In the bringing of a new coming work with references to how our image production, circulation of information and virtual presence is all on the hands of algorithmic governance, I decided to ask few close scholars to come to a dialogue with me on the status of an image in contemporary times and to comment on my take on its undefined borders. As I am scripting the role of cameras as the core of this coming work, I registered ‘The Dialogue’ by a camera on a dolly, testing its abilities towards the perception of the viewer, its time and staging. While withdrawing slowly myself from the position of control, I am turning my back to the lens and its camera operator having instructed him through a series of drawings and by placing marks on the role of the camera and its role in ‘The Dialogue’. Choices as my virtual entity ‘in presence’ as well as the long monologue at the first part of ‘The Dialogue’ are pointing to a threshold of presence in future society and its relation to a dialogic telematic society.

​‘The Dialogue’ script and content has all come through this one off registration in a live discourse together with: 

Knut Åsdam:  filmmaker, installation artist, sculptor, photographer, and writer exploring contemporary society and its psychological and material effects
Andrew Fremont-Smith: artist and theorist, working with time based media and performance forms, leading workshops on Lacan theory and structuralism in radical political theory
Jennifer Uleman: associate professor of Philosophy at Purchase College; her thought and writing are grounded in German Idealism.
Andreas Wimmer: lieber professor of Sociology and Political Philosophy at Columbia University, asks how states are built and nations formed, how individuals draw ethnic and racial boundaries, and when inequality, conflicts, or armed violence may result from both. 

director’s bio
Maria Lalou (1977, Athens-Greece) explores the topic of ‘viewing’ throughout her large-scale installations, performances, and publications. Focusing on the topic of viewing, she incorporates cinematic apparatus and surveillance as part of her tools, with central references to ‘the political of the viewer’. 
Each of her works formulates a precise frame often in the form of a distilled, almost lab-like setting. In her native Greek language, she states: as spectator, one becomes ‘theoros’ in the sense that one observes, participates and interprets the performative process from a certain perspective while this is part of the performance’s ontology.
After 15 years being active in the visual arts with her clear stand point on ‘nonexistence of representation’, Lalou makes her first attempt to deliver a statement through a feature film by the document of a discursive dialogue on the image production, its role in contemporary times and its relation to cinematic time; by staging and recording a real time dialogue between herself and four scholars, with ground the speculative society in New York.