{"id":1892,"date":"2026-09-27T01:19:47","date_gmt":"2026-09-27T01:19:47","guid":{"rendered":"https:\/\/mdgpe.fba.up.pt\/?page_id=1892"},"modified":"2026-10-11T22:11:10","modified_gmt":"2026-10-11T22:11:10","slug":"2026-edition-material-archive","status":"publish","type":"page","link":"https:\/\/mdgpe.fba.up.pt\/?page_id=1892","title":{"rendered":"2026 Edition: Material Archive"},"content":{"rendered":"\n

MDGPE Project Exhibition 2025\u201326
October 2 to 9, 2026 Museum Gallery, FBAUP
Opening: October 2, 17:00<\/p>\n\n\n\n

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Read the Exhibition Text<\/a><\/p>\n<\/div>\n\n\n\n

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Credits & Imprint<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Explore the works in the exhibition<\/a><\/div>\n\n\n\n
Or browse the Interactive Exhibition’s Digital Mapping<\/a><\/div>\n<\/div>\n\n\n\n
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Inauguration session. Joana Teles (third from left), representing the students’ design and production team, explaining the concept and exhibition purpose in a room full of friends, colleagues, students, and alumni<\/figcaption><\/figure>\n\n\n\n

Design on the Threshold of the Post-Agentic Era<\/strong><\/h4>\n\n\n\n

The opening of the 3rd annual exhibition of the Master\u2019s in Graphic Design and Editorial Projects (MDGPE), held on October 2, 2026, at the Museum Gallery of FBAUP, became a vital gathering space for our community: practitioners and students; faculty and researchers alongside alumni and friends. The exhibition showcases the outcomes of the past academic year, reflecting the critical laboratory through which students investigated material and digital ecosystems.<\/p>\n\n\n\n

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Room sheet with the exhibition projection as a backdrop. Photo \u00a9 Marta Babau<\/figcaption><\/figure>\n\n\n\n

This year\u2019s overarching theme reclaims the somatic and tactile experience\u2014embodied design<\/em>\u2014demonstrating that editorial design also emerges from intentional deceleration, inviting audiences to experience communication artifacts holistically.<\/p>\n\n\n\n

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Exhibition Opening (Words). Course Director Prof. Pedro Amado, Faculty Dean Prof. Miguel Carvalhais, and MDGPE CC represented by Prof. Rui Vitorino Santos. To the right, Student Joana Teles and MDGPE CC member Prof. Cristina Ferreira. Photographies \u00a9 Marta Babau<\/figcaption><\/figure>\n\n\n\n

The opening session was attended by the Dean of the Faculty, Professor Miguel Carvalhais (also counted with the presence of the Head of the Design Department, Professor Bruno Giesteira); the program\u2019s Scientific Committee; and the exhibition\u2019s student-led organizing and production team responsible for the visual identity, communication, and gallery build.<\/p>\n\n\n\n

Student engagement was overwhelming: the first-year cohort attended en masse, joined by the always so dedicated main core of the “usual suspects” from the graduating second-year master\u2019s students. Many soon to present and defend their projects!<\/p>\n\n\n\n

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Views of exhibition tables\/works and students from the bachelor, master and external colleagues and friends. Photographs \u00a9 Marta Babau<\/figcaption><\/figure>\n\n\n\n

Equally gratifying was the substantial presence of undergraduate Communication Design students, alongside the enthusiastic return of numerous alumni<\/em>, colleagues from partner institutions, and active design professionals. Having already entered industry practice, so many alumni<\/em> returned to reconnect (on hopes!) with the school, measure the pulse of contemporary editorial production, and support their peers (this one was obvious due to so many heartfelt compliments and warm conversations!). It was a shared celebration during which the visual identity and exhibition layout drew unanimous praise for their ingenuity, tactile experience promotion, and resourceful paper selection.<\/p>\n\n\n\n

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Window view from the crowded exhibition opening. Photography \u00a9 Marta Babau<\/figcaption><\/figure>\n\n\n\n

The Inevitability of an Historical Transition<\/strong><\/h4>\n\n\n\n

We inhabit a singular moment: an algorithmic present confronting an autocratic, dystopian, and almost Neuromancer-esque horizon that portends the erosion of human touch and unmediated interaction. This is the crossroads we occupy today\u2014the threshold of a structural paradigm shift. Years from now, we will likely look back upon this group of students and processes that gave birth to these artifacts not with nostalgic yearning, but with pride and joy, recognizing them as one of the last generations to work directly through the manual techniques and physical substrates where the graphic designer was, first and foremost, a hands-on maker<\/em>.<\/p>\n\n\n\n

The consolidation of Material Archive<\/em> exhibition [and also the statement it makes] occurs at a decisive turning point for our discipline. Very soon, the specific medium and traditional methods of manual execution will become secondary\u2014except, perhaps, for their aesthetic, sensory, and hedonic value.<\/p>\n\n\n\n

Don’t miss-interpret these words\u2014as with physical exercise, or fundamental education\u2014learning, knowing, experimenting, repeating basic \/ fundamental techniques is mandatory for any knowledge or skill acquisition. In an education context, being it in a higher education context, undergraduate, graduate, or post graduate level, is no different. Knowledge, or deep knowledge, critically grounded, and the expertise derives from practice. From repetition. It needs time and experience. Envolving the senses and the whole body makes it even (potentially) a more rich and complete experience. This is something automation is threatneing and we should be aware a design preemptive measures to address and take advantage from the emerging technologies. But the future with automation, brighter or darker, seems now an innescapable innevitability. <\/p>\n\n\n\n

In celebrating the printed artifacts produced throughout 2025\/2026, we do not wish retreat into nostalgic escapism. On the contrary, we affirm that somatic experience, physical resistance, and direct workshop practice remain an indispensable pedagogical foundation for design education. Knowing how to construct with one’s hands remains the bedrock for critical inquiry.<\/p>\n\n\n\n

Yet the oncoming technological shift is relentless. As David Heinemeier Hansson (DHH), creator of Ruby on Rails<\/em>, observed upon announcing his retirement from manual coding after twenty-five years of practice: writing code by hand will soon cease to be a commercially viable endeavor. [~39mins]<\/a><\/p>\n\n\n\n

The historical parallel to graphic design is immediate and clarifying. <\/p>\n\n\n\n

When letterpress printing collapsed commercially in Portugal during the mid-1980s amid the rise of phototypesetting and the digital computer, movable metal type did not vanish; it was recontextualized. It migrated from industrial, low-cost utility into the deliberate realm of the Fine Press [despite this change was more evident in countries like the USA, UK, Germany, and even France], physical material research, and projects of high cultural, tactile, and authorial value.<\/p>\n\n\n\n

Today, we face the same impending obsolescence across routine graphic software execution. Conventional desktop publishing workflows\u2014from WYSIWYG interfaces to automated layout\u2014are being absorbed by autonomous agents and open contextual architectures, such as the Model Context Protocol (MCP) capabilities that allow to connect LLMs and GenAi Agents to existin tools and services. <\/p>\n\n\n\n

Proprietary, closed software silos and labor-intensive manual workflows anchored in corporate software monopolies will inevitably lose economic viability. Simultaneously, we are witnessing unprecedented democratization: lowered technical barriers and distributed computation already empower designers to build bespoke tools, predominantly deployed as lightweight, shareable web applications.<\/p>\n\n\n\n

As previously posited [Design OBS<\/em> 3rd conference at FBAUL; Up Arte 4<\/em>], the browser has firmly established itself as the “new paper<\/strong>“. The new and “best preferred communication medium”. With the convergence of agentic models and open standards, designers will no longer operate as captive consumers of static interfaces; they will design their own bespoke instruments on the medium itself, plugins, parametric filters, and production pipelines in existing WYSIWYG (the ones that allow sripting in, ro to connect to them, at least) and the best of all, to design and develop tailor-made custom tools to each specific project and work method. And these will be the best tools. The most productive. And they will make us super-human.<\/p>\n\n\n\n

The Designer as Post-Agentic<\/strong> Vormgever<\/em><\/strong><\/h4>\n\n\n\n

Under this emergent paradigm, routine technical execution\u2014where the cost of repetitive labor drops virtually to zero\u2014Graphic Deisgn as we know it will no longer be a sustainable\/viable commercial endeavor. At least as a standalone profession as we know it today. The investment of human handiwork will be reserved for artifacts of exceptional cultural import, where tactile presence, editorial curation, and deliberate materiality convey ethical and sensory weight that automated synthesis cannot match. This is where the enduring value of the designer will reside.<\/p>\n\n\n\n

Beyond that tactile sanctuary, the designer fully assumes the condition of the Vormgever<\/em><\/strong> (the form-giver, in the profound tradition of Dutch design terminology). No longer a specialized operator [AKA labor-slave operator] of discrete software applications, the designer operates as a holistic conductor [AKA maestro] <\/em>of concepts, data, structures, and materials\u2014giving shape to experiences through radical automation and digital fabrication.<\/p>\n\n\n\n

While the unbridled acceleration of algorithmic systems threatens to erase alterity\u2014flattening difference, dissent, and cultural nuance under standardized data models\u2014designers now occupy an unprecedented vantage point. Leveraging these very agentic technologies, this generation will be the first with the agency to construct the computational tools required to reclaim epistemic sovereignty, beyind any single person or team’s technical reach. Hopefully, freeing enough [human] time and effort to pursue the themes, topics, problems that need solving. The ones that are important. the ones that restore the sense of diversity, complexity and cultural richness of the human experience. And not the other way around. One hopes, at least! \ud83d\ude09<\/p>\n\n\n\n

This is where the Faculty of Fine Arts and the MDGPE reaffirm their pedagogical mission. The academy does not train technicians for ephemeral corporate interfaces; it aims to educate critical authors and professionals equipped to interrogate technical systems, negotiate alterity, and address human experience across its full somatic and political spectrum. <\/p>\n\n\n\n

Material Archive<\/em> documents this exact threshold moment: a clear-eyed preparation for the post-agentic editorial landscape.<\/p>\n\n\n\n

Ultimately, these exhibited projects embody a conscious resistance to hyper-automation: a deliberate return to deceleration, tactile weight, quietude, distance, and contemplation. They compel the hand to fold paper, the fingers to turn pages, and the human body to adopt a rhythm that pauses before a sensory, unpredictable artifact.<\/p>\n\n\n\n

We invite you to read the exhibition room sheet, visit the physical gallery at the FBAUP Museum (on view through October 9), and explore the interactive digital archive and relational network visualization on the official MDGPE website.<\/p>\n\n\n\n

On behalf of the team that put this together, we hope you enjoy this exhibition. <\/p>\n\n\n\n

Pedro Amado
Director of the Master’s in Graphic Design and Editorial Projects<\/em><\/p>\n\n\n\n


<\/em><\/p>\n\n\n\n\n\n\n\n

Material Archive<\/strong> An archive only exists when it is accessed, interpreted, and updated. The annual exhibition of the Master’s in Graphic Design and Editorial Projects (MDGPE) serves as a critical laboratory where students explore digital and material ecosystems. In conceiving the projects and the exhibition layout itself, they rehearse their role as cultural mediators and researchers. The consolidation of this collection advocates for a return to the body and to the tactile experience\u2014embodied design\u2014demonstrating that editorial innovation stems from an intentional slowing down.<\/p>\n\n\n\n

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Otherness, Acceleration, and Authorship<\/strong> In a time of digital saturation, algorithms narrow the space for nuance. Simultaneously, technical automation driven by Artificial Intelligence redefines the classic concept of authorship. Against this backdrop, the exhibited works propose a reclaiming of otherness and an embrace of the materiality of human interactions. Born from individual and collective efforts developed across different course units, these artifacts use deceleration as a form of resistance against algorithmic speed and contemporary fragmentation. A greater slowing down and reflection in the consumption of information is imposed, questioning the formats that distance society from tactile communication.<\/p>\n\n\n\n

From Invisible Narratives to the Exploration of Editorial Materiality<\/strong> Current and future designers use the printed page, the poster, and the archive to rewrite micro and macro-narratives. Within the multiple connections this exhibition’s archive enables, one can identify artifacts that challenge values and solutions taken for granted today. Proposals emerge that deconstruct gender norms, document the unsigned work of women in Portuguese design, and combat civic apathy. Visibility is given to the decolonial effort in the analysis of visual culture and the urgency of preserving heritage\u2014visible, for instance, in the rescue of Luso-African vinyl records or Madeiran embroidery.<\/p>\n\n\n\n

Simultaneously, the return to physical and corporeal experience takes shape in a morphological exploration where the media becomes the message itself: temporal mapping demands a new physical posture from the reader; objects emerge that mimic human, plant, and animal anatomies through the materials and finishes that enhance them.<\/p>\n\n\n\n

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A few assorted views of the exhibition’s different nuclei of works. Photographs \u00a9 Marta Babau<\/figcaption><\/figure>\n\n\n\n

The Exhibition’s Morphology: The Archive as Support and Community Extension<\/strong> Born in response to an extracurricular challenge presented to the students, the visual identity of the exhibition transcends the strict fulfillment of an academic program or course unit. The visual identity and the exhibition design explore the urgency of materiality in a time of increasingly digital consumption.<\/p>\n\n\n\n

In response to the forgetting of the physical object, the inclusion of folding instructions invites the handling of and interaction with the mediums, rescuing a dimension that the screen cannot replicate. The repurposing of papers with different colors and textures\u2014some belonging to the exhibited projects themselves\u2014lends graphic density to the exhibition’s identity. The physical support acts simultaneously with the design, elevating the communication itself. Far from an opposition between the physical and the digital, the complementarity between both is valued: while the physical space celebrates the physicality of the object and the work of the community, the collection is consolidated in an interactive digital archive that, although foregoing the tactile experience, ensures expanded access and a greater dissemination of the students’ works.<\/p>\n\n\n\n

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Transforming the Experimental Laboratory into a Critical Archive<\/strong> The works displayed in this exhibition are part of a broader and more plural ecosystem, where introspective visual essays, practical applications, and a sense of social responsibility coexist. It is precisely in this plurality of approaches that each student\u2019s contribution is celebrated, and the living identity of this master\u2019s program is built.<\/p>\n\n\n\n

The space and autonomy granted throughout the course allow for the exploration of practices, methodologies, themes, and contexts that cross digital code with the hands-on workshop dimension, illustration with infographic synthesis, and comprehensive conceptualism with the precision of typographic design.<\/p>\n\n\n\n

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Digital archive of the 2026 exhibition of works<\/figcaption><\/figure>\n\n\n\n

About the Exhibition’s Digital Mapping<\/strong> In an era of digital saturation, where the speed of algorithms tends to erase the space for nuance, the challenge presented to MDGPE students in 2025\u201326 focused on reclaiming a sense of otherness and the tactile dimension of interactions. Good contemporary design demands a slowing down: it compels the user toward active reflection, to turn a page with intent, and to engage in an embodied experience with the physical presence of the object.<\/p>\n\n\n\n

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Browse the Interactive Exhibition’s Digital Mapping<\/a><\/div>\n<\/div>\n\n\n\n

In light of this premise, inviting the public to immerse themselves in a digital interface might seem paradoxical. However, this platform does not seek to mimic the tactile surface of the works, nor does it aim to contribute to visual overload. Rather than accelerating consumption or encouraging passive scrolling, this tool acts as a system of critical mapping and indexing. Its purpose is to reveal the systemic connections that are not immediately visible in the physical space: shared social concerns, intersecting formats, technological processes, and thematic constellations\u2014ranging from the rescue of omitted memories to the exhaustive exploration of editorial morphology.<\/p>\n\n\n\n

A collection only truly comes alive when its components converse with one another and are continuously reinterpreted by those who consult them. By visualizing this underlying network of connections among students, methodologies, and disciplines, the platform returns agency to the reader, challenging them to construct their own narratives. It serves as a holistic complement to the physical exhibition\u2014an intentional and rewarding exploration that unveils the true complexity, scale, and depth of this shared repository.<\/p>\n\n\n\n

Scientific Committee of the Master’s in Graphic Design and Editorial Projects<\/strong> Faculty of Fine Arts, University of Porto Porto, October 2026<\/p>\n\n\n\n\n\n\n\n

2026 Exhibition Credits \/ Technical Information \/ Imprint<\/p>\n\n\n\n

Organization:<\/strong> Master’s in Graphic Design and Editorial Projects (MDGPE) Faculty of Fine Arts, University of Porto (FBAUP)<\/p>\n\n\n\n

Venue & Dates:<\/strong> Museum Gallery, FBAUP | October 2\u20139, 2026<\/p>\n\n\n\n

Program Director:<\/strong> Pedro Amado<\/p>\n\n\n\n

Program Scientific Committee:<\/strong> Cristina Ferreira, Pedro Amado, Rui Vitorino Santos<\/p>\n\n\n\n

Curatorship (Texts) and General Coordination: <\/strong>MDGPE Program Scientific Committee<\/p>\n\n\n\n

Graphic & Exhibition Design:<\/strong> Catarina Marques, Hugo Costa, In\u00eas Teixeira, Joana Teles, Leticia Santos, Rafael Pinho<\/p>\n\n\n\n

Digital Archive (Website) and Interactive <\/strong>Visualization<\/strong>: Pedro Amado (Concept & Interaction Design) & Claude Opus 5.5 (Sept. 2026) (Development, Proof Reading & Publishing)<\/p>\n\n\n\n

Labels: <\/strong>Original texts by the respective authors; design and production by the Graphic & Exhibition Design Team<\/p>\n\n\n\n

Editorial & Production Coordination: <\/strong>MDGPE Scientific Committee<\/p>\n\n\n\n

Typography & Digital Fonts<\/strong>: EB Garamond, designed by Georg Duffner, Octavio Pardo. SIL Open Font License (OFL), Version 1.1. (georgduffner.at\/ebgaramond<\/a>); JetBrains Mono, designed by Philipp Nurullin, Konstantin Bulenkov, and the JetBrains Team. SIL Open Font License (OFL), Version 1.1. (jetbrains.com\/lp\/mono<\/a>)<\/p>\n\n\n\n

Production<\/strong> Support: <\/strong>Ana Leite, Carla Sousa (Communication); Carla Morais, Jorge Morais (Financial Support); Ant\u00f3nio Ferreira (Logistics); Afonso Ribeiro, Ana Rita Ribeiro and Marta Babau (MDGPE Support Students for the Exhibition Production and Installation)<\/p>\n\n\n\n

Exhibition Production, Lighting & Support: <\/strong>Isabel Gon\u00e7alves, Paula Parente Pinto.<\/p>\n\n\n\n

Exhibition Installation support: <\/strong>Jo\u00e3o Azevedo, Jorge Garc\u00eas<\/p>\n\n\n\n

Communication Materials Printing & Binding: <\/strong>Norc\u00f3pia Casulo d’Ideias, & FBAUP Digital Printing Facilities & Design Department Workroom<\/p>\n\n\n\n

Communication Design,<\/strong> & Social Media Management<\/strong>: Ana Leite, Carla Sousa, Public Relations & Communications Office, FBAUP<\/p>\n\n\n\n

Photography \/ Videography:<\/strong> Marta Babau (MDGPE)<\/p>\n\n\n\n

Translation & Proofreading:<\/strong> Automated Translation from PT to EN, with AI cross-checked proofreading by Gemini 3.1 Pro (Google) and Claude Opus 5.5 (Anthropic) \u2014 Model versions as of September 27, 2026<\/p>\n\n\n\n

Final Proofreading:<\/strong> Exhibition Organization Team<\/p>\n\n\n\n

Exhibitors (1st and 2nd Academic Years 2025\/2026):<\/strong> Afonso Ribeiro; Alice Alves; Ana Catarina Marques; Ana Pinto; Ana Rita Ribeiro; Anabela Nunes; Andr\u00e9 do Carmo Gon\u00e7alves; Bruna Chichavel; Catarina Silva; Claudia Martina; Fabiana Oliveira; H\u00e9lder Amorim; Helena Gomes; Hugo Costa; In\u00eas Pinheiro; In\u00eas V. Teixeira; Isa Imay; Joana Garc\u00eas; Joana Teles; Jo\u00e3o Sousa; Jorge Santos Duarte; Juhan Reis; Leonor Carvalho; Leticia Marques Santos; Lu\u00eds Lopes; Maria Julia Ribeiro; Maria Lu\u00edsa Pinto; Maria Pinto; Marta Babau; Marta Cabral; Matilde Coelho; Matilde Silveira; Rafael Pinho; Rafaela Ribeiro; Ricardo Gomes; Rita Lamas; Roberta Miranda; St\u00eanio Fran\u00e7a; V\u00edtor Almeida; Vittoria Lovino<\/p>\n\n\n\n

Faculty and Advisors:<\/strong> Andr\u00e9 Rangel; Antero Ferreira; Cl\u00e1udia Lima; Cristina Ferreira; Diniz Cayolla Ribeiro ; Eduardo Aires; Eliana Santiago ; Em\u00edlia Dias Costa; Graciela Machado; Hern\u00e2ni Barros Z\u00e3o (Universidade de \u00c9vora); Joana Pestana; Jorge Silva; Jos\u00e9 Carneiro; J\u00falio Dolbeth; Lu\u00eds Mendon\u00e7a; Margarida Dias; M\u00e1rio Moura ; Miguel Carvalhais; Pedro Amado; Rui Vitorino Santos; Susana Barreto; Susana Louren\u00e7o Marques; Virg\u00ednia Martin ; V\u00edtor Quelhas (ESMAD \/ P.Porto).<\/p>\n\n\n\n

Acknowledgements & Partnerships: <\/strong>(T.B.A.)<\/p>\n\n\n\n

Publication Credits (Room Sheet)<\/p>\n\n\n\n

Printing:<\/strong> FBAUP Digital Printing, Xerox Altalink C8130
Print Run: <\/strong>100 copies (T.B.C.)
Typography: <\/strong>EB Garamond, designed by Georg Duffner, Octavio Pardo. SIL Open Font License (OFL), Version 1.1. georgduffner.at\/ebgaramond.
Paper:<\/strong> (T.B.D.)
Edition: <\/strong>1st
Edition Date: <\/strong>October 1, 2026<\/p>\n\n\n\n

Legal Disclaimer and Copyright Notice<\/strong>: The projects presented in this exhibition and digital archive\u2014including their design, texts, images, typography, illustrations, and all other assets used\u2014are the sole responsibility of their respective authors (the students). It is the authors’ full responsibility to acquire and secure any licenses, rights, or permissions required to create, reproduce, and publish their work within the academic environment. The exhibition organizers have been granted prior consent by the authors to use, reproduce, and display images of their work for exhibition, archival, and communication purposes, both in the physical gallery space and on the digital interface.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

MDGPE Project Exhibition 2025\u201326 October 2 to 9, 2026 Museum Gallery, FBAUP Opening: October 2, 17:00 Read the Exhibition Text Credits & Imprint Design on the Threshold of the Post-Agentic Era The opening of the 3rd annual exhibition of the Master\u2019s in Graphic Design and Editorial Projects (MDGPE), held on October 2, 2026, at the… Continue reading 2026 Edition: Material Archive<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":1875,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1892","page","type-page","status-publish","has-post-thumbnail","hentry","entry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/pages\/1892","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1892"}],"version-history":[{"count":24,"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/pages\/1892\/revisions"}],"predecessor-version":[{"id":3070,"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/pages\/1892\/revisions\/3070"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=\/wp\/v2\/media\/1875"}],"wp:attachment":[{"href":"https:\/\/mdgpe.fba.up.pt\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1892"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}