pismo 0.5.0 → 0.6.0
This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
- 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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<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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<meta name="author" content="Behance" />
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<meta name="publisher" content="Behance" />
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<meta name="copyright" content="2010, Behance LLC" />
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<link rel="shortcut icon" href="/favicon.ico" />
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<link rel="alternate" type="application/rss+xml" title="The 99 Percent RSS Feed" href="/feeds/posts" />
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<body class="section-articles single-post-page">
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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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<li class="nav-articles active"><a href="/articles" class="active">Articles</a></li>
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<li class="nav-tips"><a href="/tips">Tips</a></li>
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<li class="nav-videos"><a href="/videos">Videos</a></li>
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<li class=""><a href="/articles/browse/6/accountability">Accountability</a></li>
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<li class=""><a href="/articles/browse/3/action-method">Action Method</a></li>
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<li class=""><a href="/articles/browse/12/cross-pollination">Cross-pollination</a></li>
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<li class=""><a href="/articles/browse/13/discipline">Discipline</a></li>
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<li class="active"><a href="/articles/browse/14/execution">Execution</a></li>
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<li class=""><a href="/articles/browse/21/feedback">Feedback</a></li>
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<li class=""><a href="/articles/browse/18/leadership">Leadership</a></li>
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<h4 class="topics-title">Creative Field</h4>
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<li class=""><a href="/articles/browse/47/advertising">Advertising</a></li>
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<li class=""><a href="/articles/browse/69/architecture">Architecture</a></li>
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<li class=""><a href="/articles/browse/45/art-direction">Art Direction</a></li>
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<li class=""><a href="/articles/browse/38/industrial-design">Industrial Design</a></li>
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<li class=""><a href="/articles/browse/54/interior-design">Interior Design</a></li>
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<li class=""><a href="/articles/browse/56/jewelry">Jewelry</a></li>
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<li class=""><a href="/articles/browse/26/music">Music</a></li>
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<li class=""><a href="/articles/browse/37/storytelling">Storytelling</a></li>
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<li class=""><a href="/articles/browse/31/technology">Technology</a></li>
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<li class=""><a href="/articles/browse/44/visual-arts">Visual Arts</a></li>
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<li class=""><a href="/articles/browse/36/web-development">Web Development</a></li>
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<li class=""><a href="/articles/browse/23/writing">Writing</a></li>
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<h3 class="section-header">/// Articles</h3>
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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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<img src="http://behance.vo.llnwd.net/e2/99/img/posts/c3/774f7b39c31c9b034cf12ab442ed5df8.jpg" />
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<div class="block-description">
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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
|