Underwater Cultural Heritage investigates cases of underwater cultural heritage, exploring ethical issues that have never been studied before. A vast cultural heritage lies beneath the sea, including the archaeological remains of more than three million vessels, as well as historic monuments and whole cities. In addition, climate change, population growth and current events around the world mean that new underwater cultural heritage is being created faster than ever before. It is, therefore, essential that the ethical issues related to the management of such heritage are considered now, especially as decisions made now will bestow the heritage with a value and will establish legal frameworks that could be used either to protect or harm underwater heritage in the future. Considering a range of challenges related to underwater cultural heritage - including preservation, management, use, sustainability, valuation, politics, identity, human rights, and intangible heritage - the book presents case studies that both illustrate the key ethical issues and also offer possible solutions to help navigate such challenges. The book will also explore the various legislative instruments protecting underwater cultural heritage and emphasise the importance of revising and updating legal frameworks, whilst also taking into account ethical concerns that may expose cultural heritage to more serious menaces. Underwater Cultural Heritage draws on case studies from around the globe and, as such, should be of great interest to academics, researchers and students working in heritage studies, archaeology, history, politics and sustainability. It should also be appealing to heritage practitioners and policymakers who want to learn more about the issues surrounding not only management of underwater cultural heritage but management of cultural heritage in general.

Vast sums of money spent to design, construct, and maintain museum additions demand great accountability of museum leaders and design professionals towards visitors and employees. Museum visitors today come not only to view works of art, but also to experience museum architecture itself, resulting in most major cities competing to build new museum additions or new museum buildings to become world class tourist destinations. Shedding New Light on Art Museum Additions presents post-occupancy evaluations of four high-profile museums and their additions in the United States and helps museum stakeholders understand their successes, shortcomings, and how their designs affect both visitors and employees who use them every day. The book helps decision-makers assess the short-term and long-term impacts of future proposals for new museum additions and illuminates the critical importance of investing in employee work environments, and giving serious consideration to lighting, wayfinding, accessibility, and the effects of museum fatigue that arise from the lack of public amenities. Museum leaders, curators, architects, designers, consultants, patrons of the arts and museum visitors will find this book to be a useful resource when planning and evaluating new building additions.

Cultural Heritage, Ageing, Disability, and Identity examines the effects of disability and ageing on engagement with cultural heritage and associated cultural identity formation processes. Combining theory with detailed case study research, it unpicks both the current state of play and future directions. The book is based upon detailed case example research on both the self-reported individual experiences of people with disabilities engaging with cultural heritage, and the accessibility approaches of cultural heritage institutions themselves. Hayhoe grounds the analysis in a theoretical and historical overview of disability and inclusion. He interrogates the various ways in which identity is formed through interaction with cultural heritage, and considers the differences in engagement with cultural heritage amongst those who develop disabilities early in life compared to those who acquire disabilities later in life. His conclusions offer insights that can help improve the provision of cultural heritage engagement to all people, but particularly those with disabilities. Cultural Heritage, Ageing, Disability, and Identity is key reading for students and scholars of cultural heritage, visitor studies, and disability studies, and will also be of interest to other subject areas engaging with issues of accessibility. It should also be read by institutions looking to improve their accessibility strategy to engage broader audiences.

Drawing on expertise in art history, exhibition studies and cultural studies as well as politics and international relations, China in Australasia presents significant new perspectives on the role of art in the cultural diplomacy of the People's Republic of China. The book tells the forgotten story of the loan, exchange, and gifting of Chinese art, museum exhibitions-and the use of Chinese arts more broadly-in growing diplomatic relations with Australia and New Zealand, from 1949 to the present day. Its scope includes pre-modern, modern and contemporary sculpture, painting and peasant art, as well as ancient artefacts, performance arts and gardens. In considering the geopolitical connections opened by the arts, this book presents new insights into some of the ways in which China, often in conjunction with local supporters, sought to present itself to the people of Australia and New Zealand. It also considers how, for their part, New Zealanders and Australians worked to expand understandings of their powerful northern neighbour within changing political contexts. The first of its kind, this book-length interdisciplinary study of Chinese soft diplomacy in Australasia will be invaluable to students and scholars of Chinese studies, cultural diplomacy, museum studies and art history.

Early Modern Merchants as Collectors encourages the rethinking of collecting not as an elite, often aristocratic pursuit, but rather as a vital activity that has engaged many different groups within society. The essays included in this volume consider merchants not only as important collectors in their own right, as opposed to merely agents or middlemen, but also as innovators who determined taste. Through bringing together contributions on merchant collectors across a wide geographical spread, including England, The Netherlands, Venice, Moghul India, China and Japan, among other locations, it aims to challenge the often Eurocentric view of the study of collecting that has shaped the discipline to date. The early modern period and its Wunderkammern formed the subject of some of the earliest, foundational texts on collecting. This volume expands on such previous scholarship, taking a more in-depth look at a particular class of collectors and investigating their motivations, social and economic circumstances, and the intellectual ideas and purposes that informed their collecting. It offers a fresh approach to the understanding of the role of merchants in early modern societies and will serve as a resource to historians of art, science, museums, culture and economics, as well as to scholars of transcultural studies.

The Museum of New Zealand Te Papa Tongarewa has been celebrated as an international leader for its bicultural concept and partnership with Maori in all aspects of the museum, but how does this relationship with the indigenous partner work in practice? Biculturalism at New Zealand's National Museum reveals the challenges, benefits and politics of implementing a bicultural framework in everyday museum practice. Providing an analysis of the voices of museum employees, the book reflects their multifaceted understandings of biculturalism and collaboration. Based on a year of intensive fieldwork behind the scenes at New Zealand's national museum and drawing on 68 interviews and participant observations with 18 different teams across the organisation, this book examines the interactions and cultural clashes between Maori and non-Maori museum professionals in their day-to-day work. Documenting and analysing contemporary museum practices, this account explores how biculturalism is enacted, negotiated, practised and envisioned on different stages within the complex social institution that is the museum. Lessons learnt from Te Papa will be valuable for other museums, NGOs, the public service and organisations facing similar issues around the world. Biculturalism at New Zealand's National Museum addresses a gap in the literature on biculturalism and reaffirms the importance of ethnography to the anthropological enterprise and museum studies research. As such, it will be essential reading for academics, researchers and postgraduate students in the fields of cultural anthropology, museum anthropology, museum studies, and Maori studies or indigenous studies. It should also be of great interest to museum professionals.

Bringing together scholars and practitioners from North America, Europe, Russia, and Australia, this pioneering volume provides a global survey of how museums address religion and charts a course for future research and interpretation. Contributors from a variety of disciplines and institutions explore the work of museums from many perspectives, including cultural studies, religious studies, and visual and material culture. Most museums throughout the world - whether art, archaeology, anthropology or history museums - include religious objects, and an increasing number are beginning to address religion as a major category of human identity. With rising museum attendance and the increasingly complex role of religion in social and geopolitical realities, this work of stewardship and interpretation is urgent and important. Religion in Museums is divided into six sections: museum buildings, reception, objects, collecting and research, interpretation of objects and exhibitions, and the representation of religion in different types of museums. Topics covered include repatriation, conservation, architectural design, exhibition, heritage, missionary collections, curation, collections and display, and the visitor's experience. Case studies provide comprehensive coverage and range from museums devoted specifically to the diversity of religious traditions, such as the State Museum of the History of Religion in St Petersburg, to exhibitions centered on religion at secular museums, such as Hajj: Journey to the Heart of Islam, at the British Museum.

First published in 2004, this volume recognises that there is much more to museums than the documenting, monumentalizing, or theme-parking of identity, history and heritage. This landmark anthology aims to make strange the very existence of museums and to plot a critical, historical and ethical understanding of their origins and history. A radical selection of key texts introduces the reader to the intense investigation of the modern European idea of the museum that has taken place over the last fifty years. Texts first published in journals and books are brought together in one volume with up-to-the-minute and specially commissioned pieces by leading administrators, curators and art historians. The selections are organized by key themes that map the evolution of the debate and introduced by Donald Preziosi and Claire Farago, two considerable critics, who write with the edge and enthusiasm of art historians who have spent their lives working with museums. Grasping the World is an invaluable resource for students and teachers of art history and museum studies.

Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for 'live' performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the 'theatrical' as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.

Museum Innovation and Social Entrepreneurship makes a contribution towards building a museum perspective of innovation that takes into consideration the unique role of museums in society. Beginning and ending with the idea of museum innovation in a wider sense, the book takes digital innovation as a particular focus. Drawing on innovation theories from business studies and case studies from national museums in the US and the UK, as well as numerous examples of innovative museum projects around the globe, the author unpacks, in practical terms, what it means for museums to be innovative and socially enterprising. As a result, Eid presents a research-based model of innovation in museums, which is flexible enough to be fully or partially adopted by any museum, regardless of size, location, mission or nature of the collections it houses. As such, this model makes innovation in museums scalable, replicable and feasible to start and operate. Supplying the museum studies field with essential terminologies and conceptual frameworks related to innovation, Museum Innovation and Social Entrepreneurship helps to forge new ideas and create common ground with other disciplines. Therefore, the book should be essential reading for academics, researchers and graduate students working in the fields of museum and heritage studies, digital humanities and business studies. It should also be of great interest to practitioners working in museums around the globe.

In recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators and its audience is subverted and democratised. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators and artists alike.

Cultural policy intersects with political, economic, and socio-cultural dynamics at all levels of society, placing high and often contradictory expectations on the capabilities and capacities of the media, the fine, performing, and folk arts, and cultural heritage. These expectations are articulated, mobilised and contested at - and across - a global scale. As a result, the study of cultural policy has firmly established itself as a field that cuts across a range of academic disciplines, including sociology, cultural and media studies, economics, anthropology, area studies, languages, geography, and law. This Routledge Handbook of Global Cultural Policy sets out to broaden the field's consideration to recognise the necessity for international and global perspectives. The book explores how cultural policy has become a global phenomenon. It brings together a diverse range of researchers whose work reveals how cultural policy expresses and realises common global concerns, dominant narratives, and geopolitical economic and social inequalities. The sections of the book address cultural policy's relation to core academic disciplines and core questions, of regulations, rights, development, practice, and global issues. With a cross-section of country-by-country case studies, this comprehensive volume is a map for academics and students seeking to become more globally orientated cultural policy scholars.

The creative and cultural industries are a dynamic and rapidly expanding field of enterprise. Yet all too often the dominant narrative about arts organisations is one of crisis, collapse, and closure. This edited collection seeks to challenge that narrative through pursuing a focus on organisational success in the management of creative and cultural organisations. This book offers a robust and in-depth analysis of nine international case studies exploring how different organisations have achieved their objectives through effectively managing their resources. Spanning a broad cross section of the cultural sector including Theatres; Multi-Arts Venues; Performing Arts Companies; Museums and Galleries; and Festivals and Events, these cases highlight the importance of examining an individual organisation's success in relation to its environmental context, revealing not only how arts organisations work in practice, but also providing inspiration and encouragement for those wishing to emulate such success. With an explicit focus on examining theory in practice, this unique collection will be of great interest to students, academics, and practitioners alike. While traditional approaches have often been overly theoretical, this pragmatic approach will help students to gain a richer understanding of how to manage cultural and creative organisations more effectively.

During much of the twentieth century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a 'sculptural' medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.

This book investigates what happens to criminal evidence after the conclusion of legal proceedings. During the criminal trial, evidentiary material is tightly regulated; it is formally regarded as part of the court record, and subject to the rules of evidence and criminal procedure. However, these rules and procedures cannot govern or control this material after proceedings have ended. In its 'afterlife', criminal evidence continues to proliferate in cultural contexts. It might be photographic or video evidence, private diaries and correspondence, weapons, physical objects or forensic data, and it arouses the interest of journalists, scholars, curators, writers or artists. Building on a growing cultural interest in criminal archival materials, this book shows how in its afterlife, criminal evidence gives rise to new uses and interpretations, new concepts and questions, many of which are creative and transformative of crime and evidence, and some of which are transgressive, dangerous or insensitive. It takes the judicial principle of open justice - the assumption that justice must be seen to be done - and investigates instances in which we might see too much, too little or from a distorted angle. It centres upon a series of case studies, including those of Lindy Chamberlain and, more recently, Oscar Pistorius, in which criminal evidence has re-appeared outside of the criminal process. Traversing museums, libraries, galleries and other repositories, and drawing on extensive interviews with cultural practitioners and legal professionals, this book probes the legal, ethical, affective and aesthetic implications of the cultural afterlife of evidence.

The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage came into force in 2006, framing the international and national practices and policies associated with intangible cultural heritage. This volume critically and reflexively examines these practices and policies, providing an accessible account of the different ways in which intangible cultural heritage has been defined and managed in both national and international contexts. As Safeguarding Intangible Heritage reveals, the concept and practices of safeguarding are complicated and often contested, and there is a need for international debate about the meaning, nature and value of heritage and what it means to 'safeguard' it. Safeguarding Intangible Heritage presents a significant cross section of ideas and practices from some of the key academics and practitioners working in the area, whose areas of expertise span anthropology, law, heritage studies, linguistics, archaeology, museum studies, folklore, architecture, Indigenous studies and history. The chapters in this volume give an overarching analysis of international policy and practice and critically frame case studies that analyze practices from a range of countries, including Australia, Canada, China, Indonesia, Japan, Korea, Kyrgyzstan, New Zealand, Taiwan, the UK and Zimbabwe. With a focus on conceptual and theoretical issues, this follow-up to Intangible Heritage, by the same editors, will be of great interest to students, scholars and professionals working in the fields of heritage and museum studies, heritage conservation, heritage tourism, global history, international relations, art and architectural history, and linguists.

This book is a groundbreaking attempt to rethink the landscapes of the social world and historical practice by theorising 'social haunting': the ways in which the social forms, figures, phantasms and ghosts of the past become present to us time and time again. Examining the relationship between historical practices such as archaeology and archival work in order to think about how the social landscape is reinvented with reference to the ghosts of the past, the author explores the literary and historical status and accounts of the ghost, not for what they might tell us about these figures, but for their significance for our, constantly re-invented, re-vivified, re-ghosted social world. With chapters on haunted houses and castles, slave ghosts, the haunting airs of music, the prehistoric origin of spirits, Marxist spectres, Freudian revenants, and the ghosts in the machine, Ghosts, Landscapes and Social Memory adopts multi-disciplinary methods for understanding the past, the dead and social ghosts and the landscapes they appear in. A sociology of haunting that illustrates how social landscapes have their genesis and perpetuation in haunting and the past, this volume will appeal to sociologists and social theorists with interests in memory, haunting and culture.

Words are everywhere in the museum. They swarm amidst all the visual exhibits, and throughout many non-exhibition areas, talking to a vast swath of people in ways that visuals cannot. Signage at the information desk, visitor material, scripts for tour guides, scripts for exhibition videos, education plans, posts, blogs, membership brochures, audio scripts for smart phones, apps for in-depth information, and store labels. In a multi-screen world, where information explodes in every corner of the field of vision, clarity comes from the presence of words to organize the feast of visuals and help all audiences feel at home. Research bears out the need for a range of learning tools and it's not just visitors who benefit from verbal cues; donors, educators, community partners and volunteers will all engage more effectively with the museum that explains its brand mission with good writing. Whether written by administrators, staffers, freelancers, or interns, words must be delivered by your museum with the confidence they will connect meaningfully with all audiences. Your story is told everywhere, with every narration opening your doors wider. Completely updated, the Second Edition addresses the newest ways to put into words the distinctive stories you need to tell: -Websites for expanding audiences -Content-centered posts -Newsletters -Tour scripts -Videos -Education material -Talks and lectures -Proposals for partnerships -Fundraising -Researched blogs -Leveraging of facilities rental and your store for reaching new audiences -Volunteer recruitment Current practices from a diverse range of museums inform every chapter. All chapters recognize the many cultures in your audience, alerting writers to the sensitivity needed for effective communication. For museums, historic sites, cultural centers and museum studies programs: if you ever wished for writing help, here's the resource you're looking for.

Written by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.

Human-Centered Built Environment Heritage Preservation addresses the question of how a human-centred conservation approach can and should change practice. For the most part, there are few answers to this question because professionals in the heritage conservation field do not use social science research methodologies to manage cultural landscapes, assess historical significance and inform the treatment of building and landscape fabric. With few exceptions, only academic theorists have explored these topics while failing to offer specific, usable guidance on how the social sciences can actually be used by heritage professionals. In exploring the nature of a human-centred heritage conservation practice, we explicitly seek a middle ground between the academy and practice, theory and application, fabric and meanings, conventional and civil experts, and orthodox and heterodox ideas behind practice and research. We do this by positioning this book in a transdisciplinary space between these dichotomies as a way to give voice (and respect) to multiple perspectives without losing sight of our goal that heritage conservation practice should, fundamentally, benefit all people. We believe that this approach is essential for creating an emancipated built heritage conservation practice that must successfully engage very different ontological and epistemological perspectives.

This book: analyses conflicting notions of identity and belonging in contemporary Europe. Addressing the creation, negotiation and (re)use of diverse spaces and places of belonging, the book examines their fascinating complexities in the context of a changing Europe. takes an innovative interdisciplinary approach to examine renegotiations of belonging played out through cultural encounters with difference and change, in diverse public spaces and contested places. employs analyses of diverse case studies to draw out the significance of the participation or exclusion of differing community, grassroots and activist groups in such practices and discourses of belonging in relation to the contemporary emergence of identity conflicts and political uses of the past across Europe. analyses the ways in which people's sense of belonging is connected to cultural, heritage and memory practices undertaken in different public spaces, including museums, cultural and community centres, city monuments and built heritage, neglected urban spaces, and online fora. provides a valuable contribution to the existing bodies of work on identities, migration, public space, memory and heritage. It will be of interest to scholars and students with an interest in contested belonging, public spaces and the role of culture and heritage.

Arts and Cultural Management: Sense and Sensibilities in the State of the Field opens a conversation that is much needed for anyone identifying arts management or cultural management as primary areas of research, teaching, or practice. In the evolution of any field arises the need for scrutiny, reflection, and critique, as well as to display the advancements and diversity in approaches and thinking that contribute to a discipline's forward progression. While no one volume could encompass all that a discipline is or should be, a representational snapshot serves as a valuable benchmark. This book is addressed to those who operate as researchers, scholars, and practitioners of arts and cultural management. Driven by concerns about quality of life, globalization, development of economies, education of youth, the increasing mobility of cultural groups, and many other significant issues of the twenty-first century, governments and individuals have increasingly turned to arts and culture as means of mitigating or resolving tough policy issues. For their growth, arts and culture sectors depend on people in positions of leadership and management who play a significant role in the creation, production, exhibition, dissemination, interpretation, and evaluation of arts and culture experiences for publics and policies. Less than a century old as a formal field of inquiry, however, arts and cultural management has been in flux since its inception. What is arts and cultural management? remains an open question. A comprehensive literature on the discipline, as an object of study, is still developing. This State of the Discipline offers a benchmark for those interested in the evolution and development of arts and cultural management as a branch of knowledge alongside more established disciplines of research and scholarship.

This is a multi-disciplinary study that adopts an innovative and original approach to a highly topical question, that of meaning-making in museums. Focusing its attention on pedagogy and visual culture, this work asks such questions as - How and why is it that museums select and arrange artefacts, shape knowledge, construct a view? How do museums produce values? How do active audiences make meaning from what they experience in museums?
This stimulating new book provokes debate and discussion on these topics and puts forward the idea of a new museum - the post-museum, which will challenge the familiar modernist museum

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu's sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on 'Taste and art', shows how art practice was drawn into the sphere of 'good taste', contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on 'Taste making and the museum' examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, 'Taste after Bourdieu in Japan' offers a case study of the challenges to the cross-cultural transmission and local reproduction of 'good taste', exemplified by the complex cultural context of Japan. The final section on 'Taste, the home and everyday life' juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of 'good taste' have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu's sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste 'after Bourdieu'. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making.

This book is a detailed critical study of Libeskind's Berlin Jewish Museum in its historical, architectural and philosophical context. Emphasizing how the Holocaust changed our perception of history, memory, witnessing and representation, it develops the notion of 'memorial ethics' to explore the Museum's difference from more conventional post-World War Two commemorative sites. The main focus is on the Museum as an experience of the materiality of trauma which engages the visitor in a performative duty to remember. Arleen Ionescu builds on Levinas's idea of 'ethics as optics' to show how Libeskind's Museum becomes a testimony to the unpresentable Other. Ionescu also extends the Museum's experiential dimension by proposing her own subjective walk through Libeskind's space reimagined as a 'literary museum'. Featuring reflections on texts by Beckett, Celan, Derrida, Kafka, Blanchot, Wiesel and Selma Meerbaum-Eisinger (Celan's cousin), this virtual tour concludes with a brief account of Libeskind's analogous 'healing project' for Ground Zero.