As David Armano writes about SXSW “Hundreds of vendors, brands and companies vie for your attention.” This was certainly one of my big surprises from the recent SXSW event (my first time attending). From the huge attendee bag o’ crap with every kind of sticker, sample beverage, light-up pen, button, pamphlet, coupon, invite, brochure, and screen cleaner imaginable, to the half-dressed-skinny-girls inviting us to try a WiFi cafe, I was struck how by showing up in Austin I was essentially a captive audience to be marketed to. There was free food-and-drink (the Ice Cream Man on 6th street hands ice cream to passerby, with a Nokia napkin; the Sobe people were giving out psych-ward-meds-sized portions), free electricity (via Belkin and Chevy), and on and on.

Pepsi had large area with several zones, including tents for…I guess…video conferencing. I saw people hanging out at the bar drinking small portions of Pepsi, but not many making use of this service.

Bing had a fleet of Town Cars, as well as hostess-y types that would offer you a free ride.

This bus was promoting the new book from Tony Hsieh (of Zappos). I just saw it driving around, or worse, idling. I never saw anyone get on, or off. Was it an eco-nightmare billboard? Or some sort of service? I think it’s kind of creepy!

Sidewalk advertising, of course. Let’s hope they cleaned it up after, or that the city was prepared to fine them. I haven’t checked out this URL, but feel free to and let us know in the comments. Or, really, why bother?

There are three concurrent/adjacent festivals: Interactive, Film, and Music. Each of them serves up an insane range of options, well beyond what we normally encounter in our choice-flooded lives. The net effect (and my theme here) is that content creators are expected to shout louder (or more interestingly) to create awareness for their product. Here are ads for all sorts of things, including a cryptic phrase about a hurting vagina (which turned out to be from a movie).

Those posters don’t go up by themselves. It takes work.

As Austin reached beyond-critical-mass, 6th Street, the live music area, was closed to traffic. People were passing out more pamphlets and flyers promoting their events. And here’s where many of them ended up.

Just because.

Drawing attention to yourself to promote an event.

iPad guy was the triggering noticing event that led to this post. On my second-to-last night I saw this guy walk by, with a cardboard iPad around his neck (yes, kids, this was before the iPad was actually available). I yelled out “Hey, iPad guy!” and he stopped and let me take his picture. We introduced ourselves, and I asked him why he was wearing an iPad around his neck (see, that ethnography experience comes in handy!!!). His answer? So people will talk to him, like I did (turns out he works for a Search Engine Optimization firm, so…). While SXSW is a hyper-condensed environment, it represents some early-adopter aspects of typical daily life, and so I was struck to see the continuum between the promotion of Pepsi, Sobe, Bing, an indie film, an indie band, and an individual.

I’ve had my experience with guerrilla methods of promoting myself (from wearing a giant sombrero when campaigning for student government, with the slogan “the little guy in the big hat” to wearing a very loud SpiderMan tie when interviewing for jobs at a CHI conference long ago…only to be upstaged by the guy with a resume-dispensing-box with an embedded recording of him giving his elevator pitch) but the past seemed quainter, where the extreme needs (getting elected, getting a job) permitted extreme norms. But at SXSW it seems like everything is a promotion for something and I feel just a little bad seeing us take our lessons on how to connect with each other from big brands. Is this an exception or an emergent norm?

My favorite content from SXSW:

• The Parking Lot Movie
• Life 2.0
• AMERICAN: The Bill Hicks Story
• World’s Largest – A Documentary About Small Towns with BIG THINGS
• Cherry
• Devo, the Internet, and You
• Jeffrey Tambor’s Acting Workshop

Check out more of my SXSW pictures here.

Slides and audio from Integrating User Insight, my presentation with Aviva Rosenstein, are here.

You may also like License to Shill, a FreshMeat column from 2004.

• Inc. Magazine Staffers Works Remotely To Make April Issue – [NYTimes.com] – Away from the office, some staff members struggled to adjust, as minor technical hiccups arose and parents working at home had to find ways to separate their work from their children. But in the end, most employees discovered that they could and should work out of the office more often — though they did not want to eliminate the office entirely. Mr. Chafkin found himself working more hours than usual in February and pining for the company of his colleagues. “I was way more productive, but way less happy,” he said. “I think one of the reasons people get into magazines is that it’s collaborative.” The collaboration that did happen needed to be arranged in advance, like setting a time for a conference call, rather than relying on an encounter in a hallway or chatting at a desk. Only once during the month did the entire staff gather, at Ms. Berentson’s home on the Upper West Side. When everyone got together, she said, it was “exactly like seeing old friends.”
• OgilvyOne Uses Contest to Promote Salesmanship [NYTimes.com] – A contest from OgilvyOne asks participants to market a brick so their sales techniques can be judged. The prize is a job at the agency for three months. Participants submit their ads for the red brick via YouTube. The ad agency's contest is a nod to David Ogilvy, who offered straightforward opinions on the high importance of good salesmanship.
• The Medium – Trust Busting [NYTimes.com] – A company shows anxiety on its face — that is, on its Web site, which has become the face of the modern corporation. Visit sites for recently troubled or confused enterprises, including Maclaren, Toyota, Playtex, Tylenol and, yes, John Edwards, and you’ll find a range of digital ways of dealing with distress.

Book vending machine, Heathrow, November 2009

Although these machines have been in Heathrow for more than 2 years, it’s still surprising every time I see one. It makes perfect sense to sell books for this use case in this way, but it’s just a bit unusual.

Also see more pictures from London 2009

• Slot Music – it’s more than just a new format – Here's SanDisk's ecosystem approach (for digital music, not digital books, but still, it's illustrative). Leveraging their technology, they've begun putting digital music on solid state media (i.e., SD cards and what-have-you) that will go into multiple devices. They are piggybacking on the ecosystem of slots that already exists. I think it fully matures as an ecosystem when other other plays start making products, services, and accessories to support this standard.
• New Yorker cartoon – “This one, when you open it, smells like the Times.” – Cartoon by Leo Cullum showing a sensory-enriched Kindle. Thanks to Tom Williams for the pointer!
• Book Display Norms – Jan Chipchase – To what extent does the form, peruseability of books facilitate the behaviours around where they are sold?
• San Franciscan Reads Finnegan’s Wake Aloud, In Public – In the aftermath of the Finnegan's Wake Book Club dissolution.

• Large collection of (actual?) screenplay pitches (technically query letters). – Just one:
  Title: Remnants of Hammers
  Logline: Constant bickering drives this comedy-drama as the plots of immature Bill, rabble-rousing Eldon, and ex-Marine George converge upon poor Dr. FitzUrse.
• The Che brand – In "Che’s Afterlife.” Casey has written a book that is not only a cultural history of an image, but a sociopolitical study of the mechanisms of fame. It is about how ideas travel and mutate in this age of globalization, how concepts of political ideology have increasingly come to be trumped by notions of commerce and cool and chic, and how the historical Che gave way to other Ches: St. Che, said to possess the ability to perform miracles; Chesucristo, a Christ-like figure revered for his ideals, not his advocacy of violence; an entrepreneurial Che, promoting the lesson “that individuals should honestly strive to produce their utmost for the good of all”; and the Rock ’n’ Roll Che, more representative of youthful anti-authoritarianism than of any political dogma. Che has become a generic symbol of the underdog, the idealist, the iconoclast, the man willing to die for a cause. He has become “the quintessential postmodern icon” signifying “anything to anyone and everything to everyone.”