We consider how data is produced and used in cities. We draw on our experiences working with city authorities, along with twenty interviews across four cities to understand the role that data plays in city government. Following the development and deployment of innovative data-driven technology projects in the cities, we look in particular at collaborations around open and crowdsourced data, issues with the politicisation of data, and problems in innovating within the highly regulated public sphere. We discuss what this means for cities, citizens, innovators, and for visions of big data in the smart city as a whole.

Interactive mobile technologies have become part of audience experiences of live performances in terms of both general media sharing and specific (sometimes official) extra content. At the same time, high bandwidth affords streaming of live events to mobile devices. We take advantage of these technologies in our high resolution, panoramic image video stream and study a scenario of audience members viewing the very same live event they are watching on a tablet. The video stream on the tablet is navigational and enables audience members to pan and zoom in the real-time video feed. We studied audience interaction and impressions in three performances of a dance and music show and found distinct uses of the second screen video stream. We emphasize that despite initial reluctance, the observed utilization of the technology opened up for new potential practices. Our study shows how working with perceived conflict in technology can still open up design space for interactive technologies.

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.

The possibilities of panoramic video are based on the capabilities of high-resolution digital video streams and higher bandwidth's opportunities to broadcast, stream and transfer large content across platforms. With these opportunities also come challenges such as how to focus on sub-parts of the video stream and interact with the content shown on a large screen. In this paper, we present studies of two different interaction modes with a large-scale panoramic video for live experiences; we focus on interactional challenges and explore if it is (1) possible to develop new interactional methods/ways of approaching this type of high-resolution content and (2) feasible for users to interact with the content in these new ways. We developed prototypes for two different interaction modes: an individual system on a mobile device, either a tablet or a mobile phone, for interacting with the content on the same and a non-touch gesture-based system for the home or small group interaction. We present pilot studies where we explore the possibilities and challenges with these two interaction modes for panoramic content.

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.

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.

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.