I have studied Music Performance (Piano), Law, Political Theory and Philosophy in Athens, Düsseldorf, and Frankfurt/Main.My PhD on the collective agency of the decentered, socially-constructed subjectivity was supervised by Axel Honneth (Goethe-University, Frankfurt/Main) and Catherine Malabou (Kingston University London). It was published under the title "Das Subjekt als Gemeinwesen. Zur Konstitution kollektiver Handlungsfähigkeit" in 2021 (Baden-Baden: Nomos).Currently, I am working on a next book-project (Habilitation) that bears the title "Common Sense: A Declaration of Dependence". Therein I, first, revisit different common-sense theories to argue, second, how the concrete social Other is manifested therein as a constitutive factor of the subject's embedded, plural, and processual formation, hence also the subtitle of my book. Finally, I sketch constellational critique, solidarity, and koinotopia (a common utopia) as collective practices of this common subjectivity.Building upon those findings, following projects are in preparation: In a first, smaller, book-project bearing the title “Con-Subjektum: Retelling the Subject's Collective Becoming” I intend to tackle systematically the disparate and fragmentary idea of the collective essence of the individual subject that runs like an undercurrent through the whole of Western philosophy.A second, bigger, and new project that I call “Pluralizing the Juridical. Towards a Collective Philosophy of Law” attempts to develop a constructive reading of philosophy of law and social ontology where the concept of legal personality lies at its core. The promise of such a theoretical endeavor pertains to scrutinizing how the inherently collective social-ontological framework could inform – and/or even shift – the primarily atomistic basis of the conventional legal understanding of legal personality.Finally, a third project centers on aesthetic collectivities. In what I term “Pluriphonic Solidarity. From Late Rennaisance and Early Baroque Practices to Contemporary Collective Practices” I analyze compositional, performance, and publication practices of the Late Rennaisance and Early Baroque period and treat them as prototypical and exemplary forms of radical-democratic organization. In doing so, I extrapolate forms of experimental, horizontal, inclusive, and difference-based collective musicking to show how they can inspire contemporary collective and solidary practices that are not based on common interests, goals, identities, and desires/needs.