{"id":350,"date":"2025-10-10T01:09:18","date_gmt":"2025-10-10T01:09:18","guid":{"rendered":"https:\/\/fabiofon.com\/verbivocovirtual2\/?page_id=350"},"modified":"2025-10-31T14:00:01","modified_gmt":"2025-10-31T14:00:01","slug":"curatorial-statement","status":"publish","type":"page","link":"https:\/\/fabiofon.com\/verbivocovirtual2\/curatorial-statement\/","title":{"rendered":"CURATORIAL STATEMENT"},"content":{"rendered":"\n

\u00ab BACK TO PAVILION WORKS<\/a><\/p>\n\n\n\n

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ENGLISH<\/strong><\/p>\n\n\n\n

VerbivocoVirtual 2<\/strong> is a pavilion within The Wrong Biennale 2025\u20132026, gathering 43 works by creators from different countries. As in the first edition of this pavilion, held during The Wrong Biennale 2023\u20132024, we present the results of an open call for works that transcend the conventional domains of verbal dynamics \u2014 whether by referencing the conceptual field of the word or by expanding the verbal field through other languages.<\/p>\n\n\n\n

In this sense, it is important to recall the verbivocovisual perspective we envisioned in this process: the fusion of verbal + vocal + visual<\/em>, so vital to the legacy of Brazilian Concrete Poetry, particularly the horizons traced by poets Haroldo de Campos, D\u00e9cio Pignatari, and Augusto de Campos, now expanded into the virtual realm. This legacy allows us to understand the art of the word \u2014 poetry \u2014 in an expanded sense, broadening its meanings and potentialities in multiple directions. In the course of the word\u2019s art expansion, digital technologies are fundamental tools, with irreplaceable peculiarities.<\/p>\n\n\n\n

Within the digital sphere, artificial intelligence has gained remarkable prominence in recent years. The emergence of numerous tools and platforms capable of instantly generating images, texts, videos, and other content has catapulted AIs into mass use, shedding light on the potentials and implications of such production. Between love and hatred for what automated systems create lies the need to reflect on their language and their technical, social, environmental, cognitive, and creative impacts. From the perspective of those enabling these platforms, poetic creation becomes datafied \u2014 transformed into digital data, as patterns that can be recombined and appropriated. Indeed, since the emergence of digital technologies in the last century, artistic creation has never been untouched by processes of datafication and machinic incursions; even those who refuse to use these technologies tend to be affected by them \u2014 sometimes in ways that are not entirely conscious.<\/p>\n\n\n\n

Thus, when the current edition of The Wrong Biennale designates \u201cArtificial Intelligence\u201d as the thematic directive for its pavilions, we reactivate VerbivocoVirtual \u2014 now in its second edition \u2014 focusing on works that employ and poetically reflect on artificial intelligences, including cases where they are not effectively used. As in the first edition, this selection privileges a broad and heterogeneous panorama of creations that poetically explore the word \u2014 or its conceptual field \u2014 through the creative potential of digital technologies. Moreover, this edition considers how each work engages with the theme of \u201cArtificial Intelligence\u201d and transcends the utilitarian application of these tools.<\/p>\n\n\n\n

To expand this dialogue with the audience, every work includes a declarative text contextualizing its position regarding AI. Altogether, the 43 participating works form a panorama that challenges the typical homogeneity of productions emerging in this context \u2014 an exemplary selection of inventive pieces that escape the clich\u00e9s and idiosyncrasies of such tools.<\/p>\n\n\n\n

Finally, to host these dozens of works, VerbivocoVirtual 2 features a website that is not a neutral territory within the proposed discussions. The homepage code was created through artificial intelligence, proposing to (dis)organize the works \u2014 presented as stickers \u2014 under regimes of chaos and order defined by the audience\u2019s choices. Visitors can drag and rearrange the pieces, creating new compositions and, consequently, new relationships among the works. The interface is inspired by the net art piece \u201cSwapping Stickers: Instructions\u201d (2022)<\/em> by Brazilian artists Gabriel Pessoto and Nicole Kouts. In that original work, the artists engage in a continuous visual dialogue: each day, for several years, one posts an image on the site, and the next day, the other responds with another \u2014 a continuous game of visual similarities and contiguities. The piece, among other readings, can be seen as a poetic counterpoint to artificial intelligence processes in computer vision systems, revealing a field where analogies, contrasts, and ironies emerge \u2014 the extraordinary that arises from the artist\u2019s gaze.<\/p>\n\n\n\n

With this reference, VerbivocoVirtual 2 invites its audience to reconfigure their automatisms and refine their gaze beyond what artificial intelligence proposes to offer.<\/p>\n\n\n\n

Fabio FON, Rodolfo Mata and Soraya Braz, curators<\/em>
October 2025<\/em>.<\/p>\n\n\n\n

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ESPA\u00d1OL<\/strong><\/p>\n\n\n\n

VerbivocoVirtual 2<\/strong> es un pabell\u00f3n integrante de The Wrong Biennale 2025\u20132026, que re\u00fane 43 obras de creadores de distintos pa\u00edses. Al igual que en la primera edici\u00f3n de este pabell\u00f3n, realizada con motivo de The Wrong Biennale 2023\u20132024, presentamos el resultado de una convocatoria abierta dirigida a creaciones que traspasan los dominios convencionales de las din\u00e1micas verbales \u2014ya sea refiri\u00e9ndose al \u00e1mbito conceptual de la palabra o ampliando el campo verbal a trav\u00e9s de otros lenguajes.<\/p>\n\n\n\n

En este sentido, es importante recordar la perspectiva verbivocovisual que orienta este proceso: la fusi\u00f3n de verbal + vocal + visual<\/em>, tan relevante en el legado de la Poes\u00eda Concreta Brasile\u00f1a, especialmente en los horizontes trazados por los poetas Haroldo de Campos, D\u00e9cio Pignatari y Augusto de Campos, ahora ampliados en el \u00e1mbito virtual. Este legado permite comprender el arte de la palabra \u2014la poes\u00eda\u2014 en un sentido expandido, ampliando sus significados y potencialidades en m\u00faltiples direcciones. En el transcurso de la expansi\u00f3n del arte de la palabra, las tecnolog\u00edas digitales son herramientas fundamentales, con peculiaridades insustituibles.<\/p>\n\n\n\n

En el \u00e1mbito digital, la inteligencia artificial ha cobrado una notable prominencia, especialmente en los \u00faltimos a\u00f1os. La aparici\u00f3n de numerosas herramientas y plataformas capaces de generar im\u00e1genes, textos, videos y otros contenidos de forma inmediata ha catapultado a las IAs a un uso masivo, iluminando tanto sus potencialidades como sus implicaciones. Entre el amor y el rechazo hacia lo creado por sistemas automatizados, surge la necesidad de reflexionar sobre su lenguaje y sus impactos t\u00e9cnicos, sociales, ambientales, cognitivos y creativos. Por parte de quienes desarrollan estas plataformas, la creaci\u00f3n po\u00e9tica se datafica: se transforma en datos digitales, en patrones estad\u00edsticos potencialmente recombinables y apropiables. De hecho, desde la aparici\u00f3n de las tecnolog\u00edas digitales en el siglo pasado, el campo de la creaci\u00f3n nunca ha permanecido ajeno a los procesos de dataficaci\u00f3n ni a las incursiones maqu\u00ednicas; incluso quienes rechazan el uso de estas tecnolog\u00edas tienden a verse afectados por ellas, a veces de manera no del todo consciente.<\/p>\n\n\n\n

As\u00ed, cuando la actual edici\u00f3n de The Wrong Biennale designa la \u201cInteligencia Artificial\u201d como su directriz tem\u00e1tica, reactivamos VerbivocoVirtual \u2014ahora en su segunda edici\u00f3n\u2014 con un enfoque en obras que utilizan y reflexionan po\u00e9ticamente sobre las inteligencias artificiales, incluso en los casos en que no las empleen efectivamente. Al igual que en la primera edici\u00f3n, esta selecci\u00f3n privilegia un panorama amplio y heterog\u00e9neo de creaciones que exploran po\u00e9ticamente la palabra \u2014o su campo conceptual\u2014 con atenci\u00f3n a las posibilidades creativas de las tecnolog\u00edas digitales. Adem\u00e1s, en esta edici\u00f3n, observamos los di\u00e1logos de cada obra con el tema de la \u201cInteligencia Artificial\u201d y su disposici\u00f3n a ir m\u00e1s all\u00e1 de la aplicaci\u00f3n utilitaria de estas herramientas.<\/p>\n\n\n\n

Para ampliar este di\u00e1logo con el p\u00fablico, todas las obras incluyen un texto declarativo que contextualiza el posicionamiento de cada creaci\u00f3n ante las perspectivas de las IAs. En conjunto, las 43 obras participantes conforman un panorama que desaf\u00eda la homogeneidad t\u00edpica de las producciones surgidas en este contexto: una selecci\u00f3n ejemplar de obras inventivas que escapan de los clich\u00e9s e idiosincrasias de dichas herramientas.<\/p>\n\n\n\n

Finalmente, para albergar las numerosas obras participantes, VerbivocoVirtual 2 cuenta con un sitio web que no es un territorio neutro frente a las discusiones aqu\u00ed propuestas. El c\u00f3digo de la p\u00e1gina principal fue generado mediante inteligencia artificial, proponiendo (des)organizar las obras \u2014presentadas como stickers\u2014 bajo reg\u00edmenes de caos y orden definidos por las elecciones del p\u00fablico. Quien accede puede arrastrar las piezas, creando nuevas composiciones y, en consecuencia, nuevas relaciones entre las obras. La interfaz se inspira en la obra de net art \u201cSwapping Stickers: Instructions\u201d (2022)<\/em> de los artistas brasile\u00f1os Gabriel Pessoto y Nicole Kouts. En esta obra original, los artistas establecen un di\u00e1logo visual continuo: cada d\u00eda, durante a\u00f1os, uno publica una imagen en el sitio y, al d\u00eda siguiente, el otro responde con otra, en un juego constante de similitudes y contig\u00fcidades visuales. La obra, entre otras posibles lecturas, puede entenderse como un contrapunto po\u00e9tico a los procesos de inteligencia artificial que operan en sistemas de visi\u00f3n computacional, evidenciando un proceso en el que emergen analog\u00edas, contrastes e iron\u00edas \u2014lo extraordinario que surge de la mirada del artista.<\/p>\n\n\n\n

Con esta referencia, VerbivocoVirtual 2 invita al p\u00fablico a reconfigurar sus automatismos y afinar su mirada m\u00e1s all\u00e1 de lo que la inteligencia artificial propone ofrecer.<\/p>\n\n\n\n

Fabio FON, Rodolfo Mata y Soraya Braz, curadores<\/em>
Octubre de 2025<\/em>.<\/p>\n\n\n\n

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PORTUGU\u00caS BRASILEIRO<\/strong><\/p>\n\n\n\n

VerbivocoVirtual 2<\/strong> \u00e9 um pavilh\u00e3o integrante da The Wrong Biennale 2025-2026, reunindo 43 obras de criadores de diferentes pa\u00edses. Assim como na primeira edi\u00e7\u00e3o deste pavilh\u00e3o, realizada por ocasi\u00e3o da The Wrong Biennale 2023-2024, apresentamos o resultado de uma sele\u00e7\u00e3o feita a partir de uma chamada aberta voltada a cria\u00e7\u00f5es que extrapolam os dom\u00ednios convencionais das din\u00e2micas verbais \u2014 seja referenciando o dom\u00ednio conceitual da palavra, seja ampliando o dom\u00ednio verbal sob outras linguagens.<\/p>\n\n\n\n

Nesse sentido, \u00e9 importante relembrar a perspectiva verbivocovisual que vislumbramos neste processo: a fus\u00e3o de verbal + vocal + visual, t\u00e3o cara ao legado da Poesia Concreta Brasileira, especialmente aos horizontes tra\u00e7ados pelos poetas Haroldo de Campos, D\u00e9cio Pignatari e Augusto de Campos, agora ampliados sob o virtual. Trata-se de um legado que permite compreender a arte da palavra \u2014 a poesia \u2014 em um sentido expandido, ampliando seus significados e suas virtualidades (ou potencialidades) em m\u00faltiplas dire\u00e7\u00f5es. No decurso de expans\u00e3o da arte da palavra, as tecnologias digitais s\u00e3o ferramentas fundamentais, com peculiaridades insubstitu\u00edveis.<\/p>\n\n\n\n

Por sua vez, na seara digital, o campo da intelig\u00eancia artificial tem ganhado proemin\u00eancia, especialmente nos \u00faltimos anos. Como se sabe, o surgimento de in\u00fameras ferramentas e plataformas capazes de gerar imagens, textos, v\u00eddeos e outros conte\u00fados de forma imediata catapultou as IAs a um uso massivo, lan\u00e7ando luz sobre as potencialidades e implica\u00e7\u00f5es dessa produ\u00e7\u00e3o. Entre o amor e o \u00f3dio pelo que \u00e9 criado por sistemas automatizados, reside a necessidade de reflex\u00e3o sobre sua linguagem e seus impactos t\u00e9cnicos, sociais, ambientais, cognitivos e criativos. Do lado de quem viabiliza essas plataformas, por sua vez, a cria\u00e7\u00e3o po\u00e9tica \u00e9 dataficada \u2014 transforma-se em dados digitais, sob a forma de padr\u00f5es estat\u00edsticos potencialmente recombin\u00e1veis e usurp\u00e1veis. Ora, se observarmos a hist\u00f3ria, desde o surgimento das tecnologias digitais no s\u00e9culo passado, o campo da cria\u00e7\u00e3o nunca esteve intocado pelos processos de datafica\u00e7\u00e3o e pelas incurs\u00f5es copiosamente maqu\u00ednicas; mesmo quem recusa o uso dessas tecnologias tende a ser por elas impactado, \u00e0s vezes de maneira n\u00e3o totalmente consciente.<\/p>\n\n\n\n

Assim, quando a atual edi\u00e7\u00e3o da The Wrong Biennale indica \u201cIntelig\u00eancia Artificial\u201d como diretiva tem\u00e1tica para seus pavilh\u00f5es, reativamos nosso VerbivocoVirtual \u2014 agora em sua segunda edi\u00e7\u00e3o \u2014 com foco em obras que usam e\/ou discutem poeticamente as IAs, inclusive nos casos em que n\u00e3o as utilizem efetivamente. Tal como na primeira edi\u00e7\u00e3o de VerbivocoVirtual, a sele\u00e7\u00e3o de obras para esta nova edi\u00e7\u00e3o do pavilh\u00e3o privilegiou a constitui\u00e7\u00e3o de um panorama amplo e heterog\u00eaneo de cria\u00e7\u00f5es que exploram poeticamente a palavra \u2014 ou seu dom\u00ednio conceitual \u2014 com aten\u00e7\u00e3o \u00e0s possibilidades criativas das tecnologias digitais. Al\u00e9m disso, nesta edi\u00e7\u00e3o, observamos os di\u00e1logos de cada trabalho com o tema da \u201cIntelig\u00eancia Artificial\u201d e sua disposi\u00e7\u00e3o em ultrapassar a aplica\u00e7\u00e3o utilit\u00e1ria dessas ferramentas.<\/p>\n\n\n\n

Ali\u00e1s, como forma de ampliar esse di\u00e1logo com o p\u00fablico, todas as obras possuem um texto declarat\u00f3rio que contextualiza o posicionamento de cada cria\u00e7\u00e3o diante das perspectivas das IAs. Ao todo, reunindo as 43 obras participantes, a exposi\u00e7\u00e3o \u00e9 um panorama que contraria a homogeneidade t\u00edpica das produ\u00e7\u00f5es que surgem nesse contexto \u2014 uma sele\u00e7\u00e3o exemplar de obras inventivas que escapam de refor\u00e7ar os clich\u00eas e idiossincrasias dessas ferramentas.<\/p>\n\n\n\n

Por fim, para abrigar as dezenas de obras participantes, VerbivocoVirtual 2 possui um website que n\u00e3o \u00e9 um territ\u00f3rio neutro diante das discuss\u00f5es aqui propostas. O c\u00f3digo da homepage foi criado a partir de intelig\u00eancia artificial, propondo (des)organizar as obras, apresentadas como stickers, sob regimes de caos e ordem definidos pelas escolhas do p\u00fablico. Quem acessa pode arrastar as pe\u00e7as, criando novas composi\u00e7\u00f5es e, por consequ\u00eancia, novas rela\u00e7\u00f5es entre as obras. A interface foi inspirada na obra de net art \u201cSwapping stickers: instructions\u201d (2022), dos artistas brasileiros Gabriel Pessoto e Nicole Kouts. Nessa obra original, os artistas engendram um cont\u00ednuo di\u00e1logo visual: todos os dias, por anos seguidos, um deles posta uma imagem no site e, no dia seguinte, o interlocutor analisa a imagem anterior e responde com outra, em um jogo cont\u00ednuo de similaridades e contiguidades visuais. A obra, entre outras leituras poss\u00edveis, pode ser entendida como um contraponto po\u00e9tico aos processos de intelig\u00eancia artificial que operam em sistemas de vis\u00e3o computacional, evidenciando um processo no qual emergem as analogias, os contrastes, as ironias \u2014 enfim, o que pode existir de extraordin\u00e1rio a partir do olhar do artista.<\/p>\n\n\n\n

Com essa men\u00e7\u00e3o, convidamos o p\u00fablico de VerbivocoVirtual 2 a reconfigurar seus automatismos e afinar seus olhares para al\u00e9m do que a intelig\u00eancia artificial prop\u00f5e oferecer.<\/p>\n\n\n\n

Fabio FON, Rodolfo Mata e Soraya Braz, curadores<\/em>
Outubro de 2025.<\/p>\n\n\n\n

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CURATORS<\/p>\n\n\n\n

FABIO FON (Brazil)<\/strong><\/p>\n\n\n\n

Fabio FON (F\u00e1bio Oliveira Nunes) is a Brazilian artist-researcher focused on contemporary languages, working on experimental art, visual poetics and art-technology. He holds Arts PhD from the School of Communications and Arts of the University of S\u00e3o Paulo, a post-doctorate in Arts from the Institute of Arts of Unesp, a Master in Multimedia (Multimedia) at UNICAMP and Bachelor of Fine Arts at UNESP. He is the author of the books CTRL+ART+DEL: dist\u00farbios em arte e tecnologia<\/em> (Ed. Perspectiva, 2010) and Mentira de artista: arte (e tecnologia) que nos engana para repensarmos o mundo <\/em>(Cosmogonias El\u00e9tricas, 2016) Site: http:\/\/www.fabiofon.com<\/a> .<\/p>\n\n\n\n

RODOLFO MATA (Mexico)<\/strong><\/p>\n\n\n\n

Rodolfo Mata (Mexico City, 1960). Poet and translator, works at the Universidad Nacional Aut\u00f3noma de M\u00e9xico. He has translated Brazilian writers such as Haroldo de Campos, Paulo Leminski, Sebasti\u00e3o Uchoa Leite, Rubem Fonseca and Clarice Lispector, and is co-author of the anthologies Ensayistas brasile\u00f1os<\/em> (2005), Alguna poes\u00eda brasile\u00f1a 1963-2007<\/em> (2009) and Antolog\u00eda Lit(e)Lat Volumen 1 de literatura electr\u00f3nica latinoamericana<\/em> (2021). As a poet he has published Parajes y paralajes<\/em> (1998), Temporal <\/em>(2008), Qu\u00e9 decir <\/em>(2011), Nuestro nombre<\/em> (2015), Doble naturaleza<\/em> (2015) and Desescribir<\/em> (2021) (visual poetry); and the electronic poems Silencio vac\u00edo<\/em> (2014) and Pronombres<\/em> (2018). He mantains the websites Jos\u00e9 Juan Tablada: vida, letra e imagen <\/em>(www.tablada.unam.mx<\/a>), Qu\u00e9 decir <\/em>(http:\/\/rodolfomata.blogspot.com<\/a>) and, with Diego Bonilla, Bio Electric Dot<\/em> (https:\/\/www.bioelectricdot.net<\/a>), that hosts the electronic poem Big Data<\/em> (2019), shortlisted for the Robert Coover Award 2021 of the Electronic Literature Organization.<\/p>\n\n\n\n

SORAYA BRAZ (Brazil)<\/strong><\/p>\n\n\n\n

Soraya Braz is a Brazilian artist and researcher, graduated in Arts from S\u00e3o Paulo University (USP) and Master of Visual Arts from S\u00e3o Paulo State University (UNESP). Her creations are visual poetry, digital art, installations and computer graphics. Took part in exhibitions such as FILE, FILE PAI, MOBILEFEST, Mostra SESC de Artes, FACTORS, Art\u00e9ria 40 anos, etc. She works in partnership with the artist Fabio FON with whom produced Roaming <\/em>(2007), Grampo <\/em>(2007), CAPTAS<\/em> (2010), Via Invis\u00edvel <\/em>(2011), Deliberator<\/em> (2014), and Delet\u00e9rio<\/em> (2021). Bio: https:\/\/fabiofon.com\/bio-soraya-braz\/<\/a><\/p>\n\n\n\n

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ARTISTS<\/strong> AND POETS<\/strong><\/p>\n\n\n\n

0nty \u25a0 Adri\u00e1n \u00c1vila P\u00e9rez (thewebsterror) \u25a0 Alejandro Thornton \u25a0 Alexandre De Nadal \u25a0 Amante da Heresia (aka. L\u00e9o Pimentel Souto) \u25a0 AMAZONAHIGHTECH \u25a0 Ana Su\u00e1rez \u25a0 Arnaud Laffond \u25a0 Be\u00e1ta Kolba\u0161ovsk\u00e1 \u25a0 Ciberpaj\u00e9 & C.N.S. \u25a0 Claudio Mangifesta and Fabio Doctorovich \u25a0  D\u00e9bora Daich \u25a0 F. C. Zuke \u25a0 Fabio FON \u25a0 henrique.exe \u25a0 Ines Beatriz Yajima Habara \u25a0 Jer\u00f3nimo Emiliano \u25a0 John-Robin Bold \u25a0 J\u00fcrgen Trautwein and Silvia Nonnenmacher \u25a0  Karen Caetano \u25a0 Marcela Peral \u25a0 Marcos de la Fuente \u25a0 Mercedes Bautista \u25a0 Nico Vassilakis \u25a0 Nicola Bertoglio \u25a0 Paula Val\u00e9ria Andrade \u25a0 Ranura vac\u00eda + Blackineel \u25a0 Raphael Ferreira \u25a0 Ro Barrag\u00e1n \u25a0 Rodolfo Mata \u25a0 Sergio Araht \u25a0 Sohyun Lee \u25a0 Soraya Braz \u25a0 Steve Dutton \u25a0 Tassia Mila \u25a0 Tchello d’Barros \u25a0 Tina Escaja \u25a0 Tobias Gaede \u25a0 Tulio Restrepo \u25a0 Vassilis Konstantinou \u25a0 Yichu Li \u25a0 Zhongyao Wang<\/p>\n\n\n\n

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ABOUT THE WRONG BIENNALE<\/strong><\/p>\n\n\n\n

The Wrong Biennale is an art driven, innovative and collaborative global event, online and offline, aiming to nurture digital culture, bringing together curators, artists and institutions, open to participation and awarded with SOIS Cultura 2019 and an honorific mention at S+T+ARTS 2020.<\/p>\n\n\n\n

Celebrating digital art culture since its first edition in 2013, more than 8000 artists and curators from all over the world have officially participated at The Wrong Biennale.<\/p>\n\n\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00ab BACK TO PAVILION WORKS ENGLISH VerbivocoVirtual 2 is a pavilion within The Wrong Biennale 2025\u20132026, gathering 43 works by creators from different countries. As in the first edition of this pavilion, held during The Wrong Biennale 2023\u20132024, we present the results of an open call for works that transcend the conventional domains of verbal dynamics […]<\/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-350","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/pages\/350","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/comments?post=350"}],"version-history":[{"count":12,"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/pages\/350\/revisions"}],"predecessor-version":[{"id":465,"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/pages\/350\/revisions\/465"}],"wp:attachment":[{"href":"https:\/\/fabiofon.com\/verbivocovirtual2\/wp-json\/wp\/v2\/media?parent=350"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}