orange text on charles

18 files changed, 144 insertions, 87 deletions

diff --git a/frontend/site/projects/museum/app/index.js b/frontend/site/projects/museum/app/index.js
index a0a6b76..985d422 100644
--- a/frontend/site/projects/museum/app/index.js
+++ b/frontend/site/projects/museum/app/index.js
@@ -27,15 +27,15 @@ class App extends Component {
     return (
       <ConnectedRouter history={this.props.history}>
         <div className='app'>
-          <Route path={'/last-museum/:page_name'} component={ViewerContainer} exact />
-          <Route path={'/last-museum/start'} component={Home} exact />
-          <Route path={'/last-museum/essay'} component={Essay} exact />
-          <Route path={'/last-museum/artists'} component={Artists} exact />
-          <Route path={'/last-museum/credits'} component={Credits} exact />
-          <Route path={'/last-museum/:page_name'} component={StlOverlay} exact />
-          <Route path={'/last-museum/:page_name'} component={NavOverlay} exact />
-          <Route path='/last-museum/' exact render={() => {
-            setTimeout(() => this.props.history.push('/last-museum/start'), 10)
+          <Route path={'/thelastmuseum/:page_name'} component={ViewerContainer} exact />
+          <Route path={'/thelastmuseum/start'} component={Home} exact />
+          <Route path={'/thelastmuseum/essay'} component={Essay} exact />
+          <Route path={'/thelastmuseum/artists'} component={Artists} exact />
+          <Route path={'/thelastmuseum/credits'} component={Credits} exact />
+          <Route path={'/thelastmuseum/:page_name'} component={StlOverlay} exact />
+          <Route path={'/thelastmuseum/:page_name'} component={NavOverlay} exact />
+          <Route path='/thelastmuseum/' exact render={() => {
+            setTimeout(() => this.props.history.push('/thelastmuseum/start'), 10)
             return null
           }} />
         </div>
diff --git a/frontend/site/projects/museum/app/revisions.js b/frontend/site/projects/museum/app/revisions.js
index 13bf2c2..648fd38 100644
--- a/frontend/site/projects/museum/app/revisions.js
+++ b/frontend/site/projects/museum/app/revisions.js
@@ -6,12 +6,12 @@ export default function reviseSite (graph) {
   if (!isMobile) {
     return graph
   }
-  graph.pages['/last-museum/home'].tiles = (
-    graph.pages['/last-museum/home'].tiles
+  graph.pages['/thelastmuseum/home'].tiles = (
+    graph.pages['/thelastmuseum/home'].tiles
       .filter(tile => tile.type !== 'text')
   )
-  graph.pages['/last-museum/home'].tiles = (
-    graph.pages['/last-museum/home'].tiles
+  graph.pages['/thelastmuseum/home'].tiles = (
+    graph.pages['/thelastmuseum/home'].tiles
       .filter(tile => tile.type === 'image' || (tile.type === 'link' && !tile.type.match("stankievech")))
   )
   Object.keys(graph.pages).forEach(path => {
diff --git a/frontend/site/projects/museum/constants.js b/frontend/site/projects/museum/constants.js
index d97920e..f5ebb0c 100644
--- a/frontend/site/projects/museum/constants.js
+++ b/frontend/site/projects/museum/constants.js
@@ -66,7 +66,7 @@ export const ARTISTS = {
         </p>
       `,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/nora.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/nora.jpg",
     globePosition: {
       top: "15.1%",
       left: "47.7%",
@@ -139,7 +139,7 @@ export const ARTISTS = {
         </p>
       `,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/juliana.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/juliana.jpg",
     globePosition: {
       top: "59%",
       left: "32%",
@@ -194,7 +194,7 @@ export const ARTISTS = {
         </p>
       `,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/nicole.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/nicole.jpg",
     globePosition: {
       top: "68%",
       left: "83%",
@@ -273,7 +273,7 @@ export const ARTISTS = {
         </p>
       `,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/charles.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/charles.jpg",
     globePosition: {
       top: "15%",
       left: "22%",
@@ -302,7 +302,7 @@ export const ARTISTS = {
         In der Trockenzeit kommt es im Hochgebirge Nordthailands häufig zu Flächenbränden. Die Ursache der Feuer ist nicht natürlich, sondern Brandstiftung. In der Vergangenheit wurde vermutet, dass die Einheimischen die Brände legen, um Land für die landwirtschaftliche Nutzung oder für die Jagd zu roden. Man versuchte, das Problem auf Gemeindeebene zu lösen, aber die Brände wurden nur noch schlimmer. Seltsamerweise traten die Brände oft im Nationalpark auf - einem Gebiet, das für die Dorfbewohner schwer zugänglich ist. Während der Löscharbeiten im Mai 2020 entdeckte eine Gruppe von Wissenschaftler*innen und Freiwilligen wichtige Beweise, die die ursprüngliche Hypothese verändern sollten: Sie fanden mehrere Fälle von improvisierten Geräten, die aus Wäscheklammern bestanden und über ein Stromkabel mit einer kleinen Batterie verbunden waren. Die Verbrennung wurde durch einen kleinen Lehmklumpen ausgelöst, der in der Mitte zwischen den Wäscheklammern positioniert war und als Timer fungierte - nachdem er in der Hitze geschmolzen war, entzündeten sich die an den Batterien befestigten Drähte. Die befragten Dorfbewohner sagten, dass ihnen diese Technik nicht bekannt war. Obwohl man die Absicht der Brandstifter nicht genau kennen kann, ist es wahrscheinlich, dass die natürlichen Ressourcen des Parks genutzt werden, um irgendeiner Gruppe von Menschen zu nutzen. Und die Armen wurden schon immer an den Pranger gestellt.
       </p>`,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/jakrawal.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/jakrawal.jpg",
     globePosition: {
       top: "39%",
       left: "72%",
@@ -357,7 +357,7 @@ export const ARTISTS = {
         </p>
       `,
     },
-    image: "/last-museum/static/media/last-museum/artist-bio/zohra.jpg",
+    image: "/thelastmuseum/static/media/last-museum/artist-bio/zohra.jpg",
     globePosition: {
       top: "44%",
       left: "44.4%",
diff --git a/frontend/site/projects/museum/museum.actions.js b/frontend/site/projects/museum/museum.actions.js
index 7f9867a..8a6a9bb 100644
--- a/frontend/site/projects/museum/museum.actions.js
+++ b/frontend/site/projects/museum/museum.actions.js
@@ -6,7 +6,7 @@ import { dispatch } from 'site/store'
 export const loadMuseum = () => {
   Promise.all([
     loadFonts,
-    actions.site.loadGraph('last-museum'),
+    actions.site.loadGraph('thelastmuseum'),
   ])
   .then(() => dispatch({ type: types.site.load_site }))
 }
diff --git a/frontend/site/projects/museum/stl-files.js b/frontend/site/projects/museum/stl-files.js
index 042f7d1..365c8a8 100644
--- a/frontend/site/projects/museum/stl-files.js
+++ b/frontend/site/projects/museum/stl-files.js
@@ -1,7 +1,7 @@
 export const STL_FILES = {
 
   "nora-nefertiti": {
-    url: "/last-museum/static/media/last-museum/nora-albadri/nefertiti.stl",
+    url: "/thelastmuseum/static/media/last-museum/nora-albadri/nefertiti.stl",
     modelMaterial: { 
       color: "#bbbbff", 
       metalness: 0.7,
@@ -23,7 +23,7 @@ export const STL_FILES = {
   },
 
   "nora-horus-2": {
-    url: "/last-museum/static/media/last-museum/nora-albadri/shehorus.stl",
+    url: "/thelastmuseum/static/media/last-museum/nora-albadri/shehorus.stl",
     modelMaterial: { 
       color: "#dddddd", 
       metalness: 0.9,
@@ -45,7 +45,7 @@ export const STL_FILES = {
   },
 
   "nora-peg-stairs-close": {
-    url: "/last-museum/static/media/last-museum/nora-albadri/peg.stl",
+    url: "/thelastmuseum/static/media/last-museum/nora-albadri/peg.stl",
     modelMaterial: { 
       color: "#0000ff", 
       metalness: 0.9,
@@ -68,7 +68,7 @@ export const STL_FILES = {
   },
 
   "nora-lamassu-2": {
-    url: "/last-museum/static/media/last-museum/nora-albadri/lamassu.stl",
+    url: "/thelastmuseum/static/media/last-museum/nora-albadri/lamassu.stl",
     modelMaterial: { 
       color: "#efe8f8", 
       metalness: 0.5,
@@ -91,7 +91,7 @@ export const STL_FILES = {
   },
 
   "nora-queen-of-night-server": {
-    url: "/last-museum/static/media/last-museum/nora-albadri/queen.stl",
+    url: "/thelastmuseum/static/media/last-museum/nora-albadri/queen.stl",
     modelMaterial: { 
       color: "#FCE6DC", 
       metalness: 0.8,
diff --git a/frontend/site/projects/museum/subtitles.js b/frontend/site/projects/museum/subtitles.js
index 3189baa..1f136f1 100644
--- a/frontend/site/projects/museum/subtitles.js
+++ b/frontend/site/projects/museum/subtitles.js
@@ -9,8 +9,8 @@ export const SUBTITLES = {
     headphones: true,
     title: 'Mountain of the Sun, Cosmic Cave',
     popup: "stars",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame01-24sec.mp3",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-04.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame01-24sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-04.png",
     text: {
       en: "This 'mountain of the sun', as it is also called, is the equivalent of Meru, also entitled 'white mountain'. Meru is encircled by a green belt, by the fact of being situated in the middle of the sea, and a triangle of light radiates at its peak. / We have said that the zodiac’s two gates which are respectively the entry to and exit from the ‘cosmic cave’, and which certain traditions designate as the ‘gate of men’ and the ‘gate of the gods’, inevitably must correspond to the two solstices.",
       de: "Dieser ‚Berg der Sonne‘, wie er auch genannt wird, ist das Pendant zu Meru, der auch ‚weißer Berg‘ genannt wird. Meru ist von einem grünen Gürtel umgeben, dadurch, dass er in der Mitte des Meeres liegt, und an seinem Gipfel strahlt ein Dreieck aus Licht. / Wir haben bereits gesagt, dass die beiden Tore des Tierkreises, die jeweils den Eingang und den Ausgang der ‚kosmischen Höhle‘ darstellen und die von einigen Überlieferungen als ‚Tor der Menschen‘ und ‚Tor der Götter‘ bezeichnet werden, zwangsläufig den beiden Sonnenwenden entsprechen müssen.",
@@ -21,8 +21,8 @@ export const SUBTITLES = {
   'stankievech-2': {
     title: 'An Exhibition of Clammy Solitude',
     popup: "temple",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame02-33sec.mp3",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-133.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame02-33sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-133.png",
     text: {
       en: "If an artist could see the world through the eyes of a caterpillar he might be able to make some fascinating art. Each one of these secret dens was also the entrance to the abyss. Dungeons that dropped away from the eyes into a damp cosmos of fungus and mold-an exhibition of clammy solitude. The double aspect of Quetzalcoatl is less a person than an operation of totemic perception. Quetzalcoatl becomes one half of an enantiomorph (coatl means twin) in search of the other half. A mirror looking for its reflection but never quite finding it. The morning star of Quetzal is apt to be polarized in the shadowy reflection of the evening star.",
       de: "Wenn ein Künstler die Welt mit den Augen einer Raupe betrachten könnte, wäre er vielleicht in der Lage, eine faszinierende Kunst zu erschaffen. Jede dieser geheimen Höhlen war auch der Eingang zum Abgrund. Verliese, die vor den Augen in einen feuchten Kosmos aus Pilzen und Schimmel abfielen - eine Zurschaustellung von klammer Einsamkeit. Der Doppelaspekt von Quetzalcoatl hat weniger mit einer Person zu tun als mit einer totemistischen Wahrnehmungshandlung. Quetzalcoatl wird zur einen Hälfte eines Enantiomorphs (coatl bedeutet Zwilling) auf der Suche nach der anderen Hälfte. Ein Spiegel, der nach seinem Spiegelbild sucht, es aber nie ganz findet. Der Morgenstern des Quetzal neigt dazu, in der schattenhaften Reflexion des Abendsterns polarisiert zu werden.",
@@ -33,8 +33,8 @@ export const SUBTITLES = {
   'stankievech-3': {
     title: 'Superpositionality of the Hidden People',
     popup: "hypercard",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame03-24sec.mp3",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-134.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame03-24sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-134.png",
     text: {
       en: "Down where the “Hidden People” live, inside their private rock dwellings, where humans who visit them can be closed in and never find a way out again. Iceland spar is what hides the Hidden People, makes it possible for them to move through the world that thinks of itself as “era,” provides that all-important ninety-degree twist to their light, so they can exist alongside our own world but not be seen. They and others as well, visitors from elsewhere, of non-human aspect.",
       de: "Dort unten, wo die „Hidden People“, die „Verborgenen Menschen“, leben, in ihren privaten Felsbehausungen, wo Menschen, die sie besuchen, eingeschlossen werden können und nie wieder einen Weg nach draußen finden. Der Islandspat ist es, der die „Hidden People“ verbirgt, der es ihnen ermöglicht, sich durch die Welt zu bewegen, die sich selbst als „Ära“ betrachtet, und der für die wichtige neunzig-Grad-Drehung ihres Lichts sorgt, sodass sie neben unserer eigenen Welt existieren können, aber nicht gesehen werden. Sie und auch andere, Besucher von anderswo, von nicht-menschlichem Erscheinungsbild.",
@@ -45,8 +45,8 @@ export const SUBTITLES = {
   'stankievech-4': {
     title: 'They Simply Pointed to the Sky',
     popup: "vr",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame04-30sec.mp3",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-135.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame04-30sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-135.png",
     text: {
       en: "The Sumerian word AN.BAR, the oldest word designating iron, is made up of the pictograms ‘sky’ and ‘fire.’  We shall do well to bear in mind the early religious significance attaching to aeroliths. They fall to earth charged with celestial sanctity; in a way, they represent heaven. This suggests why so many meteorites were worshipped or identified with a deity. Peoples worked with meteoric iron for a long time before learning how to use ferrous ores. When Cortez enquired of the Aztec chiefs whence they obtained their knives they simply pointed to the sky.",
       de: "Das sumerische Wort AN.BAR, das älteste Wort zur Bezeichnung von Eisen, setzt sich aus den Piktogrammen 'Himmel' und 'Feuer' zusammen.... Wir tun gut daran, uns die frühe religiöse Bedeutung vor Augen zu halten, die den Aerolithen zukommt. Sie fallen mit himmlischer Heiligkeit aufgeladen auf die Erde; in gewisser Weise repräsentieren sie den Himmel. Dies legt nahe, warum so viele Meteoriten verehrt oder mit einer Gottheit identifiziert wurden. ... Die Völker arbeiteten lange Zeit mit meteoritischem Eisen, bevor sie lernten, eisenhaltige Erze zu verwenden. ... Als Cortez sich bei den Aztekenhäuptlingen erkundigte, woher sie ihre Messer hatten, zeigten sie einfach in den Himmel.",
@@ -57,8 +57,8 @@ export const SUBTITLES = {
   'stankievech-5': {
     title: 'The Glass Key',
     popup: "magritte",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame05-36sec.mp3",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-136.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame05-36sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-136.png",
     text: {
       en: "Seeing the egg is impossible: the egg is supervisible just as there are supersonic sounds. No one can see the egg. Does the dog see the egg? Only machines see the egg. —The egg is invisible to the naked eye. From one egg to another one arrives at God, who is invisible to the naked eye. —The egg could have been a triangle that rolled for so long in space that it became oval. —Is the egg basically a vessel? Could it have been the first vessel sculpted by the Etruscans? No. The egg originated in Macedonia. There it was calculated, fruit of the most arduous spontaneity. In the sands of Macedonia a man holding a stick drew it. And then erased it with his bare foot.",
       de: "Das Ei zu sehen ist nicht möglich: Das Ei ist ebenso unsichtbar wie Überschalltöne. Keiner kann das Ei sehen. Sieht der Hund das Ei? Nur Maschinen sehen das Ei. – Das Ei ist unsichtbar für das bloße Auge. Von einem Ei zum anderen gelangt man zu Gott, der für das bloße Auge unsichtbar ist. – Das Ei könnte ein Dreieck gewesen sein, das so lange im Raum gerollt ist, bis es oval wurde. – Ist das Ei im Grunde ein Gefäß? Könnte es das erste Gefäß gewesen sein, das von den Etruskern geformt wurde? Nein. Das Ei hat seinen Ursprung in Makedonien. Dort wurde es berechnet, Frucht der mühsamsten Spontaneität. Im Sand von Makedonien zeichnete es ein Mensch mit einem Stock. Und radierte es dann mit seinem bloßen Fuß wieder aus.",
@@ -69,8 +69,8 @@ export const SUBTITLES = {
   'stankievech-6': {
     title: 'The Desert Turned to Glass',
     popup: "trinity",
-    cursor: "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-137.png",
-    audio_url: "/last-museum/static/uploads/3/audio/Frame06-46sec.mp3",
+    cursor: "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-137.png",
+    audio_url: "/thelastmuseum/static/uploads/3/audio/Frame06-46sec.mp3",
     text: {
       en: "My anarchy obeys subterraneously a law in which I deal occultly with astronomy, mathematics and mechanics. And my hunger is fed by these putrefying beings in decomposition. My rite is a purifier of forces. But malignancy exists in the jungle. I swallow a mouthful of blood that fills me entirely. I hear cymbals and trumpets and tambourines that fill the air with noise and uproar drowning out the silence of the disc of the sun and its marvel. I want a cloak woven from threads of solar gold. The sun is the magical tension of the silence. On my journey to the mysteries I hear the carnivorous plant that laments times immemorial: and I have obscene nightmares beneath the sick winds. I am enchanted, seduced, transfixed by furtive voices. The almost unintelligible cuneiform inscriptions speak of how to conceive and give formulae about how to feed from the force of darkness. They speak of naked and crawling females. And the solar eclipse causes secret terror that nonetheless announces a splendor of heart.",
       de: "Meine Anarchie gehorcht auf unterbewusste Weise einem Gesetz, in dem ich mich okkult mit Astronomie, Mathematik und Mechanik beschäftige. Und mein Hunger wird von diesen verfaulenden Wesen in der Zersetzung genährt. Mein Ritus ist ein Reiniger der Kräfte. Aber Bösartigkeit existiert im Dschungel. Ich schlucke einen Mund voll Blut, der mich ganz ausfüllt. Ich höre Schlaginstrumente und Trompeten und Tamburine, die die Luft mit Lärm und Getöse füllen und die Stille der Sonnenscheibe und ihres Wunders übertönen. Ich möchte einen Mantel, gewebt aus Fäden aus Sonnengold. Die Sonne ist die magische Spannung der Stille. Auf meiner Reise zu den Geheimnissen höre ich die fleischfressende Pflanze, die die Zeiten beklagt: und ich habe obszöne Albträume unter den kranken Winden. Ich bin verzaubert, verführt, gefesselt von verstohlenen Stimmen. Die fast unverständlichen Keilschriftinschriften sprechen davon, wie man schwanger wird, und nennen Formeln, wie man sich von der Kraft der Dunkelheit ernährt. Sie sprechen von nackten und kriechenden Frauen. Und die Sonnenfinsternis löst einen heimlichen Schrecken aus, der dennoch einen Glanz des Herzens verkündet.",
diff --git a/frontend/site/projects/museum/text-overlays.js b/frontend/site/projects/museum/text-overlays.js
index 8367d02..186c1e0 100644
--- a/frontend/site/projects/museum/text-overlays.js
+++ b/frontend/site/projects/museum/text-overlays.js
@@ -1,5 +1,5 @@
-export const DEFAULT_ICON = "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-72.png"
-export const DEFAULT_CLOSED_ICON = "/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-41.png"
+export const DEFAULT_ICON = "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-72.png"
+export const DEFAULT_CLOSED_ICON = "/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-41.png"
 
 export const TEXT_OVERLAYS = {
   /* nora al-badri */
@@ -127,17 +127,17 @@ export const TEXT_OVERLAYS = {
     }
   },
   'nilthamrong-home': {
-    icon: '/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png',
+    icon: '/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png',
     style: {
       right: '3rem',
       transform: 'scale(1)',
-      cursor: 'url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png) 50 50, pointer',
+      cursor: 'url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png) 50 50, pointer',
     },
     textStyle: {
-      cursor: 'url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png) 50 50, pointer',
+      cursor: 'url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png) 50 50, pointer',
       fontFamily: "Druk Wide",
       fontSize: "1.5vw",
-      color: "#fff",
+      // color: "#fff",
       textShadow: "0px 2px 6px rgba(0,0,0,0.5)",
       textAlign: "justify",
     },
diff --git a/frontend/site/projects/museum/views/artists.js b/frontend/site/projects/museum/views/artists.js
index daa46f5..c04b09f 100644
--- a/frontend/site/projects/museum/views/artists.js
+++ b/frontend/site/projects/museum/views/artists.js
@@ -50,7 +50,7 @@ class Artists extends Component {
   }
 
   goHome() {
-    history.push(`/last-museum/home/`)
+    history.push(`/thelastmuseum/home/`)
   }
   
   changeLanguage() {
@@ -126,7 +126,7 @@ const ArtistDetail = ({ artist, index, isCurrent, language, onClose }) => {
         <div className="artist-left">
           <span dangerouslySetInnerHTML={{ __html: artist.bio[language] }} />
         </div>
-        <Link to={`/last-museum/${artist.start}`} className="artist-right-inner" />
+        <Link to={`/thelastmuseum/${artist.start}`} className="artist-right-inner" />
       </div>
       <div className="artist-detail-name" onClick={onClose}>
         {artist.name}
diff --git a/frontend/site/projects/museum/views/credits.js b/frontend/site/projects/museum/views/credits.js
index 2040a0f..0c49308 100644
--- a/frontend/site/projects/museum/views/credits.js
+++ b/frontend/site/projects/museum/views/credits.js
@@ -25,7 +25,7 @@ class Credits extends Component {
   }
 
   goHome() {
-    history.push(`/last-museum/home/`)
+    history.push(`/thelastmuseum/home/`)
   }
 
   changeLanguage() {
@@ -55,10 +55,10 @@ class Credits extends Component {
 
           <div className="page-content icon-rows">
             <div className="icons">
-              <img className="kw-logo" src="/last-museum/static/media/last-museum/kw-black.png" />
-              <img src="/last-museum/static/media/last-museum/arte-logo-black.png" />
-              <img src="/last-museum/static/media/last-museum/pcai-logo-black.png" className='pcai' />
-              <img src="/last-museum/static/media/last-museum/berlin-logo-black.png" />
+              <img className="kw-logo" src="/thelastmuseum/static/media/last-museum/kw-black.png" />
+              <img src="/thelastmuseum/static/media/last-museum/arte-logo-black.png" />
+              <img src="/thelastmuseum/static/media/last-museum/pcai-logo-black.png" className='pcai' />
+              <img src="/thelastmuseum/static/media/last-museum/berlin-logo-black.png" />
             </div>
           </div>
         </div>
diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js
index be5b6fa..63bbe44 100644
--- a/frontend/site/projects/museum/views/essay.js
+++ b/frontend/site/projects/museum/views/essay.js
@@ -51,7 +51,7 @@ class Essays extends Component {
   }
 
   goHome() {
-    history.push(`/last-museum/home/`)
+    history.push(`/thelastmuseum/home/`)
   }
 
   changeLanguage() {
@@ -150,42 +150,99 @@ const ArtistStatements = ({ essayId, index, isCurrent, language, onClose }) => (
   </div>
 )
 
-const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
+const NadimEssay = ({ essayId, index, isCurrent, language, onClose }) => (
   <div className={isCurrent ? "artist-detail visible" : "artist-detail"}>
     <div className="page-title" onClick={onClose}>About The L<span>ast Museum</span></div>
     <div className="page-subtitle">By Nadim Samman</div>
     <div className="page-content">
+      <span dangerouslySetInnerHTML={{ __html: ESSAY_TEXTS.nadim_intro[language] }} />
+      <ArtistGlobe />
+      <span dangerouslySetInnerHTML={{ __html: ESSAY_TEXTS.nadim_essay[language] }} />
+    </div>
+  </div>
+)
+
+const ESSAY_TEXTS = {
+  nadim_intro: {
+    "en": `
       <p>
-        <i>The Last Museum</i> is an exhibition that explores productive tensions between the putative ‘anywhere’  of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are <b>Nora Al-Badri</b> (Germany/Iraq), <b>Juliana Cerqueira Leite</b> (Brazil), <b>Nicole Foreshew</b> (Wiradjuri Nation/Australia), <b>Jakrawal Nilthamrong</b> (Thailand), <b>Zohra Opoku</b> (Ghana), and <b>Charles Stankievech</b> (Canada).
+      <i>The Last Museum</i> is an exhibition that explores productive tensions between the putative ‘anywhere’ of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are <b>Nora Al-Badri</b> (Germany/Iraq), <b>Juliana Cerqueira Leite</b> (Brazil), <b>Nicole Foreshew</b> (Wiradjuri Nation/Australia), <b>Jakrawal Nilthamrong</b> (Thailand), <b>Zohra Opoku</b> (Ghana), and <b>Charles Stankievech</b> (Canada).
       </p>
-      <ArtistGlobe />
+    `,
+    "de": `<p></p>`,
+  },
+  nadim_essay: {
+    "en": `
       <p>
-        <i>The Last Museum</i> connects disparate sites, spanning six continents and the virtual sphere. It is an experiment that deploys a unique exhibition design—embracing the overlapping <i>analog</i> and <i>digital</i> dimensions of a given location while, additionally, exploiting the unique potentials of each for dramatic effect. Altogether, <i>The Last Museum</i> comprises an epic <i>para-site</i> that is most accessible through a web  interface.
+      <i>The Last Museum</i> connects disparate sites, spanning six continents and the virtual sphere. It is an experiment that deploys a unique exhibition design—embracing the overlapping <i>analog</i> and <i>digital</i> dimensions of a given location while, additionally, exploiting the unique potentials of each for dramatic effect. Altogether, <i>The Last Museum</i> comprises an epic para-site that is most accessible through a web interface. 
       </p>
       <p>
-        Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.
+      Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout, ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a Cosmic Ray observatory in the Rocky Mountains, and more.
       </p>
       <p>
-        Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/" className="jules-link" target="_blank">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
+      Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, Jules LaPlace, before being brought together through a bespoke way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
       </p>
       <p>
-        Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually <i>grounding</i> planetary networks and other globe-spanning systems will be evident. Call it a <i>web-site-specific</i> project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers.
+      Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually grounding planetary networks and other globe-spanning systems will be evident. Call it a web-site-specific project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers.
       </p>
       <p>
-        For visitors, <i>The Last Museum</i> will offer a blurring between cinema and website interactivity. The ability to stay with a moving image for as long as you want, pushing the edit along at your own pace, is not normally available as a filmic experience. In fact, it is more a province of gaming. Other interactions will include releasing files for download, accessing texts, switching soundtrack variations and more. All of these things will be artist directed and thus in no way interpretive or secondary materials.
+      For visitors, <i>The Last Museum</i> will offer a blurring between cinema and website interactivity. The ability to stay with a moving image for as long as you want, pushing the edit along at your own pace, is not normally available as a filmic experience. In fact, it is more a province of gaming. Other interactions will include releasing files for download, accessing texts, switching soundtrack variations and more. All of these things will be artist directed and thus in no way interpretive or secondary materials.
       </p>
       <p>
-        Rather than being a one-off exhibition, <i>The Last Museum</i> will ‘tour’ as a pop-up window on the start pages of partner institutions for fixed periods. In line with the project’s rejection of an ‘anywhere, anytime’ web imaginary, each touring iteration will acquire a new chapter—with an additional artist/site from the host institution’s country added to the navigable chain. As long as our colleagues’ are interested, it is possible that <i>The Last Museum</i> may tour and grow indefinitely—like the content of the web itself.
+      Rather than being a one-off exhibition, <i>The Last Museum</i> will ‘tour’ as a pop-up window on the start pages of partner institutions for fixed periods. In line with the project’s rejection of an ‘anywhere, anytime’ web imaginary, each touring iteration will acquire a new chapter—with an additional artist/site from the host institution’s country added to the navigable chain. As long as our colleagues’ are interested, it is possible that <i>The Last Museum</i> may tour and grow indefinitely—like the content of the web itself.
       </p>
       <p>
-        This project was conceived during the first wave of COVID-19, amid heightened tensions between the conditions of physical lockdown and globe-spanning telecommunication. Although utterly international, its production required no travel for persons or artworks. When the exhibition opens, audiences will not have to travel to view it. While the development of such a format is not supposed to replace gallery experience, it is at least suggestive for how to approach a growing question in the museum sector: namely, how do analog artworks and digital space can come together a meaningful way? In fact, this is only half of the question: We must also explore how digital artworks can relate to analog space. <i>The Last Museum</i> attempts to work on both problems at the same time, creatively, playing with the issue of translation and re-representation in a bi-directional manner.
+      This project was conceived during the first wave of COVID-19, amid heightened tensions between the conditions of physical lockdown and globe-spanning telecommunication. Although utterly international, its production required no travel for persons or artworks. When the exhibition opens, audiences will not have to travel to view it. While the development of such a format is not supposed to replace gallery experience, it is at least suggestive for how to approach a growing question in the museum sector: namely, how do analog artworks and digital space can come together a meaningful way? In fact, this is only half of the question: We must also explore how digital artworks can relate to analog space. <i>The Last Museum</i> attempts to work on both problems at the same time, creatively, playing with the issue of translation and re-representation in a bi-directional manner. 
       </p>
       <p>
-        At its core, The Last Museum explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). At least one of the exhibition’s artists, Zohra Opoku, explicitly takes up an art-historical precursor for the crossing of spatial and metaphysical thresholds. The Egyptian Book of the Dead is her inspiration for a series of interventions in a half-built mortuary in Accra, Ghana. Draped with screen-printed fabric, the unfinished site is (literally) shrouded in images that stimulate reflection on how stillness and passage come together. In this work and more, the <i>The Last Museum</i> hovers somewhere between life and death, lockdown and escape.
+      At its core, <i>The Last Museum</i> explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). 
       </p>
-    </div>
-  </div>
-)
+      <p>
+      The exhibition opens with <i>The Glass Key</i> by Canadian artist <b>Charles Stankievech</b>. Its interactive sequence features original footage, found video, and textual fragments drawn from various literary sources. The scenes were captured at a cosmic ray research station, situated on top of a snowy peak in the Canadian Rocky Mountains. It was here that the artist installed a number of stones—variously half-buried in ice, lodged in a cliff-side fissure, and balanced on a summit. As the exhibition visitor browses Stankievech’s moving-image documentation of these situations (sometimes overlaid with pop-up videos), they also hear a complex soundtrack—a harmonic drone in deep spatial reverb; high pitched crackles created by solar radiation; and a heartbeat that spells out the texts in the rhythms of Morse code.
+      </p>
+      <p>
+      In light of the mountain site’s dedication to cosmic searching (and sensing) as well as related   references in the pop-up videos, <i>The Glass Key</i> would appear to dramatize a telescoping spatial perspective: That is to say, it seems to explore an oscillation between macro-cosmic perception (looking outwards on a grand scale, towards stars and galaxies) and, conversely, the contemplation of epic depths in the micro-cosmic domain (of quarks and so on). One of the pop-ups is a 3D scan of the interior of SNO Lab—a Canadian neutrino observatory located 2km underground. By linking one of the world’s deepest human facilities (for exploring the sub-atomic realm) with a high-altitude observatory, Stankievech trains viewers’ sights on post-digital image-culture concerned with the cosmos. This is an image-culture whose universe(s) can only be sensed by super-computers. (Visitors may recall the World Wide Web’s origins at CERN, another subterranean facility, as they contemplate the emerging tech being developed at SNO Lab.) And yet, as the artist’s contribution implies, this is an imaging-culture that is no less given to paradox than archaic traditions—despite its technological sophistication: 
+      </p>
+      <p>
+      Indeed, <i>The Glass Key</i> asserts that contemporary cosmology retains a link to the ancient conflation of macrocosm and microcosm. He deploys a historical icon for this conceptual inversion – a triangle within a triangle - in a HyperCard software animation. The symbol itself was the subject of a discourse by the early Twentieth Century esoterist Rene Guenon (author of The Glass Key’s inaugural textual fragment), specifically concerning a putative ‘cave within a mountain’: Whereas the outer triangle’s only corner on a vertical axis symbolically corresponds to a visible summit, the inner triangle’s peak is inverted, facing downwards, indicating a second hidden peak—whose magnitude is of no less import for the spirit.
+      </p>
+      <p>
+      While showing a LIDAR scan of a Mayan pyramid that he captured in the Yucatan, Stankievech pairs a statement by Robert Smithson from <i>Incidents of Mirror-Travel in the Yucatan</i> (1969). The text addresses the creative perspective afforded to caterpillars (by virtue of their scale, one presumes), the double or <i>mirrored</i> aspect of certain stars, and the entrance to abyss. Stankievech’s contribution continues in this fashion of dense intertextuality. While, to some degree his piece presents an overwhelming series of intellectual hyperlinks (rabbit holes that lead one far from an initial starting point) there is an underlying meditation on the fact that connectivity is a paradoxical technical (if not mystical) side-effect of bunkering, digging in, and locking down.
+      </p>
+      <p>
+      <b>Nora Al-Badri</b>’s <i>AFU. This is Not A Hacker Space</i> pictures 3D printed sculptures installed in two of Berlin’s legendary hacker hangouts—the Chaos Computer Club, and the c-base ‘spaceship’. The items are based on scans of ancient Egyptian and Babylonian idols from various museum collections whose source files were recovered (from their digital storerooms) by unauthorized techniques. Al-Badri has altered some of their forms and transformed them to all female gendered spirits. Best known among this collection of liberated archaeological data idols is a bust of Nefertiti, which the artist famously expropriated from Berlin’s Neues Museum by surreptitiously scanning it, only to release the file into the online wilds—initiating a public debate about free use of information relating to cultural patrimony. 
+      </p>
+      <p>
+      Within these hacker spaces, Al-Badri’s all-female deities speak to the visitor–of their agendas for hacker culture. As, in the artist’s own words, ‘coloured cyber-feminist’ queens and goddesses, they have come to claim sovereignty over making and data activism; over museal and computer culture at large. Placed within the underground temples of digital politics, these new idols propose a revaluation of women’s past, present and future role in our information society. In some respects, they serve to (symbolically) exorcise the familiar spirts of misogyny from this realm. It is an occupation; a takeover. 
+      </p>
+      <p>
+      Of course, the analog being of such ancient sculptures (the original bust of Nefertiti, for instance) is resolutely unique. In reverence for this uniqueness, or irreplaceable originality, museums pursue an active care-for that parallels mummification. Indeed, if the museum liberated the funerary object from its tomb, it did so only to re-entomb it within a display case and conservation system—while developing proprietary directions for interpreting and accessing the scope of its powers. However, as Al-Badri’s work seems to imply, the release of these objects’ digital doubles into the world beyond the purview of the historical museum effectively re-animates them—as beings with new potential: The digital doubling of the icons recharges their god-like stature, perhaps, because of their spatio-temporal superpositionality: They are here <i>and</i> there; static, mummified, <i>and</i> simultaneously active. They transcend binary definition. And this may be the reason that their ‘cyber-feminist’ being overcomes masculine (gendered) computation.
+      </p>
+      <p>
+      <b>Juliana Cerqueira Leite</b>’s objects were installed in an electronics retail neighborhood in downtown Sao Paulo. Made of plaster, they are fragmented, repeating casts from the artists own body—principally her mouth and hands. Set amid cables, screens, and piles of hardware, they bring a tactile counterpoint to the ostensible transparency of the screens on sale. This effect is compounded by the replacement of the website cursor with the artist’s own finger, dipped in plaster (a motif that gives another sense to the <i>digit</i> within the digital). Over such imagery, pop-up videos comprising found footage add a degree of visual and sonic cacophony. These clips variously relate to the production and repair of electronics components, global shipping routes, and 3D printed human organs. In addition, each scene features a disembodied mouth (the artist’s own), yammering a stream of conscious monologue. Echoing the performance in Samuel Beckett’s <i>Not I</i> (1972) this mouth/voice is, in turns, hectoring, pleading, reactive/afraid. It is a compulsive speaker. 
+      </p>
+      <p>
+      Overall, Leite’s contribution explores the question of boundaries between bodies and the techno-prostheses through which they access the digital sphere—how they blur into it, functionally, or, at times, awkwardly. Her work conveys the impression of a body broken up, distributed, reproduced, soldered onto others; a recombinant body, with some parts that operate autonomously. Foregrounding a certain abjection within this techno-embodiment, the work’s mood runs contrary to the valorization of the cyborg in recent theory. The Santa Ifigênia neighborhood where the video was shot is situated close to the main area in Sao Paulo where crack cocaine is sold and consumed. It is not a coincidence, Leite claims in her artist statement, that the tech industry refers to everyone as users. If there is something speedy, compulsive, and monstrous in the video’s affect, it arises from our—the user’s—all too familiar compulsions.  
+      </p>
+      <p>
+      <b>Zohra Opoku</b>’s contribution was shot in a half-built mortuary in Accra, Ghana. The ruin’s rough walls set the stage for her installation of various printed fabric artworks, whose pictorial motifs were inspired by the Ancient Egyptian <i>Book of the Dead</i>—a corpus of spells concerning the deceased’s passage into and through the afterlife. The textiles hang shroud-like over concrete and iron rebar, as distant voices and street noise are heard echoing through the structure. Lightly moving in a draft, they depict branches, faces, masks, hands, and eyes, often riffing on hieroglyphics. Once again, <i>The Last Museum</i> returns to the funerary. In this instance, to a location where a body is prepared for entombment. And yet this location is itself unfinished—and will remain so.
+      </p>
+      <p>
+      With respect to such limbo, we must note that <i>The Last Museum</i> shares its title with a semi-fictional memoir written by the cult author and artist Brion Gysin—a sometime collaborator of William Burroughs, perhaps best known for his psychedelic light-sculpture the <i>Dreamachine</i> (1962).  His late text <i>The Last Museum</i> (1985) paid tribute to the famous Beat Hotel in Paris—the haunt for an artistic community who were committed to exploring both geographical and inner space. It was a place he knew well.  Gysin’s literary experiment was a pioneering leap into the grey area between documentation and poetic license, before reality TV and fake news. Perhaps indicating the significance of this in-between status, the story was (metaphysically) set in the <i>bardo</i>—the Tibetan Buddhist state of <i>intermediate</i> existence between two lives (death and rebirth). Circling again, at the level of plot, around the theme of displacement (or ungrounding)—an American investor plans to buy the hotel and transport it across the Atlantic to be re-built in the vicinity of the San Andreas fault. A suggestive allegory for how personal memories, past lives, and documentation intersect on the plane of individual psychology, Gysin’s Last Museum could not have anticipated the spatial and temporal bardo that is the World Wide Web. It is this planetary infrastructure that constitutes, perhaps, the final break with a spatial imaginary already shaken by the telegraph, telephone, and so on in the preceding century and a half. Throughout our Last Museum, states of being between life and nonlife (first broached in ancient religious texts) are staged as live issues in the digital era. Indeed, the works in this exhibition talk about the space between a life recorded by digital technology and the digital afterlife or archive (Nefertiti on the move). But can one die in the digital realm? Does the digital museum not encompass everything? Beyond a museum without walls, is it not a museum of every possible wall?
+      </p>
+      <p>
+      <b>Nicole Foreshew</b>’s contribution features ‘message sticks’, installed in a riverbed on her ancestral land in rural Australia. The objects are an indigenous method of communication mostly legible to members of her people, otherwise resistant to easy exogenous reading. Work stages, then, a method of site-specific communication that is as old as any memory of the land—and which predates the modern ‘invention’ of Land Art. Site is about so much more than material. It is about meaning, a fact that Foreshew’s work foregrounds. In some respects her sculptural objects resist the logic of all-seeing accumulation of information. Even though these message sticks are shown, they escape the colonial gaze, somewhat. Through her work, perhaps, Foreshew ask what a digital archive <i>really</i> comprehends. While re-presented through online, her objects resist.
+      </p>
+      <p>
+      <b>Jakrawal Nilthamrong</b>’s contribution is set in Thailand’s northern mountainous region near Chiang Mai, a site recently devastated by annual wildfires which envelop the area in a choking haze. Set among burning fields, his sculptural interventions are reconstructions of the type of time-release release burners built by arsonists, whose purposes in setting the blazes are heavily contested and politicized. Scenes of fire creeping up the mountainside transition automatically in step with a numeric real-time count of world population shown at the edge of the video. Speculatively linking the fires to global population growth, Nilthamrong indicts the ecological and economic pressures impinging on local actors—farmers, foragers, and residents with competing relations to the land and air. Mesmerizing images of fire onscreen offer a smokeless encounter with the incendiary contradictions of a contemporary social-economic order that pits basic human subsistence against environmental sustainability on a planetary scale. What is emphasized here through the modest figure of a clothes peg clipped to a tangle of wires is the technological mediation of these tensions—indeed the material condition of our social interconnections.   
+      </p>
+      <p>
+      Through the artistic positions and interactive staging, <i>The Last Museum</i> explores the drama of site-specificity in light of <i>the digitization of place and its re-presentation online.</i>
+      </p>
+    `,
+    "de": `<p></p>`,
+  }
+}
 
 const ArtistGlobe = () => (
   <div className="globe">
@@ -194,7 +251,7 @@ const ArtistGlobe = () => (
       {ARTIST_ORDER.map((key, index) => {
         const artist = ARTISTS[key]
         return (
-          <div key={key} style={artist.globePosition} className="number" onClick={() => history.push(`/last-museum/${artist.start}`)}>
+          <div key={key} style={artist.globePosition} className="number" onClick={() => history.push(`/thelastmuseum/${artist.start}`)}>
             {index + 1}
           </div>
         )
diff --git a/frontend/site/projects/museum/views/home.css b/frontend/site/projects/museum/views/home.css
index 1820524..4045a9d 100644
--- a/frontend/site/projects/museum/views/home.css
+++ b/frontend/site/projects/museum/views/home.css
@@ -24,7 +24,7 @@ html {
 
 .app > div.home.intro {
   background-color: #111111;
-  background-image: url(/last-museum/static/media/last-museum/homepage.jpg);
+  background-image: url(/thelastmuseum/static/media/last-museum/homepage.jpg);
   background-size: cover;
   background-position: center bottom;
 }
diff --git a/frontend/site/projects/museum/views/home.js b/frontend/site/projects/museum/views/home.js
index fbd0372..83aaa09 100644
--- a/frontend/site/projects/museum/views/home.js
+++ b/frontend/site/projects/museum/views/home.js
@@ -67,7 +67,7 @@ class Home extends Component {
     } else {
       this.ref.current.className = "home orange-text orange-bg open"
       setTimeout(() => {
-        history.push("/last-museum/stankievech-1")
+        history.push("/thelastmuseum/stankievech-1")
       }, FLASH_TIME)
     }
   }
diff --git a/frontend/site/projects/museum/views/jakrawal.links.css b/frontend/site/projects/museum/views/jakrawal.links.css
index 1a8a5e0..d41c77d 100644
--- a/frontend/site/projects/museum/views/jakrawal.links.css
+++ b/frontend/site/projects/museum/views/jakrawal.links.css
@@ -6,11 +6,11 @@
   min-width: 140px;
   height: 100%;
 /*
-  background-image: url(/last-museum/static/media/last-museum/jakrawal-nilthamrong/left.png);
+  background-image: url(/thelastmuseum/static/media/last-museum/jakrawal-nilthamrong/left.png);
   background-position: left 40px center;
   background-repeat: no-repeat;
 */
-  cursor: url(/last-museum/static/media/last-museum/jakrawal-nilthamrong/left.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/media/last-museum/jakrawal-nilthamrong/left.png) 50 50, pointer;
 }
 
 .jakrawal-right {
@@ -21,11 +21,11 @@
   min-width: 140px;
   height: 100%;
 /*
-  background-image: url(/last-museum/static/media/last-museum/jakrawal-nilthamrong/right.png);
+  background-image: url(/thelastmuseum/static/media/last-museum/jakrawal-nilthamrong/right.png);
   background-position: right 40px center;
   background-repeat: no-repeat;
 */
-  cursor: url(/last-museum/static/media/last-museum/jakrawal-nilthamrong/right.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/media/last-museum/jakrawal-nilthamrong/right.png) 50 50, pointer;
 }
 
 .jakrawal-text {
@@ -50,14 +50,14 @@
   position: absolute;
   top: 1rem;
   right: 3rem;
-  cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png), pointer;
+  cursor: url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png), pointer;
 }
 
 .jakrawal-full{ 
   position: absolute;
   top: 0; left: 0;
   width: 100%; height: 100%;
-  cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-102.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-102.png) 50 50, pointer;
 }
 
 .jakrawal-curtain {
diff --git a/frontend/site/projects/museum/views/jakrawal.links.js b/frontend/site/projects/museum/views/jakrawal.links.js
index 92e3b0e..e66f057 100644
--- a/frontend/site/projects/museum/views/jakrawal.links.js
+++ b/frontend/site/projects/museum/views/jakrawal.links.js
@@ -111,10 +111,10 @@ class JakrawalLinks extends Component {
     this.setState({ hovering: false })
   }
   goLateral() {
-    history.push(`/last-museum/nilthamrong-${this.state.lateralLink}/`)
+    history.push(`/thelastmuseum/nilthamrong-${this.state.lateralLink}/`)
   }
   goVertical() {
-    history.push(`/last-museum/nilthamrong-${this.state.verticalLink}/`)
+    history.push(`/thelastmuseum/nilthamrong-${this.state.verticalLink}/`)
   }
 
   render() {
@@ -139,5 +139,5 @@ export default connect(mapStateToProps)(JakrawalLinks)
 
 /*
   {text && <div className={hovering ? "jakrawal-text hovering" : "jakrawal-text"} dangerouslySetInnerHTML={{ __html: text }}></div>}
-  {text && <div className="jakrawal-text-icon" onMouseEnter={this.handleEnter} onMouseLeave={this.handleLeave}><img src="/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png"/></div>}
+  {text && <div className="jakrawal-text-icon" onMouseEnter={this.handleEnter} onMouseLeave={this.handleLeave}><img src="/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-103.png"/></div>}
  */
\ No newline at end of file
diff --git a/frontend/site/projects/museum/views/mobile.css b/frontend/site/projects/museum/views/mobile.css
index 0059f94..ca1776b 100644
--- a/frontend/site/projects/museum/views/mobile.css
+++ b/frontend/site/projects/museum/views/mobile.css
@@ -16,7 +16,7 @@
   font-size: 3.4vh;
   font-style: italic;
   text-decoration: none;
-  cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-05.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-05.png) 50 50, pointer;
   text-shadow: 0 0 5px rgba(0,0,0,0.7);
   transition: text-shadow 0.1s;
 }
diff --git a/frontend/site/projects/museum/views/nav.overlay.js b/frontend/site/projects/museum/views/nav.overlay.js
index 011cb2d..02945c6 100644
--- a/frontend/site/projects/museum/views/nav.overlay.js
+++ b/frontend/site/projects/museum/views/nav.overlay.js
@@ -177,11 +177,11 @@ class NavOverlay extends Component {
     const currentArtist = ARTIST_ORDER[nextIndex]
     const artist = ARTISTS[currentArtist]
     this.setState({ currentArtist, artist })
-    history.push(`/last-museum/${artist.start}`)
+    history.push(`/thelastmuseum/${artist.start}`)
   }
 
   goHome() {
-    history.push(`/last-museum/home/`)
+    history.push(`/thelastmuseum/home/`)
   }
 
   changeLanguage() {
@@ -217,9 +217,9 @@ class NavOverlay extends Component {
         )}
         {showHomeFooterLinks && (
           <div className="home-footer">
-            <Link to="/last-museum/credits">CREDITS</Link>
-            <Link to="/last-museum/artists">ARTISTS</Link>
-            <Link to="/last-museum/essay">TEXTS</Link>
+            <Link to="/thelastmuseum/credits">CREDITS</Link>
+            <Link to="/thelastmuseum/artists">ARTISTS</Link>
+            <Link to="/thelastmuseum/essay">TEXTS</Link>
           </div>
         )}
         <Marquee location={this.props.location} match={this.props.match} language={this.props.language} />
@@ -246,7 +246,7 @@ class NavOverlay extends Component {
         {showClose && (
           <a href={`https://www.kw-berlin.de/${language}/`} className={orangeClose ? "close-orange site-close" : "site-close"}>
             <span>{BACK_TO_KW[language]}</span>
-            <img src={orangeClose ? "/last-museum/static/img/close-orange.png" : "/last-museum/static/img/close.png"} />
+            <img src={orangeClose ? "/thelastmuseum/static/img/close-orange.png" : "/thelastmuseum/static/img/close.png"} />
           </a>
         )}
         <Flash location={this.props.location} match={this.props.match} />
diff --git a/frontend/site/projects/museum/views/text.overlay.css b/frontend/site/projects/museum/views/text.overlay.css
index 3c4c43b..f127669 100644
--- a/frontend/site/projects/museum/views/text.overlay.css
+++ b/frontend/site/projects/museum/views/text.overlay.css
@@ -4,7 +4,7 @@
   top: 1rem;
   right: 2rem;
   transform: scale(0.7);
-  cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-72.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-72.png) 50 50, pointer;
 }
 .text-overlay {
   position: fixed;
@@ -19,7 +19,7 @@
   font-family: "Druk Wide", sans-serif;
   font-size: 1.6vw;
   padding: 1rem 10vw 1rem 10rem;
-  cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-41.png) 50 50, pointer;
+  cursor: url(/thelastmuseum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-41.png) 50 50, pointer;
   overflow: auto;
 }
 .text-overlay::-webkit-scrollbar {
diff --git a/frontend/site/projects/museum/views/titles.overlay.js b/frontend/site/projects/museum/views/titles.overlay.js
index a7aae17..bf7bb97 100644
--- a/frontend/site/projects/museum/views/titles.overlay.js
+++ b/frontend/site/projects/museum/views/titles.overlay.js
@@ -146,7 +146,7 @@ class TitlesOverlay extends Component {
     //   })
     // }, 500)
     // setTimeout(() => {
-    history.push(`/last-museum/${this.state.content.next}/`)
+    history.push(`/thelastmuseum/${this.state.content.next}/`)
     // }, 1000)
   }