Cross-Cultural Harlem reveals a dynamic of exchange that provokes a rethinking of spaces such as Black Harlem, El Barrio, and Italian Harlem. Cross-cultural encounters among African Americans, West Indians, Puerto Ricans, Jews, and Italians provide a story of multiplicity that challenges the framework of territorial enclaves. Shukla illuminates the historical processes that have shaped the diversity of Harlem, examining the many dimensions of its Blackness—Southern, African, Caribbean, Puerto Rican, and more—as well as how white ethnicities have been constructed.

In Code, Bernard Dionysius Geoghegan reconstructs how Progressive Era technocracy as well as crises of industrial democracy and colonialism shaped early accounts of cybernetics and digital media by theorists including Norbert Wiener, Warren Weaver, Margaret Mead, Gregory Bateson, Claude Lévi-Strauss, Roman Jakobson, Jacques Lacan, Roland Barthes, and Luce Irigaray.

For many commentators, user-friendly generative AI technologies, such as DALL-E and ChatGPT, herald an onslaught of unreal, informatic simulacra. Media theorist Matthew Kirschenbaum, for example, has predicted a “textpocalypse” in which human-authored texts will be lost in a sea of machine-generated facsimiles. But is the situation really so simple and well-defined, such that we can speak of an inhuman informatic that stands opposite the supposed agency, originality, and critical spirit of human readers and writers?

The Rap Lab at UVA presents a listening event to commemorate publication and release of Owning My Masters (Mastered): The Rhetorics of Rhymes & Revolutions by Dr. A.D. Carson, associate professor of Hip Hop & the Global South (University of Virginia), with University of Michigan Press. The event will feature remarks by Carson, a roundtable discussion with Chicago Urban Historian Sherman “Dilla” Thomas, album collaborators, Marcus “Truth” Fitzgerald (producer/emcee) and Blake “Preme” Wallace (producer/emcee), scholar Alonya Castillo, and scholar/D.J.

The ongoing Nakba is a historiographic framework that names the structural condition and protracted temporality of Palestinian expulsion, dispossession, and fragmentation since 1948. This talk examines ongoing Nakba as conceived in critical law scholarship, history, and artistic production to challenge the colonial contours of the international protection of persons.

Digital Humanities at Michigan State University is proud to continue the Global DH Symposium into its historic tenth year, and its third year as a combination of virtual and in-person events. Digital humanities scholarship continues to be driven by work at the intersections of a range of distinct disciplines and an ethical commitment to preserve and broaden access to cultural materials.

The Digital Humanities Summer Institute (DHSI) is an annual digital scholarship training institute that is organized for its community by the Centre de recherche interuniversitaire sur les humanités numériques (CRIHN) and takes place at the Université de Montréal campus. DHSI was previously run by the Electronic Textual Cultures Lab at the University of Victoria.

Dr. Gallon is an Associate Professor of Africana Studies. Her work investigates the cultural dimensions of the Black Press in the early twentieth century.

The European Summer University in Digital Humanities was created in 2009 and has been running ever since. It seeks to offer a space for the discussion and acquisition of new knowledge, skills and competences in those computer technologies which play a central role in Humanities Computing and where these activities are integrated into the broader context of the Digital Humanities, where questions about the consequences and implications of the application of computational methods and tools to cultural artefacts of all kinds are asked.

This work-in-progress takes as its provocation the ways that image-generating AI systems struggle with typographical forms. Systems like DALL-E 3 generate images of letters--shapes in text-appropriate contexts--but some of them are shaped a good bit less like letters than others. How should we understand these typographical hallucinations? Is there something that DALL-E 3 "knows" about typography that we don't? Today's AI operates on data at Internet scale, and I approach these questions in part by invoking the universe of printed matter as a nineteenth-century analog.