Tom Schofield

The recent proliferation of a reality TV genre that focusses on welfare recipients has led to concerns that prime-time media experiences are exacerbating misconceptions, and stifling critical debate, around major societal issues such as welfare reform and poverty. Motivated by arguments that 'second screening' practices offer opportunities to engage viewers with issues of political concern, we describe the design and evaluation of two smartphone apps that facilitate and promote more critical live-viewing of reality TV. Our apps, Spotting Guide and Moral Compass, encourage users to identify, categorise, tag and filter patterns and tropes within reality TV, as well as reinterpret social media posts associated with their broadcast. We show that such interactions encourage critical thinking around typical editing and production techniques and foster co-discussion and reflection amongst viewers. We discuss, more broadly, how these interactions encourage users to identify the wider consequences and framings of reality TV, and offer implications and considerations for design that provokes criticality and reflection in second screening contexts.

The development of critical discourse and experimental practices in computer art of the 1960s and 1970s was informed by new forms of collaboration between artists, scientists and institutions. This paper acknowledges the debt owed by modern visualization practice to developments of this period but suggests that much of the artistic and philosophical legacy has been largely ignored in this area. It is argued that criticality in visualization practice should be informed by a number of aspects of 1960s and 1970s computer art practice, including implications for collaborative practice, thinking about mediation and the integration of aesthetics with life experience.

The direct indexical relationship between text and material is not only structurally embedded in the computer systems which manage, facilitate and entertain us, but rests in a history of science, belief, law and magic. While text is compiled in machine code, enacting the processes which turn on our street lights, render our videos and send data packets to the server, older societies performed other enactments of text, containing their own syntax and lexis. Religion, sorcerers, alchemists, writers of constitutions brought forth, with hubristic self-certainty, the world as we know it; spells, gold and human rights in that order. Burj Babil (Tower of Babel) is a video installation work. To create the tower, the source code file has been subjected to a number of transformation processes which corrupt and destroy the tower in different phases. The processes transform the vertex and face coordinates from the source code file into ASCII (American Standard Code for Information Interchange 2) characters. The results are then fed into language translation services (babelfish.yahoo.com). Most of the file is ignored since the sequence of characters do not correspond to real words. However when chance causes the ASCII sequence to form a recognizable word this will cause a corresponding physical translation of that vertex point. The resultant corrupted code is then used to re-make the model causing its eventual collapse. The final result of this process is a number of video sequences showing the destruction of the tower as its source code file is translated into different languages.