# Marie Sester


## Posts

- [Emotion, 2012](https://sester.net/emotion/): &lt;&lt; Back to the Projects EMOTION is an installation that activates a public space by bringing selected objects to life, rendering a whole environment suspicious. The space can be a lobby (corporation, administration, train station, airport, museum, concert hall) a catering area, a store, or a waiting area. The selected objects can be pieces of furniture, plants, curtains, TV sets, digital devices, lighting, or utensils. The selected commodities will be part of, or seamlessly blend into, the environment. Only when activated do they become recognizably different. Sensors and cameras detect presence and motion, triggering unexpected special effects that upend our [&hellip;]
- [Little Box Description](https://sester.net/little-box-2012/): &lt;&lt;  Back to the Little Box Blog Little Box is an elegant responsive box using sensors, robotics, light and sound to express peace and harmony. Through its interactivity, it seamlessly teaches us to calm down. When an individual enters the detection zone the lid slowly opens automatically. Light glows from inside, pulsing quietly, synchronized with a calming sound generating a peaceful feeling. When the surrounding is agitated then similarity Little Box becomes frantic; the color of the light gradually becoming red, and the sound coming in louder burst. When the surroundings calm down, Little Box resumes emitting a peaceful atmosphere, [&hellip;]
- [Little Box : Tray](https://sester.net/little-box-tray/): &lt;&lt; Back to the Little Box blog The tray is an important element to the box. It needs to be elevated and flush with the top of the box and also allow the actuators to pass through, lifting the lid. To bring the tray up making it flush with the box we cut clear, square acrylic rod to the height of the box less the material thickness of the Corian. We placed the risers in each corner as supports and the tray rests neatly on them and flush with the exterior box. We needed to make holes for the actuators [&hellip;]
- [Little Box : Sound](https://sester.net/little-box-sound/): &lt;&lt; Back to the Little Box blog We attached speakers to the underside of the box for the sound to emanate from.  Merche Blasco is creating the sound for the piece.  Two speakers that are small enough to fit under the box have been attached and connected to an Arduino Wave Shield.  After testing speakers inside the box, we knew that we needed to keep the speakers outside of the box.  The inner tray severely dampened the noise making it nearly impossible to hear any range of sound.  While this is good to soften the noise of the actuators, it [&hellip;]
- [Little Box : Sensing](https://sester.net/little-box-sensing/): &lt;&lt; Back to the Little Box blog We are using four of the Maxbotic EZ-1 Sonar sensors, which turned out to not be so &#8220;easy&#8221; when using more than one sensor. The sensors send out a sonar which bounces off an object allowing a distance calculation to be returned. There is a good tutorial for getting started with the sensor on Adafruit, but we needed a bit more functionality. We wired the sensors as shown below communicating between the sensors with RX/TX. The pdf instructions of the image below can be found here. The hurdle we had to overcome with the [&hellip;]
- [Little Box : Metal Legs](https://sester.net/little-box-metal-legs/): &lt;&lt; Back to the Little Box blog To make the sensor looks as intentional as possible we discussed placing the sensors underneath the box, rather than drilling a hole into the box.  To place the sensors underneath the box we needed to create legs which would elevate the box up high enough for our sensors to fit. We purchased the square tube shown below and cut slivers down to size for our legs. We attached the legs to the base of the box with Plastic Weld 2-part epoxy.  It&#8217;s not a pretty epoxy, but it&#8217;s extremely secure. We drilled holes in [&hellip;]
- [Little Box : LED Wiring](https://sester.net/little-box-led-wiring/): &lt;&lt; Back to the Little Box blog We are working with the LED Strip lights which come 60/meter and were purchased from Adafruit. These LEDs are Non-Addressable but can be cut every 3 LEDs. We purchase 15 meters and used them throughout the box. Although the LEDs can be cut every 3, the provided soldering pads are very sensitive and can be ruined with too much heat, during de-soldering, or if cut improperly. We were aware of this before we soldered, so we wanted to create a system which would minimize the stress on the solder point. We came up [&hellip;]
- [Little Box : Actuator Housing](https://sester.net/little-box-actuator-housing/): &lt;&lt; Back to the Little Box blog To house the actuators within the box we knew we needed to create a cage that would secure the actuators in place without vibration and also allow the actuators to be removable in case, for some reason, they broke. We came up with a &#8220;cage&#8221; that would be partly secured to the back of the box with a housing around the actuators themselves. We first created housing for the actuators themselves. Here you can see we left room in the housing for the motor to remain open, which helped with overheating issues, but [&hellip;]
- [Little Box : Hinge](https://sester.net/little-box-hinge/): &lt;&lt; Back to the Little Box blog We purchased a stainless steel hinge from McMaster-Carr and installed it on the box after receiving the corrected tray. We chose not to get the hinge with premade holes as we will decide where the holes and bolts should be when we position the hinge. The hinge can be cut with a miter box and a saw. We made it the entire length of the box to ensure that we had as much surface area to work with for attaching the hinge to both the lid and the base of the box. Holes [&hellip;]
- [Little Box : Corian Box Received](https://sester.net/little-box-corian-box/): &lt;&lt; Back to the Little Box blog We received the box back from Corian today. Although the exterior looked beautiful, we immediately realized that the inner tray was made entirely out of the non-illumination series. We specified the bottom of the inner tray to made out of the illumination series. We also noticed a large tolerance around the outer edge of the tray. If left as is, this would mean that the components inside would be visible and that light would seep out. We had to talk with the Corian team to return the tray and have it remade.
- [Little Box : Linear Actuator Test](https://sester.net/actuator-test/): &lt;&lt; Back to the Little Box blog After exploring many different methods for lifting the box lid, we decided that using linear actuators will be the best way to move forward. We avoided this option earlier because the actuators are more expensive than gears and motors, but they will be more quiet and better integrated into the system. We&#8217;ve chosen a miniature linear actuator by Firgelli. We need the L-12i series which has an internal controller. The specs for the actuator are: 100mm stroke | 6V power input | 100 gear ratio also known as &#8220;6,100,100,i.&#8221; The link to download [&hellip;]
- [Kyosaku, 2011](https://sester.net/kyosaku/): Kyosaku will motivate people to master their many digital devices when induced stress arises, using these same technologies to promote sanity and awareness. Follow the project&#8217;s development &gt;&gt; Credits Marie Sester, Concept and DirectionMustafa Bagdatli, Creative TechnologistMerche Blasco, Assitant Creative TechnologistViktoriya Kuntsevich, Research ScientistAviv Bergman, Research Scientist Thanks toNeil Theise, Professor, Pathology and Medicine, Beth Israel Medical Center, New YorkDavid Familiam, Associate Director/Curator, Beall Center for Art &amp; Technology, UC Irvine, CaliforniaCarl Goodman, Executive Director, Museum of the Moving Image, New York Special Thanks toColleen Keegan, Strategic planning consultant, Creative Capital FoundationSean Elwood, Director of Programs &amp; Initiatives at Creative [&hellip;]
- [Little Box : Corian Technical Drawings](https://sester.net/little-box-tech-drawings/): &lt;&lt; Back to the Little Box blog Below are drawings that were submitted to the Corian Fabrication house, Evans &amp; Paul.  We had the box fabricated in house at Corian because the material is difficult to work with.  It can not be laser cut with most lasers because it tends to bend and melt before cutting, you can not create a thread when drilling through it, and gluing pieces of Corian together requires a special glue that is in essence a liquid Corian. We specified a 1/4&#8243; thickness. The exterior of the box and base of the inner tray are [&hellip;]
- [Little Box Videos](https://sester.net/little-box-videos/): &lt;&lt; Back to the Little Box blog
- [FEAR, 2010](https://sester.net/fear/): FEAR is a public art work that uses a common object as a focal point of emotional interaction. Situated in the middle of a lobby, a table is illuminated from within, surrounded by sound producing chairs; all of them &#8220;breathing&#8221; peacefully. When this calming point of attraction is approached, the soothing light gradually becomes aggressive and the chairs start howling in agony. When left alone, the objects resume their peaceful existence. FEAR is part of a new series of works titled EMOTION. This series aims to evoke emotive states through common objects (furniture, plants, other familiar things). The overarching desire [&hellip;]
- [Tell Me the Truth, 2009-2010](https://sester.net/tell-me-the-truth/): Tell Me the Truth is an interactive artwork that consists of a rectangular mirror on the wall, about 20 inches high. When approached, the mirror transforms the viewer&#8217;s face into the iconic artist, Andy Warhol. This transformed image reflects and mimics the viewer&#8217;s movements. When the gestures, faces or behavior of the viewer are out of range with the character, the star takes over and plays his own persona, occasionally reciting a short, typically Warholian sentence like: &#8220;That&#8217;s great,&#8221; and &#8220;Wow, that&#8217;s amazing.&#8221; Because of perspective and sight-lines, the experience is unique to the viewer. When a person approaches the [&hellip;]
- [Little Box : Open/Close Animation](https://sester.net/little-box-animation/): &lt;&lt; Back to the Little Box blog The first prototype for Little Box project was building a system that can open a box seamlessly. This is a main step for the box and most of the next steps will be shaped according to our solution for this problem. We needed to make this system seamless, with low noise and small parts. We started with ordering these parts Stepper Motors from Sparkfun.com (http://www.sparkfun.com/products/9238)   Steel Plain Bore 14-1/2 Degree Spur Gear, 24 Pitch, 12 Teeth, 0.5&#8243; Pitch Diameter, 1/4&#8243; Bore from mcmaster.com (http://www.mcmaster.com/#catalog/118/1070/=gljjtx) Steel 14-1/2 Degree Pressure Angle Gear Rack, 24 Pitch, [&hellip;]
- [Little Box : Mechanics Development](https://sester.net/little-box-mechanics-v02/): &lt;&lt; Back to the Little Box blog After testing out the bevel gears, we realized that we could not get the pivot point of the lid close enough to the back of the box. If we wanted to integrate the rod into the back of the box, we would need to create a false compartment within the lid. We&#8217;ve decided to move forward with servos and rack and pinion gears (see below). A more detailed description will follow in later posts.
- [Little Box : Initial Brainstorming for Mechanics](https://sester.net/little-box-brainstorm/): &lt;&lt; Back to the Little Box blog We are looking into using beveled gears to raise the lid of the box. We think this will be an efficient and seamless way to lift the lid. Our rough sketches, shown below, involve a servo and 2 beveled gears. One will be attached to the servo, the other will be attached to a rod that runs along the back of the box. The rod will be attached to the lid with a hinge or flange.
- [BE[AM] 2004-2008](https://sester.net/beam/): BE[AM] is a spatially interactive immersive installation which displays visuals from a database of American pop culture and offers the visitors control of three familiar iconic characters via video gamepads. BE[AM] projects video imagery onto the three walls, ceiling, and floor of a public space using a robotic projector. The three characters, Charlie Chaplin, Wile E. Coyote, and Super Mario appear in contrast to projections of the American pop landscape: Hollywood productions, TV broadcasts, and video war games. BE[AM] seeks to point out the political intoxication of &#8220;us versus them&#8221; mentality that is gaining prevalence as the lines between entertainment [&hellip;]
- [Little Box Sketches](https://sester.net/little-box-sketch/): &lt;&lt; Back to the Little Box blog
- [Lilypad, Bluetooth and first lectures](https://sester.net/lilypad-bluetooth-and-first-lectures/): &lt;&lt; Back to KYOSAKU In order to be able to have the first lectures of the sensors incorporated we started building our first wearable bracelet with the two sensors incorporated. We incorporated a Lilypad Arduino simple board and we connected the GSR and the Temperature sensor to two different analog inputs of the board. We did several tests with the two temperature sensors and we noticed that the first one we tried was reacting faster to small changes which seemed more appropriate to our final goal, so we chose that one. Here are some images of the process:  In order to be [&hellip;]
- [GSR and skin temperature](https://sester.net/gsr-and-skin-temperature/): &lt;&lt; Back to KYOSAKU According to the last results we had, we started working on a wearable prototype that could give us more stable lectures of the different sensors. We used for that one of those &#8220;tennis bracelets&#8221;. We first incorporated two stripes of stretch conductive fabric to measure the GSR. We could see it working by adding some water on our skin and observe the different values, but it was tough to prove a secretion of sweat in the conditions where we were doing the tests. In this direction we both agreed we needed to incorporate ASAP a bluetooth transmitor [&hellip;]
- [Working on the first prototype - Day one](https://sester.net/working-in-the-first-prototype-day-one/): &lt;&lt; Back to KYOSAKU Today we started doing some tests with the components we ordered to monitor: &#8211; Heart rate &#8211; Skin Temperature For the heart-rate we did some tests with the pulse sensor ordered online and created by Joel Murphy and Yury Gitman. It was pretty straightforward to plug and play. It seemed to read our pulse through our fingertip but it was not as stable as we expected and it did not really  work for the measurements in the wrist. We did not have the velcro they recommend to do the tests so we will try again next time [&hellip;]
- [EXPOSURE, 2001/2008](https://sester.net/exposure/): EXPOSURE Prints EXPOSURE_4K   EXPOSURE: a 3-channel HD video installation EXPOSURE is a projection-based installation consisting of images of X-rayed vehicles juxtaposed with architecture. The installation was developed in 2001 as the fifth and last installment in a series of video-based work that explores how X-ray imagery was used for surveillance, pre-9/11. &#8220;EXPOSURE offers surveillance imagery consisting of x-rayed trucks containing smuggled items, such as a Rolls Royce, three million cigarettes embedded in scrap metal, and 2.5 tons of marijuana packed inside 896 rubber bales. In one of the projections, an x-rayed truck is elegantly juxtaposed with a house, which [&hellip;]
- [MIRROR, 2007](https://sester.net/mirror/): MIRROR is a surveillance vanity mirror which detects presence. It follows a found person so that her face is always in its center. By taking this product and turning it into a surveillance tool, the use of the mirror is perverted. This mirror is no longer a static piece of reflective glass where you can see your image, but an interactive eye that is following you. Technical Description MIRROR is a self-contained work, entirely plug-and-play. Using a small built-in video camera and ultrasonic sensors, it tracks a moving observer by panning and tilting so that the observer is constantly facing [&hellip;]
- [Threatbox.us, 2005-2007](https://sester.net/threatbox-us/): Threatbox.us is an interactive installation with web surveillance interface in which movie frames from a montage of violent excerpts from films, news media, and computer games &#8220;attack&#8221; visitors via a robotic video projector and computer vision tracking system. The compilation exhausts the all-pervasive content of contemporary everyday life filled with visuals and sounds and actions of violence turned into entertainment. These violent scenes are intercut with domestic scenes of people passively engaged in mass media entertainment. The public-space projection moves in fluid patterns along a wall, sometimes meeting the ceiling, sometimes the floor, and at irregular intervals swiftly “jumps”, with [&hellip;]
- [ACCESS, 2003](https://sester.net/access/): ACCESS is an interactive art installation that lets web users track anonymous individuals in public places, by pursuing them with a robotic spotlight and an acoustic beam system. The work is about our obsession with surveillance, control, visibility, and celebrity. Concept ACCESS is a public art installation that applies web, computer, sound and lighting technologies in which web users track individuals in public spaces with a unique robotic spotlight and acoustic beam system. The robotic spotlight automatically follows the tracked individuals while the acoustic beam projects audio that only they can hear. The tracked individuals do not know who is [&hellip;]
- [L'Architecture du Paradis, 2000](https://sester.net/lachitecture-du-paradis/): L&#8217;Architecture Du Paradis is a spatialized installation involving a series of 5 video sequences projected onto four wide walls, whose projections are periodically interrupted by sound and light effects. Leonardo Journal published L&#8217;Architecture du Paradis Artist Pages (p 33-34) Vol. 36, Issue 1 February 2003, MIT Press. There are 3 main problematics involved: 1) The major archetypes that historically and mentally permeate the Western world, as successive counterpoints to dreams of happiness: the lost paradise (the Temple, in other words, the tomb, and Eden, the garden of Earthly Delights) or the promised land (the Celestial City: the ideal city, the [&hellip;]
- [Artifice and Sensation, 1999](https://sester.net/artifice-and-sensation/): Artifice and Sensation is a series of 4 projected video sequences periodically interrupted by black images while the sound continues. The theme is that of artifice and sensation as the uniquely human expression of mind, focusing on different perspectives, related to the forms of the city, the notion of transparency and the Western ideology. The video sequences are made from X-rayed luggage, X-rayed vehicles, vehicle plans, maps from the Las Vegas Strip, views from casino-hotels, from neon signs, etc. Each image transforms slowly but irrepressibly into the next one, shifting from architectural to x-ray scans, to signage or aerial views. [&hellip;]
- [FOUR ENGINES, 1998](https://sester.net/four-engines/): Four Engines is a 20 feet wide x 8’ high video projection. The video shows the metamorphosis of four engines. The vehicles, X-rayed for detection, are: a boat which is subsequently transformed into a tractor before becoming a tank, which, in turn, metamorphozises into a semi-articulated truck. The transformations are slow and gradual. Specific colors are attributed to each vehicle in reference to the history of representation. The vehicles, themselves, have successively been instruments of conquest in Western history. The metamorphosis is accompanied by animal sounds. At first, barely audible, the sound of moaning or grunting becomes more insistent as [&hellip;]
- [MOVED SETTLEMENT, 1997](https://sester.net/moved-settlement/): Moved Settlement is an invented space that attempts to liberate the physical body wandering through it from all preconceived cultural or ideological association. The design of the space resists customary Western styles of furnishings. Outside of the Settlement, a video of x-rayed luggage plays atop a typical Western table accompanied by a similar typical chair. Western notions of comfort, control (tourism invasion included) and surveillance, in a consumer-driven culture, are combined here to serve as monuments and reference points in a city and in an environment based on the right of access. The Settlement is made of soft PVC, stainless [&hellip;]
- [LUGGAGE X, 1996/2011](https://sester.net/luggage-x/): Luggage_X_3_3 is a project that stems from my interest in x-rays, and their use as tools of surveillance. Initially fascinated by the beauty of the images, I was intrigued by the fact I was not allowed to stay and watch this representation of the luggage as it rolled through the security checkpoint. Obtaining permission to record luggage at Orly airport from the Director of Airports in France took over a year. With the assistance of a cameraman, I recorded three minutes and three seconds of footage before being confronted by security officers. The cameraman was escorted from the airport. I [&hellip;]
- [APARTMENT, 1996](https://sester.net/apartment/): Apartment is a scenario-installation. It extracts, in its true dimensions, the plan of a functional apartment, as designed by Bauhaus and promoted by the Functionalists. The intent of Apartment, representing our daily housing standard, is to provoke and to challenge other highly structured architectures through various displacements. It is made out of plexiglass (3.5’ high x 20&#8242; x 13’). Most of the apartment walls are built at a hight of 3.44 feet (the international standard height for parapets). This height disperses the visitor into three positions at once: inside, outside and above (over the drawing of the plan). Due to [&hellip;]
- [HOTEL ROOM, 1995](https://sester.net/hotel-room/): Hotel Room presents the layout of a typical hotel room by extracting it from its context and shaping low walls, in order to give the elements for a reading. A hotel room is the result of a specific idea of the use of space. Everybody in the Western world knows how to use it. There is no need for directions. The work is a life size scale representation (4’ high x 23’ X 11.5’) built with paraffin wax. It distorts the geometric reference points and is mentally and physically upsetting, despite the fact that the outline and the size of [&hellip;]

## Pages

- [Kyosaku Blog](https://sester.net/category-kyosaku-blog/): Category: Kyosaku Blog Lilypad, Bluetooth and first lectures GSR and skin temperature Working on the first prototype – Day one
- [MIRROR Concept and Detailed Description](https://sester.net/mirror-concept-and-detailed-description/): MIRROR Concept and Detailed Description &lt;&lt;Back to MIRROR MIRROR resembles a beautifully designed vanity-MIRROR, a desirable commodity, however the consumer suddenly confronts himself with the hidden perversion of the consumable object: MIRROR is watching him. Wherever he goes, to the right, to the left, down his knees, on his toes, further away or very close to it, MIRROR tracks his moves and keeps him in its central focus. MIRROR takes a consumable and turns it into an unexpected surveillance tool, in a twist of Detournement. It is no longer a static piece of reflective glass where you can see your image, [&hellip;]
- [Exposure-4k](https://sester.net/exposure_4k/): Exposure 4k &lt;&lt; Back to the EXPOSURE EXPOSURE EXPOSURE Prints EXPOSURE: Single-channel version for 4K projection Originally presented as a synchronized, 3-channel 1080p HD video installation, this shortened, single-channel version has been re-rendered for 4K projection incorporating the full detail of the high-resolution master image files. In the process of creating the 4K version of EXPOSURE, print editions comprised of photo compositions from the three sequences were created. EXPOSURE_4K is included as part of CineGrid’s research into high-bandwidth, high-resolution content distribution platforms and display technologies. Duration – 2:58Year Produced – 2001/2008 Animated Still Images3D LIDAR Data Visualization Pixel Resolution: 3840 x 2160 (4 x [&hellip;]
- [BE[AM] Concept and Detailed Description](https://sester.net/beam-concept-and-detailed-description/): BE[AM] Concept and Detailed Description &lt;&lt; Back to BE[AM] In a darkened space, a robotic projector throws a stream of hovering, undulating background clips on the walls, floor, and ceiling. The background video and the projector’s movements are pre-scripted to complement the content of the video clips (X/Y/Z directions, speed, duration). The three icons, freed from their “home” environments (and their original media), are available for insertion. Charlie, Coyote and Mario represent three figures from the history of media in the endless attempt to evade the “beam” of militarized vision within which we inevitably continue to appear. They are icons [&hellip;]
- [About](https://sester.net/about/): About Kyosaku will motivate people to master their many digital devices when induced stress arises, using these same technologies to promote sanity and awareness. Marie Sester, Concept and DirectionMustafa Bagdatli, Creative TechnologistMerche Blasco, Assitant Creative TechnologistViktoriya Kuntsevich, Research ScientistAviv Bergman, Research Scientist Thanks toDavid Familiam, Associate Director/Curator, Beall Center for Art &amp; Technology, UC Irvine, CaliforniaCarl Goodman, Executive Director, Museum of the Moving Image, New York Special Thanks toSean Elwood, Director of Programs &amp; Initiatives at Creative Capital FoundationFrederic Clad, Founder, Galerie Frederic Clad, Paris, France
- [Emotions](https://sester.net/emotions/): EMOTION 2012 EMOTION is an installation that activates a public space by bringing selected objects to life, rendering a whole environment suspicious The space can be a lobby (corporation, administration, train station, airport, museum, concert hall) a catering area, a store, or a waiting area. The selected objects can be pieces of furniture, plants, curtains, TV sets, digital devices, lighting, or utensils. The selected commodities will be part of, or seamlessly blend into, the environment. Only when activated do they become recognizably different. Sensors and cameras detect presence and motion, triggering unexpected special effects that upend our expectation of what [&hellip;]
- [Resume](https://sester.net/resume/): RÉSUMÉ The following is a condensed version of Marie Sester’s résumé. Education 1980 Architect DPLG Degree (M Arch), Ecole d’Architecture de Strasbourg, France 2023 Ph.D. in Psychology, California Institute of Integral Studies, USA Academic Affiliations and Residencies 2011 Adjunct Professor, Parsons The New School, Media, Arts and Technology, New York, USA 2005 Artist Residency, California Institute of the Arts, Center for Integrated Media, USA 2004 Artist Residency, ZKM, Center for Art and Media, Karlsruhe, Germany 2003 Artist Residency, Eyebeam, New York, USA 2003 Associate Artist/Researcher, The SMARTlab Center at Central Saint Martins College of Art and Design, London, UK 2001 [&hellip;]
- [Contact](https://sester.net/contact/): Contact Marie Sester &#8211; Based in New Yorkmarie@sester.net https://sester.net
- [Statement](https://sester.net/statement/): Statement An opening :: Examining ways we create and perpetuate societal norms. Violence, political power, and entertainment media are tied together in a perpetual dance, feeding and supporting one another. Our icons are hyper-masculine and testosterone fueled. The tools we use everyday trap us increasingly in a technological web of reliance on societal structures, reinforcing our need of them, but not exposing the truth behind the machinations. Without a critical examination of these structures and tools, we blindly accept this fate. Though trained as an architect, I chose the visual and multimedia fields to explore the ways that a civilization [&hellip;]
- [Home](https://sester.net/): PROJECTS Emotion. 2012 Kyosaku, 2011 Fear 2010 Tell Me the Truth, 2009-2010 BE[AM] 2004-2008 EXPOSURE, 2001/2008 MIRROR, 2007 Threatbox.us, 2005-2007 ACCESS, 2003 L’Architecture du Paradis, 2000 Artifice and Sensation, 1999 FOUR ENGINES, 1998 MOVED SETTLEMENT, 1997 LUGGAGE X, 1996/2011 APARTMENT, 1996 HOTEL ROOM, 1995 Emotion. 2012 Kyosaku, 2011 Fear 2010 Tell Me the Truth, 2009-2010 BE[AM] 2004-2008 EXPOSURE, 2001/2008 MIRROR, 2007 Threatbox.us, 2005-2007 ACCESS, 2003 L’Architecture du Paradis, 2000 Artifice and Sensation, 1999 FOUR ENGINES, 1998 MOVED SETTLEMENT, 1997 LUGGAGE X, 1996/2011 APARTMENT, 1996 HOTEL ROOM, 1995
- [EXPOSURE Prints](https://sester.net/exposure-prints/): &lt;&lt; Back to the EXPOSURE EXPOSURE EXPOSURE_4K Photo composited stills from the EXPOSURE 3-channel video installation. PRINT EDITIONS Other print dimensions available: 120 x 48 inches (304.8 x 121.92 cm), Edition of 3 + 1 AP 80.7 x 33.75 inches (205.4 x 85.72 cm), Edition of 5 + 1 AP 44 x 16 inches (111.76 x 40.64 cm), Edition of 20 + 3 AP 10 x 8 inches (25.4 x 20.32 cm), Edition of 20 + 3 AP
- [Short Bio](https://sester.net/short-bio/): Short Bio Marie Sester is a French-American artist who works with cross-disciplinary practices and experimental systems in Interactive Art using tracking technologies, light, audio, video, and biofeedback, focusing on social awareness and the responsibility of personal commitments. Born in France, Marie Sester began her career as an architect after earning a Master&#8217;s Degree from the Ecole d&#8217;Architecture in Strasbourg, France. Her interests soon shifted from designing physical structures to the study of ideological ones, and of how culture, politics and technology affect our spatial awareness, our emotions and believes. After traveling extensively she moved to the U.S. in 2000. Marie [&hellip;]


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