{"id":19966,"date":"2020-03-26T12:18:34","date_gmt":"2020-03-26T12:20:15","guid":{"rendered":"https:\/\/blog.museunacional.cat\/?p=19966"},"modified":"2020-03-26T12:20:15","modified_gmt":"2020-03-26T12:20:15","slug":"25-years-of-museum-connections","status":"publish","type":"post","link":"https:\/\/blog.museunacional.cat\/en\/25-years-of-museum-connections\/","title":{"rendered":"25 Years of Museum Connections"},"content":{"rendered":"\n<p class=\"has-small-font-size\">Irina Grevtsova<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-Portada.-Mona-Lisa_-Beyond-the-Glass-at-The-Louvre.png\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"310\" src=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-Portada.-Mona-Lisa_-Beyond-the-Glass-at-The-Louvre.png\" alt=\"The VR experience \u00abMona Lisa: Beyond the Glass\u00bb, Louvre, Paris\" class=\"wp-image-19937\" srcset=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-Portada.-Mona-Lisa_-Beyond-the-Glass-at-The-Louvre.png 620w, https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-Portada.-Mona-Lisa_-Beyond-the-Glass-at-The-Louvre-300x150.png 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>The VR experience \u00abMona Lisa: Beyond the Glass\u00bb, Louvre, Paris. <a href=\"https:\/\/www.youtube.com\/watch?v=Au_UpzhzHwk\">Photo by YouTube <\/a><\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p><em>Their doors closed due to the COVID-19 crisis, therefore museums and many cultural institutions have had to sharpen their wits in order to continue providing their visitors \u2013 now, virtual visitors \u2013 with high-quality initiatives.<\/em><\/p><p><em>Without wishing to ever replace the direct experience of a visit \u2013 to incentivize it rather, in what we hope will be the near future \u2013 technology makes it possible to shorten distances and make new approaches to cultural content and experiences available to everyone.<\/em><\/p><p><em>Sharing, participating and creating communally is made even more possible via audio-visual formats, the online dissemination of archives and collections, a host of digital resources, and information continually updated on websites and social networks.<\/em><\/p><p><em>The text of this week\u2019s blog is a summary of this year\u2019s edition of Museum Connections, an annual gathering that takes place in Paris, where the most cutting-edge digital technology used in the field of heritage is presented.<\/em><\/p><cite>Editor&#8217;s note<\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<p>Halfway through January\nthis year, in a Paris immersed in transport strikes and demonstrations, the 25th\nanniversary of the <a href=\"https:\/\/www.museumconnections.com\/\">Museum\nConnections<\/a>\nConference was held, a professional gathering bubbling over with creativity and\nproduction. The organizers managed to place 365 exhibitors in a large pavilion,\npresent 53 international speakers and attract 3,510 visitors. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What format does Museum Connections have?<\/h3>\n\n\n\n<p>It is one of the most important meeting points in Europe, a place for inspiration and learning for museum staff, based on the analysis of real cases from very diverse sectors. It is also an event at which to do international networking and, of course, <strong>an opportunity to personally try out the latest technologies<\/strong>.<\/p>\n\n\n\n<p>At the conference four main themes for the future were discussed, each one made up of different round tables: <\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Theme 1. The future of museum communities<\/strong><\/li><li><strong>Theme 2. The future of immersion in the museum<\/strong><\/li><li><strong>Theme 3. The future of retail <\/strong><\/li><li><strong>Theme 4. The future of mediation<\/strong><\/li><\/ul>\n\n\n\n<p>The speeches were given in\na hall called the \u2018Inspiration Room\u2019 and the sections took place at a very\nbrisk pace. Between four and six experts took part in the round tables, each of\nwhom had five minutes to present their project. The remaining time was devoted to\ndiscussions and each section lasted 45 minutes.<\/p>\n\n\n\n<p>We shall focus on the\nanalysis of technologies, without doubt the main driver of change in museums today.\n<\/p>\n\n\n\n<p><strong>Virtual Mona Lisa, 360\u00ba video projections, inclusive apps and open data accessible 4 all were the stars of this edition.<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.1.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"465\" src=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.1.jpg\" alt=\"Welcome by Diane Drubay, organizer of Museum Connections\" class=\"wp-image-19942\" srcset=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.1.jpg 620w, https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.1-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>Welcome by Diane Drubay, organizer of Museum Connections. Photo: Irina Grevtsova<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Theme 2. The future of immersion in the museum. Round table \u00abImmersive experience. How it is shaking up the exhibition industry\u00bb<\/h3>\n\n\n\n<p>This section opened with the theme of <strong>immersive experiences<\/strong> in a packed hall. The experts invited represented museums, cultural organizations and private companies specializing in the film industry and festivals. <\/p>\n\n\n\n<p>The projects presented had very diverse formats: 360\u00b0\nvideo projections on the walls of the Grand Palais building, the multimedia\nexhibition <a href=\"https:\/\/www.nationalgallery.org.uk\/exhibitions\/leonardo-experience-a-masterpiece\">Leonardo: Experience a Masterpiece<\/a>, or the Virtual Veronese project, a virtual tour of\nthe painting <em>The Consecration of Saint\nNicholas<\/em>. Projects were also presented such as a football media centre, film\nfestivals and even some performed in shopping malls.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.2.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"465\" src=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.2.jpg\" alt=\"The speakers in the round table \u00abHow are immersive experiences affecting the exhibitions industry?\u00bb\" class=\"wp-image-19945\" srcset=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.2.jpg 620w, https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.2-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>The speakers in the round table \u00abHow are immersive experiences affecting the exhibitions industry?\u00bb Photo: Irina Grevtsova<\/figcaption><\/figure>\n\n\n\n<p>During the section different aspects of immersive exhibitions were tackled, but what this exhibition format means exactly was not defined. A digital or an analogue experience? Video mapping with 360\u00ba projections, visualized with or without displays? A virtual tour using VR goggles? This lack of a clear definition of what an immersive exhibition is was reflected in the different discussions, in which the speakers lost their way expressing different points of view about the costs and the ecological impact of production. I agree with what Roei Amit said, the director of the Technologies Department of the <a href=\"https:\/\/www.grandpalais.fr\/es\">Grand Palais RMN<\/a> in Paris, when he claimed that specialists do not currently have a clear perspective because we are in the middle of what is happening (\u00abWe don\u2019t have distance, we are in the middle\u00bb). <\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Theme 2. Round table \u00abThe Place of Human Interactions in VR Visits\u00bb<\/h3>\n\n\n\n<p>At the next round table<strong>,<\/strong> projects were presented by major French companies such as <a href=\"http:\/\/www.emissive.fr\/en\/\">Emissive<\/a>, &nbsp;Diversion cinema, and the <a href=\"https:\/\/www.monuments-nationaux.fr\/es\/\">Centre des Monuments Nationaux<\/a>. <\/p>\n\n\n\n<p><a href=\"http:\/\/www.emissive.fr\/en\/\">Emissive<\/a> began designing its first cultural projects in 2012, when it initiated <a href=\"http:\/\/www.emissive.fr\/en\/project\/the-enemy\/\"><em>The Enemy<\/em><\/a><em>,<\/em> a virtual tour for 20 people, whose author is the journalist Karim Ben Khalifa. In the museums sector, its most important project is without a shadow of a doubt the VR experience <em><a href=\"https:\/\/irinagrevtsova.com\/profundizando-en-la-experiencia-vr-mona-lisa-mas-alla-del-cristal\/\">Mona Lisa: Beyond the Glass<\/a><\/em>, created for the Mus\u00e9e du Louvre. Lately, with the HIP Institute and Dassault Syst\u00e8mes, they have designed <a href=\"https:\/\/www.citedelarchitecture.fr\/fr\/evenement\/visite-en-realite-virtuelle-de-la-pyramide-de-kheops\">Scan Pyramids VR<\/a>, the immersive guided tour of the Pyramid of Khufu which takes place in a large hall in the Cit\u00e9 de l\u2019Architecture et du Patrimoine in Paris. In this experience, the visitors use headphones and a VR backpack that allows them to move freely around the space and feel that they are inside the pyramid. The tour guide is a real person. Surprisingly, this virtual reality tour lasts 45 minutes, when a normal VR tour lasts no longer than 15 minutes. <\/p>\n\n\n\n<div class=\"wp-block-jetpack-tiled-gallery aligncenter is-style-rectangular\"><div class=\"tiled-gallery__gallery\"><div class=\"tiled-gallery__row\"><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><a href=\"https:\/\/i2.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.3a.jpg?ssl=1\"><img decoding=\"async\" srcset=\"https:\/\/i2.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.3a.jpg?strip=info&#038;w=600&#038;ssl=1 600w,https:\/\/i2.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.3a.jpg?strip=info&#038;w=620&#038;ssl=1 620w\" alt=\"\" data-height=\"281\" data-id=\"19953\" data-link=\"https:\/\/blog.museunacional.cat\/?attachment_id=19953\" data-url=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.3a.jpg\" data-width=\"620\" src=\"https:\/\/i2.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.3a.jpg?ssl=1\"\/><\/a><\/figure><\/div><\/div><div class=\"tiled-gallery__row\"><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><a href=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-3b.jpg?ssl=1\"><img decoding=\"async\" srcset=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-3b.jpg?strip=info&#038;w=467&#038;ssl=1 467w\" alt=\"\" data-height=\"310\" data-id=\"19954\" data-link=\"https:\/\/blog.museunacional.cat\/?attachment_id=19954\" data-url=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-3b.jpg\" data-width=\"467\" src=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-3b.jpg?ssl=1\"\/><\/a><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\">VR experiences 1. Scan Pyramids VR Photo by <a rel=\"noreferrer noopener\" href=\"https:\/\/www.citedelarchitecture.fr\/fr\" target=\"_blank\">Cit\u00e9 de l\u2019Architecture &amp; du Patrimoine<\/a> \/ 2.     Timescope of the Arc de Triomphe. Photo: Irina Grevtsova<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Theme 2. Round table \u00abModels for the funding and production of virtual reality in culture\u00bb<\/h3>\n\n\n\n<p>In this section highly topical issues for museums were dealt with, like \u2018Which funding models can contribute to the implementation of technologies?\u2019 According to Stephanie Targui, the French National Museum of Natural History in Paris had to seek sponsors and collaborated with the Orange Foundation in order to install the virtual reality hall. In this way the ticket prices made it possible to recoup the costs of the project in two years. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.4.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"465\" src=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.4.jpg\" alt=\"The participants in the round table \u00abModels for the funding and production of virtual reality in culture\u00bb\" class=\"wp-image-19957\" srcset=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.4.jpg 620w, https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.4-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>The participants in the round table \u00abModels for the funding and production of virtual reality in culture\u00bb. Photo: Irina Grevtsova<\/figcaption><\/figure>\n\n\n\n<p>Another issue lay in how to obtain joint funding for\ntemporary exhibitions, like, for example, the case of the exhibition <em>Claude Monet, the Water Lily Obsession<\/em>, held\nin the Mus\u00e9e de l&#8217;Orangerie. For it, the Mus\u00e9e d&#8217;Orsay collaborated with HTC.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Theme 3. Round table \u00abWhat does creating inclusive mediation tools mean in 2020?\u00bb<\/h3>\n\n\n\n<p>This was devoted to mobile guides, an industry that is now well established. What concern the experts are not so much the quantitative indices and the spectacular nature of their projects, but rather quality and comfort in the use of technologies by the public. <strong>All the speeches placed special emphasis on how to make applications as inclusive and as easy to use as possible<\/strong>.<\/p>\n\n\n\n<p>Jean-Pierre Charbol, of the Australian Museum of\nContemporary Art,\nspoke about new projects in the field of augmented reality (AR). He claimed\nthat by renouncing mobile applications and opting for the web browser, in which\nit is possible to open the guide directly without having to download the information\non your mobile, access to it can easily be obtained. He also spoke about the\nintuitive form of access to information, with regard to objects, which\naugmented reality technologies give just by focusing on them with your\ntelephone\u2019s camera. The exhibition of the large-scale canvas created by the\nartist Guan Wei was also interesting.<\/p>\n\n\n\n<p>In this section issues related to mobile tours for\nall kinds of people were also dealt with. In France the inclusiveness of a\nproduct can be certified, by obtaining the <a href=\"http:\/\/www.tourisme-handicaps.org\/\">Tourisme &amp; Handicap<\/a> certificate. At the round table issues were discussed such as autonomy,\nthe levels of the narration of history, evaluation and statistics, the\nlegalization of products, the personalization of experiences, orientation and\npromotion, and many others.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Theme 3. Round table \u00abBeyond access, participation strategies for open data\u00bb<\/h3>\n\n\n\n<p>This section was no less topical. In recent decades\nmuseums in Europe and all over the world have been digitizing their pieces and\nusing open data programs. Once this stage has successfully been completed, new\nquestions arise in the daily agenda: What to do with the billions of gigabytes of\ndigitized cultural heritage? And how to teach users how to take advantage of\nthis information? <\/p>\n\n\n\n<p>The moderator of the section was Douglas McCarthy, the representative of <a href=\"https:\/\/www.europeana.eu\/portal\/en\">Europeana<\/a>, the largest digital heritage platform in Europe. The experts discussed the <strong>new strategies and possibilities for using co-creation, co-production and co-working methods<\/strong><em>.<\/em><\/p>\n\n\n\n<p>What I found most eye-catching was the T-shirt with\nthe image of a painting exhibited in the Museum of Slovakia and the remix for\npublic transport. Michal Cudrnak, of the National Gallery of Slovenia <a href=\"https:\/\/www.sng.sk\/sk\">(Slovenska\nnarodna galeria)<\/a>, chose\nthese cases to show the public the potential of work with digital collections\nin museums. <\/p>\n\n\n\n<div class=\"wp-block-jetpack-tiled-gallery aligncenter is-style-rectangular\"><div class=\"tiled-gallery__gallery\"><div class=\"tiled-gallery__row\"><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><a href=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5a.jpg?ssl=1\"><img decoding=\"async\" srcset=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5a.jpg?strip=info&#038;w=600&#038;ssl=1 600w,https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5a.jpg?strip=info&#038;w=620&#038;ssl=1 620w\" alt=\"\" data-height=\"465\" data-id=\"19960\" data-link=\"https:\/\/blog.museunacional.cat\/?attachment_id=19960\" data-url=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5a.jpg\" data-width=\"620\" src=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5a.jpg?ssl=1\"\/><\/a><\/figure><\/div><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><a href=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5b.jpg?ssl=1\"><img decoding=\"async\" srcset=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5b.jpg?strip=info&#038;w=600&#038;ssl=1 600w,https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5b.jpg?strip=info&#038;w=620&#038;ssl=1 620w\" alt=\"\" data-height=\"465\" data-id=\"19961\" data-link=\"https:\/\/blog.museunacional.cat\/?attachment_id=19961\" data-url=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5b.jpg\" data-width=\"620\" src=\"https:\/\/i0.wp.com\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-5b.jpg?ssl=1\"\/><\/a><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<p class=\"has-small-font-size\">The creative use of open data digital collections in Slovakia. Photo: Irina Grevtsova <\/p>\n\n\n\n<p>In this way, the issues that were the subject of\ndiscussion at this round table showed that the branch of the digitization of\ncultural heritage had come to its logical end: collections have been taken out\nof the hands of professionals and handed back to the people.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Museum Tech<\/h3>\n\n\n\n<p>As for<a href=\"https:\/\/www.museumconnections.com\/museumtech\/\"> <strong>Museum Tech<\/strong><\/a>, an area dedicated to exhibiting technologies, a wide range of interactive devices of all kinds was demonstrated, from mobile guide apps and screens of all sizes, to holograms and virtual and augmented reality. The majority of the producers were private companies from different sectors in France. This year the Start-Up Village, bringing together 33 companies, was launched for the first time. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-6-1.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"465\" src=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-6-1.jpg\" alt=\"View of the MuseumTech area, Museum Connections. Photo: Irina Grevtsova\" class=\"wp-image-19963\" srcset=\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-6-1.jpg 620w, https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-6-1-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption>View of the MuseumTech area, Museum Connections. Photo: Irina Grevtsova<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Where else can technologies applied to culture be tried out?<\/h3>\n\n\n\n<p>Museum Connections is the starting point for getting\nto know the latest trends, but the streets of the capital, its emblematic\nmonuments, <a href=\"https:\/\/irinagrevtsova.com\/paris-el-congreso-museum-connections-y-muchas-experiencias-mas\/\">its museums and even the metro<\/a> also have to be explored. <\/p>\n\n\n\n<p>To have immersive experiences, which do not need\nvisualization technologies, we have to go to new digital art centres. France\nalready has several in Paris, in Baux-de-Provence, and this year another one is\nopening in Bordeaux \u2013 the largest digital centre in the world \u2013 which will\nundoubtedly be a must to visit. <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Related links<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li><a rel=\"noreferrer noopener\" href=\"https:\/\/www.museumconnections.com\/en\/\" target=\"_blank\">Museum Connections<\/a><\/li><li>Blog by Irina Grevtsova <a href=\"https:\/\/irinagrevtsova.com\/en\/\">Digital Heritage &amp; Culture<\/a><\/li><li><a href=\"https:\/\/blog.museunacional.cat\/en\/is-immersion-the-crucial-new-algorithm-for-cultural-experiences\/\">Is immersion the crucial new algorithm for cultural experiences?<\/a><\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Irina Grevtsova Their doors closed due to the COVID-19 crisis, therefore museums and many cultural institutions have had to sharpen their wits in order to continue providing their visitors \u2013 now, virtual visitors \u2013 with high-quality initiatives. Without wishing to ever replace the direct experience of a visit \u2013 to incentivize it rather, in what&#8230;<\/p>\n","protected":false},"author":47,"featured_media":19937,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[30,16,1,2,39],"tags":[67,322,990,335],"class_list":["post-19966","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-communication","category-digital-en","category-general","category-general-en","category-museology","tag-audiences","tag-digital-en-2","tag-digital-transformation","tag-technology","author-guest"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Fig.-Portada.-Mona-Lisa_-Beyond-the-Glass-at-The-Louvre.png","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-5c2","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/19966","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/47"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=19966"}],"version-history":[{"count":28,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/19966\/revisions"}],"predecessor-version":[{"id":20037,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/19966\/revisions\/20037"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/19937"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=19966"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=19966"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=19966"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}