{"version":"1.0","provider_name":"ZUM","provider_url":"https:\/\/revistazum.com.br\/en\/","author_name":"Revista ZUM","author_url":"https:\/\/revistazum.com.br\/en\/author\/carlos-franco\/","title":"An exercise in perspective - ZUM","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"HT7QZ5tKWR\"><a href=\"https:\/\/revistazum.com.br\/en\/revista-zum-14-2\/an-exercise-in-perspective\/\">An exercise in perspective<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/revistazum.com.br\/en\/revista-zum-14-2\/an-exercise-in-perspective\/embed\/#?secret=HT7QZ5tKWR\" width=\"600\" height=\"338\" title=\"&#8220;An exercise in perspective&#8221; &#8212; ZUM\" data-secret=\"HT7QZ5tKWR\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/revistazum.com.br\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/revistazum.com.br\/wp-content\/uploads\/2018\/09\/08_anna-Bella-Geiger\u0192d6_destaque.jpg","thumbnail_width":1139,"thumbnail_height":819,"description":"The interweaving of video and photography in performance art in the 1970s contributed to the debate on identity, gender and the body, and brought to the fore works by female artists. In 1974, American theorist Rosalind Krauss proposed the psychoanalytical hypothesis that the speculative potential of video also includes the possibility of autoerotic exploitation. In [&hellip;]"}