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"Resurrecting the Black Body: Race and the Digital Afterlife" by Tonia Sutherland explores the intersection of Black death and evolving technology. The book examines how the Black body has been used posthumously to advance fields and entertain audiences, such as through the proliferation of recorded police murders of Black individuals and the resurrection of famous Black artists as holograms. Sutherland also delves into the power of memory and the ways in which technology has transformed the concept of living and dying. The author proposes two theoretical interventions, the "right to be forgotten" and the "right to be remembered," to address the ethical dilemmas posed by technology's impact on memory. Sutherland's work challenges Western archival practices and calls for new ways of remembering individuals. Overall, the book offers a thought-provoking exploration of race, technology, memory, and the meaning of existence. [Extracted from the article]

Abstract: Public art and urban renewal have become integral to reconstructing urban landscapes. In this essay we assess how these two spatial practices converge and diverge in the historically and predominately Black community of the Third Ward in Houston, Texas. The essay examines the work of MF Problem and the Black Guys, two Black artist collectives based in the Third Ward. We argue that their public performances critically engage the spatial processes of gentrification and ghettoization in their neighborhood. Furthermore, these performances indicate a unique spatial imaginary held by Black artists that privileges the use value associated with long‐term residents’ views of public and private space over the potential exchange value rooted in urban renewal projects. [ABSTRACT FROM AUTHOR]

This article explores the interplay between Irish identity and the American Civil Rights movement, focusing upon Sam Cooke's 1960 recording of 'Galway Bay.' Building from Lauren Onkey's 'Celtic Soul Brother' concept, the study investigates Irish cultural, aesthetic, and political affinities for African American music while also seeking evidence that this affinity was reciprocated by black artists. While Cooke's recording of 'Irish' material is typically considered in reference to his attempts to 'cross over' and appeal to white audiences, the subtle political content of 'Galway Bay' also offered surreptitious response to segregation and the Civil Rights demonstrations of the 1950s and early 1960s. By contextualizing this recording in reference to both its popular appeal and its political references, and considering both in light of Cooke's understanding of injustice and approach to advocacy, I attempt to re-evaluate Cooke's major label debut album. [ABSTRACT FROM AUTHOR]

Written from the direct experience of a practitioner, this is an autobiographic paper by a contemporary artist that recounts and explores creative and political activism through contemporary art. This article examines the tensions around status: the status of objects, materials and production methods, and the status of people and their drive to self-definition. The text addresses how a hierarchy of values can struggle to catch up with creative practice in education. [ABSTRACT FROM AUTHOR]