intellectual. I didn&#8217;t follow that path. What&#8217;s funny is that I can now occupy that position as an artist, and it makes me much freer.<\/em>\u201d<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/251205_PLAYFORMANCES_&#xA9;alan_goud-12-2-1800x1350.jpg\" alt=\"\" class=\"wp-image-6231\"\/><figcaption class=\"wp-element-caption\">Playformance &#8211; Sous les N\u00e9ons<\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">Yet this freedom comes at a price: it often goes hand in hand with doubts about the author&#8217;s legitimacy. \u201c<em>It was a personal battle to dare to enter the field of lectures, faced with academic researchers,<\/em>\u201d Roc\u00edo Berenguer recalls. \u201c<em>I was sometimes told that I had no right to manipulate concepts or quote authors. I decided to give myself that right. To allow myself to think outside the scientific method.<\/em>\u201d The artist goes further: \u201c<em>Today, the scientific method is presented as the only legitimate way of producing knowledge. Yet other cultures, other eras have invented other ways of constructing knowledge.<\/em>\u201d She will explore this question further in an upcoming lecture devoted to modes of knowledge production. This question also runs through the scientific work of artist-researcher Bel Cerezo. In her article <a href=\"https:\/\/ojs.meccsa.org.uk\/index.php\/netknow\/article\/view\/439\"><em>The Performance-Lecture as a Method within Artistic Research<\/em><\/a> (2016), she explores the capacity of lectures to become a research tool in their own right. Quite a reversal: while digital technologies constantly promise to simplify our world, lecture-performances instead reveal its full complexity.<\/p>\n\n<p class=\"is-style-signature wp-block-paragraph\">Adrien Cornelissen<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>At the opposite end of the spectrum from spectacular forms, some creations favor stripped-back setups centered on speaking and knowledge-sharing. [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6264,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[39,43,38],"class_list":["post-6265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert","tag-distribution-mediation","tag-economy","tag-hybrid-creation","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6265","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=6265"}],"version-history":[{"count":3,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6265\/revisions"}],"predecessor-version":[{"id":6317,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6265\/revisions\/6317"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/6264"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=6265"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=6265"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=6265"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}