“…Nold's work is not dissimilar to the work of Arlene Ducao and her team who produced the Mindrider project [43]. Mindrider (or Multimer as it is now known) is an EEG device that measures brainwave activity and maps it in relation to GPS data, to give a picture of arousal/stress level related to moving across the city.…”
The idea of the 'model user' is well established in Computer Science. However, the usual practice of establishing a model user might not be appropriate within the context of personal data where such models are potentially limiting and exclusory. The domain of selftracking data art offers an alternative view on the concept of the Quantified Self. The model user then becomes that of the data artist. An 'edge case' where the user's representation of 'self' is determined more by creative skills and less by the tools used. Moreover, it is argued that models of creativity could be useful in order to understand the concept of Quantified Self as an on-going process. The Mace and Ward model is given particular attention and examples of artists work, including the author's own, are discussed in order to highlight the complexity of the issues they face and the ways in which they overcome them.
“…Nold's work is not dissimilar to the work of Arlene Ducao and her team who produced the Mindrider project [43]. Mindrider (or Multimer as it is now known) is an EEG device that measures brainwave activity and maps it in relation to GPS data, to give a picture of arousal/stress level related to moving across the city.…”
The idea of the 'model user' is well established in Computer Science. However, the usual practice of establishing a model user might not be appropriate within the context of personal data where such models are potentially limiting and exclusory. The domain of selftracking data art offers an alternative view on the concept of the Quantified Self. The model user then becomes that of the data artist. An 'edge case' where the user's representation of 'self' is determined more by creative skills and less by the tools used. Moreover, it is argued that models of creativity could be useful in order to understand the concept of Quantified Self as an on-going process. The Mace and Ward model is given particular attention and examples of artists work, including the author's own, are discussed in order to highlight the complexity of the issues they face and the ways in which they overcome them.
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