{"id":38,"date":"2021-04-12T08:15:57","date_gmt":"2021-04-12T08:15:57","guid":{"rendered":"https:\/\/automationcultures.com\/?page_id=38"},"modified":"2023-11-16T18:09:18","modified_gmt":"2023-11-16T10:09:18","slug":"publications","status":"publish","type":"page","link":"https:\/\/automationcultures.com\/?page_id=38","title":{"rendered":"PUBLICATIONS"},"content":{"rendered":"<p>[vc_row row_height_percent=&#8221;0&#8243; back_color=&#8221;color-wayh&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_column_text]<\/p>\n<h1><strong>PUBLICATIONS 2021-2023<\/strong><\/h1>\n<ul>\n<li style=\"text-align: left;\">Elizabeth Stephens, \u2018<a href=\"https:\/\/doi.org\/10.1080\/09502386.2022.2042580\"><em>The Mechanical Turk: A Short History of \u201cArtificial Artificial <\/em><em>Intelligence<\/em>\u201d<\/a>\u2019 <em>Cultural Studies<\/em> (2022): 65- 87<\/li>\n<li>Sarah Collins, \u201c<a href=\"https:\/\/www.cambridge.org\/core\/journals\/cambridge-opera-journal\/article\/operatic-roots-of-performativity-bodies-decontextualised-in-butler-brecht-and-busoni\/6EA9CB3D613DFEDEB8BAEEAD14904BF8\"><em>The Operatic Roots of Performativity: Bodies Decontextualised in Butler, <\/em><em>Brecht, and Busoni<\/em><\/a>\u201d, <em>Cambridge Opera Journal<\/em> (2022), 1-29.<\/li>\n<li>Ionat Zurr, \u201c<a href=\"https:\/\/www.kontejner.org\/en\/vijesti\/publikacija-arc-hive-case-studies-and-life-as-an-object-dostupna-u-besplatnom-pdf-formatu\"><em>Outsourcing Care for Life<\/em><\/a>\u201d, in <em>Arc-hive: Case Studies and Life as an Object<\/em>, ed. by Ena Hod\u017ei\u0107, Olga Majcen Linn, Jurica Mlinarec, and Luja \u0160imunovi\u0107 (Kontejner, 2022)<\/li>\n<li>Oron Catts, \u201c<a href=\"https:\/\/www.kontejner.org\/en\/vijesti\/publikacija-arc-hive-case-studies-and-life-as-an-object-dostupna-u-besplatnom-pdf-formatu\"><em>Post-promethean Art<\/em><\/a>\u201d, in\u00a0<em>Arc-hive: Case Studies and Life as an Object<\/em>. ed. by Ena Hod\u017ei\u0107, Olga Majcen Linn, Jurica Mlinarec, and Luja \u0160imunovi\u0107 (Kontejner, 2022)<\/li>\n<li>Sarah Collins, \u201c<a href=\"https:\/\/academic.oup.com\/edited-volume\/45224\/chapter-abstract\/393384362?redirectedFrom=fulltext\"><em>On or about 1932: The Mechanical Reproduction of the Middlebrow<\/em><\/a>\u201d, in <em>The Oxford Handbook of Music and the Middlebrow<\/em>, eds Kate Guthrie and Chris Chowrimootoo (Oxford University Press, 2023)<\/li>\n<li>Ionat Zurr &amp; Oron Catts, <em>Tissues, Cultures, Art<\/em> (Palgrave Macmillan, 2023)<\/li>\n<li>Oron Catts &amp; Ionat Zurr, \u201c<em>Thermopolitics<\/em>\u201d, in <em>Viral Cultures<\/em>, as part of the series Biotechne: Interthinking Art, Science and Design (series editors: Charissa Terranova and Meredith Tromble) Bloomsbury Press, forthcoming.<\/li>\n<li>Sarah Collins, <a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/0969725X.2023.2233797\">\u2018Stone as Witness: Mute Speech, Don Juan and the Ear of the Future\u2019,<\/a> <em>Angelaki: <\/em><em style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">Journal of the Theoretical Humanities<\/em><span style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\"> 28.4 (2023): 29-44.<\/span><\/li>\n<\/ul>\n<h2><strong>EXHIBITIONS<\/strong><\/h2>\n<ul>\n<li>Oron Catts and Ionat Zurr, in collaboration with Steven Berrick, \u2018<a href=\"https:\/\/sunlightsoilshit.systems\/\"><em>Sunlight, Soil &amp; Shit (De)Cycle<\/em><\/a>\u2019, PS Gallery, Fremantle, 5-26 Feb, 2022<\/li>\n<\/ul>\n<h2><strong>PROJECT EVENTS<\/strong><\/h2>\n<ul>\n<li>\u201c<em>Life in the Age of\u00a0Automation: Cultural and Creative Perspectives<\/em>\u201d, Study Day, 26 Sept., 2022, UQ, Brisbane. Hosted by Elizabeth Stephens and the Digital Cultures and Society Hub (UQ)<\/li>\n<\/ul>\n<p><strong>Partners:<\/strong><\/p>\n<ul>\n<li>ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S) <a href=\"https:\/\/www.admscentre.org.au\/\">admscentre.org.au<\/a><\/li>\n<li>Digital Cultures and Society Hub (UQ) <a href=\"https:\/\/hass.uq.edu.au\/Digital-Cultures-and-Societies\">LINK<\/a><\/li>\n<li>ARC \u201cThe Cultural and Intellectual History of Automated Labour\u201d (UWA\/UQ) <a href=\"https:\/\/automationcultures.com\/\">automationcultures.com<\/a><\/li>\n<li>ARC DP \u201cThe Geopolitics of Automation\u201d (WSU) <a href=\"https:\/\/www.westernsydney.edu.au\/ics\/projects\/the_geopolitics_of_automation\">LINK<\/a><\/li>\n<\/ul>\n<p>\u201c<em>The Art and Science of Synthetic Biology<\/em>\u201d, LASER talk, Institute of Modern Art, 27 Sept.<br \/>\n2022 Brisbane. Speakers: Oron Catts, Ionat Zurr, and Jestin George.\u00a0Hosted by Elizabeth Stephens and Grayson Cooke.<\/p>\n<h3><strong>\u201cAutomation Culture\u201d Seminar Series, UWA and online:\u00a0\u00a0<\/strong><\/h3>\n<ul>\n<li>Shintaro Miyazaki (Humboldt-Universitat zu Berlin, Media Studies and Computation), \u201c<a href=\"https:\/\/youtu.be\/xEly69MILRY\"><em>Counter-Algorhythmics as Prefigurative Dances of Commonism<\/em><\/a>\u201d, 9 Dec. 2022<\/li>\n<li>Ned Rossiter (WSU, Media Studies), \u201c<em>Automated Dreams<\/em>\u201d, 21 Oct, 2022<\/li>\n<li>Chris Danta (UNSW, Literary Studies), \u201c<a href=\"https:\/\/youtu.be\/3TzWI8yA1YI\"><em>Dear AI Reader: Nonhuman Perspective and Evolutionary Thinking in the Human-Machine Relation<\/em><\/a>\u201d, Sept. 2022<\/li>\n<li>Warren Mansell (Curtin, Psychology and Population Health), \u201c<a href=\"https:\/\/youtu.be\/yE0UYoekAhk\"><em>The\u00a0Automation\u00a0of Life: Engineering Negative Feedback Control<\/em><\/a>\u201d, 29 July 2022<\/li>\n<li>Orkan Telhan (UPenn), \u201c<em>Automation\u00a0and Istanbul\u2019s Public Gardens<\/em>\u201d, 17 Dec. 2021<\/li>\n<li>Pia van Gelder (ANU), \u201c<a href=\"https:\/\/vimeo.com\/653926564\"><em>Automation\u00a0or Divination: David Tudor and the Instrument of his Instruments<\/em><\/a>\u201d, Nov. 2021<\/li>\n<li>Sean Dockray (ANU), \u201c<a href=\"https:\/\/vimeo.com\/653926564\"><em>Falling<\/em><\/a>\u201d, Nov. 2021<\/li>\n<li>Gunalan Nadarajan, \u201c<a href=\"https:\/\/vimeo.com\/639375255\"><em>Dressing Animals, Governing Files, Managing Traffic: Habits of\u00a0Automation<\/em><\/a>\u201d, 22 Oct 2021<\/li>\n<li>Paul Vanouse, \u201c<a href=\"https:\/\/vimeo.com\/593083275\"><em>Labor, Bodies, Nonhumans &amp; Identity<\/em><\/a>\u201d, 26 Aug 2021<\/li>\n<\/ul>\n<h2><strong>KEYNOTE LECTURES GIVEN BY PROJECT TEAM<\/strong><\/h2>\n<ul>\n<li>Ionat Zurr,\u00a0<em>Monster Conference<\/em>,\u00a0Limina\u00a0Journal in collaboration with the ARC Centre for the History of Emotions and the Classics Department at the University of Reading UK, 9\/9\/2022<\/li>\n<li>Ionat Zurr, <a href=\"https:\/\/bioartsociety.fi\/projects\/m-slash-other-becomings\/activities\/m-slash-other-becomings-symposium\"><em>m\/other becomings symposium<\/em><\/a>.\u00a0\u00a0Aalto University\u00a0 9\/6\/2022<\/li>\n<li>Elizabeth Stephens: <a href=\"https:\/\/www.anu.edu.au\/events\/bodies-in-and-out-of-place-new-perspectives-in-the-critical-medical-and-health-humanities#:~:text=and%20health%20humanities-,Bodies%20in%20and%20out%20of%20place%3A%20new%20perspectives%20in,critical%20medical%20and%20health%20humanities&amp;text=This%20symposium%20will%20showcase%20innovative,humanities%20at%20ANU%20and%20beyond.\"><em>Transparent Women: The Visual Cultures of Medicine<\/em><\/a> ANU. 9\/11\/2022<\/li>\n<li>Oron Catts, <em>Robots as Surrogate to Biological Functions<\/em>, in Creative Collaborations #2 Art, Design &amp; HRI. Ben-Gurion University of the Negev, and the Bezalel Academy for Arts and Design, Jerusalem 12\/05\/2022<\/li>\n<li>Oron Catts, \u201c<em>Frankenstein\u2019s Reproducibility Crisis<\/em>\u201d, in Quantum Words Perth, WA State Library, 17\/09\/2022<\/li>\n<\/ul>\n<h2><strong>CONFERENCE PRESENTATIONS<\/strong><\/h2>\n<p>Panel on \u201cA<em>utomating Life: Cultural and Creative Perspectives<\/em>\u201d, Cultural Studies Association of Australasia conference, 2 Dec, 2022, Melbourne. Convened by Elizabeth Stephens.<\/p>\n<p>Papers Presented:<\/p>\n<ul>\n<li>Sergio Santiago Renteria Aguila, \u201c<em>Machine Listening Aesthetics: Reanimating Sonic Ecologies<\/em>\u201d<\/li>\n<li>Elizabeth Stephens, \u201c<em>Automaton and the Invention of \u201cLife\u201d<\/em>\u201d<\/li>\n<li>Ionat Zurr, \u201c<em>Who Cares<\/em>? Michael Richardson (respondent): \u201c<em>Nonhuman Witnessing of Automated Life<\/em>\u201d<\/li>\n<\/ul>\n<p>Panel on \u201c<em>Automating Life<\/em>\u201d, in \u201cLife in the Age of Automation: Cultural and Creative Perspectives\u201d, Study Day, 26 Sept., 2022, UQ, Brisbane<\/p>\n<p>Papers Presented:<\/p>\n<ul>\n<li style=\"text-align: left;\">Elizabeth Stephens, \u2018\u201c<em>Fauxtomation\u201d and Programmable Life<\/em>\u201d<\/li>\n<li style=\"text-align: left;\">Oron Catts, \u201c<em>Art as a Precursor to MetabolicRift Technologies<\/em>\u201d<\/li>\n<li style=\"text-align: left;\">Ionat Zurr, \u201c<em>The Revitalisation of Automation<\/em>\u201d<\/li>\n<li style=\"text-align: left;\">Sarah Collins, \u201c<em>Automation as Mimesis<\/em>\u201d<\/li>\n<\/ul>\n<p>Other Presentations:<\/p>\n<ul>\n<li>Oron Catts, Sarah Collins, Elizabeth Stephens, Ionat Zurr, \u201c<em>Neutralising Nature: Automation, <\/em><em>Agricultural Technologies, and the Morality of Improvement<\/em>\u201d,\u00a0IEEE International Symposium on Technology and Society (ISTAS), 28-31 Oct. 2021, Waterloo, Ontario, Canada (virtual)<\/li>\n<li>Tarsh Bates, Oron Catts, Sarah Collins, Dale Tilbrook, Ionat Zurr, \u201c<em>Automation\u00a0Cultures\u00a0Digestion: Panel<\/em>\u201d,\u00a03SDC Contestable Food Systems Symposium, Seedbox Community Garden event, 10 Feb. 2022<\/li>\n<li>Ionat Zurr, \u201c<a href=\"https:\/\/www.kontejner.org\/en\/vijesti\/arc-hive-simpozij-life-as-an-object\"><em>Life as an Object<\/em><\/a>\u201d, Kersnikova\u00a0Creative Europe project Arc-hive\u00a0 (17\/02\/2022)<\/li>\n<li>Ionat Zurr, American Communities program presents: <a href=\"https:\/\/www.youtube.com\/watch?v=QsiLLz4m4sM\"><em>Bioart &amp; Resistence: A Global Virtual Roundtable<\/em><\/a>, Cal State LA USA (16\/3\/2022)<\/li>\n<li>Ionat Zurr: Laser Talk &#8211;\u00a0<a href=\"https:\/\/www.aalto.fi\/en\/events\/laser-talks-beyond-spontaneous-generation\"><em>Beyond Spontaneous Generation<\/em>\u00a0<\/a>&#8211; an art &amp; science encounter<\/li>\n<li>Sarah Collins, \u201c<em>Belonging as Mimetic Contagion<\/em>\u201d, Australian Academy of Humanities Symposium, Ballarat, Nov 2022<\/li>\n<li>Sarah Collins, \u201c<em>The Stone Guest<\/em>\u201d, American Musicological Society Conference, New Orleans, Nov 2022<\/li>\n<li>Sarah Collins, \u201c<em>The Future of AI<\/em>\u201d, French Dialogues, Hosted by UWA Law, Perth City Council Library, Sept 2022<\/li>\n<li>Sarah Collins, \u201c<em>Animating the Inanimate: musical\u00a0automation\u00a0on stage and screen<\/em>\u201d, Creative Arts Research Institute, Griffith University, Brisbane, Oct. 4, 2022<\/li>\n<li>Sarah Collins, \u201c<em>Sounding Simulacra: The Aesthetics of Automation in Opera and <\/em><em>Animation<\/em>\u201d,\u00a0Royal Holloway, University of London, 2022<\/li>\n<li>Sarah Collins, \u201c<em>Papageno on the Assembly Line<\/em>\u201d, American Musicological Society Conference, Nov 2021<\/li>\n<li>Oron Catts, \u201c<a href=\"https:\/\/www.kontejner.org\/en\/vijesti\/arc-hive-simpozij-life-as-an-object\"><em>Life as an Object<\/em>\u201d<\/a>. Kersnikova\u00a0Creative Europe project Arc-hive (17\/02\/2022)<\/li>\n<li>Oron Catts, \u201c<em>Post Promethean Art<\/em>\u201d @ JRC-EC [artist talk] Talk at the Joint Research Centre, European Commission, Organised by the JRC SciArt project 24\/05\/2022<\/li>\n<li>Oron Catts, &#8220;<em>Nature free (Agri)culture \u2013 Hacking and Contesting Future Food Systems&#8221;<\/em> in HACKERS, MAKERS, THINKERS, Collective Experiments in Social Fermenting, Berlin University of the Arts and Art Laboratory Berlin 27\/05\/2022<\/li>\n<li>Oron Catts The European Commission Joint Research Centre Science Summit 2022, \u201c<em>Ethical <\/em><em>challenges of a future world shaped by emerging technologies<\/em>\u201d (Block: Needs for Science in the Future) 14\/06\/2022<\/li>\n<li>Oron Catts, <em>Imagining a New Policy Agenda for Australian Arts &amp; Culture<\/em>, The University of Western Australia\u2019s Public Policy Institute, WA State Library 06\/10\/2022<\/li>\n<li>Oron Catts, <em>Metabolic Rift Technologies<\/em> at RIXC Art Science Festival and Renewable Futures Conference 2022: SPLINTERED REALITIES, Riga, Latvia 08\/10\/2022<\/li>\n<li>Oron Catts, <em>Nonconsensual Artwashing<\/em>, in Navigating Ethics in Arts Partnerships (The Summit), the Chamber of Arts and Culture (WA), 25\/10\/2022<\/li>\n<\/ul>\n<h2><strong>AFFILIATED POSTGRADUATE PROJECTS<\/strong><\/h2>\n<ul>\n<li><a href=\"https:\/\/research-repository.uwa.edu.au\/en\/persons\/santiago-renteria-aguilar\">Sergio Santiago Renter\u00eda Aguilar<\/a><span style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">, \u201c<\/span><em style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">Machine Listening: Reanimating Acoustic Ecologies<\/em><span style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">\u201d, PhD candidate, UWA<\/span>\n<ul>\n<li>S. Renter\u00eda.<em> &#8216;<\/em>The Song Remains the Same: Normative Listening in the N\u00f3mos of Birds and Computers&#8217;. Murdoch University Philosophy Seminar. Australia 2023.<\/li>\n<li>S. Renter\u00eda.<em> &#8216;<\/em>Spectral (De)compositions: Dadamining Datamining. NONSTOP WKND: Planetary Auditions&#8217;. Royal Melbourne Institute of Technology. Australia 2023.<\/li>\n<li>S. Renter\u00eda. &#8216;The Aesthetics of Machine Listening: Reanimating Sonic Ecologies&#8217;. CTM 2023: Research Networking Day &#8211; Future Scenarios of Non-human Sound. Germany 2023.<\/li>\n<li>S. Renter\u00eda. &#8216;The Silence of Avian Archives: A Practice-led Study of Machine Listening&#8217;. Panel: Zo\u00f6musicology: The Music of Nature and the Nature of Music 45th National Conference of the Musicological Society of Australia 2022. Co-panelists: Hollis Taylor, Solomon Frank, Eleanor Brimblecombe.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li><a href=\"https:\/\/research-repository.uwa.edu.au\/en\/persons\/david-friedrich\">David Friedrich<\/a>, \u201c<em>Phenomenology of Bionic Sensation. Rethinking the relationship between sound and hearing based on the cochlear implant<\/em>\u201d, PhD candidate, UWA\n<ul>\n<li>24th Annual Western University Graduate Symposium on Music (WUGSOM). \u201cNot without my discipline: Adding techno-philosophy to the multidisciplinary nature of the cochlear implant.\u201d London \/ Canada.\u00a0 Aug. 25\u201326, 2023.<\/li>\n<li>11th International Scientific Meeting for Sound, Music and Musical Instrument Studies. \u201cLet\u2019s talk about the Cochlear Implant and its impact on our understanding of sound.\u201d Coimbra \/ Portugal. \u00a0July 21-24, 2023.<\/li>\n<li>Arts and Humanities in Digital Transition. \u201cBeyond Biology: The Impact of Neurotechnology on Human Sensory Experience\u201c. NOVA FCSH (Lisbon \/ Portugal). July 6\u20137, 2023.<\/li>\n<li>NOVA Contemporary Music Meeting. \u201cBeyond Acoustics: The Impact of Cochlear Implants on Sound Perception\u201c. NOVA. FCSH (Lisbon \/ Portugal). May 3-5, 2023.<\/li>\n<li>Conservatorium of Music. \u201cHearing like a hammerhead shark? How a techno-philosophical investigation of the cochlear implant alters our understanding of sound perception.\u201c UWA (Perth \/ Australia). March 28, 2023.<\/li>\n<li>Media and Communication Research Seminar. \u201cThe Cochlear Implant: A Media Theory about its Influence on Human Sensory Experience\u201c. UWA School of Social Sciences (Australia). February 10, 2023.<\/li>\n<li>Medien, die wir meinen [Media in our sense]. \u201cLet\u2019s talk about the technol\u00f3gos of the cochlear implant\u201c. [via Zoom]. Berlin (Germany). February 8, 2023.<\/li>\n<li>Musicological Society of Australia. Western Australia Chapter Conference. \u201cThere is no Natural Hearing\u201c. UWA Conservatorium of Music (Australia). November 28, 2022.<\/li>\n<li>EMSD Forum. \u201cLive. Recording. Sound\u2014 A (personal) Journey to our understanding of sound\u201c. UWA Conservatorium of Music (Australia). August 3, 2022.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Podcasts:<\/strong><\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li>\u201cDas Ende der Menschheit ist die bessere Realit\u00e4t.\u201d [The End of Humanity is the Better Reality]. <strong>Zerteilte Zuk\u00fcnfte<\/strong> (Podcast). Released on May 08, 2023. https:\/\/podcasts.apple.com\/de\/podcast\/322-das-ende-der-menschheit-ist-die-bessere-realit%C3%A4t\/id1609852611?i=1000612098865.<\/li>\n<li>\u201cMusik-KI klont Drake &amp; The Weeknd [Heart On My Sleeve].\u201d [Music AI Clone Drake &amp; The Weeknd]. <strong>Zerteilte Zuk\u00fcnfte<\/strong> (Podcast). Released on April 23, 2023. https:\/\/podcasts.apple.com\/de\/podcast\/320-musik-ki-klont-drake-the-weeknd-heart-on-my-sleeve\/id1609852611?i=1000610283559.<\/li>\n<li>\u201cNeuro-Biotechnologie mit David Friedrich.\u201d [Neuro Biotechnology with David Friedrich]. <strong>Zerteilte Zuk\u00fcnfte<\/strong> (Podcast). Released on Sep. 4, 2022. https:\/\/podcasts.apple.com\/de\/podcast\/211-neuro-biotechnologie-mit-david-friedrich\/id1609852611?i=1000578283703<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; back_color=&#8221;color-wayh&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_single_image media=&#8221;123&#8243; media_width_percent=&#8221;100&#8243;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/1&#8243;][vc_column_text]Wolfgang Koch as Faust in Ferruccio Busoni&#8217;s <em>Doktor Faust<\/em>, Munich Opera Festival, 2008. \u00a9 Wilfried H\u00f6sl.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_row row_height_percent=&#8221;0&#8243; back_color=&#8221;color-wayh&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_column_text] PUBLICATIONS [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-38","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/pages\/38","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/automationcultures.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=38"}],"version-history":[{"count":10,"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":257,"href":"https:\/\/automationcultures.com\/index.php?rest_route=\/wp\/v2\/pages\/38\/revisions\/257"}],"wp:attachment":[{"href":"https:\/\/automationcultures.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}