Manuel Correa is an artist from Medellin, Colombia currently working towards his BFA in Film & Video at Emily Carr University in Vancouver, Canada. Correa is a founding member of the film production company + art collective Atelier Bolombolo. Correa’s artworks have been exhibited internationally at venues in Colombia, Canada and Austria.
Find more about Correa’s work at: www.manuelcorreastudio.com
Fernando Zalamea es un filósofo de las matemáticas, uno de los más destacados de las últimas décadas en América Latina. Su libro más reciente, Filosofía sintética de las matemáticas contemporáneas (publicado por Urbanomic), es un testimonio de la impresionante amplitud de sus conocimientos en el campo de las matemáticas contemporáneas, las cuales afirma pueden ser de invaluable utilidad para la filosofía más allá de las herramientas meramente formales y lógicas que éstas proporcionaron a la filosofía analítica del siglo XX.
Fernando Zalamea is one of the most prominent philosophers of mathematics to have appeared in Latin America in the last couple of decades. His most recent English-translated book, Synthetic Philosophy of Contemporary Mathematics (2014, Urbanomic), testifies to the impressive breadth of his knowledge in the field of modern mathematics, as well as to his conviction that mathematics can present philosophy with invaluable insights, over and beyond the merely formal and logical tools that resulted from its engagement with 20th century analytic philosophy.
. . . art tries to represent nature. Not necessarily in a direct sense, like you paint a nice field and in that painting, you’ve represented it one to one; embracing that you’re capturing something very fundamental there.. But even in abstract painting and various forms of sculpture or digital art; that what you’re really trying to capture is a representation of the process of representation itself. That’s basically how Schelling discusses art. To say that art represents nature, you’re not saying that art represents a representation of nature in an image, but that an image is actually pointing to the processes within nature that creates not only what we would call natural objects – plants or animals – but also thought. So art in a sense, is thought’s attempt to capture itself as a creation of nature, as creation.
I think that photography is digital – if you understand photography in the classical sense – and that it has always been digital. Such a position only holds if we accept the previous definition of the digital, which has to do with subscribing to a fundamental rivenness of the world. Photography must reflect on or orient itself toward an object or toward the world. The viewer (or the camera as a ‘viewer proxy’) is already divided, or apart, or opposite from its subject. The viewer is inside the world of course, but the structure of immanence is not in effect. Rather, a structure of distance, difference, relationality predominates. If the dominant structure is distance, difference, relation, etc., it’s digital as far as I’m concerned. But that might not be a very satisfying answer!