How live streaming does (and doesn't) change creative practices

Fraser, C. Ailie; Dontcheva, Mira; Kim, Joy O.; Klemmer, Scott R.

doi:10.1145/3372040

Cited by 4 publications

(1 citation statement)

References 4 publications

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“…In addition to Taylor's foundational book Watch Me Play (2018), researchers have explored issues like how race (Gray, 2017), disability (Johnson, 2019), and affective labor (Woodcock and Johnson, 2019) shape the experience of streamers. Work from the field of human-computer interaction (Robinson and Isbister, 2020) has also addressed topics such as livestreaming as a creative practice (Fraser et al, 2020) and how streaming can promote prosocial behavior (Struzek et al, 2020). A number of reports have highlighted how discriminatory attitudes around gender and sexuality pervade the cultures of Twitch, where toxic 'gamer' perspectives often still dominate, women streamers are commonly viewed as illegitimate (Ruberg et al, 2019), and streamers' bodies are highly regulated according to heterosexist logics (Cullen and Ruberg, 2019).…”

Section: Making Space On Twitchmentioning

confidence: 99%

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

Ruberg

Lark

2020

Convergence: The International Journal of Research into New Med

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This article looks at the appearance of domestic spaces on the popular livestreaming platform Twitch.tv, with a focus on livestreams that appear to be shot in streamers’ bedrooms. Many Twitch streamers broadcast from their homes, making domestic space central to questions of placemaking for this rapidly growing digital media form. Within the home, bedrooms merit particular attention because they carry particular cultural connotations; they are associated with intimacy, embodiment, and erotics. Drawing from observations of gaming and nongaming streams, we map where bedrooms do and do not appear on Twitch. We locate the majority of bedrooms in categories that foreground connections between streamers and viewers, like Just Chatting, Music & Performing Arts, and autonomous sensory meridian response (ASMR). By contrast, across a wide range of video game genres, bedrooms remain largely absent from gaming streams. The presence of bedrooms on Twitch also breaks down along gender lines, with women streaming being far more likely to broadcast from their bedrooms than men. Here, we build from existing research on both livestreaming and digital placemaking to argue for an understanding of place on Twitch as fundamentally performative. This performance is inherently gendered and bound up with the affective labor of streaming. In addition, we demonstrate how the bedroom, even when it does not appear on screen, can be understood as a ‘structuring logic’ of placemaking on Twitch. Given the history of livestreaming, which grows out of women’s experiments with online ‘lifecasting’, the bedroom sets expectations for the type of spatial and emotional access a stream is imagined to offer viewers. In this sense, the absence of bedrooms in gaming streams can be understood as a disavowal of intimate domestic space: an attempt by predominantly male streamers to distance themselves from the implicit parallels between livestreaming and practices like webcam modeling.

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Section: Making Space On Twitchmentioning

confidence: 99%

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

Ruberg

Lark

2020

Convergence: The International Journal of Research into New Med

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Back to the Control Room: Managing Artistic Work

Reeves

Greiffenhagen

Perry

2022

Comput Supported Coop Work

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Control rooms have long been a key domain of investigation in HCI and CSCW as sites for understanding distributed work and fragmented settings, as well as the role and design of digital technologies in that work. Although research has tended to focus mainly on ‘command and control’ configurations, such as rail transport, ambulance dispatch, air traffic and CCTV rooms, centres of coordination shaped by artistic and performative concerns have much to contribute. Our study examines how a professional team of artists and volunteers stage manage and direct the performance of a mixed reality game from a central control room, with remote runners performing live video streaming from the streets nearby to online players. We focus on the work undertaken by team members to bring this about, exploring three key elements that enable it. First, we detail how team members oriented to the work as an artistic performance produced for an audience, how they produced compelling, varied content for online players, and how the quality of the work was ongoingly assessed. Second, we unpack the organisational hierarchy in the control room’s division of labour, and how this was designed to manage the challenges of restricted informational visibility there. Third, we explore the interactional accomplishment of the performance by looking at the role of radio announcements from the event’s director to orchestrate how the performance developed over time. Announcements were used to resolve trouble and provide instructions for avoiding future performative problems; but more centrally, to give artistic direction to runners in order to shape the performance itself. To close we discuss how this study of a performance impacts CSCW’s understandings of control room work, how the problem of ‘diffuse’ tasks like artistic work is co-ordinated, and how orientations towards quality as an artistic concern is manifest in / as control room practices. We also reflect on hierarchical and horizontal control room arrangements, and the role of video as both collaborative resource and product. Graphical abstract

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Using live streams to share knowledge

Fonseca

Barbosa

2020

Proceedings of the 19th Brazilian Symposium on Human Factors in Computing Systems

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How live streaming does (and doesn't) change creative practices

Cited by 4 publications

References 4 publications

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

Back to the Control Room: Managing Artistic Work

Using live streams to share knowledge

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