The TV industry has long been under pressure to adapt its workflows to use advanced Internet technologies. It also must face competition from social media, video blogs, and livestreaming platforms, which are enabled by lightweight production tools and new distribution channels. The social-distancing regulations introduced due to the COVID-19 pandemic added to the list of challenging adaptations. One of the remaining bastions of legacy TV production is the live broadcast of sporting events and news. These production practices rely on tight collaboration in small spaces, such as control rooms and outside broadcast vans. This paper focuses on current socio-technical changes, especially those changes and adaptations in collaborative practices and workflows in TV production. Some changes necessary during the pandemic may be imposed, temporary adjustments to the ongoing situation, but some might induce permanent changes in key work practices in TV production. Further, these imposed changes are aligned with already ongoing changes in the industry, which are now being accelerated. We characterize the changes along two main dimensions: redistribution of work and automation.

Video production is a collaborative process involving creative, artistic and technical elements that require a multitude of specialised skill sets. This open-ended work is often marked by uncertainty and interpretive flexibility in terms of what the product is and should be. At the same time, most current video production tools are designed for single users. There is a growing interest, both in industry and academia, to design features that support key collaborative processes in editing, such as commenting on videos. We add to current research by unpacking specific forms of collaboration, in particular the social mechanisms and strategies employed to reduce interpretive flexibility and uncertainty in achieving agreements between editors and other collaborators. The findings contribute to the emerging design interest by identifying general design paths for how to support collaboration in video editing through scaffolding, iconic referencing, and suggestive editing.

The problem of understanding animals, e.g., what they want and what they are doing, are recurrent matters for the emerging field of animal-computer interaction (ACI). We focus on animals in the city by bridging the field with urban studies and open up for new design opportunities in terms of the possibilities of new digital technology to reconfigure animal city life. We present an ethnomethodological video analysis of the negotiations and interactional work between two leashed pugs and a handler walking down a street. We unpack similarities and differences between the two species in terms of their interests and intentions in an urban environment through detailed examination of the moments in the walk when the leash is pulled taut. We show how a strained leash can result from a conflict between the dog's attentiveness towards other dogs by smelling and looking, and the human's urge to move along. We propose design directions supporting the dogs' wants and needs by accessing the handler with information on the dogs' curiosities in other dogs by visualizing the invisible scent-universe of the dogs and encourage dog-dog interaction.

Pro-Am live video producers broadcast events on a regular basis. They are here selected for an ethnographic study since their continuous content generation can teach us something of what it takes for amateurs, who currently struggle with mastering the video medium, to become proficient producers. We learn from media theory that Pro-Ams are distinguished from professionals in terms of inherent skills and identities, and have therefore focused on these characteristics. We add to this research by showing on-going challenges that the former face in their production, i.e. how their learning practices, such as learning through instructions, are situated and related to particular settings. Learning and development of skills were done as organizations, rather than as individuals. Furthermore, the recurrent nature of both events and broadcasts appears to be an important condition for establishing the terms needed to carry out a production, and to learn the skills of a producer. This understanding may explain in part why accounts in previous research, of single users struggling with the affordances of live video, point to such difficulties in mastering the medium. The findings guide design to better support activities contiguous with the set-up of the production, rather than the broadcast per se.

In order to invent and investigate new approaches for the use of enjoying live video, we suggest a combination of emerging mobile webcasting with artistic ambient video, which would enable a form of user generated broadcasts from individually selected cherished places for home decoration. Drawing on the approach of Research through Design we present a study of people who have occasional access to highly appreciated geographical locations, a design instantiation and prototype called LiveNature, as well as a system implementation. We present the result of a technical evaluation, which was conducted during two weeks of deployment. It shows that mobile webcasting provide continuous and stable streams of such a quality that it can be presented for home decoration, and that the video can be combined with real time sensor data to generate aesthetically interesting hybrid media. We also learned that the use of mobile webcasting for home decoration raises new challenges in order to provide unobtrusive and glance based interaction.

We present an interaction analysis based on ethnographic fieldwork of how physical movements, including gestures, are produced by viewers in front of television screens in a sports bar. Understanding ordinary life and specifically television watching in social situations will benefit the discussion of the potential of gesture techniques for controlling interactive televisions in various locations. Challenges for system design include body movement recognition, since movements can have many different purposes and are directed simultaneously at the screen and co-viewers. Moreover, gestures as elements of conversation are sometimes negotiated and overlapping. Since these ordinary movements are hard to automatically track and analyse, suggested systems might lead to demands on viewers to restrain their accustomed movements and adapt them in ways that might be considered awkward. We also reveal new design opportunities that draw upon the ways viewers' gestures are influenced by ongoing broadcast.

We present a design exercise illustrating how fashion practices and the fashion design process can be used to create new opportunities both in the mobile domain and in product design, as well as in wearable computing. We investigate the concept of outfit-centric design by extending the support for social and visual interaction with digital devices beyond the currently available shells and stickers, and drawing on the ways in which people vary their dress ensembles. We designed a set of mock-up samples in a local fashion style, as a first step in understanding possible applications of the emerging technology of organic interfaces. Initial user feedback shows how fashion-conscious participants creatively experimented with the set's variations of shape and color in outfits created from their personal wardrobes, which revealed the importance of the objects' size and location on the body. It also points out that a lack of integration with the fashion system's processes reduces the attractiveness of the samples.

Dynamic, digital maps are increasingly used in many settings. It is an emerging domain of technology extending on previous maps studies and positioning technology. We draw upon ethnographic field studies of collaborative hunting, where hunting dogs are tracked and their location made visible on digital maps. We discuss mobility of two different kinds. First, we refer to mobility as the practice of physical movements of hunters, dogs and prey. Second, we refer to the movement of symbolic objects on a digital map screen, i.e. screen mobility, and the interpretational work that the hunters do to make sense of it. Representations of motion on a screens, are of ongoing practical concern for the hunters. We show how they interpret such mobility in terms of accelerations, distance, trajectories and temporal alignments. The findings are used to revisit mobility theories and populate them with new notions to inspire design in broad domains.

We explore the use of a live video broadcast system by a group of amateur camera operators to film an event on networked cameraphones. Using an interaction analysis of physical interactions and orientations to the work of others, we examine their choice of camera angles and positions in their filming as they attempt to provide interesting visual content and a coherent narrative. Findings illustrate how users adapt their behaviour as co-ordination problems occur by drawing from a set of everyday visual practices ('amateur vision'). They also show how the specifically temporal aspect of live video requires extended attention on its production, and that this is at odds with the 'recreational orientation' of amateur film crews who simultaneously participate in events for their own enjoyment and film them on behalf of other viewers. Implications for the design of collaborative live broadcast media are made, focusing on approaches to interaction design that augment users' visual practices and allow users to look on behalf of others while experiencing places and events themselves.

Mobile broadcasting services, allowing people to stream live video from their cameraphones to viewers online, are becoming widely used as tools for user-generated content. The next generation of these services enables collaboration in teams of camera operators and a director producing an edited broadcast. This paper contributes to this research area by exploring the possibility for the director to join the camera team on location, performing mixing and broadcasting on a mobile device. The Mobile Vision Mixer prototype embodies a technical solution for connecting four camera streams and displaying them in a mixer interface for the director to select from, under the bandwidth constraints of mobile networks. Based on field trials with amateur users, we discuss technical challenges as well as advantages of enabling the director to be present on location, in visual proximity of the camera team.

Whereas communication technology to connect people has long been an integral part of our everyday lives, it has only recently expanded to offer applications for dogs and dog-owners. In this paper, we present two explorative studies to understand the experiences and expectations of dog owners for communication technology to support their interaction with dogs. These studies look at two different user groups, hunters and pet owners, charting the lessons learnt from the current technology and exploring the aspects that should be taken into account when designing future applications and services. Our findings reveal that usability problems are still the dominant issue with current applications. We also suggest key design implications which can be utilized in the development of future human-dog interaction systems.

Animals are increasingly integrated in interactive contexts depending on digital technologies. The current and future use of such technologies is a relevant topic for HCI research. However, the field is struggling with the inherent problem of 'nteraction' in understanding interaction with animals. We argue for a way forward based on an ethnomethodological perspective on anthropomorphism, with a focus on manifest interaction. Drawing upon a field study of hunters' use of a GPS dog tracking-device, we discuss how interaction between dogs and humans is affected when new technology is introduced. The GPS data is situated and interpreted by the dog handler, and supports the hunter's work of dealing with the dogs' intentions. This opens up for new forms of interactions with the dog. When studying and designing for interaction between humans and animals we should move beyond merely looking at dyadic relationships, and also consider the social organization of the interaction.

We report on a study of fashionable people"s expressions of opinions on mobile phones in online fashion media, such as blogs and magazines. First, the study contributes to our understanding of the role of pragmatic philosophy, which is now dominating HCI both as a guide for design and as a guide when looking at social practices, in outlining the role of aesthetics in experience design. Fashion practices diverge from this theory, since here aesthetic appearances can be visual, ambiguous and incomplete although it still provides a lot of meanings for people. We argue that our findings should influence the discussion in HCI to consider a less theoretically oriented aesthetic approach, where instead empirical studies get at the forefront. Second, the study provides valuable insight on how we should design mobile experiences to attract more attention from people interested in fashion. Mobile phones, and their services, can for example be designed to relate to the visual appearance of the dressed outfit, or ensemble of a person.

In this panel, we discuss the relevance of the concept of mobility in current mobile Human-Computer Interaction research. Is the term still useful to understand and design for interaction with computers, or has the concept of mobility run dry and void of meaning?

In this paper we explore the production of streaming media that involves live and recorded content. To examine this, we report on how the production practices and process are conducted through an empirical study of the production of live television, involving the use of live and non-live media under highly time critical conditions. In explaining how this process is managed both as an individual and collective activity, we develop the concept of temporal hybridity to explain the properties of these kinds of production system and show how temporally separated media are used, understood and coordinated. Our analysis is examined in the light of recent developments in computing technology and we present some design implications to support amateur video production.

A new type of social medium, which allows users to broadcast live video from mobile devices to websites on the internet, is becoming increasingly popular. We provide a qualitative content analysis of a sample from four such services. The analysis specifically focuses on the topics presented, camerawork, and coordination, in order to investigate the possibilities and barriers to wider adoption of this new social medium. Although the services are growing in numbers of users, the study reveals an immature application area. People struggle to find interesting topics to broadcast and to manage the camera in a way that presents them in an appealing form. But there are also examples of topics such as artistic performances and tours, as well as ways to conduct live transitions and coordination, that point to a more medium-specific way of using these services. The results indicate that providing the opportunity to broadcast live video is not enough, and that there is now a need to design for amateurs' appropriation of camera handling techniques.

This paper examines the work and interactions between camera operators and a vision mixer during an ice hockey match, and presents an interaction analysis using video data. We analyze video-mediated indexical gestures in the collaborative production of live sport on television between distributed team members. The findings demonstrate how video forms the topic, resource and product of collabora-tion: whilst it shapes the nature of the work (editing), it is simultaneously also the primary resource for supporting mutual orientation and negotiating shot transitions between remote participants (co-ordination), as well as its end prod-uct (broadcast). Our analysis of current professional activi-ties is used to develop implications for the design of future services for live collaborative video production.

Passengers pay attention to the landscape as they move through the environment. We suggest a new type of applications, which adds to that experience. It consider their motion and velocity, which make the time available for interaction with individual geographical objects very limited, at the same time as they cannot control it. Applications, in this case a game, could utilize audio and gesture interfaces, as well as digital maps to provide for experiences that are sequentially mapped onto the landscape. An initial user feed back trial made visible interactional and experiential challenges in passengering.

The design of online collaborative computer games and pervasive games can learn from the everyday practice of deer hunting. We present an ethnographic study revealing how hunters fine-tune their experience through temporal and spatial organization. The hunt is organized in a way that allows the hunters to balance between forms of collaboration ranging from solitude to face-to-face interaction, as well as between attentiveness and relaxation. Thus, the hunters deal with the task -- hunting down the prey -- while managing issues of enjoyment. We argue that understanding these experiential qualities is relevant for collaborative gaming, and adds to our understanding of leisure.

We report on design research investigating a possible combination of mobile collaborative live video production and V Jing. In an attempt to better understand future forms of collaborative live media production, we study how VJs produce and mix visuals live. In the practice of producing visuals through interaction with both music and visitors, VJing embodies interesting properties that could inform the design of emerging mobile services. As a first step to examine a generation of new applications, we tease out some characteristics of VJ production and live performance. We then decide on the requirements both for how visitors could capture and transmit live video using their mobile phones and how this new medium could be integrated within VJ aesthetics and interaction. Finally, we present the SwarmCam application, which has been implemented to investigate these requirements.

Mobile phone use in cars is a highly debated issue. Legislation and policy discussions flourish in many countries and coincide with an increased effort in design of new in-car technologies. The studies that influence policy and design decisions use experimental approaches and are based on a cognitive perspective. This article discusses why this is a problematic approach. Further, the article provides data and initial results from an ethnographic study of mobile phone use in traffic, where the aim is to investigate the interactional adaptation by which the driver fit the involvement with the phone with driving and vice versa. By taking part of drivers'daily work and video recording their activities of driving and handling the mobile phone, details are revealed that could not be found in experimental studies with a constructed setup. The article ends with a discussion of the benefits of this method and how it can be developed further.

Spectating at sport events is a common and popular leisure activity worldwide. Recently spectating has also become a topic of interest to CHI, particularly the design of technology for both performers and audiences. In this paper we describe an in-depth study of spectating, drawn from fieldwork of outdoor car rallies in the UK and Sweden. We describe three findings with relevance to design: the viewing paradox of spectating, active spectating and the role of sociability. We describe the MySplitTime prototype which address these issues while retaining the active sociable nature of the spectating experience.

We present an analysis of mobile face-to-face meeting support systems that reveal the consequences duration has for interaction through and with this technology in public places. Particularly we argue that there are privacy issues at stake. We base our arguments on empirical research concerning public interaction and disclosure of personal information there, seeing that face-to-face support systems add something to the social practice already occurring rather than replacing such altogether. But there is also a human-computer interaction issue. Handling face-to-face meeting support in public places puts demands on accommodating other activities already going on there, such as walking and driving. Our analysis in these variables yield four genres of mobile face-toface meeting support systems i.e. exposed, insisted, hinted and cloaked. We argue that the genre of cloaked support systems seems most appropriate for sustained meetings weighing privacy and handling. Similarly, the genres of hinted support systems acknowledge privacy and handling of brief meetings.

We report an ethnographic fieldwork that reveals the importance of social interaction, and especially traffic encounters, for the enjoyment of motorcycling. Motorcyclists spend an appreciable amount of time on the roads to meet other bikers. During the brief traffic encounters, they interact visually by means of their driving, their choice of bike and personal equipment. We uncover problematic issues in this practice and how these are currently addressed. The activities on the roads are partly arranged, and partly complemented by the use of a public message-board on the web. The findings are summarized as a set of implications informing the development of the Hocman prototype. Hocman is a mobile HTTP peer-to-peer application, which supports social interaction between motorcyclists.

This paper seeks to inform the ongoing redesign of air traffic management by examining current practices and the adoption of a new system aiming to relieve traffic control from work and reduce radio communication. We report from ethnographic fieldwork among mobile, distributed airport ground personnel. By examining the ways in which they use the ‘old’ technology, i.e. VHF radio, we identify a set of important aspects of work carried out through radio talk. These are: repairing misunderstandings, discussing the task-at-hand, and negotiating next actions. The new system fails to support this negotiation work, and is hardly ever used by the ground personnel. The distributed workers in the field make their own decisions and negotiate coordination with the tower based on local information. In this respect, current work practice is already decentralized to a certain extent. The problem with the new system, we argue, is the idea to decentralize the organization by providing distributed workers with more information, whereas the current institutional arrangement for coordination is built upon highly formal and hierarchical ideas. When redesigning the system it is necessary to take into account the ways in which radio talk is used to carry out the everyday work among ground personnel. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.