We've blogged before about artist Hasan Elahi, who learned in 2008 that he was being tracked as a terror suspect by the U.S. for undisclosed reasons. He has never been charged with a crime, but that's hardly needed these days, thanks to the Patriot Act (which recently turned 10). The New York Times this weekend ran a sort of manifesto from Elahi, in which he describes how he transformed this extraordinary act of surveillance into an extraordinary work of art.
In an era in which everything is archived and tracked, the best way to maintain privacy may be to give it up. Information agencies operate in an industry that values data. Restricted access to information is what makes it valuable. If I cut out the middleman and flood the market with my information, the intelligence the F.B.I. has on me will be of no value. Making my private information public devalues the currency of the information the intelligence gatherers have collected.
Read the whole thing: Giving the F.B.I. What It Wants (NYT, thanks Miles O'Brien).
Also: Clive Thompson wrote this feature about him in Wired back in 2008.
(IMAGE: Top, art by Elahi which incorporates surveillance data about his location and activities. Middle, one of the FBI surveillance images of his whereabouts. Bottom, Mr. Elahi, via Wikipedia.)
This wonderful little video by Randy Olson lays out one argument for why as a public political speaker, Donald Trump is perceived to be such a crowd-pleaser, and Hillary Clinton gets weaker scores. It’s all about narrative design.
Part of an ongoing series by weird chart-maker Scott Bateman; link to today’s edition.
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