{"id":3268,"date":"2020-09-18T16:41:14","date_gmt":"2020-09-18T16:41:14","guid":{"rendered":"https:\/\/ethics.arts.ac.uk\/wpx\/?page_id=3268"},"modified":"2021-07-06T07:01:55","modified_gmt":"2021-07-06T07:01:55","slug":"resources","status":"publish","type":"page","link":"https:\/\/ethics.arts.ac.uk\/wpx\/resources\/","title":{"rendered":"Resources"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2-1024x576.jpg\" alt=\"Illustration for Resources\" class=\"wp-image-2008\" width=\"1450\" height=\"815\" srcset=\"https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2-1024x576.jpg 1024w, https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2-300x169.jpg 300w, https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2-768x432.jpg 768w, https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2-1536x864.jpg 1536w, https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/Resources-2.jpg 1920w\" sizes=\"auto, (max-width: 1450px) 100vw, 1450px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-table aligncenter sticky is-style-regular\"><table class=\"has-subtle-light-gray-background-color has-fixed-layout has-background\"><thead><tr><th class=\"has-text-align-left\" data-align=\"left\"><a href=\"#part1\">1. Further reading<\/a><\/th><th class=\"has-text-align-left\" data-align=\"left\"><a href=\"#part2\">2. Ethics codes of practice<\/a><\/th><th class=\"has-text-align-left\" data-align=\"left\"><a href=\"#part3\">3.<strong> Further references<\/strong><\/a><\/th><th class=\"has-text-align-left\" data-align=\"left\"><a href=\"#part4\">4. Transcripts<\/a><\/th><\/tr><\/thead><\/table><\/figure>\n\n\n\n<h2 class=\"has-neve-link-hover-color-color has-text-color wp-block-heading\" id=\"part1\">Professor Rughani further reading <\/h2>\n\n\n\n<p>Downloads available at: Research Gate, Academica.edu<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Rughani, P. (2012) &#8220;The Art of Not Knowing&#8221; in Adams, K, &amp; Shaw, P. (eds.) <em><a rel=\"noreferrer noopener\" href=\"https:\/\/projectartworks.org\/wp-content\/uploads\/2015\/08\/Anthology.pdf\" target=\"_blank\">Anthology, Project Art Works 1997 &#8211; 2012 <\/a><\/em>Project Art Works pp 204 &#8211; 206. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Rughani, P. (2012) &#8220;The Dance of Documentary Ethics&#8221; in Winston, B. (ed.) <em><a rel=\"noreferrer noopener\" href=\"https:\/\/shop.bfi.org.uk\/documentary-film-book-the.html\" target=\"_blank\">The Documentary Film Book<\/a> <\/em>bfi pp 98 &#8211; 109.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Rughani, P. (2010) &#8220;Are you a vulture? Reflecting on the ethics and aesthetics of atrocity coverage and its aftermath&#8221;  in Keeble, R.L., Tulloch, J. &amp; Zollmann, F. (eds.) <em><a rel=\"noreferrer noopener\" href=\"https:\/\/www.peterlang.com\/view\/title\/21270\" target=\"_blank\">Peace Journalism, War and Conflict Resolution&nbsp;<\/a><\/em>Peter Lang: Oxford, pp 157 &#8211; 172.<\/p>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"has-neve-link-hover-color-color has-text-color wp-block-heading\" id=\"part2\">Ethics codes of practice<\/h2>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a href=\"https:\/\/www.bbc.com\/editorialguidelines\/guidance\/vulnerable-contributors\" target=\"_blank\" rel=\"noreferrer noopener\">BBC Guidance<\/a>&nbsp;on working with vulnerable contributors. <a href=\"http:\/\/www.bbc.co.uk\/ethics\/introduction\/\" target=\"_blank\" rel=\"noreferrer noopener\">BBC Ethics Guide<\/a>&nbsp;(archived pages)<\/p>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a href=\"https:\/\/www.equalityhumanrights.com\/en\" target=\"_blank\" rel=\"noreferrer noopener\">The Equality and Human Rights Commission<\/a>&nbsp;is Great Britain\u2019s national equality body and has been awarded an \u2018A\u2019 status as a National Human Rights Institution (NHRI) by the United Nations.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>British Educational Research Association <a href=\"https:\/\/www.bera.ac.uk\/researchers-resources\/resources-for-researchers\" target=\"_blank\" rel=\"noreferrer noopener\">BERA\u2019s ethics and guidance<\/a>&nbsp;documents are used by educational researchers and those active in many other disciplines.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>British Psychological Society (2020). <a rel=\"noreferrer noopener\" href=\"Author.\" target=\"_blank\">Conducting research with people not having the capacity to consent to their participation: A practical guide for researchers.<\/a> Leicester: Author.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Hanna, M. &amp; Dodd, M. (2020) (25th ed.) <em>McNae&#8217;s Essential Law for Journalists<\/em>.&nbsp;OUP Oxford.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Madary, M. and Metizinger, T. K.&nbsp;(2016)&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.frontiersin.org\/articles\/10.3389\/frobt.2016.00003\/full\" target=\"_blank\">Real Virtuality: A Code of Ethical Conduct.<\/a> Recommendations for Good Scientific Practice and the Consumers of VR-Technology<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/www.nuj.org.uk\/home\/\" target=\"_blank\">NUJ code of conduct&nbsp;<\/a>The National Union of Journalists&#8217; code of conduct has set out the main principles of UK and Irish journalism since 1936.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/www.ofcom.org.uk\/__data\/assets\/pdf_file\/0016\/132073\/Broadcast-Code-Full.pdf\" target=\"_blank\">Ofcom Broadcasting Code<\/a> (2019) Ofcom is the regulator for the communications services&#8221;The&nbsp;Code&nbsp;is set out in terms of principles, meanings and rules and, for Sections seven (Fairness) and eight (Privacy), also includes a set of &#8220;practices to be followed\u201d by&nbsp;broadcasters.&#8221;<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>UK Government (2005) <a rel=\"noreferrer noopener\" href=\"https:\/\/www.gov.uk\/government\/organisations\/office-of-the-public-guardian\" target=\"_blank\">Code of Practice<\/a>&nbsp;Office of the Public Guardian. Code of practice giving guidance for decisions made under the Mental Capacity Act 2005.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>University of the Arts London&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.arts.ac.uk\/about-ual\/public-information\/equality-objectives-and-reports\" target=\"_blank\">Code of Practice on Research Ethics<\/a>. <a rel=\"noreferrer noopener\" href=\"https:\/\/www.arts.ac.uk\/__data\/assets\/pdf_file\/0020\/43328\/UAL-Code-of-Practice-on-Research-Ethics-February-2017.pdf\" target=\"_blank\">UAL<\/a>&nbsp;is committed to supporting good practice in research and scholarly activity.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p>University of the Arts London&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.arts.ac.uk\/research\/research-standards-and-ethics\" target=\"_blank\">Research Standards and Ethics<\/a>.<\/p>\n<\/div><\/div>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"has-neve-link-hover-color-color has-text-color wp-block-heading\" id=\"part3\"><strong>Further references<\/strong><\/h2>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Bernardi, D. (2009) <em>Filming Difference:&nbsp;Actors, Directors, Producers, and Writers on Gender, Race, and Sexuality in Film<\/em> University of Texas Press.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Bershen, W. (2010)<em> <a href=\"https:\/\/www.documentary.org\/feature\/question-ethics-relationship-between-filmmaker-and-subject\" target=\"_blank\" rel=\"noreferrer noopener\">A Question of Ethics<\/a>: The Relationship between Filmmaker and Subject. <\/em>Documentary Magazine. International Documentary Association.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Brassett, J. (2018) &#8220;Creating Affective Social Design: An ethical and ontological discussion&#8221;. <em>In <a rel=\"noreferrer noopener\" href=\"https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/07\/CJ_01_010_Brassett.pdf\" target=\"_blank\">Cubic Journal 1 (1)<\/a>: 172-185,<\/em> Hong Kong pp 172-185.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Brylla, C. and Hughes, H. (eds.) (2017) <em>Documentary and Disability<\/em>. Springer.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/channel\/UCM2nSBiVH_QQkaHfOmwkdtQ\" target=\"_blank\">Chicago Humanities Festival<\/a> (2013) <em><a href=\"http:\/\/Gordon Quinn: Ethics of Documentary Filmmaking\" target=\"_blank\" rel=\"noreferrer noopener\">Gordon Quinn: Ethics of Documentary Filmmaking <\/a><\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Church, D. (2006) <em>Fantastic Films, Fantastic Bodies: Speculations on the Fantastic and Disability Representation<\/em> Offscreen:&nbsp;Montreal<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Furman, L. R. (2019)&nbsp;<em>Ethics in Art Therapy: Challenging Topics for a Complex Modality.&nbsp;<\/em>Palgrave Macmillan.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Gale, D. (2012) <em>Disability and the media: disability in films. <\/em><a rel=\"noreferrer noopener\" href=\"https:\/\/disabilityhorizons.com\/about\/\" target=\"_blank\">Disability Horizons<\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/theethicslab.com\/the-founder\/\" target=\"_blank\">Geva, D<\/a>. (2018) <em>Toward a philosophy of the documentarian: A prolegomenon<\/em>. Cham : Palgrave Macmillan US. [<a rel=\"noreferrer noopener\" href=\"https:\/\/ethics.arts.ac.uk\/wpx\/wp-admin\/post.php?post=839&amp;action=edit\" target=\"_blank\">Education page<\/a>]<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Hand, S. (ed.) (1989) <em>The&nbsp;L\u00e9vinas&nbsp;reader<\/em>. Oxford: Basil Blackwell.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Hohenberger, E. (2008) \u2018Vietnam\/US\u2019 (an interview with Trinh T. Minh-ha in Gail Pearce and Cahal McLaughlin (eds.) <em>Truth or Dare: Art and Documentary<\/em> Bristol: Intellect pp. 118\u201319.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Juhasz, A. (2016) <em><a rel=\"noreferrer noopener\" href=\"https:\/\/daily.jstor.org\/how-do-i-not-look\/\" target=\"_blank\">How Do I (Not) Look? Live Feed Video and Viral Black Death.<\/a> <\/em>JSTOR Daily.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Juhasz, A. (2003) <a rel=\"noreferrer noopener\" href=\"https:\/\/ethics.arts.ac.uk\/wpx\/wp-content\/uploads\/2020\/09\/camera_obscura_NoWomanisanObject.pdf\" target=\"_blank\">&#8216; No Woman is an Object: Realizing the Feminist Collaborative Video&#8217;<\/a> <em>Camera Obscura<\/em> Vol. 54, pp 71-98.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Lawson, K. (2018) <a rel=\"noreferrer noopener\" href=\"https:\/\/www.vice.com\/en_us\/article\/zmwq3x\/why-diversity-on-screen-is-important-black-panther\" target=\"_blank\"><em>Why Seeing Yourself Represented on Screen Is So Important<\/em><\/a> Identity. Vice.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Maccarone,&nbsp;E. M.&nbsp;(2010)&nbsp;<em>Ethical Responsibilities to Subjects and Documentary Filmmaking<\/em>,&nbsp;Journal of Mass Media Ethics,&nbsp;25:3,&nbsp;192-206.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Miller, J. (ed.) (2013)&nbsp;<em>Film and Ethics: What Would You Have Done?&nbsp;<\/em>Vol 11&nbsp;<em>Studies&nbsp;in Ethics&nbsp;Series<\/em>. Cambridge Scholars Publishing. <em>S<\/em>eries editor: Dr David Torevell Series deputy editor: Dr Jacqui Miller. Liverpool&nbsp;Hope University&nbsp;<a href=\"https:\/\/www.hope.ac.uk\/research\/researchethics\/\" target=\"_blank\" rel=\"noreferrer noopener\">Research Ethics<\/a>&nbsp;<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>National Public Radio (2012)<em> <a href=\"https:\/\/www.npr.org\/2012\/12\/06\/166666261\/documenting-tragedy-the-ethics-of-photojournalism\" target=\"_blank\" rel=\"noreferrer noopener\">Documenting Tragedy: The Ethics Of Photojournalism<\/a><\/em> Talk of the Nation.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Nichols, B. (2016).&nbsp;<em>Speaking Truths with Film: Evidence, Ethics, Politics in Documentary<\/em>. Oakland, California: University of California Press.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a href=\"http:\/\/projectartworks.org\/the-organisation\/\" target=\"_blank\" rel=\"noreferrer noopener\">Project Art Works<\/a>&nbsp;explores and promotes new practical and philosophical approaches to the meaningful involvement of people who have complex impairments&nbsp;in visual art activity that finds its way into mainstream programming and is of exceptional quality in its concept, aesthetic and production.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Renov, M. (2014) <em>The Subject of Documentary.<\/em> <a rel=\"noreferrer noopener\" href=\"https:\/\/www.upress.umn.edu\/book-division\/books\/the-subject-of-documentary\" target=\"_blank\">University of Minnesota Press: Minneapolis<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Tate Modern (2016) T<a href=\"https:\/\/www.tate.org.uk\/about-us\/projects\/ethics-participatory-research-and-arts-practice\">he Ethics of Participatory Research and Arts Practic<\/a>e.&nbsp;An event held by the Tate Research Centre: Learning, held at Tate Modern attended by 70 researchers, artists, curators, educators and participants in the field of arts and learning across the&nbsp;UK.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>The Ethics Centre:&nbsp;(2017)&nbsp;<em>What is Ethics?<\/em>, and&nbsp;<a href=\"http:\/\/www.ethics.org.au\/on-ethics\/blog\/february-2017\/ethics-explainer-what-is-free-speech\" target=\"_blank\" rel=\"noreferrer noopener\">The Ethics Explainer: Free Speech.<\/a>&nbsp;<\/p>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Williams, P.J. (2018). <em>\u2018White Voice, Blackface, and the Ethics of Representation&#8217;<\/em>&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.thenation.com\/article\/white-voice-blackface-and-the-ethics-of-representation\/\" target=\"_blank\">When is it fair to speak with someone else\u2019s voice?<\/a> The Nation.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/staff.lincoln.ac.uk\/8d0d7273-4464-4595-96f2-50a6e90ec6d0\" target=\"_blank\">Winston, B<\/a>. (2000)<em>&nbsp;Lies, Damn Lies and Documentaries<\/em>.&nbsp;British Film Institute.<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<h2 class=\"has-neve-link-hover-color-color has-text-color wp-block-heading\" id=\"part4\"><strong><a href=\"https:\/\/ethics.arts.ac.uk\/wpx\/transcripts\/\" target=\"_blank\" rel=\"noreferrer noopener\">Transcripts<\/a><\/strong><\/h2>\n\n\n\n<p>Browse downloadable transcripts of video, audio and text materials under each theme here.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1. Further reading 2. Ethics codes of practice 3. Further references 4. Transcripts Professor Rughani further reading Downloads available at: Research Gate, Academica.edu Rughani, P. (2012) &#8220;The Art of Not Knowing&#8221; in Adams, K, &amp; Shaw, P. (eds.) Anthology, Project Art Works 1997 &#8211; 2012 Project Art Works pp 204 &#8211; 206. Rughani, P. (2012)&hellip;&nbsp;<a href=\"https:\/\/ethics.arts.ac.uk\/wpx\/resources\/\" rel=\"bookmark\">Read More &raquo;<span class=\"screen-reader-text\">Resources<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"off","neve_meta_content_width":100,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"class_list":["post-3268","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/pages\/3268","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/comments?post=3268"}],"version-history":[{"count":13,"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/pages\/3268\/revisions"}],"predecessor-version":[{"id":3373,"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/pages\/3268\/revisions\/3373"}],"wp:attachment":[{"href":"https:\/\/ethics.arts.ac.uk\/wpx\/wp-json\/wp\/v2\/media?parent=3268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}