Hier à 20h45, TF1 proposait une de ses séries américaines fétiches: "Les Experts Miami". Le premier épisode, "Pas de noces pour le marie" réalise...

Shared BFFs. Posted paulandstorm: [P] Last night’s *outstanding* Daily Show opening 13 minutes: http://bit.ly/agx3dz. Posted josiefraser: RT @Kate_Butler: Nestle’s social media meltdown on facebook: “But it’s our page, we set the rules, it was ever thus” http://bit.ly/cJieSW. Posted LibrarianJP: Library using a flash game to teach “plagiarism”: http://bit.ly/bjfxiA (via dennang). Posted ellyssa: What Social Media Users Want http://bit.ly/9TxYcx. Posted deirdrereid: Don’t orient new members first — that’s abt us. Interview them — that’s abt them. How can we help them? #aenc. Posted librarianbyday: Checklist for Preventing Innovation – What Would You Add? http://bit.ly/bj1nTx. Posted TextALibrarian: “Those Facebook QR Codes Are Part Of Their Location Plans” [TC] — http://tcrn.ch/dd4xx7. Posted jaapvandegeer: RT @cheeky_geeky: RT @Microsoft_Mark: Secretary of the Smithsonian Uses a Microsoft Surface Device –http://post.ly/Tka2. if you’re in the #chicago area, come play Library Mini Golf at @dglibrary on Sunday (3/21). it’s great fun! http://bit.ly/ay4P2Q [shifted] Posted ALALibrary: RT @rww: The Million Follower Fallacy: Audience Size Doesn’t Prove Influence on Twitter http://bit.ly/bYaFgH. Posted freegovinfo: RT @AlterNet: Jon Stewart Dedicates Half His Show to an Epic Glenn Beck Takedown: http://is.gd/aOOA6 [awesome and about time!]. Posted librarianbyday: watch this! SMS for Life — Common Craft http://bit.ly/9lCo1P. @adobe who can I contact to talk about licensing Connect Pro for webinars with 1,000 attendees? TIA [shifted] RT @LibrarianJP: RT @librarianbyday: How I Became (Mostly) Google-free in About a Day http://bit.ly/b9m9FG [shifted] Posted LibrarianJP: @pcsweeney, youre coming right? RT @LibrarianJP NETWORK UNCOMMONS UNPLUGGED, dude. @JustinLibrarian @itsjustkate @hmccormack ALA jam session. Shared 2 photos. Share: No tags for this post.

Most American audiences know Rhys Ifans from his role as Spike in Notting Hill or will know him after seeing him as Ivan Schrank in the upcoming Greenberg. But he's also been stretching his legs dramatically, both on the screen and the stage, and he's playing real-life marijuana mogul Howard Marks in Mr. Nice, which premiered this week during SXSW. Ifans was a fan of Marks' before he'd even written the first autobiographical book that the film is based on, and according to him they entered a "pirate's contract" in which Marks had agreed to let him portray him if they ever made a film.

Remarkably, that actually ended up happening. We spoke with Rhys at SXSW about stepping into the role of a real life folk hero (or just hero if you ask Ifans), and he told us about the production, what it's like being an artisan, and why he continually tries to scare himself as an actor. Read on after the break for the full interview.

Filed under: SXSW, Interviews

Continue reading SXSW Interview: Rhys Ifans of 'Mr. Nice'

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[Brandy Shaul]

Ahhh, grammar school -- there was nothing quite like trying to hide that GBA under the desk in fear of Mrs. Rosencrantz confiscating our portal into Pokémon Fire Red. Back then, handheld games were little more than an obvious distraction in the eyes of our ruler-equipped teachers, but Nintendo's Shigeru Miyamoto plans on changing all of that. Speaking with the Associated Press in an interview recently, the legendary game developer explained his latest devotion: bringing the Nintendo DS and Wii into schools. He said that the DS would be making its way into "junior high and elementary schools in Japan starting in the new school year" (beginning this April).

Miyamoto didn't get too specific on how his company's consoles would help Japanese students with their education, only detailing it as part of Nintendo's initiative to expand the audience for gaming consoles. We have to imagine that the kids won't be using them to decide whether or not Resident Evil 4 on Wii is the best version (besides, we all already know that it is). Thankfully for our unborn children, Miyamoto didn't mention any amorphous plans to bring gaming consoles into North American schools just yet. Presumably they'll have to play it fast and loose like we did -- keeps 'em sharp!

Miyamoto wants to get DS into classrooms (with permission) originally appeared on Joystiq on Fri, 19 Mar 2010 22:00:00 EST. Please see our terms for use of feeds.

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[Brandy Shaul]

Ahhh, grammar school -- there was nothing quite like trying to hide that GBA under the desk in fear of Mrs. Rosencrantz confiscating our portal into Pokémon Fire Red. Back then, handheld games were little more than an obvious distraction in the eyes of our ruler-equipped teachers, but Nintendo's Shigeru Miyamoto plans on changing all of that. Speaking with the Associated Press in an interview recently, the legendary game developer explained his latest devotion: bringing the Nintendo DS and Wii into schools. He said that the DS would be making its way into "junior high and elementary schools in Japan starting in the new school year" (beginning this April).

Miyamoto didn't get too specific on how his company's consoles would help Japanese students with their education, only detailing it as part of Nintendo's initiative to expand the audience for gaming consoles. We have to imagine that the kids won't be using them to decide whether or not Resident Evil 4 on Wii is the best version (besides, we all already know that it is). Thankfully for our unborn children, Miyamoto didn't mention any amorphous plans to bring gaming consoles into North American schools just yet. Presumably they'll have to play it fast and loose like we did -- keeps 'em sharp!

Miyamoto wants to get DS into classrooms (with permission) originally appeared on Joystiq on Fri, 19 Mar 2010 22:00:00 EST. Please see our terms for use of feeds.

Read | Permalink | Email this | Comments

Three million people used the March Madness On Demand video player to catch the first round of the NCAA Men’s College Basketball Championship online yesterday, according to a press release sent out by CBS Sports today. Sports fans watched a total of 3.4 million hours of live streaming video and audio online yesterday, 20 percent more than in 2009. And the most-watched game even saw 50 percent more traffic than last year’s most popular first day face-off.

We’ll leave it to others to speculate how much of a productivity killer March Madness is, but the fact that CBS saw its biggest spike in traffic in the hour after 2pm Eastern — 533k streaming hours for the full hour, with a peak of 147k streaming hours between 2:45 and 2:59 p.m. — suggests that the championship may actually be an ideal lunch time companion, at least for us West Coasters.

Yesterday’s most popular game happened to be the match between Florida and BYU, with a total of 521k hours of streaming video and audio. Those new audience records are another validation for CBS’s strategy to air full live games without access restrictions online, a strategy that’s also been paying off with advertisers, who have spent a total of $37 million on ads for March Madness On Demand this year.

However, one should take CBS’s claim that this was “the largest single day of traffic for a live sport event on the Internet” with a grain of salt: The 2008 Olympics had a huge online worldwide online audience, with 1.6 million viewers tuning in simultaneously through the Chinese P2P video client PPLive during the opening ceremony alone.

Related content on NewTeeVee: Where to Watch March Madness Online

Related content on GigaOm Pro: Connected Consumer Tuned In to TVs in Q4 (subscription required)

The Iranian indie band talk about life as outlaws in their homeland, as documented in their new film No One Knows About Persian Cats

At first glance, Take It Easy Hospital look like any other aspiring indie duo. Dressed in impeccable Shoreditch chic – plaid shirt and skinny jeans for him, cute vintage dress, black tights and brogues for her – their teenage epiphanies came on copied cassettes of Nirvana and Pink Floyd, while these days they're more into Sigur Rós and Foals.

Their ambition for next year, once they find a drummer, is to get on to the bill at Glastonbury or Reading. The difference is that Take It Easy Hospital originally formed in Iran, where rock music is banned. When the local music industry is non-existent, gigs and recording studios are regularly raided by police and even MySpace is monitored, simply finding someone who shares your love of guitars and plaintive vocals is fraught with difficulties.

Ash Koshanejad and Negar Shaghaghi, the twin songwriters of Take It Easy Hospital, are the stars of a new Iranian film by garlanded Kurdish director Bahman Ghobadi, called No One Knows About Persian Cats (so named because pet cats, like rock musicians, are outlawed in Iran). The film is a fictionalised account of the duo's attempts to recruit a rhythm section in order to play a local underground gig and ultimately escape to the rock-friendly west. As the two indie innocents are taken under the wing of music-loving wide-boy Nader (Hamed Behdad), the film becomes a Linklater-esque romp through Tehran's clandestine rock underground. All the bands and musicians featured are real, but whether hairy blues rockers, jazz singers, class-war rappers or indie kids, they exhibit a love for making music that overrides the fear of being arrested the moment they switch on their amps. "If you were discovered playing rock music, you'd get arrested, you'd have to pay a fine," reveals Ash, matter-of-factly. "Sometimes you'd go to prison."

The film gleans affectionate humour from the various bands' ingenuity when it comes to hiding their rehearsal spaces from the authorities in diligently-soundproofed underground caverns, shacks constructed on the roofs of tower blocks or, in one case, in a working cattle barn (much to the cows' displeasure).

By coincidence, there is a British film out this month which also documents the struggle of a couple of indie dreamers to form a band – except 1234 is based in London, so the only obstacles are their own musical inadequacy and weedy sexual tension between bandmates. Persian Cats makes 1234 look rather pathetic.

In Iran musicians are forced to behave like fugitives, even though the charges invoked against them are vague (Ahmadinejad imposed a ban on "western and decadent music" soon after becoming president in 2005). "It's a not a written law," complains Negar. "There isn't this red line. You never know when you're crossing it. [The authorities] don't even really know what they're opposing. They don't see that music brings energy and good nature to society."

In 2007, Ash's former band Font staged an open-air gig in a private garden in a suburb of Tehran. Armed police arrived en masse to shut it down, arresting everyone in the audience, and slinging the band in prison for 21 days. "They didn't have any law that said what they should do with us, so they called us satanists. They said we were against the moral law and disgracing the face of society." Ash chuckles wryly at the memory. "It was an odd experience, sleeping next to a serial killer for three weeks. But it made me believe even more in what I was doing."

Font and Take It Easy Hospital are rarities: most Iranian wannabe rockers never even get further then their bedrooms, due to the subtle pressure exerted within families. "Under this regime, you don't have any opportunity to make a living from being a musician, so families prevent their children from learning music in the first place," Ash explains. "Families are a small example of big government. They don't trust the young generation."

When Ash and Negar were kids, the only opportunity they had to hear western rock music was when somebody from their community travelled abroad and brought back CDs. "They'd be copied on to a tape over and over again," says Negar. "We used to write the track names in class when the teacher wasn't looking and take it home with such excitement to listen to it." Even so, whatever they got depended on the tastes of the traveller; often hoping for something similar to Nirvana, they'd end up having to make do with ABBA.

The advent of the internet changed everything for Iranian teenagers, who were suddenly able to participate in global youth culture, employing their technological nous to stay one step ahead of government censors. The fact that the bands in No One Knows About Persian Cats wear Strokes T-shirts and pass around copies of the NME shouldn't seem that strange. But what is the attraction to Ash and Negar of the kind of fey indie music that even within its countries of origin is often considered a bit insular?

"Well, we are indie!" declares Ash. "We had to do it ourselves in bedrooms because if you step out into the streets, you cannot even tell anyone you've just written a song. We would make our own imaginariums in our rooms."

If they'd grown up in England, Take It Easy Hospital's wan, organ-driven indie-pop, topped with earnest observations about the "human jungle", might stand accused of being a little bit twee. But once you learn how hard Ash and Negar have had to fight just to get their songs heard, they take on a whole new complexion. And despite their ugly experiences in Iran, they are determined not to make rebel rock. "Me, I don't care about politics," says Negar. "The value of art is a lot more than politics. Politics is something that passes, but art stays for years."

Ash picks up the thread: "Politics is a tool to solve a situation at one moment. We believe that art is pure and always depending on human nature, so we've always kept ourselves far from politics. Our music is not dangerous, but the current regime in Iran feels that it has to keep people away from honest expression because if they face up to the reality they will soon find out what they are missing."

Ash and Negar agreed to star in Persian Cats not to make a political point, but to try to show the older generation, including their parents, that music is a force for good. But while Ash has received some positive feedback from older Iranians – "I've heard that they walk away after seeing this film to remember what they had before the revolution" – Negar is despondent that most of them haven't been able to overcome their prejudices. "I guess that when people decide to close their eyes to something, you can't force them to see the truth."

In the light of last year's post-election protests, the police crackdown on young people involved in music and the arts has intensified. When Take It Easy Hospital's old drummer went back to Iran several weeks after the election, he was arrested and beaten. Last January, the film's co-writer, Iranian-American journalist Roxana Saberi, was arrested in Tehran and handed an eight-year jail sentence on trumped up charges of being a US spy (she was eventually freed following a global outcry).

Reluctantly, Ash and Negar decided it was unsafe to return to Iran and have successfully applied for asylum in the UK, where they've been living since coming over to play at Manchester's In The City festival in 2008. In the film, the duo never make it to London, so in this case, truth is happier than fiction. However, Negar is at pains to point out that they never viewed England as the promised land, despite our rather more relaxed laws regarding the public airing of Farfisa-driven jangle pop.

"Some people say we've run away," says Negar. "But there is no running away. Moving from one country to another doesn't necessarily solve all the problems that are on your mind." Proof that indie introspection truly is an international language.

No One Knows About Persian Cats is out Fri; it previews at Brixton Ritzy, SW2, Tue

• World cinema

Sam Richardsguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

[DEMO 2010]

DEMO, one of the best emerging technology conference, will be held march 21-23 in Palm Desert, where 65 companies will launch their technology product. Today DEMO unveiled its companies selection, you can see the complete list after the jump. The companies selected for the show cover a variety of industries including Social and Media, Cloud, Enterprise, Health and Life Science, Clean Tech, Mobile and Consumer Technologies.

Throughout the 2 ½ day conference, they will present their new products on stage, during a 6 minute demo, in front of an audience composed of investors, innovators, entrepreneurs, industry influencers and top-tier media. Additionally, industry thought leaders will debate the biggest trends happening in each of DEMO vertical segments after they launch.

Click here to register at Ubergizmo's preferred rate (Click "New registration", then select "Attendee" on the second page and the special price will then appear).

This session is the first one with Executive Producer Matt Marshall , the successor of Chris Shipley.

Permalink: DEMO Spring 2010 Company List Announced from Ubergizmo | RSS Sponsor: Win a Fellowes Microshred Paper Shredder!

Batman: Arkham Asylum wins Best Game.

Batman: Arkham Asylum shocked the BAFTA Video Game Award 2010 audience by winning Best Game - a trophy expected to fall to Uncharted 2. The Rocksteady-developed superhero game also took Best Gameplay.

Naughty Dog's superb action game Uncharted 2: Among Thieves didn't miss out, however, and took home four one-eyed golden face trophies - the most of any game.

Uncharted 2 scooped Best Action Game, Best Use of Audio, Best Original Score and Best Story. Evan Wells and Christophe Balestra were on hand to cart the trophies home. They thanked their families and loved ones for putting up with the long hours they had to put in.

Read more...

Kevin Nakao is VP of Mobile & Business Search for WhitePages, a Top 40 Web and Mobile Publisher. You can find him on Twitter, and on the Whitepages Blog where he writes about mobile, local, and social media.

While last year’s SXSW seemed to serve as the “coming out” party for location-based services (LBS), maybe this year’s conference signifies the migration of these platforms into mainstream culture. And perhaps the only real “new” concept to emerge this year is the idea that there is finally a real opportunity to make money via “location.”

Here are five things that companies should consider as they look to utilize location-based services (LBS) as part their mobile strategy.

1. Location Shouldn’t be the Only Goal

From finding the nearest ski slope on REI’s Ski and Snow Report to a nearby movie on Flixter, there are plenty of Top iPhone applications that have incorporated a “lead with the offer, not the capability” philosophy into their mobile product offering to provide a better service. Build the best service first, then add the bells and whistles.

With all the hoopla surrounding location, it is easy to lose sight of the fact that location’s real appeal to advertisers is the fact that with this functionality, you can reach the on-the-go user, who is ready to buy and consume. Just because Twitter and Facebook offer location doesn’t make that valuable or new to advertisers. Location-targeting via IP address has been around a while. For the same reason radio is a great advertising channel for retailers, LBS advertising is also valuable: because it can reach the consumer near the point of sale.

2. The “Long Tail” for User Adoption

Foursquare has clearly emerged as the location darling. Consider the fact that after only one year, they’ve reached 500,000 active users (Foursquare recently tweeted they added 100,000 users in 10 days).

However, if you apply any city’s share of the total U.S. population, the results show some pretty low estimates of Foursquare users in individual localities. What emerges is a very “long tail” — a steep, narrow graph — of local user adoption. This shows why it is important to achieve scale if you hope to see return on investment in the location marketing space.

For example, using these rough estimates of a city’s proportional share of the U.S. population, if a local pet supply store wanted to target people in San Francisco, the estimated reach would be 1,310 Foursquare users. Even if you double this audience estimate, the number is fairly small for even a local marketer. We had to hit around 4 million downloads of the Whitepages iPhone app to achieve the minimum scale needed for advertiser geo-targeting. Today, 80% of our campaigns from major brands are geo-targeted.

Editor’s Note: It’s important to remember that these are just rough estimates. Because Foursquare was initially only available in a handful of major metro areas, the geographic distribution of users may not precisely follow the geographic distribution of the population.

3. Mobile Battery Life is Key

Battery life is the single biggest threat to location. With GPS on, the phone is asking the network where it is, and this chatter can drain battery life — anyone with an iPhone knows what I am referring to. Thus, phone manufacturers will play a critical role in the future of LBS. RIM, the manufacturer of BlackBerry devices, faced this problem early on with the energy-tax of e-mail polling, and as a result, their devices now have some of the best battery life.

Foursquare has helped us move forward here as well. “Check-ins” help to address the issue as they offer efficient geo-triggers without having to keep battery-draining GPS features on at all times.

4. Location Will Be the Battleground of the Mobile OS

Looking forward, I predict the mobile platform wars will be fought with location and maps. This is an important feature that a platform can use as a point of differentiation for consumers and developers.

In anticipation of that battle, Apple purchased mapping company Placebase, and Google is starting to provide unique mapping features like turn-by-turn navigation on its Android devices. The only hope I see for Windows Mobile is if they do something completely revolutionary on the mobile location front. A development like this was alluded to at the recent TED conference with its augmented reality layering of geo-tagged Flickr photos and real-time video integration.

5. Location Pays

At WhitePages, we monetize our mobile services through a mix of premium, national display, and sponsored links for local business. Our effective CPM (revenue per thousand ad impressions) for sponsored local links is $30-$50 — double the effective CPM (eCPM) rate we see for premium display ad campaigns from national brands. The eCPM multiple of local targeted ads over ad network rates is a staggering 10x.

Location-based inventory will also become scarce as Apple recently announced that iPhone apps will not be permitted to access GPS capabilities for advertising alone. There now needs to be some consumer benefit and functionality in order to access a user’s location. Geo-targeted inventory on mobile will continue to be at a high premium with no excess supply or ad networks to drive it down.

Conclusion

It is my hope that by this time next year, SXSW –- the festival of “emerging” music and technology –- will have finally moved on from location. It’s clearly happening now, and if integrated wisely, location will be making companies too much money to be called the “cool kid on the block” any longer

More location-based resources from Mashable:

- 9 Killer Tips for Location-Based Marketing
- 10 Foursquare Apps You Can Use Right Now
- 6 Foursquare Apps We’d Love to See
- 6 Tips for Getting the Most out of Foursquare
- Foursquare vs. Gowalla: Location-Based Throwdown
- Location, Location, Location: 5 Big Predictions for 2010

Tags: android, business, foursquare, geo-tagging, gowalla, iphone, List, Lists, location based advertising, location-based, Longtail, MARKETING, Mobile 2.0, small business

When you watch Stupid for Movies, an independently-produced movie chat show live-streaming weekly on Ustream at 8 PM PST, you see Los Angeles-based film critics Mark Keizer and Wade Major sitting side by side on a red-curtained set that invokes the golden days of Siskel and Ebert at the Movies, reacting to an enthusiastic audience’s applause. Keizer and Major banter back and forth about the week’s new releases and films the audience should “Buy, Burn or Rent,” while director Mike Rotman chimes in occasionally on the banter.

With five cameras, a small crew and live-streaming technology provided by NewTek, Stupid For Movies has been running for two months now, with the live episodes archived on Blip the following day. Last night’s episode’s stream received a total of 5,799 views, with 300 live viewers tuned in around 8:40 PM PST — a viewership number that is only built upon once the episode is archived and spread around to its distribution partners.

The magic all happens in a converted garage up in the San Fernando Valley — one of Los Angeles’ most suburban sectors, where most of the houses look the same. Inside that garage, though, is a surprisingly professional operation crammed into a space that would barely be able to fit two Volvos.

The exterior of the studio/garage.

The production behind-the-scenes was a mix of laid-back and professional, with the breaks provided by short clips from films used to adjust camera angles and touch up makeup. On screen, that attitude carried through: Both hosts were confident and relaxed on camera, with only the occasional moment of hamming on the part of Major. (Mocking Major’s shirt appears to be a running theme.)

I consider myself a movie nerd, but watching Keizer and Major identify random obscure films from the last 40 years made me feel ignorant — their film knowledge is wide and all-encompassing, to the point where it seemed that many of the films suggested by viewers for the Buy/Rent/Burn segment were submitted just in the hopes of stumping them (which only sort of happened once with the old Wes Craven film Deadly Friend, though they quickly recalled it once given a hint).

Major and Keiser get ready for their close-ups.

The key to Siskel and Ebert’s dynamic was always that they weren’t prone to agreeing with each other, but while Keizer and Major (who also host IGN’s Digigods podcast) do demonstrate some distinctively different taste in films, Major estimated in a post-shoot conversation that they agree with each other about 65 or 70 percent of the time. What that contributes to, though, is a very distinctive point-of-view about the film world, one that has no patience for video game movies and dismisses the Teenage Mutant Ninja Turtles films out of hand — but does genuinely love film. The audience attracted to such a perspective is thus pretty specific, but with real potential for loyalty.

Rotman, who’s known Keizer and Major for years, has been working in web video for some time and currently directs The Kevin Pollak Chat Show on Sundays. When he came up with the idea for Stupid For Movies, he shopped it around to a few different parties but wasn’t happy with any of the deals he got — hence deciding to produce the show on his own, a decision made easier when he found a house for rent that had a soundproofed garage, thanks to its former tenant, a musician.

Chad Vader waits to chime in via Skype.

Currently on Stupid for Movies, online video legend Chad Vader does a weekly news rundown and at least once so far, Kevin Pollak has Skyped in to give the guys grief. Future plans for the next few weeks include bringing in celebrities to discuss their favorite movies ever, more giveaways, and possibly a sponsorship by one of the obvious movie-related brands online, leaving Stupid poised to become a much bigger player in the live-streaming world — especially for those who love movies.

Related GigaOm Pro Content (subscription required): Case Study: 1 vs. 100 Live’s Glimpse of the Future

By Scott M. Fulton, III, Betanews

The key issue at the heart of Viacom's case against Google and YouTube, filed in March 2007, concerns whether an Internet service that probably knows that files are traded or shown illicitly or without license there, deserves the "safe harbor" provisions of the Digital Millennium Copyright Act that protect ISPs from liability for their customers' actions. In a summary judgment motion filed yesterday with US District Court in New York and unsealed this morning, Viacom is bidding to have the judge wrap up the case -- an obvious signal that it believes its case is already strong enough.

As US law stands now, a service such as Grokster or the original Napster (not the Best Buy division that today uses that name) is liable when it intentionally establishes its service for the express purpose of trading in illicit files. It's especially liable when it finds some way to advertise itself for that purpose. An Internet Service Provider such as Comcast or Cox is not liable when its service is used for accessing one of these sites, when it doesn't advertise or offer these services explicitly, and when a customer can access them without direct intervention from the ISP. And a video site such as Veoh is not liable when any measure it might take to stop customers from sharing illicit files may also conceivably infringe upon the free speech rights of other customers who may not be trading such files.

Google, the current owner of YouTube, has been arguing the Veoh case in its own defense. But Viacom's argument -- which courts have been wrestling with for over two-and-a-half years and which we now know today -- is that YouTube is a different, special case. It's more like Grokster, it argues, in that it was founded on the principle of gathering an audience around illicit files.

"Defendants are liable under Metro-Goldwyn-Mayer Studios Inc. v. Grokster Ltd., because they operated YouTube with the unlawful objective of profiting from (to use their phrase) 'truckloads' of infringing videos that flooded the site," reads the opening passage of YouTube's founders single-mindedly focused on geometrically increasing the number of YouTube users to maximize its commercial value. They recognized they could achieve that goal only if they cast a blind eye to and did not block the huge number of unauthorized copyrighted works posted on the site. The founders' deliberate decision to build a business based on piracy enabled them to sell their start-up business to Google after 16 months for $1.8 billion. The Supreme Court in Grokster found no legal or societal justification for such intentional copyright infringement."

FOR MORE:

• Viacom and YouTube: Timeline of pertinent events by Tim Conneally

In a talking points document released today (PDF available here), Viacom cites various e-mails from various YouTube and Google executives, including YouTube founders Chad Hurley (CEO) and Steve Chen (CTO). Assuming these excerpts were not taken out of context, which is possible, they indicate that YouTube's founders were clearly building up a high-audience business with illicit files at their core, with the intention of selling out to somebody as soon as possible.

One excerpt has Chen suggesting that YouTube, apparently during its startup phase, "...concentrate all our efforts in building up our numbers as aggressively as we can through whatever tactics, however evil." Another suggestion, by an unnamed YouTube exec in response to an non-excerpted suggestion -- apparently asking, where should be get all this content -- reads, "Steal it! . . . We have to keep in mind that we need to attract traffic. How much traffic will we get from personal videos?"

And one excerpt attributed to Chen suggests that the whole legal process of handling DMCA takedown notices is so long and dragged on, that by the time YouTube should ever comply with one, it would be too late anyway: "But we should just keep that stuff on the site. I really don't see what will happen. What? Someone from CNN sees it? He happens to be someone with power? He happens to want to take it down right away. He get in touch with cnn legal. 2 weeks later, we get a cease & desist letter. We take the video down."

Viacom's argument that Google knows what kind of trafficking goes on via YouTube is substantiated by evidence in the form of e-mails, evidently sent prior to its acquisition of YouTube, from executives objecting to elements of what they perceived to be its business model. One message from Google's then-VP of Content Partnerships David Eun (now with AOL) to CEO Eric Schmidt cautioned, "I think we should beat YouTube . . . but not at all costs. [They are] a video Grokster." And in another excerpt, an unnamed Google executive asks, "Is changing policy [to] profit from illegal downloads how we want to conduct business? Is this Googley?"

Evidence cited in Viacom's motion for summary judgment tells the story of how Google Video failed to be competitive against YouTube, even though its engineers persisted with efforts to filter out illicit content. One memo cited says Google Video may have been throwing out 90% of its uploads, for containing suspected copyrighted material or for being generally indecent.

"But Google's good intentions and compliance with the law were not paying off," Viacom argues. "YouTube was way ahead of Google Video in the race to build up a user base. Google executives understood that YouTube's success was largely due to what they euphemistically labeled its 'liberal copyright policy' of freely allowing infringing material. Losing the user race to YouTube because of the latter's copyright infringement, Google Video executives engaged in a 'heated debate' in 2006 'about whether we should relax enforcement of our copyright policies in an effort to stimulate traffic growth.' A top senior executive, Peter Chane, Google Video's Business Product Manager, argued point blank that Google Video should 'beat YouTube' by 'calling quits on our copyright compliance standards.' Chane specifically advocated switching Google Video to YouTube's 'reactive DMCA only' policy because 'YouTube gets content when it's hot ([Saturday Night Live's] Lazy Sunday, Stephen Colbert, Lakers wins at the buzzer)' and it '[takes us too long to acquire content directly from the [legitimate] rights holder.'"

It is that statement which Viacom appears to present as a smoking gun: a suggestion from a Google Video executive that it should acquire its competitor solely because its allegedly illegitimate business model is more successful than its own, legally compliant one.

In Google's memorandum in support of summary judgment in its favor, filed after Viacom, its attorneys do not take the tack or rebutting Viacom's scorching citations -- which, if substantiated, could theoretically become the basis for future criminal complaints. Instead, Google reiterates the argument that it's a service provider which, like Veoh, is entitled to safe harbor since it looks the other way, and does not actively seek infringing uploads.

Citing the Veoh finding, Google's attorneys argue, "What matters is that Veoh 'established a system whereby software automatically processes user-submitted content and recasts it in a format that is readily accessible to its users...Inasmuch as this is a means of facilitating user access to material on its Web site,' Veoh did not lose the safe harbor 'through the automated creation of these files.' YouTube is indistinguishable from Veoh in these respects."

YouTube, Google argues, did not have direct knowledge of the circumstances whereby the specific content Viacom claimed was infringed upon (much of it from Paramount) was shared with YouTube users. Since Viacom's arguments must, at some point, focus themselves upon the specific infringing of the content in question, the DMCA protects YouTube on that count as well, Google continues. But all that may be moot, Google points on, by virtue of the fact that under current US law, the alleged infringers must have directly profited from their actions. YouTube gains revenue through advertising.

Writes Google, "A service provider loses safe harbor eligibility only if the plaintiff can show both that the service provider had the right and ability to control the alleged infringements and received a financial benefit directly attributable to those infringements...As with knowledge, the DMCA's control inquiry is specific, not general. The analysis focuses on the service provider's legal and practical control over the particular infringing activity at issue. The statute's text makes that clear: The question is whether the service provider has the right and ability to control "the infringing activity" alleged by the plaintiff and to which a financial benefit is directly attributable."

A number of declarations in support of both motions were filed today. One supporting Google was particularly interesting, because it goes to specifically that last paragraph: It's from the owner of a marketing firm who promoted the works of recording artists who appear on MTV, a Viacom property. He claimed that some of the very works Viacom claimed were infringed upon through unauthorized uploading to YouTube, actually were authorized by none other than MTV itself, as part of the promotion of the artists under his contract.

If Google's interpretation of the law is affirmed, and if this gentleman's claims are proven, then this whole case could become history faster than a judge can even say "summary judgment."

Copyright Betanews, Inc. 2010

Can't wait for another Engadget Show to roll around? Well you're in luck, friend. It's happening tomorrow at 5:00pm ET. We'll be doing giveaways at the show taping only, so brave the glorious sunshine and join us in person for a chance to win great prizes!

Josh will be sitting down with Nicholas Negroponte of the MIT Media Lab and the OLPC project to discuss the upcoming XO PC and pontificate about the future of technology.

Sony will also be on hand to demo PlayStation Move motion controller and the company's senior researcher Dr. Richard Marks will be there to give us the behind-the-scenes story. We'll have live demos of stuff never-before-seen on Move, including some hands-on audience demos! Much to our excitement, the usual crew will be joined by Joystiq's very own Christ Grant for the roundtable. You'll also be meeting our new investigative correspondent Rick Karr and we'll have plenty of amazing giveaways at the show. Also expect an out-of-this-world performance from minusbaby complete with stunning visuals from notendo, as well as some other big surprises...

As you may have heard, livestreaming is back by popular demand and so is live Twitter commenting! You will now be able to tweet your comments directly to the livestream! During the show, just include the hashtag "#engadgetshow" and look for your tweet to show up on the ticker at the bottom of the stream. One thing to note, The Engadget Show is a family program, so any single instance of swearing or trolling will force us to turn off the ticker... and it won't come back on. So, keep it clean and have fun!

The Engadget Show is sponsored by Sprint, and will take place at the Times Center, part of The New York Times Building in the heart of New York City at 41st St. between 7th and 8th Avenues (see map after the break). Tickets are -- as always -- free to anyone who would like to attend, but seating is limited, and tickets will be first come, first served... so get there early! Here's all the info you need:

• There is no admission fee -- tickets are completely free
• The event is all ages
• Ticketing will begin at the Times Center at 2:30PM on Saturday, doors will open for seating at 4:30PM, and the show begins at 5PM
• You cannot collect tickets for friends or family -- anyone who would like to come must be present to get a ticket
• Seating capacity in the Times Center is about 340, and once we're full, we're full
• The venue is located at 41st St. between 7th and 8th Avenues in New York City (map after the break)
• The show length is around an hour

If you're a member of the media who wishes to attend, please contact us at: engadgetshowmedia [at] engadget [dot] com, and we'll try to accommodate you. All other non-media questions can be sent to: engadgetshow [at] engadget [dot] com.

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Continue reading The Engadget Show tapes tomorrow, with Nicholas Negroponte and PlayStation Move!

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Steve Myers at Poynter gathers some thoughts from journalists about the most important lessons they learned at SXSW.

We narrowed down the results to the most important points:

• Use gamelike features to keep users engaged and refreshing your Web site.
• Work with city citizens and dig deeper into the data that is all around us.
• Manor Labs in Manor, Texas "turned the town of 6,500 people into a virtual R&D lab to tackle major civic innovations via crowdsourcing and game-driven mechanics." Amazing.
• Learn how to support different Web fonts with each browser and create rich graphics on the iPhone without Flash.
• The Deck, an all-sponsorship ad network teaches us to stop selling CPMs and only use sponsorships, so advertisers will "pay for time in front of your audience rather than impressions."
• Infuse creativity into every aspect of your work.
• Learn that vision is our strongest sense, and humans are wired to process images quickly. Move beyond text.
• Social media is exciting. But sites "like Facebook give us a limited set of choices for our participation, and we shouldn't be lulled into a false sense of control."
• "Geeks care about journalism."
• Measure reader engagement in hours, not minutes like online. "That allows for higher ad rates; it's another reason publishers should move faster in developing for tablet devices."
• Don't just shuffle content onto an iPad and add videos and graphics. Really think about reinventing content. And add social media.
• Web applications will probably win out over installed apps. "That may be unpopular to the folks who think iPhone/iPad apps will save journalism or make them rich, but developers are growing weary of developing for three to seven different platforms."
• The Web is accessible everywhere, especially on mobile devices.
• Social gaming is going to be huge. Use it in all aspects of your site, including comments.
• "Those who can't or won't reinvent themselves don't really have a place in a culture that places such a high value on innovation."

Read the rest of this story »

See Also:

• Here's Why You Should Give A Flying Crap About All The SXSW "Nerd Birds"

[‘Design Diversions’ is a biweekly GameSetWatch-exclusive column by Andrew Vanden Bossche. It looks at the unexpected moments when games take us behind the scenes, and the details of how game design engages us. This time -- how emotional design can make us think about not thinking about violence.]

Senseless violence in videogames is fun, but more importantly, it can also be intellectually stimulating and thought provoking. While designers and critics alike cry out for more depth in games, pathos is not the only path to artistic merit. For a medium that's constantly patronized, misunderstood, and derided even by its supporters, sometimes satire and irony is the best way to get a point across.

This is the philosophy of Grand Theft Auto: Vice City, as the most unapologetic of that series so lambasted by those who were the target of the game’s satire. The ultraviolent and candy colored Vice City is an excessively pink world in which violence is comical and cartoonish. Violence in this game is already highly desensitized. Pedestrians die, but after their bodies despawn the world will be back to normal as if nothing happened, maintaining the status quo like a TV serial.

It's the worst possible environment for a serious engagement with issues of violence, but it's a great environment to engage with how we depict violence. Most games take the opposite position of Haunting Ground, and are designed to soften, justify, or excuse violent actions so that players feel like heroes instead of murderers.

It's the same treatment summer blockbusters get. But unlike most of these media, Vice City goes a step further. This is a game that mercilessly skewers the groups most opposed to its existence, freely leaps into self parody, and satirizes the cultural attitudes towards violence that ultimately gave it form. By the end of Vice City it's clear that everyone from the mob to the talking heads on the radio are guilty of the same violence as the protagonist. No one in Vice City is innocent, and neither is anyone in the world.

How to Take the Sense Out of Violence

While technology makes blood and gore more realistic, game designers continue to construct this violence to minimize its impact. In the goriest of games (like Mortal Kombat) violence is there to thrill or disgust, not to inspire existential terror. Designers (and gamers) get excited over realism, but we want it for specific reasons. Despite how much we clamor for realism in graphics and physics, emotional realism actually gets in the way of enjoying games like Grand Theft Auto.

For this reason GTA4 has actually been criticized for being too realistic. GTA4 succeeded in its attempt to be more serious and taken more seriously, but it resulted in a different game experience--one that many fans hadn't been looking for and subsequently found in the much less serious Saints Row 2.

GTA4’s Nico feels more like a person than the caricature that is Vice City’s Tommy Vercetti, and for that reason it can be hard for players to engage senseless violence. Even the normal missions feel a little odd considering the sheer number of people you kill, creating a scenario in which the gameplay and story don’t quite mesh.

Abstracting Emotion

Trauma Center is an interesting example of a game that uses abstraction to eliminate squeamishness. This is a game inspired heavily by medical dramas with surgery-based gameplay. Medical dramas have a wide appeal; exposed organs do not. Surgeons and other medical professionals have to get used to blood and guts, but most people are pretty squeamish about that. Even the bloody fantasy violence of the average videogame can be less intense than the exposed entrails of a living human. Because of this, the designers went to great lengths to create a representation of the human body that wouldn't be grotesque.

Naoya Maeda, the lead 3D and event designer said on the Trauma Team web site that he came up with this abstract approach while thinking of how a surgeon would see the entrails. What's interesting about this approach is that the more realistic option may be less "true." In the game, the player is a doctor and revulsion is not part of the experience. In the same way, Tommy Vercetti attitude towards human life is pretty obvious from the way pedestrians are depicted.

A World of Mannequins

In violent videogames, it’s common to dehumanize the enemy so that players can feel justified in killing them. Zombies, robots, and aliens all serve their roles. With human opponents, it’s common to make them as evil as possible, which may be why WWII is the favorite FPS genre and Nazis the favorite foe. Ultimately though, the greatest tool for removing humanity is simply to leave them undeveloped.

The civilians in GTA don’t mourn, cry, or express themselves. Because they don't exhibit sympathetic actions, it's hard to empathize with them. They exist only to run screaming like Godzilla was stomping through the city. Vice City is inhabited by crash test dummies that respawn endlessly no matter how many times they die. It’s similar to watching Bugs Bunny gets blasted point blank with a shotgun: the next second, he's up and chomping carrots.

No matter how many times the player dies in GTA, or however many generic citizens he wastes, everything in the world will be respawning and back to normal in minutes. In this way, actions that would normally appear reprehensible loose all their emotional impact. If GTA was an accurate murder simulator, depicting the horror of real-world violence and murder with unflinching accuracy, the nightly news stories would have been about kids getting PTSD.

Sensitive Violence

If there is a flaw in this form of violence in videogames, it’s that it isn’t violent enough. It’s emotionally casual, designed specifically to not challenge the player’s feelings of empathy or guilt. Although it takes a lot of design work to make sure the player won’t feel sorry for the extras, seeing how many pixilated crash-test dummies you can run over isn’t emotionally challenging for the player.

Haunting Ground has a near-opposite outcome, but the design is obviously quite intentional. Compare GTA to the visceral Manhunt, and you can see that Rockstar is quite capable of creating an experience uniquely tailored to inspiring certain emotions. That’s a game that really does make the player feel like a murderer.

So Vice City is engineered for players to be as violent as possible without thinking about it. This is where a lot of game stop, having accomplished their purpose, and just let the player have fun. But Vice City fills the game with relentless satire, and this cleverness works in part because it's so violent. The result is a game about thinking about not thinking about violence.

Whose America?

The talk radio blabbering about videogame violence is underscored by the incredible violence perpetuated by the player. With Tommy Vercetti chaining rows of exploding cars and fighting everything from SWAT to the US Army, the irony of legislating against bleeding pixels isn’t lost on the player.

The jingoistic ads run by the game's gun stores unsubtly implicate that GTA is not the cause of America's attitudes towards violence, but a product of it. The entrepreneurial rise of the main character reflects a certain pulling-yourself-up-by-your-bootstraps-attitude that, along with this construction of violence, satirically constructs Tommy Vercetti as an ideal American.

Vice City is violent videogame about America’s attitude towards violence. Vice City came out after GTA 3, and it was born while the immediate reaction to that game was fresh in the minds of its audience and opponents. As the in game talk show parody unfolds, extremists from all sides fight over which vision of America to cram down the rest of the country’s throat while the player is laughing at them and having a grand old time.

While the guests on talk radio worry about fictional violence, their world is being blown up by the player on a regular basis. After mowing down the city in a tank, players may wonder why they aren't the ones being discussed on the news. Shouldn't they be thinking about real violence? Shouldn't the player? It's fun to live the American Dream as Tommy Vercetti, but is this bitter satire worth bringing to reality?

Even though Vice City goes to great lengths to create emotionally uninvolved violence, it wants the player to be conscious of how different this is from real world violence. At the time, the charge levied against the playerbase and the industry was that videogames confused the two. With the pitch perfect satire of radio pundits and activists, Vice City invites the player to think about whether the game is more damaging to society than the people trying to ban it. Rockstar has a clear agenda, of course, and stacks the deck in their favor. Even so, that’s a lot to think about for a game that’s not supposed to be about thinking at all.

Pathos certainly has its place in videogames, and it's certainly something we need more of. A GTA like game that forced players to confront the realities of murder would be an interesting idea. It couldn't work as a satire, and it wouldn't really be fun, but that’s just fine as it’s another way to engage the player. One of the great things about survival horror games like Haunting Ground is that they've proven that games don't necessarily need to be fun to be compelling.

But let's not underestimate Vice City just because it makes us laugh.

[Andrew Vanden Bossche is a freelance writer and student. He has a blog called Mammon Machine, which is updated less often than this message, and can be reached at AndrewVandenB@gmail.com]

Once upon a time, you had to bring travel guides, maps and paper tickets on every trip. Today, you can just take your smartphone and get access to all of this information without having to lug a couple of books and magazines around with you. Today, according to a new study by analytics firm Compete, 38% of smartphone users conduct travel research on their devices and 28% use their phones to book at least some of their trips and travel activities.

Sponsor

Compete found that the most popular travel-related activity for smartphone owners is finding more information about a destination while they are already traveling (34%). Close to a third of smartphone owners who responded to Compete's survey also use their phones to check up on the status of their lodging and transportation reservations. For most smartphone owners, this probably means checking up on the status of their flights. A quarter of smartphone owners also use their phones to research lodging, destination and transportation options. Marketers will be happy to hear that 22% of users look for a specific transportation company's or hotel's website and 21% use their devices to do research on a specific travel agency's site.

Interestingly, though, while about a third of smartphone owners use their devices for travel-related activities, only one-fifth of all smartphone owners have installed travel apps on their devices yet. Those who haven't installed travel apps yet are looking for comprehensive services that can notify their users of unplanned schedule changes (52%), notify users of rate changes (48%) and consolidate all travel reservations into one itinerary. While there are already numerous apps like WorldMate and TripIt that solve these problems, there is clearly an opportunity for these companies to market their apps to a wider audience that isn't aware of them yet.

Discuss

March 24 will mark the day that the first sports game ever will be broadcast live in 3-D to a U.S. audience, thanks to a cooperation between MSG and Cablevision. Hockey-loving Cablevision subscribers will be able to catch the Rangers face off against the Islanders on iO TV channel 1300, according to Engadget. New York-based fans will also be able to watch the game live at at the Theater at Madison Square Garden. You know, just in case you haven’t spent $3000 on one of the 3D TV sets that have only been available for a few weeks.

MSG said that it is currently in discussions with other operators about carrying the game as well, but Cablevision definitely scored a bit of a prize with this one. Comcast announced earlier this week that it will broadcast the Masters Tournament in 3-D, which would have given it the bragging rights for the first 3-d sports event ever broadcast in the U.S. ESPN previously announced that it will start a 3-D network in time for the World Cup in June, and DirecTV also has some 3-D sports coverage in the works for the coming months.

Rangers vs. Islanders will be shot with technology from 3ality Digital, which also powered BSkyB’s January 3-D Premiere League Soccer broadcast.

Related content on GigaOm Pro: Are We Putting the 3-D Cart Before the Horse? (subscription required)

For golf and the television networks that cover it, Woods’s decision to rejoin the tour next month is an answered prayer: simply put, the game depends on him. When Woods competes in a tournament, the television audience is 40-60 per cent larger than when he is not taking part

According to the Nielsen Company, the global average time spent per person on social networking sites is now nearly five and half hours per month (February 2010 data), with Facebook accounting for the majority of that time. That’s up more than two hours from last year.

In arriving at that conclusion, Nielsen measured social network usage per person across 10 countries and compared that to data from the same time last year.

When looking at specific countries, Italy tops the charts with social network time per person just under six and a half hours per month (6:27:53), and Australia is a close second (6:02:34). The United States — which has the largest unique social networking audience — ranked third in usage with the average person spending just over six hours (6:02:34) on social networks.

What’s even more interesting is that Facebook — with its 400 million members — is far and away dominating the rest of the competition.

Facebook is the number-one social network destination worldwide and accounts for nearly six hours (5:52:00) per person with the average user logging in more than 19 times per month. What that boils down to is that the time spent on Facebook is almost five hours longer than the time spent on MySpace (0:59:33), the second closest social network in terms of time spent on site per person.

Nielsen also found that:

- Globally, the average Twitterer conducts three unique sessions for a total of 36 minutes per month.

- In the U.S. the active unique social network audience grew roughly 29% from 115 million in February 2009 to 149 million in February 2010.

- Active unique users of social networks are also up nearly 30% globally, rising from 244.2 million to 314.5 million collectively.

Image courtesy of iStockphoto, sbayram

Tags: facebook, Nielsen, social media, social networks, stats

Tim Anderson is back from the SXSW Film Festival with his first review, A Serbian Film, a sickening film that literally shocked the audience into silence. "Serbian Film arrived with every conceivable warning--unlike that trilogy above. I was told time and again by a trusted source (with a stomach of iron) that this film contained scenes that wouldnothing short of rape my soul. Hyperbole that I couldnt even argue as I sat in stunned silence with 250 other people as the credits closed." Click the title for the full review.

· Kauto Star falls four out after a ragged ride
· Denman battles on to take second place

The miracle of this Gold Cup was that two great champions were dethroned and yet it still felt like a day of wonder for National Hunt racing. Ruby Walsh rode the fallen odds-on favourite, Kauto Star, back to the unsaddling enclosure from the scene of their tumble upright in the saddle, like a defiant cavalry officer, and Denman reached into his deepest store of energy to finish runner-up to Imperial Commander, who was cheered by an exultant crowd despite spoiling the romantic two‑horse script.

The Festival rose a level with Imperial Commander's seven-length victory at 7-1. So relentlessly dramatic was this 3¼-mile trial of the spirit that tens of thousands of spectators became part of the contest out on the track. Cheltenham crowds are often giddy and always appreciative but nobody could remember them being so consumed by the action with every jump. They gasped as Denman soared over fences and howled when Kauto Star crashed through the eighth and knocked the light out of himself before coming down four fences out.

In other sports Imperial Commander would have been greeted as an impostor who had ruined the decider between the winners of the last three Gold Cups. Instead there was a realisation that jump racing had erred by turning this occasion into a private duel between the two Paul Nicholls-trained big shots.

In the build-up the rest of the field had assumed the role of bit-part players. Imperial Commander was not the only contender to interject. Third home was last year's Grand National winner, Mon Mome, who rated barely a mention in the preamble. Plenty of shrewd punters were immune to this ballyhoo. As Imperial Commander passed the line under Paddy Brennan, damp copies of the Racing Post were tossed and hats flew like Frisbees. Some had noticed that the winner had been beaten by only a nose by Kauto Star in the Betfair Chase in November and was decent value at 7-1.

There is the theatre out on the track and then there is the betting, in which most punters were wiped out over the four days. If hope could take human form, it would have been driven away from the Cotswolds in an ambulance. The defeats of Master Minded in Wednesday's Queen Mother Champion Chase and Kauto Star and Denman were the biggest triumphs for bookmakers in a week when gamblers squealed for mercy.

So this was not a two-creature pageant but a test for the best of the National Hunt breed. For seven fences it was a masterclass of steeplechasing. But then Kauto Star exhibited the first signs of mental frailty since the bad old days when he would try to walk straight through fences late in races. Just as Walsh was doubtless starting to sniff his third Gold Cup win on Desert Orchid's successor as the nation's official horse, Kauto Star turned him into a rodeo rider, belting the top of the fence and almost jolting Ireland's champion out of the plate.

L'Extraterrestrial, as he was known in France, ploughed on but his confidence had evaporated. Denman, the darling of traditionalists, took up the stable's cause, jumping audaciously and barrelling into open country. The audience was entranced. Four fences out Kauto Star self-detonated, stepping in to the foot of the obstacle and sending himself over the birch in a somersaulting heap. As Walsh landed like a fly-half diving in for a try, he turned straightaway to check his partner was unharmed. Later, as Imperial Commander took the ovation, Walsh could be seen standing up in the saddle as Kauto Star's white noseband approached through the gloom.

This was how to come home vanquished: upright, proud. Kauto Star cantered back to the exit chute "as fresh as a daisy" in Walsh's plucky phrase. He was hardly that. But National Hunt racing folk do not make a tragedy out of a setback. Kauto Star had passed from invincibility to fallibility inside 10 minutes. His romping wins in last year's Gold Cup and December's King George VI Chase seemed an age ago. Like boxers steeplechasers never warn you the end is nigh. It was not the mistake at the eighth fence that pointed to his mortality so much as his inability to recover from it.

Denman, who could be trained for next year's Grand National, was transcending doubt and showing himself to be a great equine warrior from the old school. To achieve immortality here a horse needs more than one Gold Cup victory (he crushed Kauto Star to win two years ago) yet Denman has twice distinguished himself in defeat. This course jolts him back to life. His acolytes would say it is because he was bred for days like these. The heavy, saturnine mood that seems to afflict him at the Nicholls yard lifts and he attacks the Prestbury fences with joie de vivre. "That Denman, he never goes away, does he?" Brennan said.

Under Tony McCoy he was asked to make the final assault swinging for home but the sprightly, super-fit Imperial Commander was skipping along with him and accelerated up the hill to register a distinctly local triumph. Motor to a Cotswolds village called Guiting Power 12 miles away and you will find a pub called the Hollow Bottom, which feels like an extension of Cheltenham racecourse. It is also a shrine to Nigel Twiston-Davies, Imperial Commander's trainer, who has a share in the business and who said as he approached the winner's enclosure here: "This was a home win. We are where we belong."

Half an hour later Twiston-Davies's 18-year-old son Sam won the Foxhunter Chase on the stable's Baby Run, then their Pigeon Island took the last under Brennan. All leave would have been cancelled at the Hollow Bottom. "Paul Nicholls has done a wonderful job with his two horses but we need new ones coming through and ours is the best now," Twiston-Davies senior said of his champion. "I loved all the Kauto Star-Denman thing but I always thought we could beat them."

From a theoretically anticlimactic day the Racing For Change initiative had the perfect promotional DVD. This beat media training, decimal odds, simpler racecourse announcements and all the other ploys to get people to the track. It was the action speaking for itself. It was the purest sport.

• Cheltenham Gold Cup
• Kauto Star
• Denman
• Cheltenham festival
• Horse racing

Paul Haywardguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

As SXSW Interactive comes to a close and SXSW Music kicks off, it's worth taking a look at the ideas, trends, discussions, and issues that dominated the four-day technology summit. Here are the five areas that stood out the most to me.

1. Conference Buzz

Every year there is a product or two that monopolizes most of the buzz -- for example, you couldn't go ten feet in 2008 without hearing a discussion about Twitter. For 2010, the buzzed-about phrase was without a doubt location-based services. Although the start of this discussion was in 2009, these mash-ups of geography and social technology really hit their stride this year.

Foursquare and Gowalla are the clear leaders in this space, as evidenced by the major presence enjoyed by both at the conference. Foursquare had a record 347,000 check-ins in one day this week, and the use of the service will certainly continue as the music crowd floods Austin.

The discussion I had with most people centered around the question, "What next?" As in: Now that these services are gaining momentum and adoption, where is the business model? Other than high-level brand partnerships and individual locations offering incentives for customers to check-in, few other monetization and call-to-action results have been seen. I see plenty of value in getting 10 percent off my order if I am the Foursquare mayor of a restaurant, or in allocating a big ad spend for a custom promotion, but where is the middle ground for everyone else?

But apart from that, you know you're hitting some level of critical mass when CNN chimes in on how to use Foursquare to be cool (or at least not uncool).

2. Data Tracking and Analysis Tools

In my 2009 wrap-up piece, I stated that 2010 would be the year of analytics. The data has been available for ages, but the tools to turn raw data into information -- and better yet, knowledge -- have finally found a strong value proposition. More and more products are emerging to monitor and analyze Twitter activity, social media trends, community management results, and overall impact and impressions.

Google Analytics is still a strong contender in the space, with almost everyone mentioning this as a core piece of the puzzle. Platform-specific tools such as Twitter Counter and bigger-picture services such as Radian6 were discussed at great length and examples were provided of their functionality.

The current Holy Grail of analytics (and I bet a buzz-topic at SXSW in 2011) is sentiment analysis -- not only knowing who is saying what how often, but getting a feel for the tone and meaning of what they are saying. Be on the lookout for more discussion and tools as time goes on. (MediaShift's Nick Mendoza looked at sentiment analysis related to the Oscars recently.)

3. Disappointing Panels & Keynotes

There is no lack of articles on the multiple disappointments around this year's panels and keynotes (start here and here). Spotify's Daniel Ek and Twitter's Evan Williams both brought in packed houses, but by the end of their talks the attendance was sparse and the content was thin.

As someone who speaks at and attends many tech and music conferences, I've seen my fair share of highly informative panels, and have had plenty of my time wasted. I wish I could report that SXSWi had a non-stop stream of amazing takeaways, but unfortunately it didn't go that way.

It's not for lack of relevant, forward-thinking topics. And it's certainly not for lack of amazing speakers who are getting big things done. In my experience, it comes down to two things: Having to cater to a very wide audience with varying skill levels, and only having a short time to address a long list of topics. The solution? Keep the panels focused on the core topic -- I'm talking to you, moderators -- and keep in mind that the audience can read theory on any blog; what they need are actionable takeaways.

The reason I left most panels disappointed was that I felt it was a missed opportunity. With such brilliant and accomplished panelists, I should have walked out of the room with a few action items I could implement immediately. This was very rare.

4. Skyrocketing Attendance

The attendance at this year's conference says something positive about the state of the tech industry. Last year's attendance was approximately 10,000; this year, there were over 15,000 badge holders. The feeling is very reminiscent of the mid-'90s in Seattle, when a new wave of technology and investment quickly expanded the marketplace.

What seems great for the industry -- a glut of big thinkers and tech geniuses -- is not as ideal for the conference itself. Getting into panels meant waiting in long lines and, often, only getting in when someone else left. The same thing happened at most industry parties, where the RSVPs far exceeded room capacity. It was a constant feeling up "hurry up and wait."

Fortunately, AT&T thought ahead and brought in an extra cell tower, providing massive bandwidth for what seemed to be the biggest concentration of iPhones on the planet. I can honestly say it was the best 3G coverage I've ever had.

5. Parallel Conferences

Something I noticed this year that I hadn't seen near as much in prior years was a number of parallel conferences, both perceived and actual. Depending on your interests and network, the conference experience tends to vary widely. In a single night you can find yourself in the middle of a raging party with young (and wealthy) tech entrepreneurs, a serious business dinner with corporate executives, and in a development workshop with programmers (that's their own unique type of party).

In addition, there were a number of side conferences, including fully off-site panels that almost felt like secret societies. Celebrity bloggers hosted workshops, independent organizations hosted roundtable discussions, and trade organizations fostered discussions focused on their interests. There was certainly something for everyone.

SXSW Music has now begun, and the tone of the conference has dramatically changed. Stay tuned for a report back on that experience...

Photo of Foursquare app by dpstyles via Flickr. Photo of attendee with Mr. Spam by Randy Stewart via Flickr. Photo of SXSW closing party logo by Fellowship of the Rich via Flickr

Jason Feinberg is Vice President, Direct To Consumer Marketing for Concord Music Group. He is responsible for digital and physical direct-to-fan solutions for CMG's frontline and massive catalog including the Fantasy and Stax labels.

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The Texas Film Hall of Fame Awards celebrated its 10th year this March. On the night before SXSW took over Austin, a number of local and Hollywood celebrities gathered at Austin Studios, in a soundstage decked out to look like a fancy party venue, to induct new members into the Texas Film Hall of Fame and to raise money for the Texas Filmmakers Production Fund. I've got photos and video to share after the jump.

The event always includes my favorite red carpet to cover. The great thing about their red carpet (which was pink this year) is that it's also the main entrance to the event, so everyone has to walk past our cameras. Sometimes there's heavy traffic on the carpet, but it also means getting to snap photos of all kinds of people who are not on the honoree list. That is, assuming you know who they are. I saw one unassuming guy scoot down that carpet and thought he looked an awful lot like Jason Reitman, but what would he be doing here? Found out the next day that he was in fact at the ceremony, a last-minute decision (and then we kept spotting him at SXSW, too). But Thomas Haden Church, the evening's emcee, slipped in through a back door.

The 2010 honorees included actor and San Antonio native Bruce McGill, who received his award from Tim Matheson -- a D-Day and Otter reunion more than 30 years after Animal House. They had a lot of fun horsing around on the red carpet. When accepting his award, McGill did the one thing you know the audience all wanted: "The William Tell Overture" on his throat.

Filed under: Awards, Quentin Tarantino

Continue reading A Cowboy Hat for Tarantino at Texas Film Hall of Fame Awards

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A group of researchers have proven something we already expected to be the case: your Twitter follower count is somewhat of a meaningless metric when it comes to determining influence. To reach this conclusion, the researchers examined the Twitter accounts of over 54 million active users, out of some 80 million accounts crawled by their servers. They then went on to measure various statistics about these accounts, including audience size, retweet influence and mention influence. The conclusion? Those with the largest number of followers may be "popular" Twitterers, but that's not necessarily related to their influence. High follower counts don't always mean someone is being retweeted or mentioned in any meaningful ways.

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The findings from this research project have been published in an research paper available here on the project's homepage.

How the Data Was Analyzed

The data the researchers had access to is astounding: 54,981,152 user accounts, 1,963,263,821 social (follow) links and 1,755,925,520 tweets. In order to collect this massive store of data, the researchers contacted Twitter and asked permission to crawl Twitter's service. Twitter granted them access and white-listed the IP address range for the 58 servers that were used in the data collection. In total, the crawler was able to scan 80 million Twitter accounts during the month of August 2009. Only 54+ million of those accounts were actually in-use at the time, which, in and of itself, is an interesting finding about how many people create a Twitter account and then abandon it. Only 8% of the active accounts were set to private, so they were ignored during the data analysis. The researchers also used the Twitter API to gather additional information about a user's social links and tweets.

The study focused on the largest part of the Twitter network - the "single disproportionately large connected component," notes the paper, that contained 94.8% of users and 99% of all links and tweets. Within that large network of "in-use" accounts, the researchers further narrowed down the data to focus on the "active users." These users where those who had more than 10 tweets and had a valid screen name that could be retweeted by others. (Interesting - it's possible to have an account and not a screen name?) That left "only" 6,189,636 active users out of the initial 80 million to examine.

To measure the influence of these 6+ million users, the researchers looked at how the entire set of the 52 million users interacted with these active users.

The Three Measures of Influence

After examining the data, the researchers found that the most followed individuals spanned a wide variety of public figures and news sources and included accounts like CNN, New York Times, Barack Obama, Shaquille O'Neal, Ashton Kutcher, Britney Spears and others. However, the most retweeted users tended to be content aggregation services like TwitterTips, TweetMeme, and, interestingly enough, they counted the tech blog Mashable as an aggregation service, too. Other heavily retweeted users included Guy Kawasaki, the humor site The Onion and again, The New York Times. Meanwhile, those users with the most "mentions" - not a direct retweet including the original content of someone else's tweet, but just a casual mention of their name - were celebs.

These three measures of influence - followers, retweets and mentions - has surprisingly little overlap when looking at the top influentials. The top 20 lists from these three categories only had two users in common: Ashton Kutcher and Puff Daddy.

The researchers also examined the ability of Twitter users to influence others. They determined that the most influential users hold significant influence over a variety of topics, as opposed to being experts in just one area.

Examining the 233 "All-Time Influentials"

Out of the 6 million active Twitter users, the researchers picked the top 100 users in each of the three categories. Due to the overlap, there were only 233 distinct users on these lists. These were dubbed the "all-time influentials." Some of these accounts belonged to news organizations or celebs, but others were just regular users. Regarding that last group - it appears that those users who limit their tweets to a single topic are the most likely to increase their influence scores.

In the end, what the researchers found was that follower count alone is not necessarily a worthy measure of determining influence. Other factors come into play as well. Although some heavily-followed accounts are also mentioned and retweeted a lot, just looking at audience size doesn't reveal an account's ability to influence and impact the Twitter universe.

According to the project's homepage, the researchers are hoping to make the data they collected available to the community at large. Before doing so, they will discuss it with Twitter in order to determine that their data sharing plan agrees with the company's policy. They plan to have an update on this situation - possibly the data itself - by May 2010.

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"It's an interesting time to be an RTS developer," says Command & Conquer 4 lead designer Sam Bass. The upcoming release of StarCraft II will be a boon to the genre overall, he says, expecting it to "help the market" -- support he says RTS gaming needs right now. "I think we're a little bit in danger of becoming like the flight sim market, where you're catering to an increasingly small but hardcore audience," Bass ...

Parents rejoice! Peter Pan's erstwhile sidekick has branched out to become a bona fide DTV franchise for Disney, with the help of her "Disney Fairies" clique. The studio that brought you Tinker Bell in 2008 and Tinker Bell and the Lost Treasure in 2009 has announced that "the world's favorite fairy" will be spreading her mirth and magic for audiences of all ages on September 21, as the worlds of fairies and humans meet for the first time in the new CG feature movie, Tinker Bell and the Great Fairy Rescue....

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Après avoir lourdement soutenu le contraire, Lagardère va finalement se débarrasser de son canal gratuit de la TNT, Virgin 17. Parent pauvre de la TNT, la chaîne musicale est toujours déficitaire (là où la plupart de ses petites camarades ont trouvé l'équilibre financier) et se maintient parmi les plus mauvaises audiences de la TNT. Virgin 17 serait handicapée par son positionnement de chaîne musicale, un secteur jugé impossible à rentabiliser (NRJ12 est d'ailleurs passée de musicale à (...)

Almost anybody you ask will tell you that these are strange days for videogames. What happened to certainty? The revenue of five-year mega projects costing tens of millions of pounds are now regularly eclipsed by throwaway mobile apps retailing for 59p a shot. Meanwhile, get-rich-quick developers scurrying to capitalise on the success of a social networking phenomenon like FarmVille decide that the lesson to learn is that the audience is craving games about agriculture.

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Michael Scott points us to a rather surprising (given the source) piece in Ad Age asking if copyright is "the buggy whip of the digital age." Of course, most regular Techdirt readers will not be surprised to find that I agree with that statement wholeheartedly. It's a tool for a very different system that isn't needed. If anything, I'd argue the situation is worse than with buggy whips. At least with buggy whips, they could just fade away as the automobile grew in importance. Buggy whips couldn't get in the way of the automakers. Copyright, on the other hand, is regularly used to stifle and hold back new forms of creativity and to silence expression.

The article itself, by Judy Shapiro, is really a conference report from an event called "The Collision of Ideas 2010," put on by the Copyright Clearance Center. It looks like they brought in a lot of fantastic speakers, highlighting how copyright law doesn't fit well with what content creators are trying to do, and how it's often being used to actively harm content creators. For example: Mr. Hoffman, the filmmaker, gave a presentation where he confided how challenging current copyright laws are for artists. As an example, he gave us detailed insights into the challenges he had creating his critically acclaimed Sputnik documentary. He explained that half his budget was spent on copyright fees alone. Most unfairly, he had to pay exorbitant copyright fees to a network for old news footage they did not even have but which David himself had spent time to ferret out. David openly concluded that, "it was better to open the floodgates" and let anyone use his content than constrain its distribution. Unfortunately, Shapiro is getting beaten up in the comments on that piece by folks who are doing the kneejerk thing of saying "but copyright is good, because otherwise who will create!" Still, it's good to see that this debate is reaching a wider and wider audience through conferences like this one and in the pages of AdAge. While you can always expect the kneejerk response from folks who have always been told that copyright must be good, the more people examine the actual issues, the more they'll recognize that as a tool, it's current design is woefully misguided and very much against the principles for which it was created.

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Le groupe PagesJaunes, qui revendique déjà une audience de plus de 80 millions de visites par mois, vient d'annoncer l'acquisition de 100% du capital de 123people, spécialisé dans la recherche de personnes, [...]