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When it happened to Hasan Elahi, he decided to put his life online, for all to see.
Hasan Elahi uses the Web to make his every move public.
The 35-year-old Rutgers University art professor was born in Bangladesh but raised in America. He was flying back home to the U.S. in 2002 when he was stopped at immigration and led to a detention facility in the Detroit Airport.
Elahi was asked about a storage unit he had once rented in Florida. The FBI had gotten a tip that it had been packed with explosives, and that an Arab man had fled from the area the day after the 9/11 attacks.
The tip ended up being false ("Never mind that I'm not an Arab," Elahi notes), but it took him nine lie-detector tests and six months to clear his name. When the FBI finally told him he was no longer a suspect, he requested a letter from them saying exactly that.
But, he says, the FBI refused: Because he was never officially charged, there was also nothing to officially clear. Instead, the agency gave him a phone number and told him to call if he had any more troubles coming in and out of the country.
Shaken by the experience, Elahi started calling the FBI preemptively, telling them of his travel plans, where he would be going and when he would be flying home. But as time went on, Elahi considered how absurd the process was — and upped the ante. He started sending the FBI email and even uploading time-stamped photos of his movements.
He eventually created a website, trackingtransience.net, in which those photos were automatically posted to a map, creating a visual tracking device of where he was at any time.
Elahi saw the act as protection, protest and art, flooding the web with so much information — photographs of every meal, every airport, and even public urinals that he used — that the very density of it all, while public and available for everyone to see, created a new sense of anonymity. He was hiding in plain sight. And while the photographs give away his location, they never include himself — only his point of view.
A frequent traveler, Elahi even documents every airplane meal he eats. Photo: Hasan Elahi
"You know exactly where I am, but yet, you don't really know where I am," he says, enigmatically. "So it kind of plays with this real beauty of telling you everything and yet telling you nothing."
Years after the detention that prompted his project, Elahi says he will probably continue it indefinitely. He says it has become as natural as breathing for him.
But it doesn't always appeal to those close to him.
"I've had friends who say, "Hey, don't show up at my house." And I have to respect that," Elahi says. "I have to respect their right to privacy. But in general, the people around me, it's become pretty invisible."
Much of the email Elahi gets from the public is supportive, although some worry that he'll give more ideas to "Big Brother."
The point of his project is clear, he says: There is no such thing as privacy in the electronic age.
"I mean, every little thing we're doing is being monitored. Everything that we do is tracked," he says.
Attempts by Yahoo! News to obtain FBI comment were unsuccessful. But with an estimated half a million people on the FBI's terrorist watch list, Elahi says he still has fears about America's post 9/11 posture and hopes his project may highlight the dangers of sacrificing liberty for security.
The body of work he has created has already found a life outside the Web, with 30,000 of his photographs to be featured this month in a video installation at the Sundance Film Festival.
-See more of Hasan Elahi's work here.
-Producer: Robert Padavick
-Video editor: Didrik Johnck
-Florida storage space photos courtesy Robert Lawrence; additional photos courtesy Associated Press
SOURCE AND OTHER INTERESTING WEBIZENS:
http://potw.news.yahoo.com/s/potw/59371/hiding-in-plain-sight;_ylt=Av1ZYUC7xEiYJI35Xpsj3LEKwId4
The wild goat motif can be seen on Iranian pottery dating back to the 4th millennium BCE, as well as jewellery pieces especially among Cassite tribes of ancient Luristan. However, the oldest wild goat representation in Iran was discovered in Negaran Valley in Sardast region, 37 kilometers from Nahok village near Saravan back in 1999. The engraved painting of wild goat is part of an important collection of lithoglyphs dating back to 8000 BCE. However, wild goat representation with a tree is associated with Murkum, a mother goddess who was worshipped by all the Indo-Iranian women of the Haramosh valley in modern Pakistan, which culturally had closer ties with Indus and subsequently the Burnt City civilisations, than Mesopotamia, which could had influenced the ancient potter who made this unique piece. 
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