Andrea Fernandez

This article revisits the “Kunstlump” (“Art Scoundrel”), one of the most significant debates on the relationship between art and politics in early Weimar Germany. It does so by incorporating the perspective of a key yet overlooked historical actor: Hannah Höch. The Kunstlump debate began when the Expressionist painter Oskar Kokoschka urged striking workers – who were defending the Republic against a failed coup d’état – to move their protests away from artworks after a stray bullet damaged a painting by Rubens. Dada artists George Grosz and John Heartfield responded to Kokoschka, sparking a controversy that eventually involved several other figures, including the German Communist Party, which branded the Dadaists as vandals. By analysing “The Painter,” an unpublished short fiction manuscript by Höch, and exploring overlooked writings, interviews and her intellectual networks – particularly her friendship with the socialist cultural theorist Lu Märten – I argue that Höch contributed to the Kunstlump by establishing a middle ground in the controversy and introducing a distinctive gender perspective that was critical of her Dadaist colleagues.

From a traditional environmental ethics perspective, rights of nature are linked to debates about non-anthropocentrism because they give legal force to the idea that nature has intrinsic moral value. However, we claim that the emergence of Indigenous-led rights of nature initiatives shows that intercultural respect is also an important aspect of this issue. Supported by an example involving an Indigenous nation in Peru, we explain how intercultural respect encourages greater engagement between Western and Indigenous philosophies. On this basis, we advance an argument that a river can be a living being with interests of its own. We also explain how intercultural respect is helpful for understanding the relationship between rights of nature and climate change. In general, our contention is that rights of nature should be understood in the context of efforts to counteract the disrespect of marginalized groups commonly found in environmental injustices. [Open access]

The European industry twin green and digital transition is critical to foster sustainable manufacturing practices that minimize and prevent the environmental impact and resource exhaustion, while ensuring European global competitiveness. AI can play a pivotal role in this transitioning helping to optimize resources, enhancing efficiency, and reducing waste. Nonetheless, AI adoption in the industry is still limited due to the skills gap that hinders the management of these advanced systems. This paper proposes a self-adaptive pipeline for ML with the incorporation of a new Overfitting Index (OI) for self-parameter tuning emphasizing overfitting prevention. The pipeline incorporates self-parameter exploration capabilities exploiting surrogate models to improve computational efficiency. The proposed OI for ML function is evaluated in a well-known regression problem, prior to its real evaluation in an aluminum recycling application to support operators selecting the best combination of scraps. Results indicate that configurations with lower OIs demonstrate superior generalization and robustness, with the surrogate model effectively identifying and refining high OI configurations. The proposed methodology provides a baseline for future development and integration of self-adaptive and self-improving ML solutions in the industry.

El texto presenta una articulación de las reflexiones de Rosa Luxemburg en torno a la tarea de ilustración de las masas (Aufklärungsarbeit) y de las de Bertolt Brecht a propósito del efecto de distanciamiento (Verfremdungseffekt) en su propuesta de teatro épico. La contribución pone el énfasis en tres ejes: (1) el lugar central que ocupa el pensamiento crítico de las masas; (2) el tipo de vínculo entre individuo y sociedad que se deduce de sus propuestas y (3) la no previsibilidad de los efectos de tales procesos. El análisis de sus textos a la luz de estas tres dimensiones pone sobre la mesa la continuidad entre sus ideas y la relevancia que ambas firmas otorgan a los procesos históricos de democratización y de formación de una ciudadanía políticamente activa; dos aspectos que son, en su obra, a la vez el ímpetu y el horizonte de la revolución socialista.

In this text, I reflect on the artistic practice of German artist Hannah Höch (1889-1978), mostly known for her pioneering role in the development of Dadaist inter-war photomontage, and for being the only woman that took part in this movement in Berlin. To do so, I first show the relevance of the Dadaist gaze in her work. Second, I focus on her experience of violence and its relation to the notion of vulnerability. Third, I review Hannah Arendt’s idea of contingency as considered by the philosopher Fina Birulés. The purpose of this is to show how Höch’s way of describing the common world through the practice of photomontage has a normative character, since pointing out the fragility of the world always acts as a condition for proposing new possible status quos.

In this article we discuss the political thought of the French philosopher Simone Weil. In particular, we analyse two fundamental elements of her critique of Marxism, namely her reflections on the phenomenon of power and her critique of the theory of the unlimited development of productive forces. We do so in dialogue with two of the pioneers of the ecosocialist critique of Marx in Spain: Manuel Sacristán and Francisco Fernández Buey, both readers of Weil. The aim: to point out the relevance of this philosopher’s thought not only for its influence on some of the great ethical-political reflections of the socialist tradition in the twentieth century, but also for its ability to address the current challenges.

This article addresses the work of the German artist Hannah Höch in the light of the struggle for abortion rights in the Weimar Republic. I attempt to show how Höch’s uses of the technique of photomontage can be read as a way of introducing a distance between the work and the viewer that allows us to question the beliefs we use to make sense of the world. Specifically, I discuss her photomontage Mutter, a version of a photograph taken by John Heartfield, and some of her writings and interviews. I also examine closely the material conditions and political debates in which Höch’s work – as a social practice – developed. After a brief introduction and a methodological outline, I present Höch in the context of Berlin Dada and summarise the main underlying arguments of my hypothesis. Namely, that the major interest of Höch’s photomontages lies in the complex articulation of activism and philosophy, and in the way in which they put mainstream categories into question by ‘distancing’ fragments of reality.

For a theory T, we study relationships among IΔ n +1 (T), LΔ n+1 (T) and B * Δ n+1 (T). These theories are obtained restricting the schemes of induction, minimization and (a version of) collection to Δ n+1 (T) formulas. We obtain conditions on T (T is an extension of B * Δ n+1 (T) or Δ n+1 (T) is closed (in T) under bounded quantification) under which IΔ n+1 (T) and LΔ n+1 (T) are equivalent. These conditions depend on Th Πn +2 (T), the Π n+2 –consequences of T. The first condition is connected with descriptions of Th Πn +2 (T) as IΣ n plus a class of nondecreasing total Π n –functions, and the second one is related with the equivalence between Δ n+1 (T)–formulas and bounded formulas (of a language extending the language of Arithmetic). This last property is closely tied to a general version of a well known theorem of R. Parikh. Using what we call Π n –envelopes we give uniform descriptions of the previous classes of nondecreasing total Π n –functions. Π n –envelopes are a generalization of envelopes (see [10]) and are closely related to indicators (see [12]). Finally, we study the hierarchy of theories IΔ n+1 (IΣ m ), m≥n, and prove a hierarchy theorem

In this paper we continue the study of the theories IΔ n+1 (T), initiated in [7]. We focus on the quantifier complexity of these fragments and theirs (non)finite axiomatization. A characterization is obtained for the class of theories such that IΔ n+1 (T) is Π n+2 –axiomatizable. In particular, IΔ n+1 (IΔ n+1 ) gives an axiomatization of Th Π n+2 (IΔ n+1 ) and is not finitely axiomatizable. This fact relates the fragment IΔ n+1 (IΔ n+1 ) to induction rule for Δ n+1 –formulas. Our arguments, involving a construction due to R. Kaye (see [9]), provide proofs of Parsons’ conservativeness theorem (see [16]) and (a weak version) of a result of L.D. Beklemishev on unnested applications of induction rules for Π n+2 and Δ n+1 formulas (see [2])

We characterize the sets of all Π2 and all equation image theorems of IΠ−1 in terms of restricted exponentiation, and use these characterizations to prove that both sets are not deductively equivalent. We also discuss how these results generalize to n > 0. As an application, we prove that a conservation theorem of Beklemishev stating that IΠ−n + 1 is conservative over IΣ−n with respect to equation image sentences cannot be extended to Πn + 2 sentences. © 2011 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim.