Purpose The purpose of this paper is to understand what dimensions consumers prefer to track using wearable technology to achieve a healthier lifestyle and how these tracking dimensions are related. Design/methodology/approach An online survey was conducted with potential consumers in the USA, and a series of Pearson’s correlation and regression analysis and multiple regressions was conducted. Findings The most preferred self-tracking dimensions, tracking dimensions on others, most private tracking dimensions, most variable dimensions, and the dimensions that need to be improved were identified. The results of this study showed positive relationships overall among similar types of tracking dimensions, such as among dimensions of physical health condition (disease and disorder symptoms and general vital signs), mental health condition (stress level and mood/feeling), healthy lifestyle (fitness, and pose and posture), and productivity and task management (work productivity, location, and time management). Originality/value Designers are encouraged to make wearable technology products that are durable, easy to care for, attractive in design, comfortable to wear and use, able to track preferred dimensions, appropriate for various consumers, unobtrusive, portable, and small. This research will guide wearable technology and fashion industry professionals in the development process of wearable technology to benefit consumers by helping them be more self-aware, empowering them to develop a healthier lifestyle, and ultimately increasing their quality of life and well-being.

The author charts the development of self-portraits from the painted canvas to Instagram’s selfies. Revolving around autobiography as a multifaceted genre over the centuries, the author claims that the desire for greater visibility further enhances our wishes to leave our mark on history, and in society. It also brings to light a new type of arbitrary documentary discourse based on self-performance and self-branding.

This article offers a working draft of a larger qualitative analysis of the popular smartphone application Instagram. It offers a reading of the ubiquitous contemporary form of self-portraiture, the selfie, locating its origin in the longer evolution of digital photography into a form of social media. Though its function as a basic self-portrait and signifier for our various social profiles appears straightforward, it has somehow become the ‘face’ of online sociality and subjectivity, a portrait of the promise and peril of our online existence. And yet, a closer look at the various feeds and streams in which the selfie appears reveals that it is one genre amongst many, no more or less common than a variety of landscapes, still-lifes, and other modes of photographic observation. Taken together, these various views of the world reveal an emplaced mode of image-driven autobiography, one far more complex and nuanced than a straightforward meme would appear to be. Image Credit: Jeremy Bishop on Unsplash

Illustrations 2.1. A soldier scans the horizon in The Fog of War 24 2.2. "Overeager" sonar men 28 2.3. The domino theory in action 28 2.4. The observed and the observer in The Fog of War 29 2.5. The "number cruncher" becomes the bomber 31 2.6. Graphic superimpositions of the percentage of devastation caused by the firebombing of Tokyo in World War II 33 2.7. The database of images rendered in different aesthetic configurations 46 3.1. Robert Greenwald's "Un" Trilogy 53 3.2. MoveOn's remake of the "Daisy" ad 60 3.3. The MoveOn home page circa January 2004 61 3.4. The FoxAttacks home page circa October 2007 71 3.5. Elinor from Host an Event! 75 4.1. The Gone Gitmo space in Second Life 90 4.2. America's Army everywhere: public version and the arcade game 103 4.3. The "Medic Training" section in America's Army, version 2.5 106 5.1. The initial recovery.gov home page 131 5.2. Recovery.gov circa 2011 132 5.3. Data visualization in The River and on recovery.gov 135 5.4. Edward Tufte's "Lights-On Map" 137 5.5. Interactive IED visualization tool on The Guardian's website 152 xi Acknowled gmentsLike many books, this one may have a single author's name on the cover but owes its existence to many others. While the final form of the book took shape over the last two years, the questions that it seeks to address have been with me in one form or another across many years, countless conversations, and four institutions.My thinking on documentary aesthetics and the capacity of moving-image media and digital technology to explore the world has been indelibly shaped by many of the wonderful teachers and mentors with whom I have been fortunate enough to work over the years, including

Though best known as a documentary filmmaker, Errol Morris's recent use of other mediums including books, a blog, Twitter and short films demonstrates a willingness to rethink old questions in new terms. As Morris begin working across media he seems to be offering a critical take on the media itself.