Exhibitions as Research contends that museums would be more attractive to both researchers and audiences if we consider exhibitions as knowledge-in-the-making rather than platforms for disseminating already-established insights. Analysing the theoretical underpinnings and practical challenges of such an approach, the book questions whether it is possible to exhibit knowledge that is still in the making, whilst also considering which concepts of "knowledge" apply to such a format. The book also considers what the role of audience might be if research is extended into the exhibition itself. Providing concrete case studies of projects where museum professionals have approached exhibition making as a knowledge-generating process, the book considers tools of application and the challenges that might emerge from pursuing such an approach. Theoretically, the volume analyses the emergence of exhibitions as research as part of recent developments within materiality theories, object-oriented ontology and participatory approaches to exhibition-making. Exhibitions as Research will be of interest to academics and students engaged in the study of museology, material culture, anthropology and archaeology. It will also appeal to museum professionals with an interest in current trends in exhibition-making.

Museum and Gallery Publishing examines the theory and practice of general and scholarly publishing associated with museum and art gallery collections. Focusing on the production and reception of these texts, the book explains the relevance of publishing to the cultural, commercial and social contexts of collections and their institutions. Combining theory with case studies from around the world, Sarah Anne Hughes explores how, why and to what effect museums and galleries publish books. Covering a broad range of publishing formats and organisations, including heritage sites, libraries and temporary exhibitions, the book argues that the production and consumption of printed media within the context of collecting institutions occupies a unique and privileged role in the creation and communication of knowledge. Acknowledging that books offer functions beyond communication, Hughes argues that this places books published by museums in a unique relationship to institutions, with staff acting as producers and visitors as consumers.The logistical and ethical dimensions of museum and gallery publishing are also examined in depth, including consideration of issues such as production, the impact of digital technologies, funding and sponsorship, marketing, co-publishing, rights, and curators' and artists' agency. Focusing on an important but hitherto neglected topic, Museum and Gallery Publishing is key reading for researchers in the fields of museum, heritage, art and publishing studies. It will also be of interest to curators and other practitioners working in museums, heritage and science centres and art galleries.

Based on a transnational study of decommissioned, postcolonial prisons in Taiwan (Taipei and Chiayi), South Korea (Seoul), and China (Lushun), this book offers a critical reading of prisons as a particular colonial product, the current restoration of which as national heritage is closely related to the evolving conceptualization of punishment. Focusing on the colonial prisons built by the Japanese Empire in the first half of the twentieth century, it illuminates how punishment has been considered a subject of modernization, while the contemporary use of prisons as heritage tends to reduce the process of colonial modernity to oppression and atrocity - thus constituting a heritage of shame and death, which postcolonial societies blame upon the former colonizers. A study of how the remembering of punishment and imprisonment reflects the attempts of postcolonial cities to re-articulate an understanding of the present by correcting the past, Heritage, Memory, and Punishment examines how prisons were designed, built, partially demolished, preserved, and redeveloped across political regimes, demonstrating the ways in which the selective use of prisons as heritage, reframed through nationalism, leaves marks on urban contexts that remain long after the prisons themselves are decommissioned. As such, it will appeal to scholars of sociology, geography, the built environment, and heritage with interests in memory studies and dark tourism.

Expanding Nationalisms at World's Fairs: Identity, Diversity, and Exchange, 1851-1915 introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperialism, expanding trade and the emergence of a consumer society. Its chapters, written by both established and emerging scholars, are global in scope, and demonstrate specific networks of communication and exchange among designers, manufacturers, markets and nations on the modern world stage from the second half of the nineteenth century into the beginning of the twentieth. Within the overarching theme of nationalism and internationalism as revealed at world's fairs, the book's essays will engage a more complex understanding of ideas of competition and community in an age of emergent industrial capitalism, and will investigate the nuances, contradictions and marginalized voices that lie beneath the surface of unity, progress, and global expansion.

Racism is a hot topic in museums today, as well as an urgent social issue. Focused on the broad field of multicultural policy, Museums and Racism examines how the Immigration Museum in Melbourne, Australia, has responded to political culture and public debate around racism. Analysis focuses on the conceptualization of the Immigration Museum in the mid-1990s, and on the most recent permanent exhibition to be opened there, in 2011, which coincided with the publication of a new multicultural policy for Australia. The opening of the National Museum of Australia in Canberra in the intervening period is also examined in some detail, as a comparative case study to provide a sense of the broader national social and political context. Message argues that each of the three episodes demonstrates the close relationship between museum and exhibition development on the one hand, and policy, politics, and public opinion on the other hand. Including a discussion of examples from the United States and other relevant contexts, Museums and Racism is key reading for students and scholars of museum studies and cultural studies around the world. The book should also be of great interest to museum practitioners and policymakers in the area of multiculturalism.

Monuments and memorials commemorating the dead and past events around the world have recently gained importance, not least because we are living in an era in which many are driven to record and archive the events of their lives. Cemeteries, in particular, are increasingly viewed as places associated with popular culture and cultural memory, with many now being considered as heritage tourism sites. Culture, Celebrity, and the Cemetery analyses the famous Hollywood Forever Cemetery in Los Angeles, USA, examining how the cemetery presents itself as an attraction, whilst also safeguarding and promoting cultural heritage. Focusing on an analysis of the articulation and performance of commemoration, Levitt examines how the cemetery leverages its rich resources to draw visitors and the diverse ways in which visitors interact with the cemetery, considering the influence of celebrity culture, fandoms, and cinema culture. Combining ethnographic research with cultural analysis, the book situates Hollywood Forever in the context of cemetery development in the United States and argues that touristic visits to cemeteries more generally have become similar to visits to more traditional memorials. Providing more than just a critical analysis of this fascinating cemetery as a landscape of famous death, Levitt coherently weaves the theme of cultural memory and meaning-making throughout every chapter. Offering the first book-length study of the cultural impact of Hollywood Forever in particular, and the cemetery as public heritage space in general, Culture, Celebrity, and the Cemetery will be of interest to scholars and students of heritage studies and tourism around the world.

Narratives of Vulnerability in Museums is a study of the challenges museums face when they present narratives of instability, uncertainty, and fear in their exhibitions. As a period of sustained societal and personal vulnerability, the Great Depression remains a watershed era in American history. It is an era when iconic visual culture of deprivation mixes in the popular imagination with groundbreaking government policy and has immense potential for museums, but this is accompanied by significant challenges. Analysing a range of case studies, the book explores both the successes and obstacles involved in translating historical narratives of vulnerability to the exhibition floor. Incorporating an innovative, trans-genre museological model, the book draws connections between exhibitions of history, art, and technology, as well as heritage sites, focused on a single era. Employing interpretations of housing, preserved and reconstructed, to discuss ideas of belonging and community, the book also examines the power of the iconic national story and the struggle for local relevance through discussions on strikes and industrial action. Finally, it examines the use of fine art in history exhibitions to access the emotional aspects of historical experience. The result is a volume that considers both how societies talk about less celebratory aspects of history, but also the expectations placed on museums as interpreters of the public narrative and agents of change. Narratives of Vulnerability in Museums makes a significant contribution to discourses of museum and heritage studies, of interwar history, of the social role of cultural institutions, and to vulnerability and resilience studies. As such, it should be essential reading for scholars and students working in these disciplines, as well as architecture, cultural studies, and human geography.

This Handbook explores the latest cross-disciplinary research on the inter-relationship between memory studies, place, and identity. In the works of dynamic memory, there is room for multiple stories, versions of the past and place understandings, and often resistance to mainstream narratives. Places may live on long after their physical destruction. This collection provides insights into the significant and diverse role memory plays in our understanding of the world around us, in a variety of spaces and temporalities, and through a variety of disciplinary and professional lenses. Many of the chapters in this Handbook explore place-making, its significance in everyday lives, and its loss. Processes of displacement, where people's place attachments are violently torn asunder, are also considered. Ranging from oral history to forensic anthropology, from folklore studies to cultural geographies and beyond, the chapters in this Handbook reveal multiple and often unexpected facets of the fascinating relationship between place and memory, from the individual to the collective. This is a multi- and intra-disciplinary collection of the latest, most influential approaches to the interwoven and dynamic issues of place and memory. It will be of great use to researchers and academics working across Geography, Tourism, Heritage, Anthropology, Memory Studies, and Archaeology.

Populism and Heritage in Europe explores popular discourses about European and national heritage that are being used by specific political actors to advance their agendas and to prevent minority groups from being accepted into European society. Investigating what kind of effect the politics of fear has on these notions of heritage and identity, the book also examines what kind of impact recent events and crises have had on the types of European memories and identities that have been promoted by the supporters of right-wing populist parties. Based on qualitative fieldwork conducted in six countries, this book specifically analyses how anti-European identities are being articulated by right-wing populist individuals. Providing an analysis of the manifestos, speeches and official documents of such parties, the book examines how they instrumentalise xenophobia, Islamophobia, Euroscepticism, globalisation and international trade in European spaces to mobilise the masses hit by financial crisis and refugee crisis. Drawing on in-depth interviews with the sympathisers of populist movements, Kaya provides some insights into the main motivations of these individuals in resorting to nativist and populist discourses, whilst also providing a thorough analysis of the use of the past and heritage by such parties and their followers. Populism and Heritage provides a unique insight into one of the most contested trends of the contemporary age. As such, the book should be of great interest to those working in the fields of heritage studies, cultural studies, politics, sociology, anthropology, philosophy and history.

This book attempts to dismantle the unfounded Eurocentric view of US-born and immigrant Mexican peoples, that groups together the identities of Latinx, Chicanx, and other indigenous peoples of the Southwest into Hispanics whose contributions to the cultural, historical, and social development of the Southwest are marginalized or made non-existent. The narrative and performative legacies that tourism and fantasy heritage produce are promulgated and consumed by both Latinx and non-Latinx peoples and cultures. This book endeavors to expose these productions through analysis of on-the-ground resistance in the service and spirit of intercultural dialogue and change. This book will offer a precise set of recommendations for breaking away from these practices and thus forming new, veritable identities. With a strongly heritage-oriented discourse, this book on deconstructing Eurocentric representation of Mexican people and their culture will appeal to academics and scholars of heritage tourism, Chicano studies, Southwest studies and Native American studies courses.

The Cultural Turn in International Aid is one of the first volumes to analyse a wide and comprehensive range of issues related to culture and international aid in a critical and constructive manner. Assessing why international aid is provided for cultural projects, rather than for other causes, the book also considers whether and how donor funded cultural projects can address global challenges, including post-conflict recovery, building peace and security, strengthening resilience, or promoting human rights. With contributions from experts around the globe, this volume critically assesses the impact of international aid, including the diverse power relations and inequalities it creates, and the interests it serves at international, national and local levels. The book also considers projects that have failed and analyses the reasons for their failure, drawing out lessons learnt and considering what could be done better in the future. Contributors to the volume also consider the influence of donors in privileging some forms of culture over others, creating or maintaining specific memories, identities, and interpretations of history, and their reasons for doing so. These rich discussions are contextualised through a historical section, which considers the definitions, approaches and discourses related to culture and aid at international and regional levels. Providing consideration of manifold manifestations of culture, The Cultural Turn in International Aid will be of great interest to scholars, students and practitioners. It will be particularly useful for those engaged in the study of heritage, anthropology, international aid and development, international relations, humanitarian studies, community development, cultural studies, politics or sociology.

Heritage, Photography, and the Affective Past critically examines the production, consumption, and interpretation of photography across various heritage domains, from global image archives to the domestic arena of the family album. Through original ethnographic and archival research, the book sheds new light on the role photography has played in the emergence, expansion, and articulation of heritage in diverse sociocultural contexts. Drawing on wide-ranging experience across the heritage sector and two international case studies - Angkor in Cambodia and the town of Famagusta, Cyprus - the book makes a major contribution to our understanding of the role photography has played and continues to play in shaping experiences and conceptualisations of heritage. One of the core aims of the book is to problematise and potentially redirect the varied usages of photography within current practice, usages which remain woefully undertheorised, despite their often-central role in shaping heritage. Ultimately, by focusing attention on a hitherto underexamined aspect of the heritage phenomenon, namely its manifold interconnections with photography, this book provides fresh insight to the making and remaking of the past in the present, and the alternative heritages that might come into being around emergent photographic forms and approaches. Heritage, Photography, and the Affective Past uses photography as a method of enquiry as well as a tool of documentation. It will be of interest to scholars and students of heritage, photography, anthropology, museology, public archaeology, and tourism. The book will also be a valuable resource for heritage practitioners working around the globe.

Heritage and Festivals in Europe critically investigates the purpose, reach and effects of heritage festivals. Providing a comprehensive and detailed analysis of comparatively selected aspects of intangible cultural heritage, the volume demonstrates how such heritage is mobilised within events that have specific agency, particularly in the production and consumption of intrinsic and instrumental benefits for tourists, local communities and performers. Bringing together experts from a wide range of disciplines, the volume presents case studies from across Europe that consider many different varieties of heritage festivals. Focusing primarily on the popular and institutional practices of heritage making, the book addresses the gap between discourses of heritage at an official level and cultural practice at the local and regional level. Contributors to the volume also study the different factors influencing the sustainable development of tradition as part of intangible cultural heritage at the micro- and meso-levels, and examine underlying structures that are common across different countries. Heritage and Festivals in Europe takes a multidisciplinary approach and as such, should be of interest to scholars and students in the fields of heritage studies, tourism, performing arts, cultural studies and identity studies. Policymakers and practitioners throughout Europe should also find much to interest them within the pages of this volume.

Collecting Activism, Archiving Occupy Wall Street explores the material collections produced by participants of Occupy Wall Street in 2011 that bear witness to the experience and agency of 'the 99%'. Examining processes of collection development as a lens through which to investigate the sociology of protest and reform movements, the book questions what contribution a dual study of the material culture of dissent and the production of a collection hosting the material culture of dissent might offer to a range of disciplines and practices. It asks if and how a collections-based study can test the propositions, tactics, and limits of activism from archival, museological, and political perspectives. Collecting Activism, Archiving Occupy Wall Street draws from interdisciplinary fields, including museum studies, collection studies, archive studies, cultural studies, and public history. It will be a valuable resource for scholars and practitioners engaged with contemporary cause-based collecting, activist archiving, public history, and the cultural politics and sociology of social reform movements. It models strategies for 'activating' historical archives and collections-based data, and for engaging with autoethnographic records to represent and analyze the material residue of protest and reform movements today.

Securing Urban Heritage considers the impact of securitization on access to urban heritage sites. Demonstrating that symbolic spaces such as these have increasingly become the location of choice for the practice and performance of contemporary politics in the last decade, the book shows how this has led to the securitization of urban public space. Highlighting specific changes that have been made, such as the installation of closed-circuit television or the limitation of access to certain streets, plazas and buildings, the book analyses the impact of different approaches to securitization. Claiming that access to heritage sites is a precursor to an informed and thorough understanding of heritage, the editors and contributors to this volume argue that new forms of securing urban heritage, including community involvement and digitalization, offer possibilities for the protection and use of urban heritage. Looking more closely at the versatile relationship between access and securitization in this context, the book provides a theoretical framework for the relationship between urban heritage and securitization. Comparing case studies from cities in Angola, Bulgaria, Eritrea, France, Germany, Hungary, Italy, Japan, Latvia, Mexico, Norway, Russia, Suriname, Sweden, Turkey, UK, and the US, the book reveals some of the key mechanisms that are used to regulate access to heritage sites around the world. Providing much-needed insight into the diverse challenges of securitization for access and urban heritage, Securing Urban Heritage should be essential reading for academics, students, and practitioners from the fields of heritage and urban studies, architecture, art history, conservation, urban planning, and urban geography.

Heritage and Sustainable Urban Transformations introduces the concept of 'deep cities', a novel approach to the understanding and management of sustainable historic cities that will advance knowledge about how the long-term, temporal and transformative character of urban heritage can be better integrated into urban policies for sustainable futures. Contrary to the growing emphasis on green or smart cities, which focus only on the present and future, the concept of 'deep cities' offers an approach that combines an in-depth understanding of the past with the present and future. Bringing together chapters that cover theoretical, methodological and management issues related to 'deep cities', the volume argues that using this approach will force researchers, managers and consultants to actively use the heritage and history of a city in the planning and management of sustainable cities. Exploring different definitions of 'deep cities', the book reveals varying and sometimes conflicting views among stakeholders concerning how, where and when the depth of a city should be conceptualized. Despite this, the book demonstrates how this new approach can help to create robust cities for the future, as new and innovative solutions are combined with the preservation and strengthening of historical features. Heritage and Sustainable Urban Transformations is the first international collection on the subject of sustainable historic cities. As such, the book will be of great interest to academics and students engaged in the study of heritage, heritage management, architecture, heritage conservation, anthropology, development studies, geography, planning and archaeology.

Dimensions of Heritage and Memory is a landmark contribution on the politics of the past in Europe today. The book explores the meanings of heritage in a time of crisis, when the past permeates social and political divisions, identity contests and official projects to forge a European community. Providing an overview of the literature and an analysis of the assumptions, values and philosophies embedded within European-level policy, the book explores different dimensions of heritage and memory, from official sites, museums and policy, to party politics, historical re-enactments and the everyday ways in which people use the past to make sense of who they are. The volume explores how different understandings of and attachments to the European past produce different 'Europes' in the present, accounting for today's tense social and political relations. The book also explores formative histories for European identities that are neglected or hidden because of political circumstances and non-official heritage. Contributors consider the meanings of interlocking crises, such as economic fallout, xenophobia and the fragmentation of the EU, for new understandings of Europe's past in the present. Dimensions of Heritage and Memory will be of great interest to researchers, academics and postgraduate students in the fields of heritage and memory studies, museum studies, history, cultural studies, sociology, anthropology and politics. The book will also be interesting to practitioners and cultural heritage policy-makers. Chapters 1,3,4,9 and 10 of this book are available for free in PDF format as Open Access from the individual product page at www.routledge.com. They have been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Museums and Centers of Contemporary Art in Central Europe is a comprehensive study of the ecosystem of art museums and centers in the Czech Republic, Hungary, Poland and Slovakia. Focusing on institutions founded after 1989, the book analyses a thirty-year boom in art exhibition space in these regions, as well as a range of socio-political influences and curatorial debates that had a significant impact upon their development. Tracing the inspiration for the increase in art institutions and the models upon which these new spaces were based, Jagodzinska offers a unique insight into the history of museums in Central Europe. Providing analysis of a range of issues, including private and public patronage, architecture, and changing visions of national museums of art, the book situates these newly-founded institutions within their historical, political and museological contexts. Considering whether - and in what ways - they can be said to have a shared regional identity that is distinct from institutions elsewhere, this valuable contribution paints a picture of the region in its entirety from the perspective of new institutions of art. Offering the first comprehensive study on the topic, Museums and Centers of Contemporary Art in Central Europe should be of great interest to academics, researchers and postgraduate students engaged in the study of museums, art, history and architecture.

This book analyzes practices of collecting in European art museums from 1989 to the present, arguing that museums actualize absence both consciously and unconsciously, while misrepresentation is an outcome of the absent perspectives and voices of minority community members which are rarely considered in relation to contemporary art. Difficult knowledge is proposed as a way of dealing with absence productively. Drawing on social art history, museology, postcolonial theory, and memory studies, Margaret Tali analyzes the collections of four modern and contemporary art museums across Europe: the Hamburger Bahnhof in Berlin, the Ludwig Museum of Contemporary Art in Budapest, the Kiasma Museum in Helsinki, and the Kumu Museum in Tallinn.

Science Museums in Transition: Unheard Voices considers how museums can adapt their exhibits, programs, and organizational structures to the diversity of ideas, people, and cultures that speak to modern science. This collection contains individual expressions by museum insiders addressing a range of particular perspectives - Native American, African American, Latinx, Islamic, Israeli, Danish, white North American. These reflections provide guidance to the museum community as to how their institutions can become more thoughtful, more welcoming to diverse audiences, and more cognizant of the ways that different people incorporate science into their daily lives. As a whole, the book emphasizes the need for museums to engage in dialogue with their visitors - not merely to present them with information - and to offer the opportunities to share experiences, exchange perspectives, and thereby advance science learning through a dynamic and collective process. Science Museums in Transition is intended to further discussion on how museums address the political and social ramifications of science and, as such, should be of great interest to academics, researchers and postgraduate students working in the fields of museum studies, science, anthropology, education and history. It should also be essential reading for museum professionals around the globe.

Not satisfied with the assertion that museums have taken great strides in becoming representative, relevant and open in their preoccupations, A Museum in Public contends that the supposedly public nature of their institutional role continues to be a rhetorical one. This book critically examines museums as institutions of the public sphere, questioning what assumptions are made about the publicness of their operations. Using as a case study the Royal Ontario Museum (ROM), Canada's largest museum, the book interrogates the public nature and political dynamics of the ROM as it completed a multi-million dollar architectural project and adopted a new vision of the museum. Providing an engaged cultural analysis of how publicness is reflected in the attitudes and behaviours of management, staff and visitors, Ashley claims that museums often function as a boundary zone between the needs and concerns of the public and ideas of publicness that serve corporate and managerial interests and practices. Asking the reader to seriously consider whether the ideals of contact zone and engagement are practically possible within an administrative setting, the book offers insights into how museums might achieve political publicness through transparent, open and democratic communicative action. A Museum in Public raises questions at the intersection of disciplines and, as a result, will appeal to academics, researchers and postgraduates in a number of fields, including: museum studies, heritage studies, cultural studies, cultural policy, public policy, political science, sociology, geography, architecture, art history, public history, tourism studies, and cultural management.

Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately funded heritage institutions into active players in the economic sector of culture. Exploring how this transformation reconfigured cultural diplomacy, the book argues that museums have become autonomous diplomatic players on the world stage. The book offers a comparative analysis across a range of case studies in order to demonstrate that museums have gone global in the era of neoliberal globalisation. Grincheva focuses first on the Solomon R. Guggenheim Foundation, which is well known for its bold revolutionising strategies of global expansion: museum franchising and global corporatisation. The book then goes on to explore how these strategies were adopted across museums around the world and analyses two cases of post-Guggenheim developments in China and Russia: the K11 Art Mall in Hong Kong and the International Network of Foundations of the State Hermitage Museum in Russia. These cases from more authoritarian political regimes evidence the emergence of alternative avenues of museum diplomacy that no longer depend on government commissions to serve immediate geo-political interests. Global Trends in Museum Diplomacy will be a valuable resource for students, scholars and practitioners of contemporary museology and cultural diplomacy. Documenting new developments in museum diplomacy, the book will be particularly interesting to museum and heritage practitioners and policymakers involved in international exchanges or official programs of cultural diplomacy.

Visitor Encounters with the Great Barrier Reef explores how visitor encounters have shaped the history and heritage of the Reef. Moving beyond the visual aesthetic significance, the book highlights the importance of multi-sensuous experiences in understanding the region as a UNESCO World Heritage Site. Drawing on archival and ethnographic research, the book describes how visitors have experienced the Great Barrier Reef through personal embodied encounters and the mechanisms they have used to understand, access and share these experiences with others. Illustrating how such experiences contribute to a knowledge of place, Pocock also explores the vital role of reproduction and photography in sharing experiences with those who have never been there. The second part of the book analyses visitor experiences and demonstrates how they underpin three key frames through which the Reef is understood and valued: the islands as paradise, the underwater coral gardens, and the singular Great Barrier Reef. Acknowledging that these constructs are increasingly removed from human experience, Pocock demonstrates that they are nevertheless integral to recognition of the region as a World Heritage Site. Demonstrating how experiences of the Reef have changed over time, Visitor Encounters with the Great Barrier Reef should be of interest to academics and students working in the fields of heritage studies, history and tourism. It should also be of interest to heritage practitioners working around the globe.

Methods of visualising modernity and capitalism have been central to classical social science. Those methods of seeing, specifically in the work of Marx, were attempts to capture visually the fragmenting edifice of capital in its death throes and were part of a project to hasten its demise - yet capitalism persisted and perpetuated itself in new forms, such that its demise now looks less likely than it did 150 years ago. This book argues for a new way of understanding Marx and a new way of approaching both capitalist modernity and Marx's Capital by rethinking the nature of vision. Through studies of visualisation in relation to machines and the monstrous, memory, mirrors and optics, and the invisible, Visualising the Empire of Capital offers a new way of thinking about what capital is and its future. A new reading of - and against - Marx, this volume argues for new forms of sensual utopia while initiating antagonism to the empire of capital itself. As such, it will appeal to social theorists, social anthropologists and sociologists with interests in critical theory, visual culture and aesthetics.

European Heritage, Dialogue and Digital Practices focuses on the intersection of heritage, dialogue and digital culture in the context of Europe. Responding to the increased emphasis on the potential for heritage and digital technologies to foster dialogue and engender communitarian identities in Europe, the book explores what kind of role digital tools, platforms and practices play in supporting and challenging dialogue about heritage in the region. Drawing on fieldwork involving several European museums and heritage organisations, the chapters in this volume critically engage with the role of digital technology in heritage work and its association with ideas of democratisation, multivocality and possibilities for feedback and dialogic engagement in the emerging digital public sphere. The book also provides a framework for understanding dialogue in relation to other commonly used approaches in heritage institutions, such as participation, engagement and intercultural exchange. The authors map out the complex landscape of digitally mediated heritage practices in Europe, both official and unofficial, by capturing three distinct areas of practice: perceptions and applications of digitally mediated dialogues around heritage within European museums and cultural policy, facilitation of dialogue between European museums and communities through participatory design approaches and non-official mobilisation of heritage on social media. European Heritage, Dialogue and Digital Practices will be of interest to both scholars and students in the fields of heritage and museum studies, digital heritage, media studies and communication, the digital humanities, sociology and memory studies. The book will also appeal to policy makers and professionals working in a variety of different fields.