{"id":223,"date":"2005-10-29T01:05:00","date_gmt":"2005-10-29T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=223"},"modified":"2005-10-29T01:05:00","modified_gmt":"2005-10-29T08:05:00","slug":"compatible_quotes_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2005\/10\/compatible_quotes_1\/","title":{"rendered":"Compatible Quotes"},"content":{"rendered":"<blockquote><p>To the complaint, &#8220;There are no people in these photographs,&#8221; I respond, &#8220;There are always two people: the photographer and the viewer.&#8221; \u00e2\u20ac\u201d<strong>Ansel Adams<\/strong><\/p><\/blockquote>\n<blockquote><p>Don\u00e2\u20ac\u2122t play what\u00e2\u20ac\u2122s there, play what\u00e2\u20ac\u2122s not there \u00e2\u20ac\u201d<strong>Miles Davis<\/strong><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>To the complaint, &#8220;There are no people in these photographs,&#8221; I respond, &#8220;There are always two people: the photographer and the viewer.&#8221; \u00e2\u20ac\u201dAnsel Adams Don\u00e2\u20ac\u2122t play what\u00e2\u20ac\u2122s there, play what\u00e2\u20ac\u2122s not there \u00e2\u20ac\u201dMiles Davis<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-223","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/223","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=223"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/223\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=223"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=223"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=223"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}