{"id":31042,"date":"2019-02-25T16:21:08","date_gmt":"2019-02-25T13:21:08","guid":{"rendered":"http:\/\/politeknik.org.tr\/\/?p=31042"},"modified":"2019-02-26T16:54:29","modified_gmt":"2019-02-26T13:54:29","slug":"insandan-fotograf-yapmak-nihal-tanbay","status":"publish","type":"post","link":"https:\/\/eonmeet.com\/pol\/insandan-fotograf-yapmak-nihal-tanbay\/","title":{"rendered":"\u0130nsandan foto\u011fraf yapmak – Nihal Tanbay"},"content":{"rendered":"

\u201cBu kitap insanl\u0131\u011f\u0131n foto\u011fraf\u0131d\u0131r\u201d<\/strong>
\n\u00a0 \u2013Gabriel Garc\u00eda M\u00e1rquez<\/strong><\/p>\n

\"\"<\/a>\"\"<\/a><\/p>\n

Sebasti\u00e3o Salgado\u2019nun 1986-1992 y\u0131llar\u0131 aras\u0131nda yakla\u015f\u0131k 26 \u00fclke gezerek adeta \u00e7ekmedi\u011fi, yaratt\u0131\u011f\u0131 bu muhte\u015fem yap\u0131t Workers i\u00e7in, \u015fimdiye kadar zaten olumlu ve olumsuz onlarca makale yaz\u0131lm\u0131\u015f ve foto\u011fraflar yetkin ki\u015filer taraf\u0131ndan yorumlanm\u0131\u015f.<\/p>\n

Salgado\u2019nun hayat\u0131yla ilgili Brezilya\u2019da k\u00f6yl\u00fclere toprak ba\u011f\u0131\u015flamas\u0131ndan tutun da rahat ve konforlu ya\u015fam\u0131n\u0131 terk edip hayallerinin pe\u015finden ko\u015fmas\u0131na de\u011fin efsanele\u015fmi\u015f hik\u00e2yelerini bolca bulmak m\u00fcmk\u00fcn.
\nAs\u0131l beni \u00e7eken \u015fey, Sevgili Emek Erez\u2019in Gazete Duvar\u2019da yay\u0131nlanan \u2018Sebastiao Salgado\u2019nun g\u00f6z\u00fc neler g\u00f6rd\u00fc?<\/a>\u2019 yaz\u0131s\u0131! \u201cTrajedinin foto\u011fraflanmas\u0131n\u0131n \u2018ahl\u00e2ki\u2019 olup olmad\u0131\u011f\u0131 konusunda bir tart\u0131\u015fma s\u00fcr\u00fcp gidiyor zaten\u201d c\u00fcmlesini olduk\u00e7a \u00f6nemseyerek, konunun sanatsal kriti\u011fini sanat\u00e7\u0131lara b\u0131rak\u0131p, bir i\u015f\u00e7i-m\u00fchendis olarak \u00e7\u0131plak ger\u00e7eklik \u00fczerinden biraz ilerlemek istiyorum..<\/p>\n

Trajedinin foto\u011fraflanmas\u0131 -ki e\u011fer trajedi insanlar\u0131n emeklerinin, duygular\u0131n\u0131n, bilgilerinin, k\u00fclt\u00fcrlerinin, ya\u015famlar\u0131n\u0131n s\u00f6m\u00fcr\u00fclmesi demek ise, gayri iradi ve mecbur b\u0131rak\u0131larak maruz kald\u0131klar\u0131 hayatsa, \u2018bunun ad\u0131 sadece foto\u011fraflamak de\u011fil, if\u015fa etmek, duyurmak demek\u2019 olmuyor mu?<\/p>\n

Biraz bu taraf\u0131ndan bakarak hayata, olup biteni nas\u0131l ve nereden okumam\u0131z gerekti\u011fi \u00fczerine d\u00fc\u015f\u00fcnerek, \u00e7ekilen trajedinin i\u00e7ine girerek, \u00e7amuru koklayarak kendimi Latin Amerika\u2019da, Kuzey Kivu\u2019da buldum. Elimdeki cep telefonuna bakarken \u00fczerinde biriken hikayeyi d\u00fc\u015f\u00fcnmekten kendimi alamaz halde!<\/p>\n

Te\u011fet ya\u015fanan hayatlar\u0131m\u0131zda mesafeyi birbiriyle \u00e7ak\u0131\u015facak kadar daraltman\u0131n \u00e7arp\u0131\u015fmak demek olmas\u0131n\u0131n, yani \u2018ya\u015famak\u2019 oldu\u011funu nas\u0131l yorumlayaca\u011f\u0131m\u0131z bizim hikayemize dahil, insanl\u0131\u011f\u0131n k\u00fcm\u00fclatif hikayesine! Baz\u0131lar\u0131m\u0131z ise o hikayeleri \u00e7ok g\u00fczel anlat\u0131yor, Salgado gibi\u2026<\/p>\n

\u201cKimsenin foto\u011fraflar\u0131mdaki \u0131\u015f\u0131\u011f\u0131 veya renklerin paletini takdir etmesini istemiyorum. Foto\u011fraflar\u0131m\u0131n insanlar\u0131 tart\u0131\u015fmalar\u0131n i\u00e7ine s\u00fcr\u00fcklemesini, ses getirmesini ve insanlar\u0131 bilgilendirmesini istiyorum\u201d derken, \u201cUnutmay\u0131n bunlar ya\u015fand\u0131!\u201d demek istiyor belki de. \u201cSiz tan\u0131k olmasan\u0131z da ya\u015fand\u0131, size \u2018kan\u0131tlar\u0131\u2019 getiriyorum\u201d diyor!
\nBakmay\u0131 neden \u00f6nemsememiz gerekti\u011fini, neden sadece foto\u011fraf karelerini, her foto\u011fraf karesi \u201canlar\u0131m\u0131z\u201d olsun, izlemeyip i\u00e7lerine girmemiz, orada nefes almam\u0131z, koklamam\u0131z, o karenin i\u00e7inde ki her \u015feye neden dokunmam\u0131z gerekti\u011fini s\u00f6yl\u00fcyor Salgado.<\/p>\n

Bir \u00e7a\u011fda\u015f\u0131 olarak Eduardo Galeano, Latin Amerika\u2019n\u0131n Kesik Damarlar\u0131\u2019nda Salgado\u2019nun \u00f6zellikle Brezilya\u2019da alt\u0131n madenlerinde \u00e7ekti\u011fi foto\u011fraflar\u0131 adeta dile getiriyor: \u201c\u2026 Aptall\u0131\u011fa olduk\u00e7a benzeyen bir suskunluk i\u00e7indeydik\u2026\u201d diyerek ba\u015flad\u0131\u011f\u0131 bu efsane kitap, Latin Amerika \u00fclkelerine neden \u2018geli\u015fmekte olan \u00fclkeler\u2019 dendi\u011fini ve i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n ac\u0131mas\u0131zca yoksulla\u015ft\u0131r\u0131lmas\u0131na neden \u2018gelirin gerileyen yeniden da\u011f\u0131l\u0131m\u0131\u2019 dendi\u011fini, kelime kelime, kitab\u0131n ad\u0131n\u0131 h\u00fccrelerinizde hissedece\u011finiz kadar ince bir \u00fcslupla dillendirmiyor sadece, Salgado\u2019yu madenlere \u00e7eken \u015feyin ne oldu\u011funu ve neden insanlar\u0131 d\u00fc\u015f\u00fcnmeye, tart\u0131\u015fmaya ve konu\u015fmaya \u00e7ekmek istedi\u011fini de pekala tarif ediyor.<\/p>\n

Latin Amerika\u2019n\u0131n Kesik Damarlar\u0131\u2019ndan \u00e7ekilip al\u0131nan sadece madenleri, petrolleri, kahve ve kakaolar\u0131 de\u011fil, halklar\u0131n dilleri, k\u00fclt\u00fcrleri, \u00f6zg\u00fcrl\u00fckleri, danslar\u0131, a\u015flar\u0131, a\u015fklar\u0131, emekleri, hayalleri ayn\u0131 zamanda\u2026 Salgado\u2019nun foto\u011fraf gelirlerinden kazand\u0131\u011f\u0131 parayla sat\u0131n ald\u0131\u011f\u0131 topraklar\u0131 Brezilya\u2019da ki yoksul k\u00f6yl\u00fclere neden ba\u011f\u0131\u015flad\u0131\u011f\u0131 sorusunun alt\u0131nda romantize edilemeyecek kadar derin ve k\u00f6kl\u00fc bir \u00f6yk\u00fc yat\u0131yor, ger\u00e7ek, trajik bir \u00f6yk\u00fc!<\/p>\n

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Serra Pelada madenleri cehennemi, 1980’ler<\/strong><\/figcaption><\/figure>\n

Galeano\u2019nun Zaman\u0131n A\u011f\u0131zlar\u0131 kitab\u0131nda yer verdi\u011fi \u2018Zaman\u0131n Zamanlar\u0131\u2019 hikayesi tam olarak b\u00fcy\u00fcte\u00e7 tutulmu\u015f bir Salgado hik\u00e2yesi:
\n\u201cO da bir hayalet. Saint Elie halk\u0131 \u00f6l\u00fcler bile kalkmak istemedi\u011finden mezarl\u0131\u011f\u0131 bile olmayan bu terkedilmi\u015f madende ta\u015flar\u0131 \u00f6\u011f\u00fcterek, kumlar\u0131 e\u015feleyerek \u00e7amurlar\u0131n i\u00e7inde ya\u015famay\u0131 s\u00fcrd\u00fcren birka\u00e7 ihtiyar\u0131 b\u00f6yle \u00e7a\u011f\u0131r\u0131yordu.
\nBu madenci yar\u0131m y\u00fczy\u0131l \u00f6nce \u00e7ok uzaklardan geldi, Cayeno Liman\u0131\u2019na vard\u0131 ve vaat edilmi\u015f topraklar\u0131 aramaya giri\u015fti. O zamanlar burada alt\u0131n meyveli bah\u00e7e \u00e7i\u00e7eklenmi\u015fti ve alt\u0131n a\u00e7l\u0131ktan \u00f6len herhangi bir yabanc\u0131y\u0131 kurtar\u0131p iyice tombulla\u015fm\u0131\u015f olarak evine geri yolluyordu; e\u011fer \u015fans isterse.<\/p>\n

\u015eans istemedi. Ama bu madenci burada ya\u015famay\u0131 s\u00fcrd\u00fcrd\u00fc; bir pa\u00e7avradan ba\u015fka elbisesi olmadan, hi\u00e7bir \u015fey yemeden, sivrisinekler taraf\u0131ndan yenerek ya\u015fad\u0131. Hi\u00e7bir \u015feyi arayarak, tablan\u0131n \u00f6n\u00fcne oturup onu g\u00fcne\u015fin ac\u0131mas\u0131zl\u0131\u011f\u0131ndan ancak koruyabilen kendisinden daha ince bir a\u011fac\u0131n alt\u0131nda g\u00fcn be g\u00fcn kum eleyerek ya\u015fad\u0131 durdu.
\nSebasti\u00e3o Salgado hi\u00e7 kimsenin u\u011framad\u0131\u011f\u0131 bu kay\u0131p madene var\u0131yor ve onun yan\u0131na oturuyor. Alt\u0131n avc\u0131s\u0131n\u0131n yaln\u0131zca tek bir di\u015fi kalm\u0131\u015ft\u0131, konu\u015furken a\u011fz\u0131n\u0131n gecesinde par\u0131ldayan alt\u0131ndan bir di\u015f:<\/p>\n

\u2043 benim kar\u0131m \u00e7ok g\u00fczeldir, diyor; k\u0131r\u0131k silik bir foto\u011fraf g\u00f6steriyor.
\n\u2043 beni bekliyor diyor; kad\u0131n yirmi ya\u015f\u0131nda<\/p>\n

kad\u0131n yar\u0131m y\u00fczy\u0131l \u00f6nce, d\u00fcnyan\u0131n bir yerinde yirmi ya\u015f\u0131nda.\u201d
\nZamandan, hayattan ve ger\u00e7ekten soyutlanm\u0131\u015f bir k\u00f6le insan. Elinde tuttu\u011fu tek insanca \u015fey ise elli y\u0131l uzakl\u0131kta!<\/p>\n

Bu hikayeyi Galeano’nun Latin Amerika\u2019n\u0131n Kesik Damarlar\u0131\u2019nda dedi\u011fi \u201ckurban-cellat ili\u015fkisi, hazin diyalektik: onur k\u0131r\u0131c\u0131 yap\u0131 uluslararas\u0131 pazarlarda ve mali merkezlerde ba\u015flar ve her yurtta\u015f\u0131n evinde biter\u201d tespitine ba\u011flamadan ge\u00e7ip gidemiyorum…<\/p>\n

\u00dcstelik Salgado’nun d\u00fcnyan\u0131n bir\u00e7ok \u00fclkesinde \u00e7ok farkl\u0131 k\u00fclt\u00fcrlerde ve co\u011frafyalarda madenciler, tar\u0131m i\u015f\u00e7ileri, liman i\u015f\u00e7ileri ve daha niceleri olmak \u00fczere zamandan ve mekandan ba\u011f\u0131ms\u0131z, esas\u0131nda ayn\u0131 cellatlar\u0131n ve kurbanlar\u0131n\u0131n foto\u011fraflar\u0131n\u0131 \u00e7ekerek, \u201cne \u0130spanya\u2019da, Fransa\u2019da madenlerdeki kurbanlar\u0131n Brezilya\u2019daki kurbandan fark\u0131 var ne de cellatlar\u0131n!\u201d diyerek adeta foto\u011fraflar\u0131yla Galeano’ya selam \u00e7ak\u0131yor. San\u0131r\u0131m rahatl\u0131kla diyebiliriz ki; Galeano, yurtsuz, hayalsiz, a\u015fks\u0131z b\u0131rak\u0131lm\u0131\u015f, hayat\u0131n\u0131n esas\u0131nda kaybolan h\u00fcz\u00fcnl\u00fc foto\u011fraf\u0131na bakan Alt\u0131n Avc\u0131s\u0131’n\u0131n s\u0131n\u0131rlar\u0131 a\u015fan hikayesini yaz\u0131yor, sadece evine de\u011fil kalbinde bir yerlere de \u00e7oktan \u00e7\u00f6reklenen trajediyi ise Salgado foto\u011frafl\u0131yor!<\/p>\n

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Ne dersiniz, bu foto\u011fraf Alt\u0131n Avc\u0131s\u0131’n\u0131n hayalinin foto\u011fraf\u0131d\u0131r belki!<\/p>\n

\u0130spanya’dan Latin Amerika’ya…<\/p>\n

Salgado foto\u011fraflar\u0131n sadece buzda\u011f\u0131n\u0131n g\u00f6r\u00fcnen y\u00fcz\u00fc oldu\u011funu s\u00f6yler ve o foto\u011fraflar\u0131n arkas\u0131ndaki ger\u00e7ek hayat\u0131n olduk\u00e7a fark\u0131nda ve i\u00e7indedir.<\/p>\n

Bir an d\u00fc\u015f\u00fcnmekten alam\u0131yorum kendimi etraf\u0131ma bakarken, \u2018nesnele\u015ftirmeden\u2019 hayat\u0131, b\u00fct\u00fcn ger\u00e7ekli\u011fi ile kavray\u0131p, an\u2019da \u00f6l\u00fcms\u00fczle\u015ftiren bir foto\u011fraf\u00e7\u0131 gibi, Salgado gibi bakmak d\u00fcnyaya! San\u0131r\u0131m en tarif edilmez taraf\u0131 bu, Salgado\u2019yu tan\u0131maya kar\u015f\u0131 koyam\u0131yor olu\u015fun!<\/p>\n

\u00dcretim ara\u00e7lar\u0131, y\u00f6ntemleri belki ayn\u0131 de\u011fil ancak hikaye ayn\u0131! Geli\u015fen ve inan\u0131lmaz h\u0131zla de\u011fi\u015fen teknoloji toplumlar\u0131nda g\u00f6r\u00fcnen sadece i\u015fin s\u00fcsl\u00fc yanlar\u0131. Christian Fuchs\u2019\u0131n \u2018dijitalle\u015fmenin kapitalist bi\u00e7imde ger\u00e7ekle\u015fti\u011fi d\u00fcnyada emek nas\u0131l de\u011fi\u015fiyor?\u2019 sorusunun cevab\u0131n\u0131 arad\u0131\u011f\u0131 Dijital Emek ve Karl Marx kitab\u0131nda verdi\u011fi \u015fu \u00f6rnek san\u0131r\u0131m yeterlidir: \u201cKuzey Kivu\u2019da mobil telefon ve bilgisayar \u00fcretimi i\u00e7in mineral \u00e7\u0131kar\u0131lan madenlerde \u00e7al\u0131\u015fan Muhanga Kawaya\u2019n\u0131n \u201ck\u00fc\u00e7\u00fcc\u00fck delikte s\u00fcr\u00fcn\u00fcrken, ellerinizi ve parmaklar\u0131n\u0131z\u0131 kullanarak kaz\u0131yorsunuz ve nihayet delikten \u00e7\u0131kt\u0131\u011f\u0131n\u0131zda elinizdekini almak i\u00e7in asker bekliyor.!\u201d<\/p>\n

Alt\u0131n Avc\u0131s\u0131\u2019yla Muhanga aras\u0131nda benzerlik size de hat\u0131rlatm\u0131yor mu o sars\u0131lmaz ger\u00e7e\u011fi, Anlat\u0131lan sizin hikayenizdir!
\n1844 El Yazmalar\u0131\u2019nda Marx, \u201cPolitik iktisat, i\u015f\u00e7iyle (emek) \u00fcretim aras\u0131ndaki dolays\u0131z ili\u015fkiyi g\u00f6z \u00f6n\u00fcne almayarak, eme\u011fin kendi i\u00e7inde yatan yabanc\u0131la\u015fmay\u0131 gizler. Emek zenginler i\u00e7in ger\u00e7ekten \u00e7ok g\u00fczell \u015feyler yarat\u0131r \u2013 ama i\u015f\u00e7i i\u00e7in \u00fcretti\u011fi yaln\u0131z yoksunluktur. Emek saraylar \u00fcretir \u2013 ama i\u015f\u00e7i i\u00e7in \u00fcretti\u011fi izbelerdir. G\u00fczellik \u00fcretir \u2013 ama i\u015f\u00e7i i\u00e7in, \u00e7irkinlik! \u0130nsan eme\u011finin yerine makinalar koyar \u2013 ama i\u015f\u00e7ilerden baz\u0131lar\u0131n\u0131 barbarca bir \u00e7e\u015fit \u00e7al\u0131\u015fmaya iteler ve ba\u015fka i\u015f\u00e7ileri de makinala\u015ft\u0131r\u0131r. Zeka \u00fcretir \u2013 ama i\u015f\u00e7i i\u00e7in \u00fcretti\u011fi aptall\u0131k, budalal\u0131kt\u0131r. Emekle \u00fcr\u00fcnleri aras\u0131ndaki dolays\u0131z ili\u015fki, i\u015f\u00e7iyle kendi \u00fcretti\u011fi nesneler aras\u0131ndaki ili\u015fkidir.\u201d diyerek tek alt\u0131n di\u015fi olan Alt\u0131n Avc\u0131s\u0131\u2019n\u0131n hikayesinde ki yabanc\u0131la\u015fmay\u0131 tariflemi\u015fti zaten! Kendi al\u0131nterini d\u00f6kerek yaratt\u0131\u011f\u0131 \u00fcr\u00fcn\u00fcn ve eme\u011finin, kar\u015f\u0131s\u0131na yabanc\u0131 bir g\u00fc\u00e7 olarak, bir d\u00fc\u015fman olarak dikili\u015finin hikayesi!<\/p>\n

Foto\u011fraflar\u0131n renklenmesi d\u0131\u015f\u0131nda hikayelerin farklar\u0131 yok!<\/p>\n

\"\"<\/a>\"\"<\/a><\/p>\n

Eduardo Galeano Salgado\u2019yu \u015f\u00f6yle anlatmakta hakl\u0131d\u0131r san\u0131r\u0131m: \u201cSalgado\u2019nun foto\u011fraflar\u0131 insan ac\u0131s\u0131n\u0131n \u00e7ok y\u00fczl\u00fc bir portresini sunuyor. Ayn\u0131 zamanda bizi insan onuruna sayg\u0131 duymaya davet ediyor. Bu a\u00e7l\u0131k ve ac\u0131 g\u00f6r\u00fcnt\u00fcleri, yabani a\u00e7\u0131k y\u00fcreklili\u011fin \u00fcr\u00fcnleri ama ayn\u0131 zamanda sayg\u0131l\u0131 ve edepli. Sefalet turizmiyle hi\u00e7bir ilgisi yok. Bu \u00e7al\u0131\u015fmalar insan ruhunu lekelemiyor, onu a\u00e7\u0131klamak i\u00e7in n\u00fcfuz ediyor. Hay\u0131rseverlik dikeydir, a\u015fa\u011f\u0131lar. Dayan\u0131\u015fma yatayd\u0131r, yard\u0131m eder. Salgado i\u00e7eriden foto\u011fraf \u00e7ekiyor; dayan\u0131\u015farak.\u201d<\/p>\n

Yukarda ki pasajdan c\u0131mb\u0131zlayarak \u2018Hay\u0131rseverlik dikeydir, a\u015fa\u011f\u0131lar. Dayan\u0131\u015fma yatayd\u0131r, yard\u0131m eder\u2019 c\u00fcmlesini, Latin Amerika\u2019n\u0131n Kesik Damarlar\u0131\u2019nda kurdu\u011fu \u015fu soruya ba\u011flamak istiyorum; \u201cbizi fel\u00e7li b\u0131rakanlar\u0131n tekerlekli sandalyelerini kabul m\u00fc edece\u011fiz?\u201d. As\u0131l soru bu iken nas\u0131l oluyor ve ne zaman biz tekerlekli sandalyenin bir ihtiya\u00e7 oldu\u011fu ve bize tekerlekli sandalye ba\u011f\u0131\u015flayanlar\u0131n b\u00fcy\u00fck hay\u0131rseverler olduklar\u0131n\u0131 d\u00fc\u015f\u00fcnmeye ba\u015flad\u0131k? Bu trajikomik durum ger\u00e7e\u011fin katman katman yer de\u011fi\u015ftirerek birbirinin yerini nas\u0131l ald\u0131\u011f\u0131n\u0131 ve bizim nas\u0131l ger\u00e7e\u011fe ve kendimize yabanc\u0131la\u015ft\u0131\u011f\u0131m\u0131z\u0131 izlememizi sa\u011fl\u0131yor.<\/p>\n

Salgado sadece bakmay\u0131 de\u011fil dokunmay\u0131 da se\u00e7ti diyebiliriz belki, belki dokunmak yabanc\u0131la\u015fmaya meydan okuma \u015feklidir, foto\u011fraf \u00e7ekmek ise dayan\u0131\u015fmak!<\/p>\n

G\u00f6zlerimizden s\u00fcz\u00fcl\u00fcp bize de\u011fen ger\u00e7ekleri reddetmeden g\u00f6r\u00fcp, y\u00fczle\u015fme niyeti ve cesaretimiz bizi mutlu edecek olan \u015feydir belki, kim bilir! Salgado\u2019nun foto\u011fraf makinas\u0131n\u0131 al\u0131p madenlere giderek hayata temas etme cesareti g\u00f6stermesi gibi!<\/p>\n

Hayata ger\u00e7ek g\u00f6zlerle, anlayarak, d\u00fc\u015f\u00fcnerek ve de\u011fer katarak bakmak belki biraz daha ya\u015fanas\u0131 bir d\u00fcnyan\u0131n kap\u0131lar\u0131n\u0131 aralar. Ahlaki olan tek \u015fey hayata hakikatle bakmak, dokunmak san\u0131r\u0131m ve kadraj\u0131 bu a\u00e7\u0131da tutmakta \u0131srarl\u0131 olmak!<\/p>\n

 <\/p>\n

Nihal Tanbay<\/strong>
\nMakina M\u00fchendisi<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"\u201cBu kitap insanl\u0131\u011f\u0131n foto\u011fraf\u0131d\u0131r\u201d \u00a0 \u2013Gabriel Garc\u00eda M\u00e1rquez Sebasti\u00e3o Salgado\u2019nun 1986-1992 y\u0131llar\u0131…\n","protected":false},"author":3,"featured_media":31054,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[4792,1991],"tags":[4794,4085,4795,3712,4793],"class_list":{"0":"post-31042","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-diger","8":"category-yazilar","9":"tag-eduardo-galeano","10":"tag-fotograf","11":"tag-fotograf-sanati","12":"tag-manset","13":"tag-sebastiao-salgado"},"acf":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/31042","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/comments?post=31042"}],"version-history":[{"count":0,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/31042\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media\/31054"}],"wp:attachment":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media?parent=31042"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/categories?post=31042"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/tags?post=31042"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}