The public humanities stand the best chance of showing the distinctive contribution that the humanities can make to all fields of knowledge by keeping alive values that are irreducible to both instrumentality and profitability. The public humanities not only shows what the humanities have to offer the public sphere, but how various publics are framing what the humanities do within the university.

Kara Walker's public installations in New York and New Orleans ask, what can contemporary art do to reckon with its links to racial capitalism?

On the challenges facing the contemporary writer who dares to question the status quo. 

Greeks young and old, workers and professionals, showed that in utter hopelessness you can vote to maintain your dignity.

Student protests in Amsterdam, budget cuts, and the future of the humanities. 

In Roland Emmerich’s schlocky disaster film The Day After Tomorrow (2004), a tsunami swamps the New York Public Library and enables some ham-handed scenarios about the fate of books after an environmental apocalypse.

Once again, we can see that almost the entire world is trembling with the expectation of change.  It looks like the world is refusing to suffocate itself with the single philosophy and single ideology that is already there for the last 20 years.

This post is a response to a comment made by Andrew Goldstone in a comments thread on Joshua Landy's fascinating Arcade blog post, "Human Minds, Literary Texts, and CD Players."