Where does private space end and public space begin? How does the individual set about defining these boundaries? How have the computer and the internet altered the relationship between private and public space? Photographer Jacqueline Hassink explores these and similar questions in her project "Mindscapes". Looking at the USA and Japan, two of the economically most influential countries in the world, she has captured the rooms of CEOs, the screen savers of top managers, the coffee cups of office personnel, the extravagant shoes of star designers, or the changing rooms of leading fashion houses in photos taken in 500 leading companies. She creates not only a photographic excursion through closed spaces, but also a mosaic of those private articles which are used to bridge the gap between public and private rooms. Author and photographer Jacqueline Hassink lives and works in New York. Since 1993 her photos have been exhibited in Europe and the USA.
This book discusses all critical privacy and data protection aspects of biometric systems from a legal perspective. It contains a systematic and complete analysis of the many issues raised by these systems based on examples worldwide and provides several recommendations for a transnational regulatory framework. An appropriate legal framework is in most countries not yet in place. Biometric systems use facial images, fingerprints, iris and/or voice in an automated way to identify or to verify (identity) claims of persons. The treatise which has an interdisciplinary approach starts with explaining the functioning of biometric systems in general terms for non-specialists. It continues with a description of the legal nature of biometric data and makes a comparison with DNA and biological material and the regulation thereof. After describing the risks, the work further reviews the opinions of data protection authorities in relation to biometric systems and current and future (EU) law. A detailed legal comparative analysis is made of the situation in Belgium, France and the Netherlands. The author concludes with an evaluation of the proportionality principle and the application of data protection law to biometric data processing operations, mainly in the private sector. Pleading for more safeguards in legislation, the author makes several suggestions for a regulatory framework aiming at reducing the risks of biometric systems. They include limitations to the collection and storage of biometric data as well as technical measures, which could influence the proportionality of the processing. The text is supported by several figures and tables providing a summary of particular points of the discussion. The book also uses the 2012 biometric vocabulary adopted by ISO and contains an extensive bibliography and literature sources.
This book explores the dynamics of peaceful coexistence in the seventeenth- and eighteenth-century Dutch Republic by tracing developments in illustrated religious literature. The highly controversial appropriation of textual and visual elements across confessional boundaries allows a close look at unexpectedly problematic confessional negotiations
Where does private space end and public space begin? How does the individual set about defining these boundaries? How have the computer and the internet altered the relationship between private and public space? Photographer Jacqueline Hassink explores these and similar questions in her project "Mindscapes". Looking at the USA and Japan, two of the economically most influential countries in the world, she has captured the rooms of CEOs, the screen savers of top managers, the coffee cups of office personnel, the extravagant shoes of star designers, or the changing rooms of leading fashion houses in photos taken in 500 leading companies. She creates not only a photographic excursion through closed spaces, but also a mosaic of those private articles which are used to bridge the gap between public and private rooms. Author and photographer Jacqueline Hassink lives and works in New York. Since 1993 her photos have been exhibited in Europe and the USA.
A photography collection can be seen as a dynamic part of a museum, which can be regarded in various ways. In this case, the heart of the exhibition is formed by five photographers with whom Huis Marseille collaborated on multiple occasions in the recent past: Valérie Belin, Jacqueline Hassink, Naoya Hatakeyama, Sarah Jones and Rob Nypels. They have each been invited to fill curate a gallery with their own work and combine topicality with earlier purchases by Huis Marseille. In this way, their own personal, artistic growth in the past fifteen years becomes visible.00Exhibition: Huis Marseille, Amsterdam, the Netherlands (13.9.-12.7.2014).
Katalogus van een fototentoonstelling in het Stedelijk Museum in Amsterdam in 1988, waarin een beeld werd gegeven van de ontwikkeling van de Amerikaanse fotograaf (1946- ).
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