nddrylliog_pismo 0.7.3
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- data/.document +5 -0
- data/.gitignore +29 -0
- data/Gemfile +4 -0
- data/LICENSE +23 -0
- data/NOTICE +4 -0
- data/README.markdown +131 -0
- data/Rakefile +72 -0
- data/bin/pismo +45 -0
- data/lib/pismo.rb +82 -0
- data/lib/pismo/document.rb +67 -0
- data/lib/pismo/external_attributes.rb +14 -0
- data/lib/pismo/internal_attributes.rb +316 -0
- data/lib/pismo/reader.rb +19 -0
- data/lib/pismo/reader/base.rb +259 -0
- data/lib/pismo/reader/cluster.rb +171 -0
- data/lib/pismo/reader/tree.rb +154 -0
- data/lib/pismo/stopwords.txt +1002 -0
- data/lib/pismo/version.rb +3 -0
- data/pismo.gemspec +30 -0
- data/test/corpus/bbcnews.html +2131 -0
- data/test/corpus/bbcnews2.html +1575 -0
- data/test/corpus/briancray.html +269 -0
- data/test/corpus/cant_read.html +426 -0
- data/test/corpus/factor.html +1362 -0
- data/test/corpus/gmane.html +138 -0
- data/test/corpus/huffington.html +2932 -0
- data/test/corpus/metadata_expected.yaml +72 -0
- data/test/corpus/metadata_expected.yaml.old +122 -0
- data/test/corpus/queness.html +919 -0
- data/test/corpus/reader_expected.yaml +39 -0
- data/test/corpus/readers/cluster_expected.yaml +45 -0
- data/test/corpus/readers/tree_expected.yaml +55 -0
- data/test/corpus/rubyinside.html +318 -0
- data/test/corpus/rww.html +1351 -0
- data/test/corpus/spolsky.html +298 -0
- data/test/corpus/techcrunch.html +1285 -0
- data/test/corpus/tweet.html +360 -0
- data/test/corpus/youtube.html +2348 -0
- data/test/corpus/zefrank.html +535 -0
- data/test/helper.rb +15 -0
- data/test/test_corpus.rb +54 -0
- data/test/test_pismo_document.rb +34 -0
- metadata +156 -0
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<title>Ze Frank on Imaginary Audiences :: Articles :: The 99 Percent</title>
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<meta name="description" content="We chat with the Internet's most notorious mass-collaboration instigator Ze Frank about idea execution and how to build armies of sportsracers." />
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<h2 id="site-logo"><a class="pngfix" href="/">99%</a></h2>
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<div id="site-tagline" class="pngfix">It's not about ideas. It's about making ideas happen.</div>
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<h1 class="block-title">Ze Frank on Imaginary Audiences</h1>
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<a id="post-id" rel="5923" class="hide">article</a>
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<div class="block-author">
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by <span class="name">Jocelyn K. Glei</span>
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<span class="intro">If there’s anyone who knows how to marshal an online audience,
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it’s Ze Frank. Ze is best-known for his 2006 program “The Show,” in
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which he made a new 2-3 minute video every day for 1 year. Topics
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ranged from “<a href="http://www.zefrank.com/theshow/archives/2006/08/083006.html">fingers in food</a>” to the
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mysteries of <a target="_blank" href="http://www.zefrank.com/theshow/archives/2006/05/051006.html">airport signage</a> to a tour
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de force summary of creatives’ addiction to un-executed ideas, aka
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<a target="_blank" href="http://www.zefrank.com/theshow/archives/2006/07/071106.html">brain crack</a>. Ze
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constantly sourced ideas for The Show from his audience, and since then
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he’s gone on to toy with group collaboration in new ways. <a target="_blank" href="http://www.zefrank.com/from52to48withlove/">52 to 48 with
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Love</a> called on McCain and
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Obama voters to exchange messages of reconciliation, while the summer
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camp-like <a target="_blank" href="http://www.zefrank.com/zesblog/archives/2008/03/colorwar_2008.html">Color Wars</a>
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harnessed Twitter to bring ad-hoc groups of users together to complete
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large-scale, creative projects in limited time frames.</span>These days,
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as ever, Ze is executing lots of ideas and seeing what sticks. A
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pilot for the Discovery Channel is in the works, “The Show”
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has been reincarnated (in a slightly more buttoned-down fashion) for
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<span style="font-style: italic;">TIME</span> magazine, and he’s collaborating with a team of developers on the
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next iteration of Color Wars. In a wide-ranging conversation that
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encompassed everything from a discourse on 5th-century theologian St
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Augustine to a brainstorming session on “zombie golf,” we talked with
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Ze about how he gets his ideas off the ground and the art of designing
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for mass participation and collaboration. These are the highlights:<br><br><span style="font-weight: bold;">I’ve
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heard you speak about “morphological synthesis” as part of your idea
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development process before. How does that sort of free association
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function for you in taking the first few steps on a project?</span><br><br>Morphological
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synthesis is a way of trying to segment your thinking process into
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parts. I definitely use it quite a bit. (Though not in the strictest
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sense of the word.) You take 4-5 adjectives or characteristics and then
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brainstorm in that direction.<br><br>Generally, when I have an idea I start
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with a sense of scale. Let’s say Procter & Gamble has a new toilet
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paper. If I’m trying to generate ideas around it, the first thing I’d
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do is take a general imagination run into scale. What happens if you
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have no toilet paper? What happens if you have way, way too much toilet
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paper? What’s the smallest type of toilet paper that you would ever
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use? What would an incredibly large toilet paper look like? Who is
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someone that never uses toilet paper? Who is someone that uses it
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constantly? What can you do with 10,000 rolls of toilet paper? What would a world with no toilet paper
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look like? <br><br>I flip back and forth between the extremes until
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something interesting comes out of it. And then you repeat the process
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based on that new idea. It’s a super-cool exercise only in that it
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forces you to explore the outside boundaries of things. <br><br><span style="font-weight: bold;">What kind
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of a role does collaboration – for example, how you interact with your
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enthusiastic online audience – play in your ability to keep producing
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work?</span><br><br>I don’t feel like participating and collaboration is
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fundamental. But I do feel like it’s certainly one of the more exciting
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parts of the digital age. And I think that there’s a lot of really cool
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stuff to do in that arena.<br><br>For me, there are two facets: one is
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creating the work fast, and the other is publishing the work fast.
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Those are two different things. Publishing it fast, for me, certainly
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in the early stages from 2000-2006, was super-important, because I was
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trying to understand the relationship between the genesis idea, the
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work itself, and the audience – and how those three things interplay
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with each other. <br><br><span class="blockquote">I say make it as quickly and faithfully as
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possible. ‘Quickly’ and ‘faithfully’ kind of pull in opposite
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directions. I find that that’s a nice tension to work in.</span><br><br>What I was finding was that there was an
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opportunity for me to explore this creative process that normally all
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happens internally, in a different way where you release work, and then
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you allow the frameworks that emerge from the way people respond to the
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work as some kind of feedback cycle. It’s incredible, and it gets
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talked about a lot now, as people try to open up the work that way,
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allowing people to react, respond.<br><br>The second thing is making the
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work fast. I usually try to say ‘make it as quickly and faithfully as
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possible.’ ‘Quickly’ and ‘faithfully’ kind of pull in opposite
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directions. I find that that’s a nice tension to work in – try and get
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it out as fast as possible, but don’t take shortcuts just for time. Try
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to stay true to the original concept. I find that that is important
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because you end up making more stuff. And for me, the most difficult
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part of the process is the first 50%. <br><br><span style="font-weight: bold;">Do you find it harder to complete work when that audience isn’t present? Or is the process just different?</span><br><br>If
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there is one sea-change that’s happening in the world of creativity, in
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a broad spectrum kind of way, it is the awareness that more and more
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people have of the fact that there IS an audience. When people become
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aware of some sort of sense of audience, it changes the dynamics of
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making things. What I’m interested in is how your imagination of the
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potential audience changes your work. <br><br>For me, audience has become
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what Walt Disney would call that third voice, that critical voice. As
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I’m working, I’m using my impression of all the different times that
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I’ve interacted with the audience, all those voices that I’ve heard
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over time, and they come back into the work. It’s like I’m bouncing the
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idea around between all of these different factional voice-blocks. The
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people who think you suck no matter what you do, the people who
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obviously just want you to feel bad, the people who like what you do
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regardless, the people who are constantly thinking your work is bigger
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than it is. So all those kinds of voices become these critical
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frameworks, or lenses, to look at your work through, even before you
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publish.<br><br><span class="blockquote">For me, audience has become
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what Walt Disney would call that third voice, that critical voice.</span><br><br>You look at the random YouTube or you look at the random
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blogger, and you can almost reverse engineer what that notion of
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audience was. Some people think the world is populated by people just
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like them, some people imagine their audience to be far, far greater
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than it really is, some people seem to be completely unaware.<br><br>It’s
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almost this pastiche of internal representations of audience that’s
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creating such a confusing media landscape right now. You look at one
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single comments train on a political blog and it becomes so jarring.
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Some people are speaking to the world, some people are speaking to just
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one other person. It’s almost as if, with each comment, the size of the
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room changes.<br><br>I long ago stripped away the notion that a creative
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person’s life is just about satisfying oneself. I don’t think that
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that’s a reasonable way of going about your work. And I think it’s a
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very romantic and broken way of thinking about creativity. <br><br>--<br><span style="font-style: italic;">Read
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thoughts from Imogen Heap, Ben Stiller, Clay Shirky, and more
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creatives on <a target="_blank" href="http://www.zefrank.com/audience/">their relationship to audience</a>, courtesy of Ze.<br><br>Photo courtesy of <a target="_blank" href="http://laughingsquid.com/" style="font-style: italic;">Scott Beale/Laughing Squid</a>.<br></span> </div>
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<a class="appreciate-button submit-button button disabled-button appreciate-disabled-button appreciate hide appreciate-updatetext">Appreciate</a>
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<a class="tweet-button submit-button button link-external tweet" title="Ze Frank on Imaginary Audiences">Retweet this article</a>
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