I provide an overview of what direct action is, how one can distinguish it from other forms of direct action, and under what conditions this unique form of protesting makes sense.

Escapism is omnipresent in contemporary mass art, even though it has a bad reputation. I trace that reputation back to aesthetic pragmatism and provide a pragmatist defence of the use of escapism as political-aesthetic motif.

I argue for a negative dialectical account of art-science, that also provides a novel defence of Adorno's aesthetic theory.

I argue that Wittgenstein's aesthetic writings must be understood as working through insights regarding ethical consciousness. In addition, I argue that this way of thinking provides extra evidence for the influence of Friedrich Schlegel on Wittgenstein.