Café Shapiro is an annual event where undergraduate student writers, nominated by their instructors to participate, read from their creative works.

Café Shapiro began in February 1998 as part of the University’s “Year of the Humanities and Arts” (YoHA). and was originally conceived as a student coffee break. Café Shapiro takes place in the Shapiro Undergraduate Library during winter evenings in March. For many student writers, Café Shapiro is a first opportunity to read publicly from their work.

In Maine, 2018, Groves Conference gathered voices from family science and other social sciences, the arts, and history to address the giving and receiving of care within the circle of family life. In this volume, contributors highlight individual, family, and social influences that afford or deter successful family caregiving. Implications from this body of work and thought are derived and offered to lay person, teacher, program developer, researcher, and public policy maker alike.

In this narrative collection, ten children and teens use their own words and colorful drawings to share their personal experiences with cancer. This diverse collection of patient stories provides insight into the unique lives of these individuals; some are recently diagnosed and undergoing treatment for cancer while others are in remission or have relapsed. These children and teens are honest and perceptive, their stories told with heartfelt emotion. 
 
This book is a resource for all those interested in learning more about childhood cancer, including health practitioners, family, and friends. These stories also have the potential to help other youth diagnosed with cancer.  
 
All of the proceeds received by the University of Michigan Division of Pediatric Hematology/Oncology for this book will be donated: 50% to the Block Out Cancer campaign for pediatric cancer research at the University of Michigan and 50% to the Child and Family Life Program at the University of Michigan C.S. Mott Children’s Hospital.

Contact, Structure, and Change addresses the classic problem of how and why languages change over time through the lens of two uniquely productive and challenging perspectives: the study of language contact and the study of Indigenous American languages. Each chapter in the volume draws from a distinct theoretical positioning, ranging from documentation and description, to theoretical syntax, to creole languages and sociolinguistics. This volume acts as a Festschrift honoring Sarah G. Thomason, a long-time professor at the University of Michigan, whose career spans the disciplines of historical linguistics, contact linguistics, and Native American studies. This conversation among distinguished scholars who have been influenced by Thomason extends and in some cases refracts the questions her work addresses through a collection of studies that speak to the enduring puzzles of language change.

The textbook Control Systems: An Introduction by Professor Hassan Khalil of Michigan State University is intended to serve the standard course on control systems commonly required by undergraduate degrees in electrical and computer engineering. The book introduces the mathematical tools used to characterize the operation of a wide range of control systems, from those used to control a car to travel at a specified speed to a more elaborate systems used to  control the flight of a rocket. 

These proceedings of the 16th conference of the international society for the study of early cinema Domitor includes 26 studies and numerous rarely seen figures dealing with the often overlooked history of the crafts, trades and techniques of early cinema. By examining material culture and the institutionalization of practices into trades during the late 19th and early 20th centuries, this new investigation into the skills and the techniques that defined the cinema in its early decades aims to foster a better understanding of the medium in its varied industrial and professional aspects. The art and gestures of craftspersons—including performers, camera operators, editors, directors, designers, engineers, projectionists, programmers, and critics—, like those of the factory or laboratory workers, are considered for their emerging specificity, as well as in relation to existing cultural, material and technological forms. This book shows how the industrialization of cinema, the professionalization of workers, and the standardization of techniques led to the creation (or at times, subversion) of norms, and consequently legitimized certain skills, crafts and techniques at the expense of others.
 
The intermedial approaches deployed in this collection bring into focus the influence of multiple professional worlds and cultural practices on the nascent film medium, as well as the necessary adaptations and transformations required by the latter. This circulatory dynamic concerns people and practices, studied in a non-diffusionist approach taking into account transcultural interactions. Chapters examine the mechanisms of professionalization and identity-building as they relate to professions such as filmmaker or colorist, as well as to more unexpected occupations such as accountant, censor, or chemical engineer.
 
The notion of technique is broadly defined. Several of the volume’s chapters deal with cameras or special effects, as well as with new historical investigation into mysterious technical devices such as shutters, cue systems or working samples. Going beyond this preoccupation with materiality, the collected studies also approach technique as a human and cultural activity, and thus as a set of gestures, crafts, and expertise. The book more specifically opens up a reflection on the skills of screen performers and on the training that brought the institutionalization of body techniques and film acting. The book further illustrates to an unprecedented extent that the first film workers were frequently women.
 
Several chapters are dedicated to the unconventional careers of specific film workers, with particular attention being given to the diversity and complexity of professional trajectories. Indeed, this book demonstrates that the invention of cinema was deeply enmeshed with the rise of international networks, which resulted in the standardization of technical practices within corporate and national contexts being ultimately shaped by globalization.

The updated and expanded 2022 edition.