Andrew Fitzgerald: Adventures in Twitter fiction

85,421 views ใƒป 2013-10-11

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: K Bang ๊ฒ€ํ† : Gichung Lee
00:12
So in my free time outside of Twitter
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ํŠธ์œ„ํ„ฐ ๋ฐ–์—์„œ ์ œ๊ฒŒ ์‹œ๊ฐ„์ด ๋‚˜๋ฉด
00:15
I experiment a little bit
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์ €๋Š” ์•ฝ๊ฐ„์˜ ์‹คํ—˜์„ ํ•ฉ๋‹ˆ๋‹ค.
00:16
with telling stories online, experimenting
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์˜จ๋ผ์ธ์—์„œ ์Šคํ† ๋ฆฌํ…”๋ง์„ ํ•˜๋Š” ๊ฒƒ์ด์ฃ .
00:19
with what we can do with new digital tools.
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์ƒˆ๋กœ์šด ๋””์ง€ํ„ธ ๋„๊ตฌ๋ฅผ ๊ฐ€์ง€๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์„ ํ•  ์ˆ˜ ์žˆ๋Š”์ง€ ์‹คํ—˜ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:21
And in my job at Twitter,
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ํŠธ์œ„ํ„ฐ๋ผ๋Š” ์ง์žฅ์—์„œ
00:23
I actually spent a little bit of time
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์ €๋Š” ์‚ฌ์‹ค ์•ฝ๊ฐ„์˜ ์‹œ๊ฐ„์„
00:24
working with authors and storytellers as well,
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์ž‘๊ฐ€๋‚˜ ์Šคํ† ๋ฆฌํ…”๋Ÿฌ์™€ ํ•จ๊ป˜
00:27
helping to expand out the bounds
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์‚ฌ๋žŒ๋“ค์ด ์‹คํ—˜ํ•˜๋Š” ๊ฒƒ์˜
00:29
of what people are experimenting with.
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๊ฒฝ๊ณ„๋ฅผ ๋„“ํžˆ๋Š” ๋ฐ์— ์”๋‹ˆ๋‹ค.
00:31
And I want to talk through some examples today
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์˜ค๋Š˜ ์ €๋Š” ๋ช‡๊ฐœ์˜ ์˜ˆ๋ฅผ ํ†ตํ•ด ๊ทธ๋™์•ˆ ์‚ฌ๋žŒ๋“ค์ด ์ด๋ฃจ์–ด ๋†“์€ ๊ฒƒ๋“ค์— ๋Œ€ํ•ด
00:34
of things that people have done
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๋ง์”€๋“œ๋ฆฌ๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
00:35
that I think are really fascinating
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์ œ ์ƒ๊ฐ์— ์ด๊ฒƒ๋“ค์€
00:37
using flexible identity and anonymity on the web
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์œตํ†ต์„ฑ์žˆ๋Š” ์ •์ฒด์„ฑ๊ณผ ์›น์ƒ์—์„œ์˜ ์ต๋ช…์„ฑ์„ ์ด์šฉํ•ด
00:41
and blurring the lines between fact and fiction.
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์‚ฌ์‹ค๊ณผ ํ—ˆ๊ตฌ ์‚ฌ์ด์˜ ๊ฒฝ๊ณ„๋ฅผ ๋ฉ‹์ง€๊ฒŒ ํ—ˆ๋ฌผ์–ด ๋œจ๋ฆฌ๋Š” ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
00:45
But I want to start and go back to the 1930s.
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1930๋…„๋Œ€๋กœ ๋Œ์•„๊ฐ€ ๊ฑฐ๊ธฐ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•ด ๋ณด๋ ต๋‹ˆ๋‹ค.
00:47
Long before a little thing called Twitter,
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ํŠธ์œ„ํ„ฐ๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ์ž‘์€ ๊ฒƒ์ด ์žˆ๊ธฐ ํ›จ์”ฌ ์˜ค๋ž˜ ์ „์—
00:49
radio brought us broadcasts
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๋ผ๋””์˜ค๋Š” ์šฐ๋ฆฌ์—๊ฒŒ ๋ฐฉ์†ก์ด๋ž€ ๊ฒƒ์„ ๊ฐ€์ ธ๋‹ค ์ฃผ์—ˆ๊ณ 
00:52
and connected millions of people
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์ˆ˜๋ฐฑ๋งŒ์˜ ์‚ฌ๋žŒ๋“ค์„
00:55
to single points of broadcast.
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๋ฐฉ์†ก์ด๋ผ๋Š” ๋‹จ ํ•˜๋‚˜์˜ ์ ์œผ๋กœ ์—ฐ๊ฒฐํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
00:57
And from those single points emanated stories.
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๊ทธ ํ•œ๊ฐœ์˜ ์ ๋“ค๋กœ ๋ถ€ํ„ฐ ์ด์•ผ๊ธฐ๊ฐ€ ์Ÿ์•„์ ธ ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
01:01
Some of them were familiar stories.
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๋ช‡๋ช‡์€ ์ต์ˆ™ํ•œ ์ด์•ผ๊ธฐ๋“ค์ด์—ˆ๊ณ 
01:03
Some of them were new stories.
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๋ช‡๋ช‡์€ ์ƒˆ๋กœ์šด ์ด์•ผ๊ธฐ์˜€์ฃ .
01:05
And for a while they were familiar formats,
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ํ•œ๋™์•ˆ ๊ทธ๊ฒƒ์€ ์ต์ˆ™ํ•œ ํ˜•ํƒœ๋กœ ๋‹ค๊ฐ€์™”์ง€๋งŒ,
01:08
but then radio began to evolve its own
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๋ผ๋””์˜ค๊ฐ€ ๋งค์ฒด ํŠน์œ ์˜
01:10
unique formats specific to that medium.
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๋…ํŠนํ•œ ํ˜•ํƒœ๋ฅผ ๊ทธ ๋งค๊ฐœ์ฒด๋กœ ํŠนํ™”ํ•ด์„œ ์ง„ํ™”ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:13
Think about episodes that happened live on radio.
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๋ผ๋””์˜ค์—์„œ ์ƒ๋ฐฉ์†ก์œผ๋กœ ์ผ์–ด๋‚˜๋Š” ์—ํ”ผ์†Œ๋“œ์— ๋Œ€ํ•ด ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
01:17
Combining the live play
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์ƒ๋ฐฉ์†ก๊ณผ
01:19
and the serialization of written fiction,
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๋ฌธ์žํ™”๋œ ํ—ˆ๊ตฌ๋ฅผ ์—ฐ์†๋ฌผ๋กœ ๋งŒ๋“œ๋Š” ๊ฒƒ์„ ํ•ฉ์ณ์„œ
01:21
you get this new format.
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์ด๋Ÿฐ ์ƒˆ๋กœ์šด ํ˜•ํƒœ๋ฅผ ๋งŒ๋“  ๊ฒ๋‹ˆ๋‹ค.
01:24
And the reason why I bring up radio is that I think
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์ œ๊ฐ€ ๋ผ๋””์˜ค ์ด์•ผ๊ธฐ๋ฅผ ๊บผ๋‚ธ ์ด์œ ๋Š”
01:26
radio is a great example of how a new medium
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๋ผ๋””์˜ค๊ฐ€ ์ƒˆ๋กœ์šด ๋งค์ฒด๊ฐ€ ์–ด๋–ป๊ฒŒ ์ƒˆ๋กœ์šด ํ˜•ํƒœ๋ฅผ ์ •์˜ํ•˜๊ณ 
01:30
defines new formats which then define new stories.
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๊ทธ๊ฒƒ์ด ๋‹ค์‹œ ์ƒˆ๋กœ์šด ์ด์•ผ๊ธฐ๋ฅผ ์ •์˜ํ•˜๋Š”์ง€ ๋ณด์—ฌ์ฃผ๋Š” ์•„์ฃผ ์ข‹์€ ์˜ˆ๋ผ๊ณ  ์ƒ๊ฐํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:33
And of course, today, we have an entirely new
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๋ฌผ๋ก  ์˜ค๋Š˜๋‚ , ์šฐ๋ฆฌ์—๊ฒŒ๋Š” ์™„์ „ํžˆ ๋‹ค๋ฅธ
01:36
medium to play with,
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๋งค์ฒด๊ฐ€ ์žˆ์ฃ .
01:38
which is this online world.
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๋ฐ”๋กœ ์˜จ๋ผ์ธ์˜ ์„ธ๊ณ„์ž…๋‹ˆ๋‹ค.
01:39
This is the map of verified users on Twitter
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์ด๊ฒƒ์€ ํ™•์ธ๋œ ํŠธ์œ„ํ„ฐ ์‚ฌ์šฉ์ž๋“ค์˜ ์ง€๋„์ž…๋‹ˆ๋‹ค.
01:43
and the connections between them.
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๊ทธ๋“ค ์‚ฌ์ด์˜ ์—ฐ๊ฒฐ๋„ ํ‘œ์‹œ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
01:45
There are thousands upon thousands of them.
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๊ทธ ์œ„์—๋Š” ์ˆ˜์ฒœ ์ˆ˜๋งŒ๋ช…์ด ์žˆ๊ณ 
01:47
Every single one of these points
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์ด ์ ๋“ค ๊ฐ๊ฐ์€
01:49
is its own broadcaster.
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๊ทธ๋“ค ๊ฐ๊ฐ์˜ ๋ฐฉ์†ก์ง„ํ–‰์ž์ž…๋‹ˆ๋‹ค.
01:51
We've gone to this world of many to many,
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์šฐ๋ฆฌ๋Š” ์ด๋Ÿฐ ๋‹ค์ˆ˜ ๋Œ€ ๋‹ค์ˆ˜์˜ ์„ธ์ƒ์— ์ง„์ž…ํ•ด ์žˆ์Šต๋‹ˆ๋‹ค.
01:55
where access to the tools is the only barrier to broadcasting.
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์ด๋Ÿฐ ์„ธ์ƒ์—์„œ๋Š” ๋„๊ตฌ๋กœ์˜ ์ ‘๊ทผ์„ฑ์ด ๋ฐฉ์†ก์„ ์–ด๋ ต๊ฒŒ ํ•˜๋Š” ์œ ์ผํ•œ ์žฅ์• ๋ฌผ์ด์—์š”.
01:59
And I think that we should start to see
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์ด์ œ ์šฐ๋ฆฌ๋Š” ์™„์ „ํžˆ ์ƒˆ๋กœ์šด ํ˜•ํƒœ๊ฐ€
02:02
wildly new formats emerge
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์ถœํ˜„ํ–ˆ๋‹ค๋Š” ์‚ฌ์‹ค์„ ๋ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:04
as people learn how to tell stories in this new medium.
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์™œ๋ƒํ•˜๋ฉด ์‚ฌ๋žŒ๋“ค์€ ์ด๋Ÿฐ ์ƒˆ๋กœ์šด ๋งค์ฒด์•ˆ์—์„œ ์Šคํ† ๋ฆฌํ…”๋งํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ๋ฐฐ์šฐ๊ฒŒ ๋˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
02:07
I actually believe that we are in a wide open frontier
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์ €๋Š” ์‚ฌ์‹ค ์šฐ๋ฆฌ๊ฐ€ ํ•˜๋ ค๊ณ ๋งŒ ํ•œ๋‹ค๋ฉด
02:11
for creative experimentation, if you will,
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์ฐฝ์กฐ์ ์ธ ์‹คํ—˜์„ ํ•  ์ˆ˜ ์žˆ๋Š” ํ™œ์ง ์—ด๋ฆฐ ๊ฒฝ๊ณ„์— ์žˆ๋‹ค๊ณ  ๋ฏฟ์Šต๋‹ˆ๋‹ค.
02:13
that we've explored and begun to settle
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๊ทธ๊ณณ์€ ์ด์ œ๊ป ์šฐ๋ฆฌ๊ฐ€ ํƒํ—˜ํ•ด ์™”๊ณ  ์ด์ œ๋Š” ์ •์ฐฉํ•œ
02:16
this wild land of the Internet
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์ธํ„ฐ๋„ท์ด๋ผ๊ณ  ํ•˜๋Š” ๋ฏธ๊ฐœ๋ฐœ์˜ ๋•…์ด๋ฉฐ
02:18
and are now just getting ready
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์ด์ œ ๋ง‰ ๊ตฌ์กฐ๋ฅผ
02:21
to start to build structures on it,
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์ง“๊ธฐ ์‹œ์ž‘ํ•œ ๊ณณ์ž…๋‹ˆ๋‹ค.
02:23
and those structures are the new formats
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๊ทธ ๊ตฌ์กฐ๋ž€ ์ธํ„ฐ๋„ท์„ ํ†ตํ•ด
02:25
of storytelling that the Internet will allow us to create.
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์šฐ๋ฆฌ๊ฐ€ ์ฐฝ์กฐํ•  ์ˆ˜ ์žˆ๋Š” ์Šคํ† ๋ฆฌํ…”๋ง์˜ ์ƒˆ๋กœ์šด ํ˜•์‹์ž…๋‹ˆ๋‹ค.
02:29
I believe this starts with an evolution
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์ €๋Š” ์ด๊ฒƒ์ด ์ด๋ฏธ ์กด์žฌํ•˜๋Š” ๋ฐฉ๋ฒ•์˜
02:32
of existing methods.
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์ง„ํ™”๋กœ๋ถ€ํ„ฐ ์‹œ์ž‘ํ•œ๋‹ค๊ณ  ๋ฏฟ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
02:33
The short story, for example,
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์งง์€ ์ด์•ผ๊ธฐ๋ฅผ ์˜ˆ๋กœ ๋“ค์–ด ๋ณผ๊นŒ์š”.
02:35
people are saying that the short story
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์‚ฌ๋žŒ๋“ค์€ ์งง์€ ์ด์•ผ๊ธฐ๊ฐ€
02:37
is experiencing a renaissance of sorts
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e-๋…์ž๋“ค, ๋””์ง€ํ„ธ ์‹œ์žฅ ๋•๋ถ„์—
02:39
thanks to e-readers, digital marketplaces.
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์ผ์ข…์˜ ๋ฅด๋„ค์ƒ์Šค๋ฅผ ๊ฒฝํ—˜ํ•˜๊ณ  ์žˆ๋‹ค๊ณ  ๋งํ•ฉ๋‹ˆ๋‹ค.
02:43
One writer, Hugh Howey, experimented
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ํœด ํ•˜์œ„๋ผ๋Š” ํ•œ ์ž‘๊ฐ€๋Š”
02:46
with short stories on Amazon
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์•„๋งˆ์กด์—์„œ ์งง์€ ์ด์•ผ๊ธฐ๋กœ ์‹คํ—˜์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:48
by releasing one very short story called "Wool."
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๊ทธ๋Š” "์šธ"์ด๋ผ๊ณ  ํ•˜๋Š” ์ž์ฃผ ์งง์€ ์ด์•ผ๊ธฐ๋ฅผ ๋ฐœํ‘œํ–ˆ์Šต๋‹ˆ๋‹ค.
02:52
And he actually says that he didn't intend
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์‚ฌ์‹ค ๊ทธ ์ž‘๊ฐ€๋Š” "์šธ"์„
02:55
for "Wool" to become a series,
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์—ฐ์ž‘์œผ๋กœ ํ•˜๋ ค๋Š” ์˜๋„๊ฐ€ ์ „ํ˜€ ์—†์—ˆ๋‹ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
02:56
but that the audience loved the first story so much
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๊ทธ๋Ÿฐ๋ฐ ๋…์ž๋“ค์ด ์ฒซ ์ด์•ผ๊ธฐ๋ฅผ ๋งค์šฐ ์ข‹์•„ํ•ด์„œ
02:59
they demanded more, and so he gave them more.
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๋” ๋งŽ์€ ๊ฒƒ์„ ์š”๊ตฌํ–ˆ๊ณ , ์ž‘๊ฐ€๋Š” ๋”์“ฐ๊ฒŒ ๋œ ๊ฒ๋‹ˆ๋‹ค.
03:01
He gave them "Wool 2," which was a little bit longer than the first one,
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๊ทธ๋Š” "์šธ2"๋ฅผ ๋ฐœํ‘œํ–ˆ๋Š”๋ฐ ์ฒซ ์ž‘ํ’ˆ๋ณด๋‹ค ์กฐ๊ธˆ ๋” ๊ธธ์—ˆ์Šต๋‹ˆ๋‹ค.
03:05
"Wool 3," which was even longer,
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"์šธ3"์€ ๋” ๊ธธ์—ˆ๊ตฌ์š”.
03:07
culminating in "Wool 5,"
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๊ฒฐ๊ตญ "์šธ5"๊นŒ์ง€ ๊ฐ€๊ฒŒ ๋๋Š”๋ฐ
03:08
which was a 60,000-word novel.
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์ด ๊ฒƒ์€ 6๋งŒ์ž์งœ๋ฆฌ ์†Œ์„ค์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:11
I think Howey was able to do all of this because
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ํ•˜์œ„๊ฐ€ ์ด๋ ‡๊ฒŒ ํ•  ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒƒ์€
03:15
he had the quick feedback system of e-books.
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๊ทธ์—๊ฒŒ e-๋ถ์˜ ๋ฐœ๋น ๋ฅธ ํ”ผ๋“œ๋ฐฑ ์ฒด๊ณ„๊ฐ€ ์žˆ์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:18
He was able to write and publish
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๊ทธ๋Š” ๋น„๊ต์  ์งง์€ ๊ธฐ๊ฐ„์˜ ์š”๊ตฌ์— ๋Œ€์‘ํ•˜์—ฌ
03:20
in relatively short order.
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๊ธ€์„ ์“ฐ๊ณ  ๋ฐœํ‘œํ–ˆ์Šต๋‹ˆ๋‹ค.
03:22
There was no mediator between him and the audience.
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๋…์ž์™€ ์ž‘๊ฐ€ ์‚ฌ์ด์—๋Š” ์–ด๋–ค ์ค‘๊ฐ„์ž๋„ ์—†์—ˆ์–ด์š”.
03:25
It was just him directly connected with his audience
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๊ทธ๋Š” ์ž์‹ ์˜ ๋…์ž๋“ค๊ณผ ์ง์ ‘์ ์œผ๋กœ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ์—ˆ๊ณ 
03:27
and building on the feedback and enthusiasm
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๋…์ž๋“ค์ด ๋ณด์—ฌ์ฃผ๋Š” ํ”ผ๋“œ๋ฐฑ๊ณผ
03:30
that they were giving him.
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์—ด์ •์„ ๋ฐœํŒ์œผ๋กœ ํ•œ ๊ฒ๋‹ˆ๋‹ค.
03:31
So this whole project was an experiment.
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์ด ๋ชจ๋“  ํ”„๋กœ์ ํŠธ๋Š” ํ•˜๋‚˜์˜ ์‹คํ—˜์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:33
It started with the one short story,
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๊ทธ๊ฒƒ์€ ํ•˜๋‚˜์˜ ์งง์€ ์ด์•ผ๊ธฐ๋กœ ์‹œ์ž‘ํ–ˆ์ฃ .
03:35
and I think the experimentation actually became
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์ €๋Š” ๊ทธ ์‹คํ—˜์ด ์‚ฌ์‹ค
03:38
a part of Howey's format.
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ํ•˜์œ„์˜ ํ˜•์‹ ์ค‘ ํ•˜๋‚˜๊ฐ€ ๋˜์—ˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
03:40
And that's something that this medium enabled,
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๊ทธ๊ฒƒ์€ ๊ณง ์‹คํ—˜์ด ํ˜•์‹ ์ž์ฒด์˜ ์ผ๋ถ€์˜€๊ธฐ ๋•Œ๋ฌธ์—
03:43
was experimentation being a part of the format itself.
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์ด ๋งค์ฒด๊ฐ€ ๊ฐ€๋Šฅํ•˜๊ฒŒ ํ–ˆ๋˜ ๊ฒƒ์ด์ฃ .
03:47
This is a short story by the author Jennifer Egan
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์ด๊ฒƒ์€ ์ œ๋‹ˆํผ ์ด๊ฑด์˜
03:50
called "Black Box."
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"๋ธ”๋ž™ ๋ฐ•์Šค"๋ผ๋Š” ์งง์€ ๊ธ€์ด์—์š”.
03:52
It was originally written
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์ด๊ฒƒ์€ ์ฒ˜์Œ๋ถ€ํ„ฐ
03:53
specifically with Twitter in mind.
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ํŠธ์œ„ํ„ฐ๋ฅผ ์—ผ๋‘์— ๋‘๊ณ  ์“ฐ์—ฌ์ง„ ๊ฒ๋‹ˆ๋‹ค.
03:55
Egan convinced The New Yorker
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์ด๊ฑด์€ ํŠธ์œ„ํ„ฐ์— "๋‰ด์š”์ปค" ์†Œ์„ค ๊ณ„์ •์„ ๋งŒ๋“ค์–ด
03:57
to start a New Yorker fiction account
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์ž์‹ ์ด ์ฐฝ์กฐํ•˜๋Š” ๋ชจ๋“  ๊ธ€์˜ ์ผ๋ถ€๋ฅผ
04:00
from which they could tweet
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๋ฆฌํŠธ์œ—ํ•  ์ˆ˜ ์žˆ๋„๋ก
04:02
all of these lines that she created.
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์„ค๋“ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:03
Now Twitter, of course, has a 140-character limit.
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๋ฌผ๋ก , ํŠธ์œ„ํ„ฐ์—๋Š” 140์ž๋ผ๋Š” ์ œํ•œ์ด ์žˆ์ฃ .
04:07
Egan mocked that up just writing manually
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์ด๊ฒƒ์€ ๊ทธ๊ฑธ ๋ชจํ˜•์‚ผ์•„
04:10
in this storyboard sketchbook,
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์ด๋Ÿฐ ์Šคํ† ๋ฆฌ๋ณด๋“œ ์Šค์ผ€์น˜๋ถ์— ์†์œผ๋กœ ๊ธ€์„ ์ผ์Šต๋‹ˆ๋‹ค.
04:13
used the physical space constraints
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์ €๋Ÿฐ ์Šคํ† ๋ฆฌ๋ณด๋“œ ๋„ค๋ชจ ์นธ์„
04:16
of those storyboard squares
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๋ฌผ๋ฆฌ์ ์ธ ๊ณต๊ฐ„์˜ ์ œ์•ฝ์œผ๋กœ ๋ณด๊ณ 
04:17
to write each individual tweet,
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๊ฐ๊ฐ์˜ ํŠธ์œ„ํŠธ๋ฅผ ์จ๋‚ด๋ ค ๊ฐ„ ๊ฒ๋‹ˆ๋‹ค.
04:19
and those tweets ended up becoming
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๊ทธ ํŠธ์œ„ํŠธ๋“ค์€ ๊ฒฐ๊ตญ
04:22
over 600 of them that were serialized by The New Yorker.
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600๊ฐœ๊ฐ€ ๋˜์—ˆ๊ณ  ๋‰ด์š”์ปค๊ฐ€ ์—ฐ์†๋ฌผ๋กœ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
04:26
Every night, at 8 p.m., you could tune in
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๋งค์ผ ์ €๋… 8์‹œ, ๋‹ค์ด์–ผ์„ ๋งž์ถ”๋“ฏ์ด
04:29
to a short story from The New Yorker's fiction account.
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๋‰ด์š”์ปค ์†Œ์„ค ๊ณ„์ •์˜ ์งง์€ ์ด์•ผ๊ธฐ๋ฅผ ๋ณผ ์ˆ˜ ์žˆ๋Š” ๊ฑฐ์ฃ .
04:33
I think that's pretty exciting:
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์ €๋Š” ๋Œ€๋‹จํžˆ ํฅ๋ฏธ๋กœ์šด ๊ฒƒ์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค:
04:34
tune-in literary fiction.
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๋ฌธํ•™์  ์†Œ์„ค์— ๋‹ค์ด์–ผ์„ ๋งž์ถ”๋Š”๊ฑฐ์š”.
04:37
The experience of Egan's story, of course,
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๋ฌผ๋ก , ์ด๊ฑด์ด ์“ด ๊ธ€์€
04:40
like anything on Twitter, there were multiple ways to experience it.
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ํŠธ์œ„ํ„ฐ์ƒ์˜ ๋‹ค๋ฅธ ์–ด๋–ค ๊ฒƒ๊ณผ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ, ๊ทธ๊ฑธ ๊ฒฝํ—˜ํ•˜๋Š” ์—ฌ๋Ÿฌ๊ฐ€์ง€ ๋ฐฉ๋ฒ•์ด ์žˆ์–ด์š”.
04:43
You could scroll back through it,
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์Šคํฌ๋กคํ•ด ๋‚ด๋ ค๊ฐˆ ์ˆ˜๋„ ์žˆ์ง€๋งŒ
04:45
but interestingly, if you were watching it live,
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ํฅ๋ฏธ๋กญ๊ฒŒ๋„, ์ƒ์ค‘๊ณ„๋กœ ๋ณด๋ฉด
04:48
there was this suspense that built
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์‹ค์‹œ๊ฐ„ ํŠธ์œ„ํ„ฐ๋ฅผ ์˜ฌ๋ฆฌ๋ฉด์„œ
04:50
because the actual tweets,
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๊ธด์žฅ๊ฐ์ด ์Œ“์—ฌ๊ฐ€๊ธฐ ๋•Œ๋ฌธ์—
04:53
you had no control over when you would read them.
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๊ทธ๊ฑธ ์–ธ์ œ ์ฝ์„์ง€ ์ œ์–ด๊ฐ€ ์–ด๋ ค์›Œ์ง‘๋‹ˆ๋‹ค.
04:55
They were coming at a pretty regular clip,
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์ด ์—ฐ์ž‘๋ฌผ์€ ๊ฝค๋‚˜ ์ •๊ธฐ์ ์œผ๋กœ ์˜ฌ๋ผ์˜ค์ง€๋งŒ,
04:57
but as the story was building,
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์ด์•ผ๊ธฐ๊ฐ€ ์ „๊ฐœ๋จ์— ๋”ฐ๋ผ,
05:00
normally, as a reader, you control how fast you move through a text,
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๋ณดํ†ต์€ ๋…์ž๋“ค์ด ๊ธ€์— ๋”ฐ๋ผ ์–ผ๋งˆ๋‚˜ ๋นจ๋ฆฌ ์ง€๋‚˜๊ฐˆ์ง€ ์ •ํ•˜๊ฒŒ ๋˜๋Š”๋ฐ๋„ ๋ถˆ๊ตฌํ•˜๊ณ 
05:03
but in this case, The New Yorker did,
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์ด ๊ฒฝ์šฐ์—๋Š”, ๋‰ด์š”์ปค๊ฐ€ ๊ทธ ์—ญํ• ์„ ํ–ˆ๋Š”๋ฐ์š”,
05:05
and they were sending you bit by bit by bit,
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๊ธ€์„ ์•„์ฃผ ์กฐ๋”์”ฉ ๋‚ด๋ณด๋‚ธ ๊ฒ๋‹ˆ๋‹ค.
05:08
and you had this suspense of waiting for the next line.
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์‚ฌ๋žŒ๋“ค์€ ๊ทธ ๋‹ค์Œ ๊ธ€์„ ๊ธฐ๋‹ค๋ฆฌ๋ฉฐ ๊ธด์žฅ๊ฐ์„ ์Œ“์•„๊ฐ€๊ฒŒ ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
05:12
Another great example of fiction
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ํŠธ์œ„ํŠธ ์ƒ์˜ ์†Œ์„ค๊ณผ
05:15
and the short story on Twitter,
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์งง์€ ์ด์•ผ๊ธฐ์˜ ๋˜๋‹ค๋ฅธ ์ข‹์€ ์˜ˆ๋Š”
05:17
Elliott Holt is an author who wrote a story called "Evidence."
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์—˜๋ฆฌ์—‡ ํ™€ํŠธ๊ฐ€ ์“ด "์ฆ๊ฑฐ"๋ผ๊ณ  ํ•˜๋Š” ์ด์•ผ๊ธฐ์ž…๋‹ˆ๋‹ค,,
05:20
It began with this tweet: "On November 28
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๊ทธ๊ฒƒ์€ ํŠธ์œ„ํŠธ์— ์ด๋ ‡๊ฒŒ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค:
05:23
at 10:13 p.m.,
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"11์›” 28์ผ ์–ดํ›„ 10์‹œ 13๋ถ„,
05:25
a woman identified as Miranda Brown,
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๋ฏธ๋ž€๋‹ค ๋ธŒ๋ผ์šด์ด๋ผ๋Š”
05:27
44, of Brooklyn, fell to her death
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๋ธŒ๋ฃฉํด๋ฆฐ์— ์‚ฌ๋Š” 44์„ธ์˜ ์—ฌ์„ฑ์ด ๋งจํ•˜ํƒ„ ํ˜ธํ…”์˜ ์ง€๋ถ•์—์„œ ๋–จ์–ด์ ธ
05:30
from the roof of a Manhattan hotel."
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์ฃฝ์Œ์„ ๋งž๊ฒŒ๋œ๋‹ค."
05:32
It begins in Elliott's voice,
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๊ทธ๊ฒƒ์€ ์—˜๋ฆฌ์—‡์˜ ๋ชฉ์†Œ๋ฆฌ๋กœ ์‹œ์ž‘ํ–ˆ๋‹ค๊ฐ€
05:34
but then Elliott's voice recedes,
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๊ทธ ๋ชฉ์†Œ๋ฆฌ๋Š” ์กฐ๊ธˆ์”ฉ ๋ฉ€์–ด์ง€๊ณ 
05:36
and we hear the voices of Elsa, Margot and Simon,
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์šฐ๋ฆฌ๋Š” ์—˜์‚ฌ์™€ ๋งˆ๊ณณ ๊ทธ๋ฆฌ๊ณ  ์‚ฌ์ด๋ชฌ์˜ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ๋“ฃ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
05:39
characters that Elliott created on Twitter
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์ด๋“ค์€ ํŠน๋ณ„ํžˆ ์ด ์ด์•ผ๊ธฐ๋ฅผ ๋งํ•˜๋ ค๊ณ 
05:42
specifically to tell this story,
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์—˜๋ฆฌ์—‡์ด ํŠธ์œ„ํŠธ์—์„œ ์ฐฝ์กฐํ•ด ๋‚ธ ์ธ๋ฌผ๋“ค์ด์—์š”.
05:44
a story from multiple perspectives
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๋‹ค์–‘ํ•œ ์‹œ์ ์œผ๋กœ ์‹œ์ž‘ํ•ด์„œ
05:47
leading up to this moment at 10:13 p.m.
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10์‹œ 13๋ถ„์ด๋ผ๋Š” ์ˆœ๊ฐ„์œผ๋กœ ๊ฐ€๋Š” ์ด์•ผ๊ธฐ์—์š”.
05:50
when this woman falls to her death.
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์ด ์—ฌ์„ฑ์ด ์ฃฝ์Œ์— ์ด๋ฅด๋Š” ์ˆœ๊ฐ„์ด์ฃ .
05:52
These three characters brought an authentic vision
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์ด 3๋ช…์˜ ์ธ๋ฌผ๋“ค์€ ๋‹ค์–‘ํ•œ ์‹œ๊ฐ์ด ๊ฐ–๋Š”
05:55
from multiple perspectives.
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์ •ํ™•ํ•œ ๋ˆˆ์„ ๊ฐ€์ ธ๋‹ค ์ค๋‹ˆ๋‹ค.
05:57
One reviewer called Elliott's story
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ํ•œ ๋น„ํ‰๊ฐ€๋Š” ์—˜๋ฆฌ์—‡์˜ ๊ธ€์„
05:59
"Twitter fiction done right," because she did.
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"๋”ฑ ๋งž๋Š” ํŠธ์œ„ํ„ฐ ์†Œ์„ค"์ด๋ผ๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
06:02
She captured that voice
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๊ทธ๋…€๋Š” ๊ทธ ๋ชฉ์†Œ๋ฆฌ๋ฅผ ๋‹ด์•„๋‚ด๊ณ 
06:04
and she had multiple characters and it happened in real time.
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๋ณต์ˆ˜์˜ ์ธ๋ฌผ์„ ํ†ตํ•ด ์‹ค์‹œ๊ฐ„์œผ๋กœ ๋งŒ๋“ค์–ด ๋‚ธ ๊ฒ๋‹ˆ๋‹ค.
06:07
Interestingly, though, it wasn't just
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ํ•˜์ง€๋งŒ, ํฅ๋ฏธ๋กญ๊ฒŒ๋„,
06:10
Twitter as a distribution mechanism.
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ํŠธ์œ„ํ„ฐ๊ฐ€ ๋‹จ์ˆœํžˆ ๋ฐฐํฌ์˜ ์ˆ˜๋‹จ๋งŒ์ด์—ˆ๋˜ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
06:12
It was also Twitter as a production mechanism.
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๊ทธ๊ฒƒ์€ ํŠธ์œ„ํ„ฐ๊ฐ€ ์ƒ์‚ฐ์˜ ์ˆ˜๋‹จ์ด ๋œ ๊ฒƒ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
06:14
Elliott told me later
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๋‚˜์ค‘์— ์—˜๋ฆฌ์—‡์€ ์ €์—๊ฒŒ
06:15
she wrote the whole thing with her thumbs.
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์ด ๋ชจ๋“  ๊ธ€์„ ์—„์ง€ ์†๊ฐ€๋ฝ์œผ๋กœ๋งŒ ์ผ๋‹ค๊ณ  ์•Œ๋ ค์ฃผ๋”๊ตฐ์š”.
06:19
She laid on the couch and just went back and forth
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์†ŒํŒŒ์— ์•‰์•„ ์„œ๋กœ ๋‹ค๋ฅธ ์ธ๋ฌผ ์‚ฌ์ด๋ฅผ
06:23
between different characters
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์˜ค๊ฐ€๋ฉฐ
06:25
tweeting out each line, line by line.
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ํ•œ์ค„์”ฉ ํŠธ์œ„ํŠธํ•œ ๊ฒ๋‹ˆ๋‹ค.
06:28
I think that this kind of spontaneous creation
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๋“ฑ์žฅ ์ธ๋ฌผ์˜ ๋ชฉ์†Œ๋ฆฌ์—์„œ ๋‚˜์˜ค๋Š”
06:30
of what was coming out of the characters' voices
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์ด๋Ÿฐ ์ฆ‰ํฅ์ ์ธ ์ฐฝ์กฐ๋Š”
06:33
really lent an authenticity to the characters themselves,
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์ธ๋ฌผ๋“ค ๊ฐ๊ฐ์„ ์ง„์งœ์ฒ˜๋Ÿผ ๋งŒ๋“ค์–ด ๋‚ผ ๋ฟ์•„๋‹ˆ๋ผ
06:36
but also to this format that she had created
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์ž‘๊ฐ€๊ฐ€ ํŠธ์œ„ํ„ฐ์ƒ์˜ ํ•œ ์ด์•ผ๊ธฐ์—์„œ ๋งŒ๋“ค์–ด ๋‚ธ
06:39
of multiple perspectives in a single story on Twitter.
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๋‹ค์–‘ํ•œ ์‹œ์ ์ด๋ผ๋Š” ํ˜•์‹์—๋„ ํ˜„์‹ค์„ฑ์„ ํ™•๋ณดํ•ด ์ค๋‹ˆ๋‹ค.
06:43
As you begin to play with flexible identity online,
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์˜จ๋ผ์ธ์ƒ์—์„œ ๊ฐ€๋ณ€์ ์ธ ์ •์ฒด์„ฑ์„ ๊ฐ€์ง€๊ณ  ์‹œ์ž‘ํ•˜๋ฉด
06:46
it gets even more interesting
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์‚ฌ๋žŒ๋“ค์ด ์‹ค์ œ ์„ธ๊ณ„์™€ ์ƒํ˜ธ ์ž‘์šฉํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๋ฉด์„œ
06:47
as you start to interact with the real world.
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์ด์•ผ๊ธฐ๋Š” ํ›จ์”ฌ ๋” ํฅ๋ฏธ๋กœ์›Œ์ง€์ฃ .
06:49
Things like Invisible Obama
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"ํˆฌ๋ช… ์˜ค๋ฐ”๋งˆ"๋‚˜
06:51
or the famous "binders full of women"
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์œ ๋ช…ํ•œ "๋ฐ”์ธ๋”์Šค ํ’€ ์˜ค๋ธŒ ์šฐ๋จผ(์—ฌ์„ฑ์ด ๊ฐ€๋“์ฐฌ ๋ฐ”์ธ๋”)" ๊ฐ™์€ ๊ฒฝ์šฐ๋ฅผ ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
06:53
that came up during the 2012 election cycle,
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์ด๊ฑด 2012๋…„ ์„ ๊ฑฐ ๊ธฐ๊ฐ„ ์ค‘์— ๋‚˜์™”๋˜ ๊ฒ๋‹ˆ๋‹ค.
06:56
or even the fan fiction universe of "West Wing" Twitter
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ํ˜น์€ ํŠธ์œ„ํ„ฐ์— ์žˆ๋Š” "์›จ์ŠคํŠธ ์œ™"์ด๋ผ๋Š” ๋…์ž ์†Œ์„ค์˜ ์„ธ๊ณ„๋ฅผ ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
07:00
in which you have all of these accounts
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์—ฌ๊ธฐ์„œ ์‚ฌ๋žŒ๋“ค์€ "์›จ์ŠคํŠธ ์œ™"์— ๋“ฑ์žฅํ•˜๋Š” ๋ชจ๋“  ์ธ๋ฌผ๋“ค ๊ฐ๊ฐ์˜
07:02
for every single one of the characters in "The West Wing,"
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๊ณ„์ •์„ ๋ชจ๋‘ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:05
including the bird that taps at Josh Lyman's window
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์ƒˆ๊ฐ€ ์ฃ ์‹œ ๋ผ์ด๋จผ์˜ ์ฐฝ์„ ๋‘๋“œ๋ฆฌ๋Š”
07:09
in one single episode. (Laughter)
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์—ํ”ผ์†Œ๋“œ๋ฅผ ํฌํ•จํ•ด์„œ ๋ง์ด์ฃ . (์›ƒ์Œ)
07:13
All of these are rapid iterations on a theme.
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์ด ๋ชจ๋“  ๊ฒƒ์€ ๊ฐ™์€ ์ฃผ์ œ๋ฅผ ๋น ๋ฅด๊ฒŒ ๋ฐ˜๋ณตํ•˜๋Š” ๊ฒƒ์ด์—์š”.
07:16
They are creative people experimenting
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์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ์ฐฝ์กฐ์ ์ธ ์‚ฌ๋žŒ๋“ค์ด
07:19
with the bounds of what is possible in this medium.
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์ด๋“ค ๋งค์ฒด ์•ˆ์—์„œ ๊ฐ€๋Šฅํ•œ ๋ฒ”์œ„์—์„œ ์‹คํ—˜์„ ํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:22
You look at something like "West Wing" Twitter,
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"์›จ์ŠคํŠธ ์œ™" ํŠธ์œ„ํ„ฐ ๊ฐ™์€ ๊ฒƒ์„ ๋ณด๋ฉด,
07:23
in which you have these fictional characters
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๊ทธ ์•ˆ์—๋Š” ์ด๋Ÿฐ ํ—ˆ๊ตฌ์ ์ธ ๋“ฑ์žฅ ์ธ๋ฌผ๋“ค์ด ์žˆ์–ด์„œ
07:26
that engage with the real world.
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๊ทธ๋“ค์ด ์‹ค์ œ ์„ธ๊ณ„์™€ ๋งž๋ฌผ๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.
07:28
They comment on politics,
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์ด๋“ค์ด ์ •์น˜์— ๋Œ€ํ•ด ์˜๊ฒฌ์„ ๋‚ด๊ณ 
07:30
they cry out against the evils of Congress.
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์˜ํšŒ๊ฐ€ ํ•˜๋Š” ๋‚˜์œ ์ง“์— ๋Œ€ํ•ด ์šธ๋ถ„์„ ํ† ํ•ด๋ƒ…๋‹ˆ๋‹ค.
07:34
Keep in mind, they're all Democrats.
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๊ธฐ์–ตํ•ด ๋‘์„ธ์š”, ๊ทธ๋“ค์€ ๋ชจ๋‘ ๋ฏผ์ฃผ๋‹น์›์ด์—์š”.
07:36
And they engage with the real world.
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์ด๋“ค์ด ๋ชจ๋‘ ์„ธ์ƒ๊ณผ ๋งž๋ฌผ๋ ค ์žˆ์Šต๋‹ˆ๋‹ค.
07:39
They respond to it.
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์„ธ์ƒ์— ๋Œ€ํ•ด ๋ฐ˜์‘ํ•˜์ฃ .
07:41
So once you take flexible identity,
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๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ๊ฐ€๋ณ€์ ์ธ ์ •์ฒด์„ฑ,
07:43
anonymity, engagement with the real world,
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์ต๋ช…์„ฑ, ์„ธ์ƒ๊ณผ์˜ ์—ฐ๊ณ„ ๋“ฑ์„ ๊ฐ€์ง€๊ฒŒ ๋˜๋ฉด
07:46
and you move beyond simple homage or parody
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๊ฐ„๋‹จํ•œ ๊ฒฝ์˜์˜ ํ‘œ์‹œ(์˜ค๋งˆ์ฅฌ)๋ผ๋“ ๊ฐ€ ํ’์ž(ํŒจ๋Ÿฌ๋””)์˜ ์ˆ˜์ค€์„ ๋„˜๊ฒŒ ๋˜๊ณ ,
07:49
and you put these tools to work in telling a story,
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์ด๋Ÿฐ ๊ฒƒ์„์„ ๋„๊ตฌ์‚ผ์•„ ์Šคํ† ๋ฆฌํ…”๋ง์„ ํ•˜๊ฒŒ ๋˜๋ฉด
07:53
that's when things get really interesting.
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๊ทธ๋•Œ๊ฐ€ ๋ฐ”๋กœ ์ƒํ™ฉ์ด ์ •๋ง๋กœ ํฅ๋ฏธ๋กญ๊ฒŒ ๋˜๋Š” ์ˆœ๊ฐ„์ด์—์š”.
07:55
So during the Chicago mayoral election
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์‹œ์นด๊ณ  ์‹œ์žฅ ์„ ๊ฑฐ ๊ธฐ๊ฐ„ ๋™์•ˆ
07:57
there was a parody account.
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ํ’์ž๋ฅผ ์œ„ํ•œ ๊ณ„์ •์ด ์žˆ์—ˆ์ฃ .
07:59
It was Mayor Emanuel.
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์— ๋งˆ๋‰ด์—˜ ์‹œ์žฅ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
08:00
It gave you everything you wanted from Rahm Emanuel,
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์ด๊ฒƒ์€ ๋žŒ ์—๋งˆ๋‰ด์—˜์œผ๋กœ๋ถ€ํ„ฐ ์‚ฌ๋žŒ๋“ค์ด ์›ํ•˜๋Š” ๋ชจ๋“  ๊ฒƒ์„ ์ œ๊ณตํ•ด ์ฃผ์—ˆ์ฃ .
08:04
particularly in the expletive department.
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ํŠนํžˆ ์š•ํ•˜๋Š” ๋ถ€๋ถ„์—์„œ์š”.
08:07
This foul-mouthed account
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์ด๋Ÿฐ ๊ฑฐ์นœ ์ž…์„ ๊ฐ€์ง„ ๊ณ„์ •์€
08:09
followed the daily activities of the race,
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์„ ๊ฑฐ ๊ธฐ๊ฐ„ ๋™์•ˆ ๋งค์ผ ๋งค์ผ์˜ ํ™œ๋™์„ ๋”ฐ๋ผ๋‹ค๋‹ˆ๋ฉฐ
08:13
providing commentary as it went.
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์ƒํ™ฉ์„ ์ „ํ–ˆ์Šต๋‹ˆ๋‹ค.
08:15
It followed all of the natural tropes
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์ด ๊ณ„์ •์€ ํƒ„ํƒ„ํ•˜๊ณ  ์ข‹์€
08:17
of a good, solid Twitter parody account,
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ํŠธ์œ„ํ„ฐ ํ’์ž ๊ณ„์ •์˜ ์ „์ฒ ์„ ๋ฐŸ๊ณ  ์žˆ์—ˆ๋Š”๋ฐ,
08:20
but then started to get weird.
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์–ด๋Š ์‹œ์ ๋ถ€ํ„ฐ ์ด์ƒํ•ด์ง€๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
08:23
And as it progressed, it moved from this commentary
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์‹œ๊ฐ„์ด ๊ฐ์— ๋”ฐ๋ผ ๊ณ„์ •์—์„œ๋Š” ์ด๋Ÿฐ ๋ฅ˜์˜ ๋ณด๋„์—์„œ๋ถ€ํ„ฐ
08:27
to a multi-week, real-time science fiction epic
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๋ช‡ ์ฃผ๋™์•ˆ์˜ ์‹ค์‹œ๊ฐ„ ๊ณผํ•™ ์†Œ์„ค์  ์„œ์‚ฌ์‹œ๋กœ ๋ณ€ํ™”ํ•ด ๊ฐ”์Šต๋‹ˆ๋‹ค.
08:32
in which your protagonist, Rahm Emanuel,
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์—ฌ๊ธฐ์„œ ์ฃผ์ธ๊ณต์ธ ๋žŒ ์— ๋งˆ๋‰ด์—˜์€
08:35
engages in multi-dimensional travel on election day,
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ํˆฌํ‘œ์ผ์— ๋‹ค์ฐจ์›์˜ ์—ฌํ–‰์— ๋‚˜์„œ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
08:39
which is -- it didn't actually happen.
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์‹ค์ œ ์ผ์–ด๋‚œ ์ผ์€ ์•„๋‹ˆ์—์š”.
08:42
I double checked the newspapers.
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์ œ๊ฐ€ ์‹ ๋ฌธ์œผ๋กœ ์žฌํ™•์ธํ–ˆ์Šต๋‹ˆ๋‹ค.
08:45
And then, very interestingly, it came to an end.
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๊ทธ๋ฆฌ๊ณ  ๋งค์šฐ ํฅ๋ฏธ๋กญ๊ฒŒ๋„ ๋ฐ”๋กœ ๋๋‚ด๋”๊ตฐ์š”.
08:49
This is something that doesn't usually happen
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์ด๋Ÿฐ ๊ฒƒ์€ ํŠธ์œ„ํ„ฐ ํ’์ž ๊ณ„์ •์—์„œ
08:51
with a Twitter parody account.
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ํ•ญ์ƒ ์žˆ๋Š” ์ผ์ด ์•„๋‹™๋‹ˆ๋‹ค.
08:52
It ended, a true narrative conclusion.
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์ •๋ง ๋ฌ˜์‚ฌ์ ์ธ ๊ฒฐ๋ก ์œผ๋กœ ๋์„ ๋งบ์—ˆ์ฃ .
08:56
And so the author, Dan Sinker, who was a journalist,
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์ €์ž์ธ ๋Œ„ ์‹ฑ์ปค๋Š” ๊ธฐ์ž์˜€๋Š”๋ฐ
08:59
who was completely anonymous this whole time,
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๊ทธ ์ „์ฒด ๊ธฐ๊ฐ„ ๋™์•ˆ ์™„์ „ํžˆ ์ต๋ช…์œผ๋กœ ํ™œ๋™ํ–ˆ์–ด์š”.
09:02
I think Dan -- it made a lot of sense for him
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์ œ ์ƒ๊ฐ์— ๋Œ„์ด ์ด๊ฒƒ์„ ์ฑ…์œผ๋กœ ๋‚ธ ๊ฒƒ์€
09:05
to turn this into a book,
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๋‹น์—ฐํ•œ ๊ฒฐ์ •์ด์—ˆ๋Š”๋ฐ,
09:07
because it was a narrative format in the end,
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์™œ๋ƒํ•˜๋ฉด ๊ทธ ๋งˆ์ง€๋ง‰ ๋ถ€๋ถ„์ด ๋ฌ˜์‚ฌ์ ์ธ ํ˜•ํƒœ๋กœ ๋งˆ์ณค๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
09:10
and I think that turning it into a book
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์ œ ์ƒ๊ฐ์— ์ด๊ฒƒ์„ ์ฑ…์œผ๋กœ ๋งŒ๋“ค์—ˆ๋‹ค๋Š” ์‚ฌ์‹ค์€
09:13
is representative of this idea that he had created something new
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๊ทธ๊ฐ€ ์ด์ „ ํ˜•ํƒœ๋กœ ๋ณ€ํ™˜์‹œํ‚ฌ ํ•„์š”๊ฐ€ ์žˆ๋Š”
09:16
that needed to be translated into previous formats.
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๋ฌด์–ธ๊ฐ€ ์ƒˆ๋กœ์šด ๊ฒƒ์„ ๋งŒ๋“ค์–ด ๋ƒˆ๋‹ค๋Š” ์ž์‹ ์˜ ์ƒ๊ฐ์„ ๋‚˜ํƒ€๋‚ด๋Š” ๊ฒƒ์ด๋ผ๊ณ  ๋ด…๋‹ˆ๋‹ค.
09:20
One of my favorite examples
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์ง€๊ธˆ ํ˜„์žฌ ํŠธ์œ„ํ„ฐ์— ์˜ฌ๋ผ์˜ค๊ณ  ์žˆ๋Š”
09:22
of something that's happening on Twitter right now,
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์ œ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์‹ค๋ก€๋Š”
09:24
actually, is the very absurdist Crimer Show.
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์‚ฌ์‹ค ๋ถ€์กฐ๋ฆฌ์ฃผ์˜์ ์ธ "ํฌ๋ผ์ด๋จธ ์‡ผ(Crimer Show)"์—์š”
09:29
Crimer Show tells the story
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ํฌ๋ผ์ด๋จธ ์‡ผ๋Š”
09:31
of a supercriminal and a hapless detective
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ํฌ๋Œ€์˜ ๋ฒ”์ฃ„์ž์™€ ์šด์—†๋Š” ํ˜•์‚ฌ์˜ ์ด์•ผ๊ธฐ๋ฅผ ํ•˜๊ณ  ์žˆ๋Š”๋ฐ,
09:34
that face off in this exceptionally strange lingo,
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์ด๋“ค์€ ์œ ๋‚œํžˆ ์ด์ƒํ•œ ๋ง์žฅ๋‚œ ์†์— ๋งž๋‹ฅ๋œจ๋ฆฝ๋‹ˆ๋‹ค.
09:38
with all of the tropes of a television show.
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ํ…”๋ ˆ๋น„์ ผ ์‡ผ์˜ ๋ชจ๋“  ๊ฒƒ๋“ค์ด ํ•จ์ถ•๋˜์–ด ๋ณด์ด์ฃ .
09:40
Crimer Show's creator has said that
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ํฌ๋ผ์ด๋จธ ์‡ผ๋ฅผ ๋งŒ๋“  ์‚ฌ๋žŒ์€
09:42
it is a parody of a popular type of show in the U.K.,
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๊ทธ๊ฒƒ์ด ์˜๊ตญ์—์„œ ๊ฐ€์žฅ ์ธ๊ธฐ์žˆ๋Š” ์‡ผ๋ฅผ ํŒจ๋Ÿฌ๋””ํ•œ ๊ฒƒ์ด๋ผ๊ณ  ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:47
but, man, is it weird.
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๊ทธ๋Ÿฐ๋ฐ, ์ •๋ง ์ด์ƒํ•ด์š”.
09:50
And there are all these times where Crimer,
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๊ฑฐ๊ธฐ์—” ์ด๋Ÿฐ ๋‚ด์šฉ๋„ ์žˆ๋Š”๋ฐ,
09:52
the supercriminal, does all of these TV things.
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๋ฒ”์ฃ„์ž์ธ ํฌ๋ผ์ด๋จธ๊ฐ€ TV ์— ๋‚˜์™€ ์ด๋Ÿฐ ๋ชจ๋“  ๊ฒƒ๋“ค์„ ํ•ฉ๋‹ˆ๋‹ค.
09:54
He's always taking off his sunglasses
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๊ทธ๋Š” ํ•ญ์ƒ ์ž์‹ ์˜ ์„ ๊ธ€๋ผ์Šค๋ฅผ ๋ฒ—๊ฑฐ๋‚˜
09:56
or turning to the camera,
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์นด๋ฉ”๋ผ๋ฅผ ํ–ฅํ•ด ์„œ์ง€๋งŒ
09:59
but these things just happen in text.
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์ด๋Ÿฐ ์ผ๋“ค์€ ๋ฌธ์žฅ์œผ๋กœ๋งŒ ๋‚˜ํƒ€๋‚ฉ๋‹ˆ๋‹ค.
10:02
I think borrowing all of these tropes from television
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์ด๋Ÿฐ ๋ชจ๋“  ์ด์•ผ๊ธฐ๋ฅผ TV์—์„œ ๋นŒ๋ ค๋‹ค๊ฐ€
10:05
and additionally presenting each Crimer Show
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ํฌ๋ผ์ด๋จธ ์‡ผ๋ฅผ "์—ํŒŒ์†Œ๋“œ"๋ผ๊ณ  ํ•˜๋Š”
10:08
as an episode, spelled E-P-P-A-S-O-D, "eppasod,"
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- EPPASOD๋ผ๊ณ  ์“ฐ์ฃ -
10:14
presenting them as episodes
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ํ•˜๋‚˜์˜ ์—ํ”ผ์†Œ๋“œ๋กœ ๋ฐœํ‘œํ•˜๋Š” ๊ฒƒ์€
10:16
really, it creates something new.
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์ •๋ง๋กœ ์ƒˆ๋กœ์šด ๋ญ”๊ฐ€๋ฅผ ์ฐฝ์กฐํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
10:19
There is a new "eppasod" of Crimer Show
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ํŠธ์œ„ํ„ฐ์—๋Š” ๊ฑฐ์˜ ๋งค์ผ
10:22
on Twitter pretty much every day,
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ํฌ๋ผ์ด๋จธ ์‡ผ์˜ ์ƒˆ๋กœ์šด "์—ํŒŒ์†Œ๋“œ"๊ฐ€ ์˜ฌ๋ผ์˜ต๋‹ˆ๋‹ค.
10:24
and they're archived that way.
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๊ทธ๋ ‡๊ฒŒ ์ถ•์ ๋ฉ๋‹ˆ๋‹ค.
10:26
And I think this is an interesting experiment in format.
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์ €๋Š” ์ด๊ฒƒ์ด ํ˜•์‹์— ์žˆ์–ด์„œ ํฅ๋ฏธ๋กœ์šด ์‹คํ—˜์ด๋ผ๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:29
Something totally new has been created here
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ํ…”๋ ˆ๋น„์ ผ์— ๋‚˜์˜ค๋Š” ๋ญ”๊ฐ€๋ฅผ
10:31
out of parodying something on television.
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ํŒจ๋Ÿฌ๋””ํ•˜์—ฌ ์™„์ „ํžˆ ์ƒˆ๋กœ์šด ๊ฒƒ์ด ๋งŒ๋“ค์–ด์ง„ ๊ฑฐ์ฃ .
10:35
I think in nonfiction real-time storytelling,
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์ œ ์ƒ๊ฐ์— ๋…ผํ”ฝ์…˜์˜ ์‹ค์‹œ๊ฐ„ ์Šคํ† ๋ฆฌํ…”๋ง์—๋„
10:37
there are a lot of really excellent examples as well.
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์ •๋ง๋กœ ์šฐ์ˆ˜ํ•œ ์˜ˆ๋“ค์ด ๋งŽ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:40
RealTimeWWII is an account
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RealTimeWWII ๋Š”
10:42
that documents what was happening on this day 60 years ago
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60๋…„์ „ ์˜ค๋Š˜ ์ผ์–ด๋‚ฌ๋˜ ๊ฒƒ๋“ค์— ๋Œ€ํ•œ ๊ธฐ๋ก๋“ค์ธ๋ฐ์š”.
10:46
in exceptional detail, as if
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์ƒ๋‹นํžˆ ์ž์„ธํžˆ ๊ธฐ์ˆ ๋˜์–ด์„œ
10:49
you were reading the news reports from that day.
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๋งˆ์น˜ ๋ฐ”๋กœ ๊ทธ๋‚  ๋‰ด์Šค ๋ณด๋„๋ฅผ ์ฝ๋Š” ๊ฒƒ ๊ฐ™์•„์š”.
10:51
And the author Teju Cole has done
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ํ…Œ์ฅฌ ์ฝœ์ด๋ผ๋Š” ์ €์ž๋Š”
10:53
a lot of experimentation with putting a literary twist
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๋‰ด์Šค์— ๋“ฑ์žฅํ•˜๋Š” ์‚ฌ๊ฑด์— ๋Œ€ํ•ด ๋ฌธํ•™์  ๋ณ€ํ˜•์„ ํ•˜๋Š”
10:56
on events of the news.
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์‹คํ—˜์„ ๋งŽ์ด ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:58
In this particular case, he's talking about drone strikes.
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๋‹ค์Œ๊ณผ ๊ฐ™์ด ํŠน์ •ํ•œ ๊ฒฝ์šฐ์—์„œ ๊ทธ๋Š” "๋“œ๋ก "์˜ ํŒŒ์—…์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•ฉ๋‹ˆ๋‹ค.
11:02
I think that in both of these examples,
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์ด ๋‘๊ฐ€์ง€ ์‹คํ—˜์—์„œ
11:05
you're beginning to see ways in which
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์‚ฌ๋žŒ๋“ค์€ ๋…ผํ”ฝ์…˜์ ์ธ ๋‚ด์šฉ์— ๋Œ€ํ•œ
11:07
people are telling stories with nonfiction content
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์Šคํ† ๋ฆฌํ…”๋ง์„ ์ƒˆ๋กœ์šด ํ˜•์‹์˜
11:10
that can be built into new types
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ํ”ฝ์…˜ ํ˜•ํƒœ ์Šคํ† ๋ฆฌํ…”๋ง์œผ๋กœ
11:12
of fictional storytelling.
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๋งŒ๋“ค์–ด ๋‚ด๋Š” ๋ฐฉ์‹์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
11:15
So with real-time storytelling,
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์‹ค์‹œ๊ฐ„ ์Šคํ† ๋ฆฌํ…”๋ง์œผ๋กœ
11:18
blurring the lines between fact and fiction,
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์‚ฌ์‹ค๊ณผ ํ”ฝ์…˜ ์‚ฌ์ด์˜,
11:20
the real world and the digital world,
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์‹ค์ œ ์„ธ๊ณ„์™€ ๋””์ง€ํ„ธ ์„ธ๊ณ„ ์‚ฌ์ด์˜,
11:22
flexible identity, anonymity,
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๊ทธ๋ฆฌ๊ณ  ์ต๋ช…๊ณผ ์‹ค๋ช… ์‚ฌ์ด์˜ ๊ฒฝ๊ณ„๋ฅผ ๋ฌด๋ ฅํ™”ํ•˜๋Š” ๊ฒƒ์ธ๋ฐ
11:26
these are all tools that we have accessible to us,
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์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ๋ชจ๋‘ ์šฐ๋ฆฌ๊ฐ€ ์ง์ ‘ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ๋Š” ๋„๊ตฌ๋“ค์ด ๋ฉ๋‹ˆ๋‹ค.
11:29
and I think that they're just the building blocks.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ด๋Ÿฐ ๊ฒƒ๋“ค์ด ์ „์ฒด๋ฅผ ์Œ“์•„๊ฐ€๋Š” ๋ฒฝ๋Œ๊ณผ ๊ฐ™๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
11:31
They are the bits that we use
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์šฐ๋ฆฌ๋Š” ์ด๋Ÿฐ ์ž‘์€ ์กฐ๊ฐ๋“ค์„ ์ด์šฉํ•˜์—ฌ
11:34
to create the structures, the frames,
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๊ตฌ์กฐ๋ฅผ, ์ฆ‰ ํ‹€์„ ๋งŒ๋“ค์–ด ๋‚ด์ฃ .
11:37
that then become our settlements on this
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๊ทธ๋Ÿฌ๋ฉด ๊ทธ๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ ํ™œ์ง ์—ด๋ฆฐ ์ฐฝ์กฐ์  ์‹คํ—˜์˜ ์ตœ์ „์„ ์—์„œ
11:40
wide open frontier for creative experimentation.
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๋จธ๋ฌผ๊ฒŒ ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:43
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:44
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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