{"id":683,"date":"2007-02-11T19:20:12","date_gmt":"2007-02-12T00:20:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2007\/02\/style_as_substance\/"},"modified":"2007-02-11T19:20:12","modified_gmt":"2007-02-12T00:20:12","slug":"style_as_substance","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2007\/02\/style_as_substance\/","title":{"rendered":"STYLE AS SUBSTANCE"},"content":{"rendered":"<p><B><br \/>\nPULL QUOTE<br \/>\n<\/B> <BR><BR><br \/>\n&#8220;<a href=\"http:\/\/www.nytimes.com\/2007\/02\/09\/arts\/music\/09arte.html?_r=1&#038;oref=slogin\" target=\"_blank\">A composer whose core work represents brevity carried almost past its logical conclusion&#8230;<\/A>&#8221; &#8211;Bernard Holland on Webern<br \/>\n<BR><BR><br \/>\nHow many aesthetic distinctions get coiled up in that word &#8220;almost&#8221;? Discuss.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>PULL QUOTE &#8220;A composer whose core work represents brevity carried almost past its logical conclusion&#8230;&#8221; &#8211;Bernard Holland on Webern How many aesthetic distinctions get coiled up in that word &#8220;almost&#8221;? Discuss.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","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-683","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/683","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=683"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/683\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=683"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=683"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=683"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}