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.

本文着眼于流行的直播平台Twitch.tv上家庭空间的外观，重点关注似乎是在彩带卧室拍摄的直播。许多Twitch彩带从家中广播，对于这种快速增长的数字媒体形式，居家空间成为摆放位置问题的中心。在家庭中，卧室应特别注意，因为它们具有特定的文化内涵。它们与亲密感，体现力和色情相联系。根据对游戏和非游戏流的观察，我们绘制了卧室在Twitch上出现和不出现的位置。我们将大多数卧室归类为在彩带和观众之间具有前景联系的类别，例如“只是聊天”，“音乐与表演艺术”和自主感觉子午线响应（ASMR）。相比之下，在各种各样的视频游戏类型中，游戏流基本上没有卧室。Twitch上卧室的存在也按照性别划分，女性流媒体从卧室播出的可能性远大于男性。在这里，我们基于对直播和数字场所制作的现有研究，力求将Twitch上的场所理解为基本表演。这种表现本质上是性别化的，并与流媒体的情感劳动捆绑在一起。此外，我们演示了即使卧室没有出现在屏幕上，卧室也可以被理解为Twitch上场所布局的“结构逻辑”。考虑到直播的历史，它源于女性通过在线“直播”进行的实验，卧室设定了人们对流可以为观众提供的空间和情感访问类型的期望。从这个意义上讲，游戏流中没有卧室可以理解为对私密家庭空间的拒绝：主要是男性流光者企图远离直播和网络摄像头建模等隐式相似之处。