pismo 0.5.0 → 0.6.0
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- data/LICENSE +19 -28
- data/NOTICE +4 -0
- data/README.markdown +37 -40
- data/Rakefile +3 -2
- data/VERSION +1 -1
- data/bin/pismo +15 -7
- data/lib/pismo/document.rb +2 -2
- data/lib/pismo/internal_attributes.rb +23 -16
- data/lib/pismo/reader.rb +390 -0
- data/lib/pismo.rb +3 -2
- data/pismo.gemspec +23 -15
- data/test/corpus/bbcnews2.html +1575 -0
- data/test/corpus/gmane.html +138 -0
- data/test/corpus/metadata_expected.yaml +20 -5
- data/test/corpus/queness.html +919 -0
- data/test/corpus/reader_expected.yaml +45 -0
- data/test/corpus/tweet.html +360 -0
- data/test/corpus/zefrank.html +535 -0
- data/test/test_corpus.rb +9 -1
- metadata +89 -34
- data/lib/pismo/readability.rb +0 -342
- data/test/test_readability.rb +0 -152
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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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<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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<script type="text/javascript" src="http://w.sharethis.com/button/sharethis.js#publisher=561f5b06-f4eb-4bc4-9b29-6b2511438220&type=website&buttonText=Share&send_services=email%2Csms%2Caim&post_services=twitter%2Cfacebook%2Cmyspace%2Cdigg%2Cdelicious%2Cstumbleupon%2Creddit%2Clinkedin%2Cfriendfeed%2Cblogger%2Cwordpress%2Ctypepad%2Cgoogle_bmarks%2Cyahoo_bmarks%2Cwindows_live%2Ctechnorati%2Cnewsvine%2Cfurl%2Cfark%2Ccurrent%2Clivejournal&linkfg=%23e91c6b&button=false&offsetLeft=-296"></script>
|
|
483
|
+
<script>
|
|
484
|
+
if ( $('#sharethis').length ) {
|
|
485
|
+
var shareThis = SHARETHIS.addEntry({ title: 'Share', summary: 'Share this 99% post.'}, { button: false });
|
|
486
|
+
shareThis.attachButton( $('#sharethis')[0] );
|
|
487
|
+
}
|
|
488
|
+
</script>
|
|
489
|
+
<script type="text/javascript">
|
|
490
|
+
var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www.");
|
|
491
|
+
document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E"));
|
|
492
|
+
</script>
|
|
493
|
+
<script type="text/javascript">
|
|
494
|
+
try {
|
|
495
|
+
var pageTracker = _gat._getTracker("UA-1309100-18");
|
|
496
|
+
pageTracker._trackPageview();
|
|
497
|
+
} catch(err) {}
|
|
498
|
+
</script>
|
|
499
|
+
|
|
500
|
+
|
|
501
|
+
|
|
502
|
+
<script type="text/javascript">
|
|
503
|
+
_qoptions={
|
|
504
|
+
qacct:"p-63LGhSQQNmjVo"
|
|
505
|
+
};
|
|
506
|
+
</script>
|
|
507
|
+
<script type="text/javascript" src="http://edge.quantserve.com/quant.js"></script>
|
|
508
|
+
<noscript>
|
|
509
|
+
<img src="http://pixel.quantserve.com/pixel/p-63LGhSQQNmjVo.gif" style="display: none;" border="0" height="1" width="1" alt="Quantcast"/>
|
|
510
|
+
</noscript>
|
|
511
|
+
|
|
512
|
+
|
|
513
|
+
|
|
514
|
+
<script>
|
|
515
|
+
document.write(unescape("%3Cscript src='" + (document.location.protocol == "https:" ? "https://sb" : "http://b") + ".scorecardresearch.com/beacon.js' %3E%3C/script%3E"));
|
|
516
|
+
</script>
|
|
517
|
+
|
|
518
|
+
<script>
|
|
519
|
+
COMSCORE.beacon({
|
|
520
|
+
c1:2,
|
|
521
|
+
c2:6508569,
|
|
522
|
+
c3:"",
|
|
523
|
+
c4:"",
|
|
524
|
+
c5:"",
|
|
525
|
+
c6:"",
|
|
526
|
+
c15:""
|
|
527
|
+
});
|
|
528
|
+
</script>
|
|
529
|
+
<noscript>
|
|
530
|
+
<img src="http://b.scorecardresearch.com/b?c1=2&c2=6508569&c3=&c4=&c5=&c6=&c15=&cv=1.3&cj=1" style="display:none" width="0" height="0" alt="" />
|
|
531
|
+
</noscript>
|
|
532
|
+
|
|
533
|
+
|
|
534
|
+
</body>
|
|
535
|
+
</html>
|
data/test/test_corpus.rb
CHANGED
|
@@ -9,7 +9,8 @@ class TestCorpus < Test::Unit::TestCase
|
|
|
9
9
|
Dir[HTML_DIRECTORY + "/*.html"].each { |filename| @corpus[File.basename(filename).sub(/\.html$/, '').to_sym] = File.read(filename) }
|
|
10
10
|
|
|
11
11
|
# Load the "expected metadata" ready for tests
|
|
12
|
-
@metadata = YAML.load(open(HTML_DIRECTORY + "/metadata_expected.yaml"))
|
|
12
|
+
@metadata = YAML.load(open(HTML_DIRECTORY + "/metadata_expected.yaml"))
|
|
13
|
+
@reader_metadata = YAML.load(open(HTML_DIRECTORY + "/reader_expected.yaml"))
|
|
13
14
|
end
|
|
14
15
|
|
|
15
16
|
should "pass basic sanitization and result in Nokogiri documents" do
|
|
@@ -29,5 +30,12 @@ class TestCorpus < Test::Unit::TestCase
|
|
|
29
30
|
end
|
|
30
31
|
end
|
|
31
32
|
end
|
|
33
|
+
|
|
34
|
+
should "pass content extraction tests" do
|
|
35
|
+
@reader_metadata.each do |file, expected|
|
|
36
|
+
@doc = Reader::Document.new(@corpus[file])
|
|
37
|
+
assert_equal expected, @doc.sentences(2)
|
|
38
|
+
end
|
|
39
|
+
end
|
|
32
40
|
end
|
|
33
41
|
end
|