Marie Sesters »Access« (2003) ermöglicht es den Usern der Website, einzelnen Personen in öffentlichen Räumen nachzuspüren, indem sie sie mit einem Roboter-Spotlight verfolgen. Auch wenn »Access« vor allem in den Eingängen von Kulturgebäuden und bei Events wie der Grande Halle de La Villette, Paris, gezeigt wurde, veranschaulicht dieses Werk auf perfekte Weise, dass die Lobby ein Grenzbereich ist, in dem der öffentliche Diskurs zwar stattfinden darf, aber zugleich oft verfolgt und überprüft und letztlich vertrieben wird. Steve Dietz

http://www.medienkunstnetz.de/werke/access/ (25.05.2020)

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 tracking them or why they are being tracked, nor are they aware of being the only persons among the public hearing the sound. The web users do not know that their actions trigger sound towards the target. In effect, both the tracker and the tracked are in a paradoxical communication loop.

The content of ACCESS calls for awareness of the implications of surveillance, detection, celebrity, self-promotion, and their impact on society. The structure of ACCESS is intentionally ambiguous, revealing the obsession/fascination for control, visibility, and vigilance: scary or fun. ACCESS was primarily influenced by the beauty of the surveillance representations (x-rayed bodies, luggage or vehicles, 3D laser scans, satellite reconnaissance imagery, etc.), the invisibility of the collected data, and the power generated by means of surveillance practices.

http://www.sester.net/access/ (25.05.2020)