An Ontario high school teacher who used a camera pen to take photos of female students has been convicted by Canada's highest court. In , Ryan Jarvis was originally acquitted of the criminal offence of voyerism in London, Ontario, when a judge found that the images of the students cleavage and chests weren't taken for a sexual purpose. But this morning, the Supreme Court of Canada concluded that "visual recordings of students were not made in circumstances that give rise to reasonable expectation of privacy", as required under the Criminal Code of Canada. The ruling declared that privacy is "not an all-or-nothing concept, and being in a public of semi-public space does not automatically negate all expectations of privacy with respect to observation or recording". But they disagreed that a multifactored test should be adopted to determine this reasonable expectation.
An Ontario high school teacher who used a camera pen to take photos of female students has been convicted by Canada's highest court. Include archived stories. Bravely because the risks of tackling Soothe the savage breast a subject in a visual medium are obvious and not easily avoided. Voyeurism galleries this on:. This mosaic of photographs -- depicting the world within eyeshot -- shows up on the screen of your phone. Filed under: Innovation. View in the rear view mirror of motorcycle Global Voyeurism Graffiti from Bleeps bleeps. Voyeurism galleries described the effect of using the app as a sort of bug-eye experience -- one where you're seeing the world through dozens of lenses at once. Mature man is making voyeurism from the surface of the water of the river with help of waterproof camera in his hands.
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He often zeroes in on erogenous zones, accentuating them with marks inscribed into the surface of his prints.
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He often zeroes in on erogenous zones, accentuating them with marks inscribed into the surface of his prints. In a wider sense, though, the object of desire is a whole world of everyday life encapsulated in the women's workaday activities as they get from A to B or relax and joke with each other. He also photographed images on the television screen. It is, as John Hutchinson writes in the catalogue, "difficult not to be somewhat saddened" by even his most overtly voyeuristic photographs.
His hometown, the place we see in his work, is Kyjov in the Czech Republic, where his father was a tailor. His rebellious streak had become apparent even before the advent of communist rule in , when prevailing liberal trends in the cultural and political environment were summarily closed down.
By then he'd already served time in a military prison and a mental hospital. Afterwards, he retreated to Kyjov, pursuing his art work but not exhibiting in public, and found himself increasingly at odds with the authorities.
His problems with authority, centring on a not entirely unfounded conviction that he was being persecuted, ensured that he was not able to take advantage of subsequent thaws in the political climate.
He was periodically confined to a police cell or a mental hospital, apparently because of his penchant for disrupting formal political ceremonies. He had become, and looked like, an outsider, unkempt and long-haired. Yet the evidence suggests that he is not an outsider artist in the strict sense. When he began to take photographs in the late s, he used a rudimentary Russian camera but increasingly improvised, knocking together workable mechanisms from anything conveniently available, such as bits of plastic pipe and elastic, developing film in a kettle and printing by moonlight.
Hence the look of his work - faint and evanescent, blurred and distant, seemingly haphazard - can be seen as deriving from aesthetic choices. Over a year period he shot up to frames a day, never intending them for exhibition. That came late, and accidentally. Sometimes her young, elaborately dressed heroines recall the Alice of Through the Looking Glass. Unders must be accompanied, and visitors are warned of explicit content, though nothing too shocking lies in store.
The show is called At the Heart of Chance and in it the artist, Orla Whelan, has bravely taken on the subject of sexual intimacy. Bravely because the risks of tackling such a subject in a visual medium are obvious and not easily avoided. Pornography tends to dominate the field and, even if the artist's intentions are not pornographic, the work is likely to be open to such interpretation all the same. There has been much discussion of the way extreme and graphic violence is tolerated in mainstream Hollywood cinema, even as Tinseltown remains distinctly prudish about sex.
In a sense, Whelan's work makes an argument for the legitimacy of her subject without compromising on the necessarily transgressive edge of eroticism and desire, a difficult task to manage. Nor does she quite succeed overall, but she raises interesting questions and is successful in several individual pieces - though as it happens they are probably the least explicit ones. In a catalogue note, Patrick T Murphy points to the work of Marlene Dumas and Thomas Ruff, both of whom have dealt explicitly with pornography as, more recently and controversially, has the painter John Currin.
Sexuality and the body have been at the heart of processes of objectification and commodification for at least as long as recorded history, though technology and other factors have undoubtedly enhanced and accelerated things considerably.
Whelan's images depict a naked couple embracing. We see them in their entirety and in detail, sometimes isolated, close-up details from various angles. The paint surface is relatively mean, not especially sensual at all, and in this as well as the fact that the paintings are monochrome the work seems to refer to photography rather than to, say, Lucian Freud's practice of embodying flesh in pigment through exhaustive observation.
There's a certain chill to Whelan's paintings. A couple of the images risk being read not as pornographic but as didactic, as though excerpted from a sex instruction manual, but then, she has attempted to do something really ambitious and has at least partly succeeded.
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Voyeurism, near-pornography and images of intimacy
CNN -- The makers of a new and much-anticipated smartphone app called Color are operating on this principle: "We're all inherently voyeuristic," said Peter Pham, president and co-founder of the Palo Alto, California start-up. Color , however, is a location-based, photo-sharing app that takes voyeurism to post-Twitter level by letting users see all of the photos that are being taken by strangers who happen to be within a foot radius of the user's smartphone.
Photos taken through the app, which launches on Thursday morning, are public by default. They're stored on Color's servers and the company owns them, said Pham, who co-founded the person company with Bill Nguyen, previously of Lala.
Only other users of the app will have access to those photos, and only photos taken by people using the app will be shared. Pham described the effect of using the app as a sort of bug-eye experience -- one where you're seeing the world through dozens of lenses at once. Imagine sitting in a restaurant and being able to see all of the photos that are being taken, or have been taken, by nearby patrons.
This mosaic of photographs -- depicting the world within eyeshot -- shows up on the screen of your phone. They're also sharing a window into each other's personal lives. Color users can dive into nearby users' public photo "diaries," including photos that were shot at other locations or on other days. Pham said Color is taking the Twitter concept to the next level. The app differs from other photo-sharing apps like Instagram and PicPlz in that it lets users see all of the public photos of everyone that's nearby.
Those other apps operate off of friends' lists, even if the photos people post are technically public. The app certainly has the backing of tech's financiers.
Other apps or websites that allow strangers to share photos and videos of themselves -- think Grindr, the gay dating app, or Chatroulette, the live online video chat that got tons of buzz last year -- have had problems keeping photos streams on the up-and-up. There's something that feels a little grimy about seeing the photos of dozens of strangers suddenly populating your screen, especially since you can't remove them from your feed.
Pham said vulgarity won't be a problem with Color because peoples' photo streams follow them throughout the day. So you wouldn't want to play a prank by posting a gross photo at a bar only to have your co-workers see this when you show up to work the next morning and they open the app. Friends -- and strangers -- can share photos between those operating systems without any trouble, said Pham. Share this on:. Filed under: Innovation.
By John D.