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You're thinking of SXSW Music. SXSW has split into 3 parts: Music, Film, and Interactive. This is SXSW Interactive. SXSW Music doesn't even start until SXSW is over.

There's also 7 different exhibitions: http://www.sxsw.com/marketing/...

well, to answer your question: no, they're not actually sponsors
SXSW 2013 Sponsors

According to Wikipedia, "SXSW Film and Multimedia", now split in separate "SXSW Film" and "SXSW Interactive" started in 1994, seven years after the music festival did.

We had a hacker, maker, creator event at SXSW this year during interactive. Better to create our own community rather than import one. It was a lot of fun!! http://sxsw.com/node/10666

I think the OP would have an aneurysm over this film.

Well all music is copyrighted

Is or was under copyright. But this is often irrelevant. I have several GiB of copyrighted music downloaded for free with the permission of the artists. No restrictions were placed on use of these tracks, so they would probably be free to share also. FWIW, it is several years of the artists' sample/promotional tracks from http://www.sxsw.com/, and if you search you can probably find torrents with all of them.

An interesting question is whether - should one of these bands be signed by a major - they could retroactively claim restrictions on use. For example, in 2015 it might be difficult to effectively dispute DMCA-style notices or three-strikes warnings on those tracks which were made available by the artists for free download between 2003 and 2010.

South By Southwest festivals release a torrent of their showcased artists every year - 739 MP3s in the 2007 one. I've lost count of how many albums I've bought off the back of listening to these.

South By Southwest festivals release a torrent of their showcased artists every year - 739 MP3s in the 2007 one. I've lost count of how many albums I've bought off the back of listening to these.

Tim Ferriss wrote a book I'm right reading now called The 4-Hour Workweek. He also has a blog (http://fourhourworkweek.com/).

I'm not ready to quite my software development job and take up kick-boxing, but the book will make you challenge some base assumptions about career, retirement, and wealth.

Here's a quick sample from his SXSW talk:

http://2007.sxsw.com/blogs/podcasts.php/2007/03/19 /the_4_hour_workweek_secrets_of_doing_mor

Or get a little more creative. Google knows you contact someone through g-mail and orkut a lot. The gPhone knows that they visit a particular resturant on a regular basis. The next time you walk by this resturant, that resturant sends you a targeted message letting you know that your friend is there.

It's why they bought out Dodgeball. Mobile Social Networking has been getting a lot of mention lately (especially with SXSW going on last week) and while Dodgeball isn't at all innovative anymore (other MSNs have more features now) it will become important when Google has a HUGE database of venues in 20+ cities and the visit frequency of its users along with reviews, tags, etc.

The movie is called High Score http://www.highscoremovie.com/ it premiered this week at sxswhttp://2006.sxsw.com/

But it's not like you're unaccountable for $67 million. Product doesn't make it to market; do you think you get to buy a jetski now?

Anything that isn't used first and foremost goes back to the investors. And if the investors think you botched the development, they may sue you.

Any VC funding is a *huge* liability and should only be pursued if absolutely necessary. Listen to Jason Fried's opening presentation at South by Southwest for more about this philosophy ( http://server1.sxsw.com/2006/coverage/SXSW06.INT.2 0060311.Opening.Remarks.mp3 ).

--
Jim
http://www.runfatboy.net/

I have a pass to the SXSW Film Festival next week, which I plan to utilize fully. I think a week of independent films, world premieres, and short movies will be a good cultural experience, and is money well spent.

And the first movie I'm going to catch tomorrow night is called Fuck.

I have a pass to the SXSW Film Festival next week, which I plan to utilize fully. I think a week of independent films, world premieres, and short movies will be a good cultural experience, and is money well spent.

And the first movie I'm going to catch tomorrow night is called Fuck.

I saw Bram speak at SXSW last year. I know Cohen has Asperger's Syndrome, but Cohen didn't seem like he cared about anything.

He didn't care what people downloaded because mainstream music and films were a waste of time. He didn't want to talk about what should or shouldn't happen with RIAA and MPAA suits.

My favorite quote, "I don't like computers... they're really annoying to deal with... they never work right... I have to use them for work, but if I could avoid them, I would...".

This guy is a software developer with the ability to fix the things he doesn't like... but doesn't.

When asked what he did care about, he responds that he's a programmer and he likes doing "networking stuff", but when someone who helped develop the UDP standard asked what he would change, he says he doesn't care.

You can watch the interview for yourself here...

http://server1.sxsw.com/sxsw2/2005_coverage/bram_c ohen.lo.mp4

6) Sue the people infringing copyright.

This works out extremely well for the developer, who doesn't need to spend money advertising, and gets a large amount of revenue they wouldn't have seen before.

If it works out extremely well for the copyright holder, then they should GIVE PERMISSION for copying. Otherwise it's illegal copyright infringement, even if they turn a blind eye temporarily.

I'm sick of BitTorrent constantly having copyright infringement allegations. What about the SXSW festival? They distributed gigs of music legally , and they simply wouldn't have been able to do it without BitTorrent. But how much publicity do uses like that get compared with illegal copyright infringement?

I didn't read TFA to find out if it was mentioned, but I thought releasing the 750 or so songs from showcase artists at SXSW was brilliant. It's gonna take me until sometime in April to listen to and rate everything on my iPod, but I'm pretty certain that I'll find some bands I hadn't heard of before and will want to buy their music. I'm sure I'm not the only one.

Here's a good current example of P2P driving sales.

On a releated note, it was nice to see the iTMS promoting 50 of the SXSW artists with a highlights album this week.

I didn't read TFA to find out if it was mentioned, but I thought releasing the 750 or so songs from showcase artists at SXSW was brilliant. It's gonna take me until sometime in April to listen to and rate everything on my iPod, but I'm pretty certain that I'll find some bands I hadn't heard of before and will want to buy their music. I'm sure I'm not the only one.

Here's a good current example of P2P driving sales.

On a releated note, it was nice to see the iTMS promoting 50 of the SXSW artists with a highlights album this week.

Go check out the SXSW music torrent. 2.6 gigs of legal music goodness from the Austin music festival.

Some things I know about moderating conversations in virtual space .

Suggestions include:

1. There can be no ongoing discourse without some degree of moderation, if only to kill off the hardcore trolls. It takes rather more moderation than that to create a complex, nuanced, civil discourse. If you want that to happen, you have to give of yourself. Providing the space but not tending the conversation is like expecting that your front yard will automatically turn itself into a garden.

5. Over-specific rules are an invitation to people who get off on gaming the system.

6. Civil speech and impassioned speech are not opposed and mutually exclusive sets. Being interesting trumps any amount of conventional politeness.

I was in Austin last week for the second largest music festival in the US, South by Southwest (sxsw). RFID tags were embedded in the wrist bands that fesitval goers had to wear for the duration of the multi-day event. Most venues I went to scanned these (checking for counterfeit wristbands) using equipment that has the ability to store the info on the RFID tag to upload into a database. With plans to link personal information such as birthdate (for 21+ verification to purchase alcohol at events) and the ability to add money and use the wristband as a sxsw debit card, I see many privacy issues on the horizon for future sxsw goers. Approximately 7,000

This was also the South by Southwest Interactive Question of the day on December 23. They referenced the Wired article and asked for opinions from SXSW Interactive presenters.

I've been getting these in my email every day for a few weeks since I'm on a panel on accessible web navigation on behalf of Knowbility and Omniscient Turtle. Sadly, nobody gave me the iSight I wanted for Christmas (as published in the first question of the day), so I ordered one for myself.

1. Functional
   These are works that serve some sort of functional use within society. This includes text books, manuals, and software. These works should be free as in speech.
   
   
2. Biographical
   These are works that are compliations of a particular authors opinions. RMS thought these could go either way. Maybe they could have a limited period of monopolistic power (of course no longer than 2 years).
   
   
3. Aesthetic
   These are works that only have aesthetic value (in other words, they are the shiny things of the world). Stallman stated that a copyright system should allow a 2-3 year monopoly on such works (this means the RIAA could still do all it does but that you'd be allow to trade songs that were 3+ years old).

Wow. This is neat - listening to a live feed of a show somewhere in TX. There's a good show at the Mercury at this very moment (23:30 EST).

The only thing missing is a beer and a bit of meta-info included in the stream (e.g. the band and tune names).

There was a really good documentary about the 48-hour Coup on Irish TV the other night. These two film makers basically got caught up in the coup against Chavez and so we saw the whole thing play out from inside Chavezs place. I unfortunatly only caught part of it, but heres the jist of it (as told by people who actually saw it :)

Chavez wanted (wants) to share the money generated by the countries oil reserves with all the nations people, not just the few rich oil barons (as was (is) the situation). In order to prevent this from happening, the rich people bought the support of the armed forces and private national TV stations to convince the people that Chavez was the bad guy. They even tried to insinuate that he had a sexual fixation with Fidel Castro :)

With 7 of the 8 national stations broadcasting anti-chavez propaganda, the coup started (with the unofficial support of the US Government might i add!). Chavez used the one remaining government station to try and tell the people what was happening.

Unfortunatly, I didn't hear how it ended :-( If anyone saw the end, I'd love to hear how it played out...

A quick search on Google reveals that the same show will premiere in the states in March - find a description here

Actually no it isn't...Because since July 13, 2000 when I first registered boycott-riaa.com and threw together the website, I have purchased not one REPEAT not one, major label release. Nor have I downloaded any either. I don't feel the need. But I have bought close to 150 independent cds. The RIAA drove me to it, and you know what? Its usually much better music, production without overproduction, and usually much better priced as well. My shopping habits have changed as a result.

As for me and my cookie cutter friends usually most people are quite surprised to find that I'm not a 20 something geek that's pissed that I can't download for free, but instead a 50+ year old who works the system writing letters, meeting with congresscritters, attending events like Future of Music Coalition Policy Summitt or SXSW Educating consumers and artists alike.

Tha whole point is to make the RIAA, Hilary Rosen, The IFPI, and Jay Berman irrelevant. They are are a Maginot line to independent music. We just go around them. If an indie is given a chance to distriubte their work, get airplay without paying millions in "bagman" payola they will have a chance to make a decent living from their music. It doesn't take millions of sales to make a damned decent living if you aren't having 90% of every dollar in sales (of those actually reported) skimmed by corrupt record labels, And you pay the expenses out of your 10%.

I'll go against the grain on the topic of fan taping. The Dead, Phish, etc, had massive followings because they played out so much. The taping was a bonus, but I doubt anyone needing a miracle would have attached a "free taping" rider to scoring tickets. Your discretion here.

Have you been in south by southwest yet?

I know you're looking for an online "silver bullet." But the music industry, assuming you wish to be part of that gleeful snakepit, doesn't seem to care much for the Internet's potential. Go figure.

Tour. Write more great songs and record them. Sell CDs and t-shirts. Your online push will come from your fanbase. Ride it like a wave, baby.

Jack

Here's an mpeg of the first minute or so of the movie, featuring ESR... Revolution OS Clip

Ack. Not to follow up to my own post or anything, but the link should have been to: sxsw.

I just found out Steve Mann. There was a film about him at SXSW called CyberMan. Pretty interesting (and sureal) flick.

heres the little blorb about the film

Part man, part machine, Steve Mann is a self-professed cyborg. Mann suggests we can reclaim our space by turning technology outwards and builds wearable computers in an attempt to alter his perceptions of reality. Cyberman is a layered and engaging look at our over-mediated world and one man's resistance to it.


-Jon

Two thoughts spring to mind as far as recongized well-done stuff goes.

1) You may want to check out the SXSW Interactive Winners. Some of them won awards for interesting design/good flash usage. Some of them won for just being creative or having a whole lot of chutzpah.

2) I was once dating a graphic designer, and she had a bunch of books called "Design Annuals". They were collections of well designed ads (radio, television, print), presentations, sculptures, and later, web pages. I can't remember what they are or how to find them, but they exist. Maybe another slashdotter will add the info.



--

AMC is a commercial chain - Here is the information you asked for. (and more)

As seen at amctheaters.com

(To Recap) If you are in NYC, then:

Revolution O.S. will be sneak-previewed Thursday night at Manhattan's AMC Empire 25 Theater, at 8:30.

Those attending LinuxWorld this week can pick up tickets at the OSDN booth (#3000) in the dot-org pavilion.

So where is it exactly?

AMC Empire 25
234 West 42nd Street
New York, NY 10036
(212)398-3939

Subway: A, C, E to 42nd St -
Port Authority; N, R, S, 1, 1, 3, 7, 9 to 42nd Str

I guess the subway directions make perfect sense if you live in NYC

The first public screening of the film will be at the SXSW Film Festival in Austin, Texas, on March 12. Moore said people who would like to see the film should feel free to call "and pester" film distributors such as Miramax, Lions Gate in Los Angeles, and Cowboy Booking International in New York. "If enough people say they want to see the film, maybe they will distribute it," Moore said.

AMC is a commercial chain - Here is the information you asked for. (and more)

As seen at amctheaters.com

(To Recap) If you are in NYC, then:

Revolution O.S. will be sneak-previewed Thursday night at Manhattan's AMC Empire 25 Theater, at 8:30.

Those attending LinuxWorld this week can pick up tickets at the OSDN booth (#3000) in the dot-org pavilion.

So where is it exactly?

AMC Empire 25
234 West 42nd Street
New York, NY 10036
(212)398-3939

Subway: A, C, E to 42nd St -
Port Authority; N, R, S, 1, 1, 3, 7, 9 to 42nd Str

I guess the subway directions make perfect sense if you live in NYC

The first public screening of the film will be at the SXSW Film Festival in Austin, Texas, on March 12. Moore said people who would like to see the film should feel free to call "and pester" film distributors such as Miramax, Lions Gate in Los Angeles, and Cowboy Booking International in New York. "If enough people say they want to see the film, maybe they will distribute it," Moore said.

'Revolution OS' will be playing the SXSW Film Festival in Austin, TX on March 12, as well as two dates later that week TBA. Also on March 12 at the SXSW Interactive Conference, Don Marti (Linux Journal) hosts a panel 'Future of Open Source', with Chris DiBona, Brian Behlendorf, Ean Schuessler, and Monty Montgomery (xiph.org) sxsw.com david at sxsw dot com