https://old.reddit.com/r/PKMS/comments/1gkdw4m/hidden_flaws_i_found_with_the_zettelkasten_system/

George Gordon, Lord Byron (1788–1824) Biography and Lifestyle Extravagant Lifestyle: Known for a life full of romance, scandal, and luxury. A famous figure in both literary and social circles. Celebrity Status: Byron was regarded as a “sex symbol” of the time, admired for his handsome looks, charm, and captivating personality. Affairs and Controversy: Famous for his love affairs, some of which were rumored to be incestuous. His personal life often overshadowed his literary output. Friendship with the Shelleys: Close friends with Percy Bysshe Shelley and Mary Shelley. Byron’s lifestyle and beliefs influenced Romanticism, particularly in its rebellious, individualistic spirit. Greek Revolution: Byron fought for Greek independence from the Ottoman Empire and became a national hero in Greece, viewed almost as a modern version of a Greek god. The Byronic Hero Origin: First developed by Lord Byron in his works, particularly in Childe Harold's Pilgrimage and Manfred. Definition: A type of complex, charismatic, and often tragic character, marked by deep inner conflict, emotional turmoil, and rebellion against societal norms. Characteristics of the Byronic Hero: Intelligent & Cunning: The Byronic hero is often highly intelligent and able to navigate complex situations, but may use this intelligence for personal or morally ambiguous ends. Ruthless & Arrogant: This character tends to be self-centered, disregarding social conventions and authority. Depressive & Emotional: Deep emotional complexity, often grappling with sorrow, guilt, or a sense of alienation. Self-serving & Justice-driven: While morally flawed, the Byronic hero is often guided by a personal sense of justice rather than adherence to the law. Seductive & Sexually Appealing: The hero is usually a romantic figure, possessing a magnetic charisma that attracts others. Examples in Literature and Popular Culture: Literary Examples: Phantom (from The Phantom of the Opera) Jay Gatsby (from The Great Gatsby) Heathcliff (from Wuthering Heights) Popular Culture: Sherlock Holmes Han Solo (from Star Wars) Dr. Gregory House (from House) John Keats (1795–1821) Biography and Themes Early Life: Keats initially studied medicine and natural history before turning to literature and poetry. Love of Learning: He was passionate about gaining knowledge, and his self-education in literature reflected his intellectual curiosity. Close Family Bonds: Keats was very close to his brothers, especially Tom, whose death deeply affected him. Themes in Keats' Poetry: Philosophical Exploration of Life and Death: Keats frequently explored the transience of life and the inevitability of death, themes likely influenced by his own diagnosis with tuberculosis, which was fatal at the time. Longing for the Unattainable: A central theme in Keats' poetry is the idea of yearning for things that are unattainable, particularly beauty and immortality. Mortality: Death, both personal and the death of loved ones, is a significant theme. Keats himself died young, at age 26, from tuberculosis. The Role of the Poet: He often explored the poet's role in seeking beauty and truth, while acknowledging the sorrow and limitations of life. Major Influences: Criticism in His Lifetime: Keats was not taken seriously by many of his contemporaries, who considered him too young and not yet fully developed as a writer. Love Life: His relationship with Fanny Brawne is a notable part of his personal life, and he wrote extensively about her in his poetry. Despite his love for her, their relationship was marked by separation, largely due to Keats' illness. Keats' Major Works and Themes: 1. Death and Mortality: "When I Have Fears that I May Cease to Be": Keats expresses his fear of dying before fulfilling his creative potential and experiencing the beauty of life. "La Belle Dame sans Merci": A ballad about a knight who falls under the spell of a mysterious and beautiful woman, symbolizing unattainable love and the destructive power of desire. 2. The Power of Beauty and Imagination: "Ode to a Nightingale": A meditation on the fleeting nature of life and the contrast between the transcendent beauty of the nightingale’s song and the mortal limitations of the human condition. "Ode on a Grecian Urn": Explores the contrast between eternal, frozen beauty (represented by the urn) and the impermanence of human life. "To Autumn": A celebration of the beauty of the changing seasons, while acknowledging the inevitability of death and the cyclical nature of life. Conclusion: Romanticism and Legacy Byron’s Legacy: Byron’s development of the Byronic hero left a lasting mark on literature, influencing both literary characters and broader cultural archetypes. His complex personal life, political involvement, and literary works cemented his status as one of the central figures of the Romantic movement.

Keats’ Legacy: Keats, though largely unappreciated during his lifetime, is now regarded as one of the most important English poets. His work remains a quintessential representation of the Romantic focus on beauty, nature, and the exploration of mortality.

Gothic Literature: Shelley and Polidori Readings, Notes, and Supplemental Materials Gothic Literature:

Read: Elements-of-the-Gothic-Novel-Handout (1).pdf Download Elements-of-the-Gothic-Novel-Handout (1).pdf

Read: From the Mountain to the Monsters Article.pdf Download From the Mountain to the Monsters Article.pdf

Read: Gothic vs HorrorLinks to an external site.

Mary Shelley:

1. Read a brief biography of Mary W. Shelley Download biography of Mary W. Shelley

2. Read the article: "A Fable for All Times" Download "A Fable for All Times" that explains the background of Mary Shelley's writing of Frankenstein

3. Read Chapters 1, 5, 18, 24 of FRANKENSTEINLinks to an external site. and the letters that follow chapter 24. Side Note: The chapters can be accessed by clicking on the BLUE chapter titles on Project Gutenberg link.

4. Auditory Learner? - Consider Listening to the required chapters or even the whole book: Librivox - FrankensteinLinks to an external site.

Supplemental Materials that may be helpful:

1. Consider looking for a Summary of Frankenstein by Mary Shelley (there are a number of them out there)

2. Consider watching the lecture Frankenstein 200 Panel: Creation and ConsequenceLinks to an external site.

Licenses & Attributions:

1. "Mary Wollstonecraft Shelley." Concise Dictionary of British Literary Biography, vol. 3, Gale, 1992. Biography in Context, http://link.galegroup.com.ntcc.idm.oclc.org/apps/doc/K1655000050/BIC1?u=lln_ntcc&xid=fa096686. Accessed 2 Jan. 2018.

2. Lesser, Wendy. “A Fable for All Times: Mary Shelley's Frankenstein.” The Threepenny Review, no. 49, 1992, pp. 17–19. JSTOR, JSTOR, www.jstor.org/stable/4384075Links to an external site..

3. Project Gutenberg - This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

4. LibriVox - Public Domain - Educational Use

5. No info

6. Creative Commons (reuse allowed)

Polidori:

1. Read a biography of John William Polidori Download John William Polidori

2. Read: "The Vampyre" by John William PolidoriLinks to an external site.

3. Auditory Learner? - Consider listening to "The Vampyre" by John William PolidoriLinks to an external site. (please note that you will need to scroll down to Track 15 to listen to "The Vampyre." The whole story takes 44 minutes to listen to!

Licenses & Attributions:

1. "John (William) Polidori." St. James Guide to Horror, Ghost & Gothic Writers, Gale, 1998. Biography in Context, http://link.galegroup.com.ntcc.idm.oclc.org/apps/doc/K2409000279/BIC1?Links to an external site.u=lln_ntcc&xid=63aa9188. Accessed 2 Jan. 2018.

2. Project Gutenberg -This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

3. LibriVox - Public Domain - Educational Use

Romanticism: Key Themes & Concepts Emphasis on Emotion & Imagination: Romanticism values emotional expression over rationality and imagination over reason. The Romantics believed that human experience was richer than what could be expressed through logic and science. The Sublime: The experience of awe, beauty, and sometimes fear in the face of nature's power. Nature is often depicted as vast, untamable, and overwhelming. Individualism & Self-Expression: Romantic poets celebrate the individual, especially the creative or visionary artist. The notion of the artist as a solitary genius becomes central. Rejection of Industrialization: Romantics were critical of industrial society’s dehumanizing effects, and they often idealized nature, simplicity, and a return to rural life. Nostalgia for the Past: Romanticism often reflects a yearning for a more innocent or authentic time, whether medieval or classical. Key Poets & Works 1. William Wordsworth Key Themes: The beauty and spirituality of nature, the importance of personal emotion, and the relationship between nature and the human mind. Famous Work: Lines Composed a Few Miles Above Tintern Abbey Wordsworth’s reflection on the power of memory, nature's restorative power, and the transformative influence of time. Key ideas: the divine in nature, transcendence, memory as a source of wisdom. 2. Samuel Taylor Coleridge Key Themes: Imagination, the supernatural, the sublime, and the connection between the mind and the external world. Famous Work: Kubla Khan A dream-like vision of the construction of an exotic palace and the natural landscape surrounding it. Themes: The tension between reason and imagination, the idea of the creative act, and the incompleteness of the poem as a metaphor for the limitations of artistic creation. Key terms: the "sublime," "visionary," "dream-state." 3. Lord Byron (George Gordon Byron) Key Themes: The Byronic hero (a brooding, defiant, rebellious character), individualism, and the tension between personal desire and societal constraints. Famous Work: She Walks in Beauty A lyrical poem focusing on the beauty of a woman, using vivid imagery to suggest both external and internal harmony. Byron’s work often explores themes of love, nature, and melancholy, but with a focus on complex, often tragic characters. Supplemental Material: Consider watching the "Drunk History" episode on Byron to gain a lighthearted but informative take on his life and impact. 4. Percy Bysshe Shelley Key Themes: Political radicalism, the power of the poet, the fragility of life, the impermanence of human achievements. Famous Work: A Lament A poem expressing sorrow for the loss of a loved one and the inability to stop death. Shelley often dealt with themes of change, revolution, and the ideal of the poet as an agent of change. 5. John Keats Key Themes: The transience of life, beauty, the role of art and imagination, the desire for immortality. Famous Works: When I Have Fears that I May Cease to Be Keats expresses his fear of dying before he has had the chance to fully experience life or realize his creative potential. Key themes: mortality, creative ambition, the fleeting nature of existence. La Belle Dame sans Merci: A Ballad A ballad describing the tragic and eerie encounter between a knight and a mysterious fairy-like woman, symbolizing unrequited love, desire, and death. Themes: the supernatural, beauty and its dangers, the destructive power of idealized love. Supplemental Notes: "The Byronic Hero" A term used to describe a certain type of character found in Byron’s works and later Romantic literature. These heroes are typically rebellious, flawed, and deeply introspective, often embodying the disillusionment and isolation of the period. Byron’s influence is pervasive in the development of Romanticism's focus on individualism, self-doubt, and the critique of societal norms. The Sublime in Nature Key Poets: Wordsworth, Coleridge, Shelley, and Keats often depict nature as a powerful force that challenges human understanding. Nature as a Mirror of the Self: For Wordsworth, nature serves as a source of solace and spiritual wisdom. Coleridge’s natural landscapes are often dream-like and fantastical, while Shelley’s poetry explores nature as both beautiful and destructive. Imagination & Creativity For many Romantic poets, creativity is a divine force. Coleridge, for example, wrote extensively about the act of creation and the visionary potential of the poet's mind. Poetry becomes a means to access transcendent truths about existence, time, and the human condition. The Role of the Poet The Romantic poet is often seen as a prophet or visionary who interprets the world in a way that others cannot. They are sensitive to the emotional and spiritual truths that lie beneath surface reality. Further Considerations: Context of Romanticism: Romanticism arose as a response to the Enlightenment and the Industrial Revolution, both of which emphasized reason, order, and progress. The Romantics rebelled against these ideas, seeking to rediscover emotion, mystery, and the irrational. Nature: Nature in Romantic poetry is not just a backdrop but a central character, often reflecting the inner emotional state of the poet or the human soul.

the Mathom-house – The Homebound Symphony by [[Alan Jacobs]]

William Wordsworth: Key Notes Overview Born: April 7, 1770 Died: April 23, 1850 Movement: Major figure in the Romantic movement. Key Themes: Nature and its beauty Emotion and human experience The ordinary and its significance Key Poems "Composed Upon Westminster Bridge"

Link: Read the poem Written: September 3, 1802 Overview: Captures a serene morning moment in London from Westminster Bridge. Celebrates the city’s beauty and tranquility. Themes: Nature vs. urban life Beauty in the ordinary, even in a bustling city Tone: Calm, reflective, appreciative "I Wandered Lonely as a Cloud" (Daffodils)

Link: Read the poem Overview: Describes the speaker’s encounter with a field of daffodils, evoking feelings of joy and inspiration. The memory of the flowers brings solace and happiness in solitude. Themes: Nature’s impact on the human spirit The relationship between memory and emotion Transience and beauty Tone: Joyful, nostalgic, and uplifting Conclusion Wordsworth's poetry emphasizes the connection between nature and human emotion, celebrating the beauty found in both rural and urban landscapes. His work reflects the core values of the Romantic movement, focusing on individual experience and appreciation for the natural world.

Jane Austen: Key Notes Overview Notable Works:

Pride and Prejudice (1813) Emma Sense and Sensibility Mansfield Park Sanditon Writing Style:

Sharp social commentary Wit and irony Publication Context:

Wrote anonymously; societal norms discouraged female authorship Gained recognition posthumously Life and Context Birth and Death:

Lived 1775-1817 Died, likely from Hodgkin's lymphoma, at 41 Family and Personal Life:

Extensive correspondence with sister Cassandra; most letters were destroyed Engaged with themes relevant to the landed gentry Social Commentary:

Critiques marriage, class, and gender dynamics of her time Themes in Pride and Prejudice First Impressions:

Initial perceptions often misleading; emphasizes growth in understanding. Love and Marriage:

Explores the conflict between romantic love and societal expectations. Marriage as a means of financial security vs. emotional connection. Society and Class:

Critiques social hierarchies and class dynamics. Focus on the lives and struggles of women in a patriarchal society. Chapter 1 Overview Famous Opening Line:

Establishes the connection between wealthy single men and mothers seeking husbands for their daughters. Characters Introduced:

The Bennet family, particularly the eager Mrs. Bennet. Tone:

Comedic yet critical view of social norms regarding marriage and gender roles. Recommendations Further Reading:

Full text of Pride and Prejudice available on Project Gutenberg. Various adaptations for visual storytelling. Explore More:

Visit the Jane Austen website for additional insights on her life and works. Conclusion Austen's exploration of love, society, and the complexities of relationships continues to resonate, making her a crucial figure in English literature.

William Blake: Key Points General Overview First Generation Romantic Poet Influenced many Romantic poets. Known for illuminated plates (artistic engravings). Personal Beliefs Advocated for marriage based on love. Taught his illiterate wife to read, write, and engrave. Visionary and Mystic Rejected conventions, perceived as eccentric or insane. Key Poems "The Lamb" (from Songs of Innocence) Tone: Gentle, nurturing, reverent. Feelings: Peace, innocence, wonder. Theme: Conception of God as loving and gentle. Celebrates creation's purity and innocence. "The Tyger" (from Songs of Experience) Tone: Awe-inspiring, ominous, contemplative. Feelings: Fear, respect, complexity. Theme: Conception of God as fierce and powerful. Explores the duality of creation—beauty and terror. Emotional Contrast "The Lamb" vs. "The Tyger": Innocence vs. Experience: "The Lamb" embodies childhood purity. "The Tyger" grapples with existential fear and the darker aspects of creation. "The Chimney Sweeper" Poems "The Chimney Sweeper" (Innocence) Tone: Hopeful, gentle. Feelings: Innocence, faith, comfort. Theme: Child finds solace in the idea of divine reward. Portrays belief in redemption amidst suffering. "The Chimney Sweeper" (Experience) Tone: Cynical, harsh, somber. Feelings: Despair, loss, disillusionment. Theme: Exposes exploitation of child labor and failure of organized religion. Reflects loss of innocence and harsh reality. Summary Blake’s poems explore the dual states of the human soul: innocence and experience. Uses contrasting tones and themes to critique societal norms and express the full spectrum of human emotion.

Restoration Reading & Supplementary Materials The Restoration in England (1660) The Restoration period marks the reinstatement of the monarchy in England with Charles II, following the Commonwealth under Oliver Cromwell. This era saw the revival of the Church of England and the arts, which had been stifled during Cromwell’s Puritan rule. Charles II's reign (1660-1685) allowed for flourishing sports, science, and cultural pursuits.

In-depth Overview: YouTube Video on the Restoration Puritanism Humor: Horrible Histories Clip Culinary Insights: Supersizer’s Go...Restoration The Georgian Period in England (1714-1830) This period, named for the four Hanoverian kings named George, features influential writers and thinkers:

Samuel Pepys (d. 1703)

Known for his Diary, which offers a personal account of life from 1660-1669. Read an excerpt: Pepys Diary Great Plague Context: Diary of Samuel Pepys & Covid-19 Alexander Pope (d. 1744)

Renowned poet and satirist, famous for works like "An Essay on Man." Read Epistles I and VIII: Essay on Man Samuel Johnson (d. 1784)

Noted lexicographer known for A Dictionary of the English Language (1755). Explore Johnson's Dictionary: Johnson's Dictionary Online Jonathan Swift (d. 1745)

Famous for Gulliver's Travels and A Modest Proposal, a satirical commentary on poverty in Ireland. Read A Modest Proposal: A Modest Proposal Read Chapters 1 and 2 of Gulliver's Travels: Gulliver's Travels Key Themes and Concepts Satire: Understanding Swift’s use of satire is crucial. His extreme proposals highlight societal indifference to poverty, using irony to provoke thought and action. Cultural Revival: The Restoration and Georgian periods marked a significant cultural revival, influencing literature, arts, and social thought.

inspired by, but definitely not take from as not in evidence

Many people have "daily notes" and "project notes" in what they consider to be their zettelkasten workflow. These can be thought of as subcategories of reference notes (aka literature notes, bibliographic notes). The references in these cases are simply different sorts of material than one would traditionally include in this category. Instead of indexing the ideas within a book or journal article, you're indexing what happened to you on a particular day (daily notes) or indexing ideas or progress on a particular project (project notes). Because they're different enough in type and form, you might keep them in their own "departments" (aka folders) within your system just the same way that with enough material one might break out their reference notes to separate books from newspapers, journal articles, or lectures.

In general form and function they're all broadly serving the same functionality and acting as a ratchet and pawl on the information that is being collected. They capture context; they serve as reminder. The fact that some may be used less or referred to less frequently doesn't make them necessarily less important

Sounds like you're doing what Mortimer J. Adler and Charles van Doren would call "inspectional reading" and outlining the space of your topic. This is both fine and expected. You have to start somewhere. You're scaffolding some basic information in a new space and that's worthwhile. You're learning the basics.

Eventually you may come back and do a more analytical read and/or cross reference your first sources with other sources in a syntopical read. It's at these later two levels of reading where doing zettelkasten work is much more profitable, particularly for discerning differences, creating new insights, and expanding knowledge.

If you want to think of it this way, what would a kindergartner's zettelkasten contain? a high school senior? a Ph.D. researcher? 30 year seasoned academic researcher? Are the levels of knowledge all the same? Is the kindergartner material really useful to the high school senior? Probably not at all, it's very basic. As a result, putting in hundreds of atomic notes as you're scaffolding your early learning can be counter-productive. Read some things, highlight them, annotate them. You'll have lots of fleeting notes, but most of them will seem stupidly basic after a month or two. What you really want as main notes are the truly interesting advanced stuff. When you're entering a new area, certainly index ideas, but don't stress about capturing absolutely everything until you have a better understanding of what's going on. Then bring your zettelkasten in to leverage yourself up to the next level.

• Adler, Mortimer J. “How to Mark a Book.” Saturday Review of Literature, July 6, 1940. https://www.unz.com/print/SaturdayRev-1940jul06-00011/
• Adler, Mortimer J., and Charles Van Doren. How to Read a Book: The Classical Guide to Intelligent Reading. Revised and Updated edition. 1940. Reprint, Touchstone, 2011.

reply to u/jack_hanson_c at https://old.reddit.com/r/Zettelkasten/comments/1g9dv9b/is_scoping_the_subject_a_counterzettelkasten/

John Milton (1608-1674) Background Birth and Education: Born in London to a prosperous family; well-educated by tutors and at prestigious colleges (funded by his father). Early Aspirations: Planned to become an Anglican priest; a great believer in Cromwell and the Commonwealth. Personal Life: Married three times; briefly imprisoned after the monarchy was restored in 1660. Health: Became totally blind by 1652; died of kidney failure in 1674. Literary Contributions Poetic Works: Known for Latin elegies and English odes, considered models of poetic beauty. Philosophical Bridge: His works connect the Renaissance and the Reformation. Major Political Writer: Advocated for the English Revolution and defended the execution of Charles I. Paradise Lost Publication: Released in 1667; considered Milton's masterpiece. Form: Written in blank verse (Miltonic verse) – unrhymed iambic pentameter. Content: An epic poem that retells the story of Adam and Eve, beginning with themes from Genesis. Purpose: Aims to "justify the ways of God to men." Epic Poem Characteristics Long Narrative: Tells a comprehensive story involving significant themes. Warfare or Supernatural Elements: Engages with grand themes of conflict and divine intervention. In Medias Res: Begins in the midst of action rather than at the start. Cultural Ideals: Reflects and expresses the ideals and traditions of the time. Themes and Analysis Paradise Lost can be read as a representation of the failure of the English Revolution, with characters embodying Milton's critiques of the Anglican Church and exploring profound theological and philosophical questions. These notes summarize Milton's life, literary contributions, and the significance of Paradise Lost.

Historical Background Conflicts and Civil War King vs. Parliament: Growing tensions lead to the English Civil War (1642–1648). Key Events: Capture and beheading of Charles I. Establishment of the Commonwealth (1649). Oliver Cromwell: Puritan leader; ruled with authoritarianism, suppressing arts and leisure activities. Metaphysical Poets Definition and Characteristics Metaphysical Poets: A group of poets in 17th century England known for blending intellect and emotion. Key Traits: Use of metaphysical conceits: Extended, inventive metaphors. Simple language: Direct and clear expression. Rapid thought association: Engages the reader. Telescoping of images: Compact and layered imagery. Key Metaphysical Poets John Donne (1572-1631) Background: Inherited wealth; known for a lifestyle of pleasures. Secret marriage led to imprisonment; later took Anglican orders. Poetic Categories: Youthful Love Lyrics: Romantic themes. Sacred Verses: Reflections on spirituality after personal loss. Style: Frequent use of conceits and dramatic contrasts. Sharp, direct language; often concludes with surprising ideas. Flexible forms that adapt to themes. Major Work: "The Flea"

Key Questions: How does the flea symbolize seduction? Why is killing the flea considered "three sins in killing three"? How does the speaker respond to the lady after the flea's death? How might the lady argue against the speaker's logic? Andrew Marvell (1621-1678) Background: Politically active; wrote pamphlets and satires. Friend of John Milton; known for a controversial, often conflicted character. Notable Work: "To His Coy Mistress" Themes: Carpe diem: Urgency of love and time. Structure: IF: Idealized love without time constraints. BUT: Reality of time's passage. SO: Urges immediate action in love. Key Questions:

What is the speaker's goal in the poem? Is he proposing marriage or simply urging for intimacy? What is the nature of his argument? How logical and effective is his reasoning? New Criticism and Metaphysical Poets Reevaluation: New Criticism revisits these poets 300 years later. T.S. Eliot's View: Describes metaphysical poets as intellectual, combining disparate ideas into cohesive works. Distinction between intellectual poets and reflective poets, emphasizing depth of thought.

John Donne Metaphysical Poetry: Donne is a key figure in metaphysical poetry, known for his use of metaphysical conceits—extended metaphors that draw surprising connections between unlike objects.

"Death Be Not Proud": This poem personifies Death, arguing against its power and instilling a sense of defiance towards mortality. Read here. Analysis.

"The Flea": In this seduction poem, the flea becomes a metaphor for the speaker's argument that the act of love is trivialized by its connection to death. The speaker argues that killing the flea would be equivalent to committing multiple sins, referencing the idea of three lives in one. After the flea is killed, the speaker shifts tactics, trying to convince the woman that her honor is unaffected. Read here. Analysis.

Andrew Marvell "To His Coy Mistress": This carpe diem poem presents a logical progression in three stanzas: a hypothetical "If," a contrasting "But," and a conclusion "So." Marvell explores themes of time and beauty, urging his mistress to seize the moment of love. Read here. Analysis.

John Milton Paradise Lost: Considered one of the greatest epic poems, it explores themes of disobedience, free will, and redemption. Milton's portrayal of Satan as the epic hero challenges traditional notions of heroism. The poem opens with a focus on humanity's fall and Milton's intent to "justify the ways of God to men." Read the excerpt here. Analysis.

These readings collectively offer insights into the themes of love, mortality, and the human condition, characteristic of 17th-century poetry.

You said: make notes ChatGPT said: ChatGPT Here are concise notes on each of the key readings and poets:

John Donne Metaphysical Poetry Founder of metaphysical poetry. Known for metaphysical conceits (extended, surprising metaphors). "Death Be Not Proud" Theme: Defiance against Death. Personification: Death is addressed directly, diminishing its power. Analysis: Challenges the fear of mortality. Read here. More analysis. "The Flea" Theme: Seduction and persuasion. Conceit: The flea symbolizes the union of the lovers' blood. Religious references: Killing the flea equates to three sins (symbolizing the Trinity). Shift in argument: After the flea is killed, the speaker argues that her honor remains intact. Read here. More analysis. Andrew Marvell "To His Coy Mistress" Theme: Carpe diem (seize the day). Structure: Stanza 1: "If" (idealized love). Stanza 2: "But" (the inevitability of time). Stanza 3: "So" (urge to act). Imagery: Explores themes of time and beauty. Argument: Urges the mistress to embrace love now. Read here. More analysis. John Milton Paradise Lost Epic poem: Focuses on Adam and Eve's disobedience. Satan as hero: Challenges traditional heroism. Themes: Free will, redemption, and the nature of evil. Purpose: To "justify the ways of God to men." Opening lines: Discuss the fall of man and the consequences of disobedience.

What is non-attachment?

What is he attempting to say here?

There are some fleeting ideas which are truly great and the entire purpose of writing them down is to maintain their value. ("I was in the bath one day...") Others ideas aren't particularly genius, but may need to be kept for later use or actionability. Still other ideas are just useless and these get flushed out in the wash.

BD doesn't do an exceptional job of looking at the entirety of the spectrum of ideas here, which could be useful and illustrative, but instead focuses on moving things toward what he's calling "main notes", and even these can have different levels of value to a particular person.

I've never like the phrase fleeting notes, though it does serve a purpose. It's really a conflation (or portmanteau) of two separate ideas: fleeting ideas and writing them down/capturing them quickly so that they're no longer fleeting. Sort of a noun/verb in form.

Miles doesn't go very deep into the idea of how big a note ought to be, only that the system "encourage[s] a business-like brevity."

For Miles, getting the ideas down is paramount and they can later be sub-divided or re-arranged.

Miles' version of fleeting notes.

Résumé de la vidéo [00:00:00][^1^][1] - [00:06:35][^2^][2]:

Cette vidéo discute de l'importance des notes à l'école, leur histoire, et leur impact sur les élèves. Elle aborde également les alternatives aux notes traditionnelles et les différentes approches éducatives.

Temps forts: + [00:00:00][^3^][3] Introduction et historique des notes * Origine des notes au XVIe siècle * Évolution des notes au XIXe siècle * Impact des notes sur les élèves + [00:02:46][^4^][4] Perception des notes par les élèves * Enquête Ipsos de décembre 2023 * 6 enfants sur 10 n'aiment pas être notés * L'angoisse liée aux notes + [00:03:09][^5^][5] Alternatives aux notes traditionnelles * Évaluation par compétences depuis 2016 * Exemples de notation en Finlande * Importance de la progression individuelle + [00:05:05][^6^][6] Impact des notes sur la motivation * Compétition entre élèves * Motivation scolaire en Finlande * Importance des notes formatives + [00:06:07][^7^][7] Conseils pour les parents * Gérer les mauvaises notes * Importance de la progression et des efforts * Montrer que les notes ne définissent pas la valeur personnelle de l'enfant

Julius Reizen in reviewing over Umberto Eco's index card system in How to Write a Thesis, defines his own "insurance card" as one which contains "hard-to-classify thoughts, questions, and areas for further inquiry". These he would keep together so that they don't otherwise get lost in the variety of other locations one might keep them

These might be akin to Ahrens' "fleeting notes" but are ones which may not easily or even immediately be converted in to "permanent notes" for one's zettelkasten. However, given their mission critical importance, they may be some of the most important cards in one's repository.

link this to - idea of centralizing one's note taking practice to a single location

Is this idea in Eco's book and Reizen is the one that gives it a name since some of the other categories have names? (examples: bibliographic index cards, reading index cards (aka literature notes), cards for themes, author index cards, quote index cards, idea index cards, connection cards). Were these "officially" named and categorized by Eco?

May be worthwhile to create a grid of these naming systems and uses amongst some of the broader note taking methods. Where are they similar, where do they differ?

Multi-search tools that have full access to multiple trusted data stores (ostensibly personal ones across notebooks, hard drives, social media services, etc.) could potentially solve the problem of needing to remember where you noted something.

Currently, in the social media space especially, this is not a realized service.

Topic: Defining Distance Education Date: 1980 Course/Subject: Distance Education Studies

Notes Main Idea The paper analyzes existing definitions of distance education and identifies six essential components that should be included in a comprehensive definition. The analysis covers different educational philosophies and institutional contexts for distance education.

Key Definitions and Theorists Holmberg's Definition

Distance education involves the separation of teacher and learner. Requires planned, structured learning materials and institutional support. French Law (Loi 71.556 du 12 juillet 1971)

Defines distance education as learning where the teacher is not physically present, except for occasional tasks. Moore's Definition

Highlights separation of teaching and learning behaviors. Emphasizes the use of technical media and the importance of two-way communication. Peters’ Definition

Describes distance education as an industrialized form of education. Incorporates principles like division of labor, mass production, and mechanization in the teaching process. Six Essential Components of Distance Education Separation of Teacher and Student

Physical and temporal separation in the teaching and learning process. Role of Educational Organization

Planning, preparing, and providing learning materials and support. Use of Technical Media

Communication between teacher and learner facilitated by print, radio, television, or computers. Provision of Two-Way Communication

Opportunities for dialogue between teacher and learner. Possibility of Occasional Seminars

Allowing for some face-to-face interaction for didactic or social purposes. Participation in an Industrialized Form of Education

Incorporates aspects of industrial processes in the delivery of education, such as standardized materials and automated communication. Analysis and Discussion Educational Contexts and Models

Different definitions cater to various levels and types of education (e.g., correspondence, open learning, external studies). Theoretical frameworks like Peters' focus on the structural separation and mechanization of distance education. Challenges and Misconceptions

Confusion over terminology, such as correspondence study vs. distance education. Misunderstanding of the relationship between traditional and distance education models. Proposed Solution

The term 'distance education' is suggested as the most suitable to encompass various forms and philosophies of education that involve separation of teacher and learner. Implications The need for clarity in defining distance education for consistent policy development and theoretical analysis. Importance of recognizing the distinct nature of distance education as an industrialized form of learning. Questions/Cues What are the key differences between Holmberg’s and Peters’ definitions of distance education? How does Keegan's six-component framework help in distinguishing distance education from other forms of non-traditional education? Why is Peters’ view on industrialization important in understanding distance education? Summary The paper provides a detailed analysis of distance education by examining prominent definitions and proposing a comprehensive framework. Keegan emphasizes the industrialized nature of distance education and the necessity for clear terminology to distinguish it from other educational forms.

Reference Keegan, D. J. (1980). On defining distance education. Distance Education, 1(1), 13-36.

Zettelkasten - Death by Category by [[Al Persohn]]

bridging cards?!? Do we really need more verbiage like this in this space? Relationship to hub notes or "Maps of Content".

for - Indyweb dev - Mem.ai has many features we are designing for in Indyweb but it uses AI and that needs to be researched for privacy issues - AI - mem.AI - first AI note app that trains directly on your own personal knowledge notes

do we need to tell them what they are subscribing to?

via Season 2 Episode 8: “Performance Review” - The Office<br /> https://genius.com/The-office-usa-season-2-episode-8-performance-review-annotated

Here we see in Michael Scott's incompetence the potential value of writing down our ideas as we go. Had he written down his ideas, his upcoming meeting with his boss would have gone better.

Isn't it telling that he hits on the idea of leveraging a commonly used communal zettelkasten structure (the suggestion box) to dig himself out?

I have always misinterpreted this idea.

I thought it referred to the rumination of ideas... Don't put notes you just made in it (from any source, like reading a book), instead let it ruminate.

I was wrong. I realized this when chatting with Gemini Advanced.

But either way, the DeepL translation of this paragraph: "Slip box as a clarification pit - don't just put clarified notes in it. Postponing reviewing and deciding - also a question of speed."

It is moreso related to the idea of fleeting notes and unprocessed ideas. Have to think a bit more about what Luhmann meant. Maybe @chrisaldrich knows something.

Response by Ahrens to my question/criticism

Comment by onewheeljoe: This question seems like it should be more specific to disciplines. What is annotation in the legal world? How about for scientists? For beginning readers?

If I'm annotating a text to make meaning, that's different than if I'm a prof annotating a historical text to provide relevant background. The two notes have only their "noteness" in common, I'd say.

A forest of evergreen notes by Richard

See also comments at cross-posting at https://www.reddit.com/r/Zettelkasten/comments/1d69inw/a_forest_of_evergreen_notes/

Here Kaiser touches on the broader themes inherent in the concepts of atomic notes, which might be used to build up new and interesting structures. He doesn't specify the "size of a note" nor does he say that one will "know it when they see it", but he's suggesting something very close to it.

Rather than define the appropriate size, a feat which is difficult to do at best, he's providing a very narrow set of benefits for encouraging one to cut things down to size as they index them: small pieces are easier to use to build new things.

Part of Luhmann's practice in looking up ideas to place in his zettelkasten first was a means of preventing duplication of ideas. If an idea is repeated, that can be noted on the extant card as evidence that others see the idea too or one can compare the potential subtle differences as a means of expanding the space.

Eliminating duplication also assists in the ratchet effect of collecting information and connecting it.

Catchwords (broad or even narrow topics) can be useful, but one should expand beyond these short words to full phrases or even sentences/paragraphs which contain atomic (or perhaps molecular) ideas that can be linked.

We could reframe the atomic as simple catchwords, and make molecular ideas combinations of these smaller atoms which form larger and fuller thoughts which can be linked and remixed with others.

Dennis Duncan (2022) touches on this in his book on Indexing when he looks at indexes which contained portions of their fuller text which were later removed and thereby collapsing context. Having these pieces added back in gave a fuller picture of ideas within an index. Connect this idea with his historical examples.

Great indexes go beyond the catchword to incorporate full ideas with additional context. To some extent this is what Luhmann was doing at larger scale compared to his commonplacing brethren who were operating far more closely to the catchword (tag) level. (Fortunately they held the context in their heads and were thus able to overcome some of the otherwise inherent problems.)

The development of all of this historically seems to follow the principle of small pieces loosely joined.

Kaiser speaks here of the issue of missing index entries in commercial and even library-based indexes versus the personal indexing of one's own card index/zettelkasten.

Some of the problem comes down to a question of scale as well as semantics, but there's also something tied up with the levels of specificity from broad category headwords to more specific, and finally down to the level of individual ideas. Some of this can be seen in the levels of specificity within the Syntopicon though there aren't any (?, doublecheck) of links from one idea directly to another.

Note that while there may be direct links from a single idea to another, there is still infinite space by which one can interpose additional ideas between them.

Kaiser's argument for why building a personal index of notes is more valuable than relying on the indexes of others.

Note that this is answer still stands firmly even after the advent of both the Mundaneum, Google, and other digital search methods (not to mention his statement about ignoring advertising, which obviously had irksome aspects even in 1911.) Our needs and desires are idiosyncratic, so our personal indexes are going to be imminently more valuable to us over time because of these idiosyncrasies. Sure, you could just Google it, but Google answers stand alone and don't build you toward insight without the added work of creating your own index.

Some of this is bound up in the idea that your own personal notes are far more valuable than the notes someone else may have taken and passed along to you.

intelligence department!!!

subtlety in definition of "mere note-book" versus card index

Kaiser doesn't give a strong definition of the difference between notes (here taking on a fleeting sort of definition), and notes indexed and arranged, but he gives it a powerful sounding name and implies that there is useful power within the practice of doing so.

https://fromm-online.org/mediathek-und-download/exzerpte-sammlung-erich-fromms/<br /> Exzerpte Sammlung Erich Fromms

Excerpts as .pdf: https://fromm-online.org/wp-content/uploads/lists/4.04%20Excerpts%20collection%20of%20Erich%20Fromm.pdf

The equivalent of an alphabetical register of company (firm) names within card index for business would be a register of author names in a bibliographical file.

reply to u/oursong at https://www.reddit.com/r/Zettelkasten/comments/1bideq7/literature_notes_question/

My bibliographic/literature notes are my personal (brief) index of what I found interesting in the book. I can always revisit most of what the book contained by reviewing over it. When done I excerpt the most important and actionable items on their own cards with a reference back to the book and page/loc number. Depending on my needs I may revisit at later dates and excerpt other pieces from my indexed items if it turns out I need them.

From an efficiency perspective, I find that it seems like a waste of time to split out hundreds of lower-level ideas when I may only need the best for my work.

Let's reframe things here in part because it's highly illustrative of both the phrases as well as the specific question you raise.

Imagine Andy Matuschak reading Sonke Ahrens' How to Make Smart Notes (CreateSpace, 2017) and making notes on what he feels is important. As he reads, he does what is prescribed, namely, he restates the idea in his own words based on what he's read. In doing this he takes the idea of "evergreen" content from journalism settings (and later SEO settings) which he was familiar with and applies that name to what Ahrens called permanent notes to expound on his understanding of Ahrens! (An evergreen article in newspaper work is an article which was written for a particular recurring holiday, event, or story and is regular. Why spend huge amounts of staff time writing that truly original Valentine's day article? The broad stories about gifts to give and restaurants to visit really don't change from year to year. Just dust it off and reprint it, as readers are unlikely to have saved or remembered it and it becomes free re-purposable content.)

Of course, in rewriting this definition, Matuschak adds in some additional baggage for those who aren't carefully reading his work. He adds some additional emphasis on revisiting one's ideas and rewriting them over time, which is certainly fine, but I think the novice note maker puts too much emphasis on this portion thinking that each permanent or evergreen note must eventually become polished to perfection. In practice, most seasoned writers don't and won't do this. In fact, I suspect if you looked at Matuschak's note on evergreen notes, you'd find that it probably hasn't changed since the day he wrote it other than agglutinating links from other notes.

This doesn't mean that one can't modify or change their ideas over time, this is certainly useful and good, but I suspect that the majority aren't doing it the way that might be imagined by Matuschak's original statement or the way that his idea was picked up by the (niche) digital gardening community and spread primarily in the work of Maggie Appleton. It's some of this evolution of Matuschak's definition which bled into digital gardens, which have some overlap with zettelkasten and the note taking realms, which have muddied the waters. As a result, one should take it as general advice and apply it to their own situation, needs, and practice.

For those who use their own notes for writing, one will often mark their cards/notes to indicate that they've used those ideas in various projects so that they're not actively repeating themselves ad nauseum. Some of the additional tweaks one might make to their notes from a style or context specific perspective are also left to the editing portion rather than being done in the notes themselves. As a result of some of this, unless there is a dramatic flaw in a note, there isn't generally a lot of additional work one would come back to it to revise it. If it does require that sort of major revision, then perhaps the better method would be to make a new note and linking it to the original along with an explanation of the error. I typically wouldn't recommend polishing individual notes to some Plationic idea of perfection. Doing so is often just make-work which distracts from one's time which could be better spent doing additional reading or actual thinking. If you're going to do that sort of polishing work, do it at the end when you've got a longer piece of writing you're including your note in.

The real question now, is how are you personally going to define permanent notes, evergreen notes, or other related phrases like atomic notes? This practice is called by Mortimer J. Adler and Charles Van Doren "coming to terms" with an author's work and is part of their analysis for how one should read a book to get the most out of it. I highly recommend reading How to Read a Book (Simon & Schuster, 1972 or Touchstone, 2011) as a companion to any of the usual note taking manuals.

If you want to continue the experiment on a better unified definition of permanent notes, evergreen notes, atomic notes, etc., you can find a pretty solid bibliography of note making, writing, and reading manuals to peruse at https://boffosocko.com/2024/01/18/note-taking-and-knowledge-management-resources-for-students/#Recommended%20reading.

While one could certainly go down the rabbit hole of reading all these resources, I would recommend only looking at one or two and spending your time working on actual practice. It's through practice that you're more likely to make actual progress on your own problems and questions.

reply to u/franrodalg at https://www.reddit.com/r/Zettelkasten/comments/1azoo9m/permanent_vs_evergreen_notes_am_i_thinking_about/

Fleeting notes are loose thoughts and aren't part of a source.

Fleeting notes aren't permanently stored in the zettelkasten

This is roughly 65 cabinets of 60 drawers each.

4 million cards over 50 years is approximately 220 cards per day. This isn't directly analogous to my general statistics on number of notes per day for individual people's excerpting practice, but it does give an interesting benchmark for a larger institution and their acquisitions over 50 years. (Be sure to divide by 3 for duplication over author/title/subject overlap, which would be closer to 73 per day)

Shifted from analog cards to digital version in 1989.

One of the longest serving OED contributors, Edward Peacock wrote 24,806 slips over 54 years which comes to approximately 1.25 notes per day.

over how long a period?

Job Pierson 43,055 slips over 11 years<br /> 10.7 notes per day

What was his slip total to give a notes per day calculation?

(obviously not taking into account his other work...)

William Sykes 16,048 slips over 22 years<br /> (approximately 2 notes per day)

Top slip contributors to OED: 1. Thomas Austin Jnr. 165,061 slips over 10 years (45.22 notes per day) 2. William Douglas 151,982 over 22 years (18.92 notes per day) 3. Thomas Nadauld Brushfield 70,277 over 28 years (1.98 notes per day) 4. William Chester Minor 62,720 slips over 23 years (to 1906) (7.5 notes per day)

https://anagora.org/nuggets

In addition to his card index, Martin Luther King, Jr. compiled a collection of 166 folders organized around various topics which he used to organize outlines, clippings, pages from books, and other source materials as well as drafts of sermons or speeches on those topics.

To some extent these folders are just larger format repositories mirroring the topical arrangements of his card index.

Choosing an external system for knowledge keeping and production forces the learner into a deliberate practice and confronts them with their lack of understanding. This is a large part of the underlying value not only of the zettelkasten, but of the use of a commonplace book which Benjamin Franklin was getting at when recommending that one "read with a pen in your hand". The external system also creates a modality shift from reading to writing by way of thinking which further underlines the value.

What other building blocks are present in addition to: - modality shift - deliberate practice - confrontation of lack of understanding

Are there other systems that do all of these as well as others simultaneously?

link to Franklin quote: https://hypothes.is/a/HZeDKI3YEeyj9GcNWKX4iA

"unfiled notes" as "fleeting notes" which aren't expanded upon and turned into "permanent notes"

how are these related to his "fringe thoughts"

C. Wright Mills' idea of "fringe-thoughts" is similar to Ahrens framing of "fleeting notes".

review 複習 知識虛肥

https://www.flickr.com/photos/hawkexpress/189972899/in/album-72157594200490122/

Despite being used primarily as a productivity tool the PoIC system also included some features of personal knowledge management with "discovery cards" and "citation cards". Discovery cards were things which contained one's own ideas while the citation cards were the ideas of others and included bibliographic information. Citation cards were tagged on the 5th block as an indicator within the system.

Question: How was the information material managed? Was it separate from the date-based system? On first blush it would appear not, nor was there a subject index which would have made it more difficult for one to find data within the system.

Wish You Were Here - The “Great Lakes” Edition from Field Notes Brand https://www.youtube.com/watch?v=fFemm4LjJbY

The Newberry Library in Chicago, IL, maintains a collection of the Curt Teich & Co.'s Art-Colortone postcards from 1898 onward. It's stored in tab divided boxes using an alpha-numeric system generally comprising a series of three letters followed by three numbers. The company sold over a billion of these postcards.

https://www.reddit.com/r/antinet/comments/18hhnyo/carlink_collective_vs_branch_collective/

"Card link collective" and "branch collective"? Why is the jargon for keeping a card index becoming so arcane? Isn't it tough enough for something so simple?

pseudoscience is religious?

https://medium.com/workings/obsidian-properties-meets-sidenotes-1b46a25d8be

https://forum.zettelkasten.de/discussion/1894/the-official-luhmann-certified-100-note-categories

https://docdrop.org/pdf/notes-inegales-ab3i5.pdf/

notes inegalites fuller, d 2001

suggestion of recombination of individual notes using cards to create something new

(have I remarked on this in krajewski?) ᔥ Johann Jacob Moser commented on the ability to breakdown bodies of information into smaller pieces that might be reshuffled into new configurations as one might in a 'game of cards'.

Here the writer, who doesn't lay out any of the general principles of a zettelkasten practice, automatically presumes one idea per card (presumes it from where? zeitgeist) and then jumps into the question of note size and other semantics.

This page explains everything about the lectures!

reply to u/tenebrasocculta at https://www.reddit.com/r/Zettelkasten/comments/17vejto/how_do_you_title_your_literature_notes/

Like many, I prefer to call these reference notes. For ease of use and brevity I use the standard citekey from Zotero, which I also use to quickly generate bibliographies. Like others have mentioned this is typically the author's sir name and publication date, so something like Gessner1548, or for your particular example Weeks2015. I can then use these quickly as well on cards with quotes or notes relating to sources that get excerpted from them for linking back to them.

Generally I'd caution that if its a topic you're really interested in that you don't do too much note taking from tertiary sources but instead delve into more primary sourcing like the book mentioned in the article by Amy Reading. You'll get a lot further a lot faster, and generally find more useful insight.

Robert Breen<br /> Writing Things Down in a Paperless World <br /> (accessed:: 2023-11-12 12:32:54)

posted reply:

I appreciate that you're centering some of the Cornell notes workflow into a linked note taking system. I don't think many (any?) of the note taking platforms have made it easy for students to quickly or easily create questions from their Cornell notes and build them into a spaced repetition practice. I've seen a handful transfer their work into other platforms like Anki, Mnemosyne, etc. for this purpose, but it would be interesting to see Protolyst and others offer this as out of the box functionality for following up on Cornell notes workflows. I've not seen it mentioned in any parts of the note taking space, but Cornell notes are essentially a Bibliography note/card (where the source is typically a lecture) + fleeting notes which stem from it (in a Niklas Luhmann-artig zettelkasten framing) out of which one would build their permanent notes as well as create questions for spaced repetition and review. User interfaces like that of Protolyst could potentially leverage these common workflows to great advantage.

Cornell notes = ZK bibliography notes + ZK fleeting notes + questions for spaced repetition

Next Step for your Cornell Notes? by Dr Maddy<br /> https://www.youtube.com/watch?v=QZFrR-u9Ovk

Like that someone in the space is thinking about taking Cornell notes and placing them into the linked note taking framing.

She doesn't focus enough on the questions or the spaced repetitions pieces within Cornell. How might this be better built into a UI like Protolyst, Obsidian, etc.? Where is this in people's note taking workflows?

SIMPLER First Zettelkasten from Scratch by Dr Maddy https://www.youtube.com/watch?v=TRrKO6TNN6w

Protolyst has an "atom" functionality for short quick notes.

The UI of Protolyst looks nice, but I wonder how well it holds up when one is at 10,000 notes? Is it still as simple?

I like that she's explicit about not migrating over all of one's highlights and annotations after the fact. Few people focus on this piece which is highly important and many beginners fall trap to thinking that they need to write down, save, and link everything.

What if the initial exercise of making the fleeting note was enough to have a baseline knowledge of a thing that really isn't going to be used again? Save the time and effort for the really important ideas. Build these.

An annotation like 2+2=4 is useful in 2nd grade and will be remembered/used for your lifetime. It's so ubiquitously commonplace that it doesn't need to be commonplaced into your zettelkasten. Similarly for basic ideas that anyone in a particular sub-field will already know. Delve deeper for building true insights.

This is related to the idea of collector's fallacy, but is subtly different from the usual framing. It has to do with focus against the commonplace.

Sönke Ahrens' Concept of "Permanent Notes" in a Zettelkasten is Completely False

https://www.youtube.com/watch?v=J6jt7SPbhMs

One snippet of brief insight which he could have built upon, but instead he sandwiches it in multiple shills for his book, shills for his newsletter, and several heaping servings of zettelkasten cultish religion.

sigh

Given the presentation here, one wonders how long Scott spent looking through the main portion of Luhmann's ZK to verify that, in fact, that section did not appear. It's nice that he found the bilbliography card related to the footnote, but I don't see enough evidence for deep search to indicate that it might not actually exist somewhere. I also know from experience that Scott doesn't have enough strength in German to potentially pull off such a search, particularly given two different translators of Luhmann's German into English. It may have been the case that Scott missed it.

The better example would have been to use Goitein whose writing output far exceeded that of Luhmann with a fraction of the cards.

Do digital note taking tools extend the ranges of affordances versus their analog counterparts with respect to the SAMR model?

On the augmentation front, they allow one to capture things faster, but may do so at the loss of understanding due to the lack of active learning (versus passive as the tool may be robbing them of the interaction with the material).

There may be some workflow modification, but it's modest at best. Is it measurably better?

I'm unaware of anyone talking about technological redefinition of digital note taking affordances, though some of the surface level AI-related things may emerge here.

In some sense, I still think that the ease of remapping and rearranging/linking/relinking/outlining ideas in digital spaces doesn't exist, so digital note taking tools aren't doing very well even at the root substitution level.

I suspect that some people weren't exposed to the general process of good note taking and their subsequent use for linking, developing, and then creating and as a result of learning this, they're attributing their advances to the digital nature of their tools rather than the original analog process which was always there and isn't necessarily improved measurably by the digital modality.

Reply to u/Wooden-School-4091 at https://www.reddit.com/r/Zettelkasten/comments/17kui2u/analog_zettelkasten_for_natural_sciences/

Given that Carl Linnaeus "invented" the standardized 3x5 inch index card and used it heavily in his scientific work (read Isabelle Charmantier and Staffan Müller-Wille's works for more on his practice), and a variety of others including me, use it for mathematics, physics, chemistry, biology, etc., Zettelkasten can certainly be used for STEM, STEAM, and any of the natural sciences.

See also, notes and links at: https://hypothes.is/users/chrisaldrich?q=tag%3A%22zettelkasten+for+studying%22

If I were using it for classes/university/general studying via lectures, I'd base my practice primarily on Cornell Notes in combination with creating questions/cards for spaced repetition and/or a variation on Leitner's System.

Some of the best material on spaced repetition these days can be found via:

• Soren Bjornstad: https://controlaltbackspace.org/repeat/
• Piotr Wozniak: https://super-memory.com/articles/20rules.htm

and other material on their sites.

Beyond this, I'd focus my direct zettelkasten practice less on the learning portion and more on the developing or generating ideas portion of the work. Some of my practice with respect to mathematics can be found here: https://www.reddit.com/r/Zettelkasten/comments/17bqztm/applying_zettelkasten_for_math_heavy_subjects/

For those interested, it may bear mentioning that Bjornstad, an engineer at Remnote, has a TiddlyWiki-based zettelkasten at https://zettelkasten.sorenbjornstad.com/#PublicHomepage:PublicHomepage which he demonstrates with a walk through at https://www.youtube.com/watch?v=GjpjE5pMZMI

So much to unpack here...

What is the full list of types of links?

There are (associative) links created by the author (of an HTML document) as well as associative (and sometimes unwritten) mental links which may be suggested by either the context of a piece and the author's memory.

There are the links made by the reader as they think or actively analyze the piece they're reading. They may make these explicit in their own note taking or even more strongly explicit with tools like Hypothes.is which make these links visible to others.

tacit/explicit<br /> suggested mentally / directly written or made<br /> made by writer / made by reader<br /> others?

lay these out in a grid by type, creator, modality (paper, online, written/spoken and read/heard, other)

reply to u/IamOkei at https://www.reddit.com/r/Zettelkasten/comments/17beucn/comment/k5s6aek/?utm_source=reddit&utm_medium=web2x&context=3

u/IamOkei, I know you've got a significant enough practice that not much of what I might suggest may be helpful beyond your own extension of what you've got and how it is or isn't working for you. Perhaps chatting with a zettelkasten therapist may be helpful? Does anyone have "Zettelkasten Whisperer" on a business card yet?! More seriously, I occasionally dump some of my problems and issues into a notebook, unpublished on my blog, or even into a section of my own zettelkasten, which I never index or reconsult, as a helpful practice. Others like Henry David Thoreau have done something like this and there's a common related practice of writing "Morning Pages" that you can explore. My own version is somewhat similar to the idea of rubber duck debugging but focuses on my own work. You might try doing something like this in one of Bob Doto's cohorts or by way of private consulting sessions. Another free version of this could be found by participating in Will's regular weekly posts/threads "Share with us what is happening in your ZK this week" at https://forum.zettelkasten.de/. It's always a welcoming and constructive space. There are also some public and private (I won't out them) Discords where some of the practiced hands chat and commiserate with each other. Even the Obsidian PKM/Zettelkasten Discord channels aren't very Obsidian/digital-focused that you couldn't participate as an analog practitioner. I've even found that participating in book clubs related to some of my interests can be quite helpful in talking out ideas before writing them down. There are certainly options for working out and extending your own practice.

Beyond this, and without knowing more of your specific issues, I can only offer some broad thoughts which expand on some of the earlier discussion above.

I recommend stripping away Scheper's religious fervor, some of which he seems to have thrown over lately along with the idea of a permanent note or "main card" (something I think is a grave mistake), and trying something closer to Luhmann's idea of ZKII.

An alternate method, especially if you like a nice notebook or a particular fountain pen, might be to take all of your basic literature/fleeting notes along with the bibliographic data in a notebook and then just use your analog index cards/slips to make your permanent notes and your index.

Ultimately it's all a lot of the same process, though it may come down to what you want to call it and your broad philosophy. If you're anti-antinet, definitely quit using the verbiage for the framing there and lean toward the words used by Ahrens, Dan Allosso, Gerald Weinberg, Mark Bernstein, Umberto Eco, Beatrice Webb, Jacques Barzun & Henry Graff, or any of the dozens of others or even make up your own. Goodness knows we need a lot more names and categories for types of notes—just like we all need another one page blog post about how the Zettelkasten method works by someone who's been at it for a week. Maybe someone will bring all these authors to terms one day?

Generally once you know what sorts of ideas you're most interested in, you take fewer big notes on administrivia and focus more of your note taking towards your own personal goals and desires. (Taking notes to learn a subject are certainly game, but often they serve little purpose after-the-fact.) You can also focus less on note taking within your entertainment reading (usually a waste) and focusing more heavily on richer material (books and journal articles) that is "above you" in Adler's framing. You might make hundreds of highlights and annotations in a particular book, but only get two or three serious ideas and notes out of it ultimately. Focus on this and leave the rest. If you're aware of the Pareto principle or the 80/20 rule, then spend the majority of your time on the grander permanent notes (10-20%), and a lot less time worrying about the all the rest (the 80-90%).

In the example above relating to Marx, you can breeze through some low level introductory material for context, but nothing is going to beat reading Marx himself a few times. The notes you make on his text will have tremendously more value than the ones you took on the low level context. A corollary to this is that you're highly unlikely to earn a Ph.D. or discover massive insight by reading and taking note posts on Twitter, Medium, or Substack (except possibly unless your work is on the cultural anthropology of those platforms).

A lot of the zettelkasten spaces focus heavily on the note taking part of the process and not enough on the quality of what you're reading and how you're reading it. This portion is possibly more valuable than the note taking piece, but the two should be hand-in-glove and work toward something.

I suspect that most people who have 1000 notes know which five or ten are the most important to where they're going and how they're growing. Focus on those and your "conversations with texts" relating to those. The rest is either low level context for where you're headed or either pure noise/digital exhaust.

If you think of ideas as incunables, which notes will be worth of putting on your tombstone? In other words: What are your "tombstone notes"? (See what I did there? I came up with another name for a type of note, a sin for which I'm certainly going to spend a lot of time in zettelkasten purgatory.)

reply to u/Admirable_Discount75 at https://www.reddit.com/r/Zettelkasten/comments/17beucn/knowledge_that_is_excluded_from_synthesis/

What is your purpose/need/desire to turn all this material into individual zettels or atomic ideas? If you've read the material, taken some literature notes, and reviewed them a bit, don't you broadly now know and understand the methodology? If this is the point and you might only need your notes/outline to review occasionally, then there's nothing else you need to do. If you're comparing other similar methodologies and comparing and contrasting them, then perhaps it's worth breaking some of them out into their own zettels to connect to other things you're working on. Perhaps you're going to write your own book on the topic? Then having better notes on the subject is worthwhile. If you don't have a good reason or gut feeling for why you would want or need to do it, taking hundreds of notes from a book and splitting them all into interconnected atomic notes is solely busy work.

It's completely acceptable to just keep your jumble of literature notes next to your bibliographic entry for potential future reference or quick review if necessary. Perhaps you've gotten everything you need from this source without creating any permanent notes? Or maybe only one or two of the hundreds are actually valuable to your potential long term goals?<br /> It's really only the material you feel that is relevant to your longer term goals, research, and synthesis needs that's worthwhile breaking out into permanent notes/zettels.

syndication link: https://www.reddit.com/r/Zettelkasten/comments/17beucn/comment/k5lr0mz/?utm_source=reddit&utm_medium=web2x&context=3

Just as Adler and Van Doren (1972) suggest that most books are only worth a quick inspectional read and fewer are worth a deeper, analytical read, most (fleeting) notes, highlights, and annotations you make are only worth their quick scribble while vanishingly few others are worthy of greater expansion and permanent note status. You might also find by extension that some of the most valuable work you'll do is syntopical reading and the creation of high value syntopical notes which you can weave into folgezettel (sequences of notes) that generate new knowledge.

Don't fall into the trap of thinking that everything needs to be a perfect, permanent note. If you're distilling and writing one or two good permanent notes a day, you're killing it; the rest is just sour mash.

As ever, practice to see what works best for your needs.

https://about.usps.com/newsroom/national-releases/2019/0221-usps-to-dedicate-star-ribbon-forever-stamp.htm

Petite faute dans la retranscription par wikisource ici.

Ici le wikisource n'a pas bien fonctionné : voir la publication en feuilleton pour la réponse de Manon.

Un moustier est un synonyme de monastère (https://www.cnrtl.fr/definition/moustier) De plus, il y a une ancienne commune (avant 1793) qui se nommait le Moustier, fusionnée avec deux autres communes sous le nom de Peyzac-de-Montignac. Ce village est au sud-est de Périgueux.

reply to u/Flubber78769 at https://www.reddit.com/r/Zettelkasten/comments/17ajd34/ive_been_struggling_with_duplicate_notes_within/

This is the value of actually indexing your content. You can do a quick search around the index entries which provides a natural check against duplication, but importantly it'll let you think about those ideas again and spend your time more profitably by expanding upon them instead.

Occasionally I'll find duplication from one source to the next which provides some support about an idea's value or spread over time, especially when I'm tracking usage of a thing, so it's not always the case that duplication is automatically a bad thing.

Jerry Michalski says that The Brain provides him with a "neighborhood perspective" of ideas when he reduces the external link number for his graph down to 1.

This is similar to Nicholas Luhmann's zettelkasten which provided neighborhoods of related notes based on distance from any particular note.

Also similar to oral cultures who relied on movement through their environment for encoding memories and later remembering them. [I'll use the tag "environmental memory" to track this until a better name comes along.]

reply to u/JonasanOniem at https://www.reddit.com/r/Zettelkasten/comments/16ss0yu/comment/k2buxsc/?utm_source=reddit&utm_medium=web2x&context=3

In digital contexts it is much easier and very common to create orphaned notes that aren't connected to anything. In a paper zettelkasten, you are forced to file your note somewhere and give it a number (only to be able to find it again—it's difficult, but try not to make the mistake of conflating your number with the idea of category). The physical act of placing it in your slipbox creates an implicit link to the things around it. As a result, your four notes would all initially seem to be directly related because they're nearby, but over time, they will naturally drift apart as you intersperse new notes between and among them. Though if they're truly directly interrelated, you can write down explicit links from notes at one end of your thought space to notes which seem distant.

In your example, you may see some sort of loose link between your first and fourth notes relating to music. While it may be a distant one, given what you have, putting marching band "next to" digestible music is really the only place to put it. Over time, you'll certainly find other notes that come between them which will tend to split them apart and separate them by physical distance, but for now, if it's what you've got, then place them into the same neighborhood by giving them addresses (numbers) to suggest they live nearby. (Some note applications like Obsidian make this much harder to do, and as a result orphaned notes will eventually become a problem.)

This physical process is part of the ultimate value of building knowledge from the bottom up. Like most people, you've probably been heavily trained to want to create a hierarchy from the top down (folder-based systems on computers of the late 20th century are a big factor here) which is exactly why you're going to have problems like this at the start. You'll want to place that music note somewhere else, or worse, orphan it. For some people who may not be able to immediately trust the process, it can be easier to create a few dozen or a hundred notes and then come back to them later to file and arrange them. This will allow you to seed some ground from which to continually build and help to bridge the gap between the desire to move top-down in a system designed to move from bottom-up.

Depending on one's zettelkasten application (Obsidian, Zettlr, Logseq, The Archive, et al.) some do a better job of allowing the creation of "soft links" versus the more explicit hard or direct links (usually using [[WikiLinks]]). The soft links are usually best done by providing a number that places one note into proximity with another, but not all systems work this way. As a result, it's much easier to build a traditional commonplace book with Obsidian than it is to build a Luhmann-artig zettelkasten (see: https://boffosocko.com/2022/10/22/the-two-definitions-of-zettelkasten/). The concept of tags/categories in many systems is another form of soft link that can hold ideas together, so use this affordance if your application offers it as well. But also keep in mind that if sociology is your life's work, you'll eventually amass such a huge number of digital notes tagged with "sociology" that this affordance will become useless as it won't scale well for discovery and creating links.

reply to u/JonasanOniem at https://www.reddit.com/r/Zettelkasten/comments/16ss0yu/linking_new_notes/

This sort of practice is harder when you start out in most digital apps because there is usually no sense of "closeness" of ideas in digital the way that is implied by physical proximity (or "neighborhood") found in physical cards sitting right next to or around each other. As a result, you have to create more explicit links or rely on using tags (or indexing) when you start. I've not gotten deep into the UI of Zettlr, but some applications allow the numbering (and the way numbered ideas are sorted in the user interface) to allow this affordance by creating a visual sense of proximity for you. As you accumulate more notes, it becomes easier and you can rely less on tags and more on direct links. Eventually you may come to dislike broad categories/tags and prefer direct links from one idea to another as the most explicit tag you could give a note . If you're following a more strict Luhmann-artig practice, you'll find yourself indexing a lot at the beginning, but as you link new ideas to old, you don't need to index (tag) things as heavily because the index points to a card which is directly linked to something in the neighborhood of where you're looking. Over time and through use, you'll come to recognize your neighborhoods and the individual "houses" where the ideas you're working with all live. As an example, Luhmann spent his life working in sociology, but you'll only find a few links from his keyword register/subject index to "sociology" (and this is a good thing, otherwise he'd have had 90,000+ listings there and the index entry for sociology would have been utterly useless.)

Still, given all this, perhaps as taurusnoises suggests, concrete examples may help more, particularly if you're having any issues with the terminology/concepts or how the specific application affordances are being presented.

I like this concept of persistence of your desk.

https://lacountylibrary.libnet.info/event/9097350

https://www.youtube.com/watch?v=xMF37TXAV5w

Presenter Lawrence Mak broke down types of notes into the following three categories:<br /> - general notes (projects, ideas, journals, recipes, budgeting, homework, etc.)<br /> - lists (groceries, reading, gifts, to dos, assignments) - reminders (birthdays, bills, maintenance, health)

Watch the scale and scope of what you're doing. If you read a book and make a hundred highlights and small notes, DO NOT attempt to turn all of these into permanent notes. You might fell like that is the thing to do, but resist it. A large portion are small things or potentially useful facts that you'll likely never use again or would easily remember, particularly once you've read a whole book.

Find the much smaller subset (5-10% or less of the overall total of notes and highlights as a ballpark rule of thumb) of the most interesting and potentially long term useful ones, and turn those into your permanent notes. Anything beyond this is sure to cause overwhelm. Also don't think that your permanent notes need to be spectacular, awesome, or even bordering on "perfect". They just need to be useful enough for you.

If you own the books or keep your brief notes and highlights written down and need them in the future, you'll still have those to search/find and do something with later as a backstop just in case.

—Georg Christoph Lichtenberg, Notebook E, #46, 1775–1776

In this single paragraph quote Lichtenberg, using the model of Italian bookkeepers of the 18th century, broadly outlines almost all of the note taking technique suggested by Sönke Ahrens in How to Take Smart Notes. He's got writing down and keeping fleeting notes as well as literature notes. (Keeping academic references would have been commonplace by this time.) He follows up with rewriting and expanding on the original note to create additional "explanations" and even "connections" (links) to create what Ahrens describes as permanent notes or which some would call evergreen notes.

Lichtenberg's version calls for the permanent notes to be "separated and ordered" and while he may have kept them in book format himself, it's easy to see from Konrad Gessner's suggestion at the use of slips centuries before, that one could easily put their permanent notes on index cards ("separated") and then number and index or categorize them ("ordered"). The only serious missing piece of Luhmann's version of a zettelkasten then are the ideas of placing related ideas nearby each other, though the idea of creating connections between notes is immediately adjacent to this, and his numbering system, which was broadly based on the popularity of Melvil Dewey's decimal system.

It may bear noticing that John Locke's indexing system for commonplace books was suggested, originally in French in 1685, and later in English in 1706. Given it's popularity, it's not unlikely that Lichtenberg would have been aware of it.

Given Lichtenberg's very popular waste books were known to have influenced Leo Tolstoy, Albert Einstein, Andre Breton, Friedrich Nietzsche, and Ludwig Wittgenstein. (Reference: Lichtenberg, Georg Christoph (2000). The Waste Books. New York: New York Review Books Classics. ISBN 978-0940322509.) It would not be hard to imagine that Niklas Luhmann would have also been aware of them.

Open questions: <br /> - did Lichtenberg number the entries in his own waste books? This would be early evidence toward the practice of numbering notes for future reference. Based on this text, it's obvious that the editor numbered the translated notes for this edition, were they Lichtenberg's numbering? - Is there evidence that Lichtenberg knew of Locke's indexing system? Did his waste books have an index?

Niklas Luhmann's zettelkasten system doesn't impose a heirarchy upon it's contents and in some ways its structure anticipates the ideas of hypertext and the internet's structure.

Also similar to the idea from Umberto Eco: https://hypothes.is/a/jqug2tNlEeyg2JfEczmepw

There's an interesting dichotomy which seems to be arising here. It's almost as if he's defining a folgezettel note in opposition to orphaned notes, most often seen in digital settings when importing lots of "stuff" but which Doto indicates can happen in analog systems as well.

Orphaned notes in an analog space, however are still linked by proximity even though they're not as densely linked (even from a mathematical topology perspective.)

"So long as it happens." And here lies the rub: when will you put in the work to make the note useful and actionable? Will it be now or later?

Some notes are certainly more mission critical than others. Some work towards one's life's work while others are tidbits which may be useful at a later time. Distinguishing along this spectrum isn't always easy, particular in build a bottom up view of one's research.

reply to u/PumpkinPines at tk

Your 1chapter1note idea is essentially what Ahrens called a "literature note" for your lecture. Many of the things you write down you'll either absorb or remember over time as you learn and you won't think twice about them. However there may be one or two interesting snippets you put into your lecture notes that are really intriguing to you and those you'll want to excerpt and expand on as more fleshed out "permanent notes" which will be the zettels in your zettelkasten. Over time these may grow into projects, papers, articles, a book, or other more explicit content.

For more on this idea, try these recent discussions * https://www.reddit.com/r/Zettelkasten/comments/yf1e8j/help_a_newbie_difference_between_literature_notes/ * https://www.reddit.com/r/Zettelkasten/comments/162os2q/how_can_i_use_zettelkasten_as_a_high_school/

A common make-work mistake is that everyone seems to think that they need to take each scrap they write down into some sort of "perfect" permanent note. Don't do this. You'll only exhaust yourself and die by zettelkasten.

https://www.youtube.com/watch?v=vww7JLcrJl4

8:05 - 16:20 GTD - Capture - Clarify - What is it? - Is it actionable? What is the action? - Is it a project? - Batching - Reflect - Review over lists/calendars daily/weekly - Engage

17:30 They use the phrase "atomic" paper based index cards, so they've been infected by the idea of "atomic notes" from somewhere, though it seems as if he's pitching that he's "invented" his card system as if from scratch.

19:45 He mentions potentially using both sides of the card, against the usual (long term) advice.

20:00 Analogizes his cards as ballerinas which work together, but each have their own personalities and function within the ballet

He's using a leather cover for Moleskine pocket notebook and Manufactum A7 index cards, as well as a box

Sections of his box: - to erase - inbox - next actions - projects (3 categories of projects) - someday - to delegate - tickler (by month and by day; 12 months and 31 days) - blank cards

Mentions erasing cards as he finishes them rather than archiving them.

Inspiration by How to Take Smart Notes by Ahrens

Recommends one item per card to make things easier and more actionable; also improves focus versus having a longer list. (28:00)

Portability

Sustainable (he erases)

High quality textile experience

The ability to shift between associative modes and sequential modes seems to work well with such a system.

They distinguish between atomic notes and "stellar" notes. Stellar being longer lists or more dense notes/outlines/etc.

Project cards<br /> titles and project numbers (for reference) Project numbers in the top right with a P and/or M below it for<br /> - P for paper<br /> - M for email data<br /> - D for digital files which helps him find reference materials

Weekly review with all cards out on the table

Expansion pack includes: - action - calendar - waiting

Search was quick and easy, but had to carry his box back and forth to work.

Stopping doing it because he was losing the history (by erasing it). Moving to notebook and he likes fountain pens. He likes the calendar portion in his notebook.

He tried it out for the sake of experiment.

In the paper world things are more present and "in your face" versus digital formats where things can disappear.

reply to Edmund at https://forum.zettelkasten.de/discussion/comment/18550/#Comment_18550

@Edmund since I don't do such a thing myself, I'm curious what sort of affordance your #type/NoteName tagging provides you with (especially if you're using more than just those two)? Do you use them regularly for search or filtering, and if so for what reason? How does it help?

To me it look likes extra metadata/work, but without a lot of direct long term value in exchange. Does doing this for long periods of time provide you with outsized emergent value of some sort that's not easy to see from the start?

Hanna BredenbeckCorp numbered and scanned 52,569 index cards from Phyllis Diller's gag file. Prior to this archival effort most estimates for the numbers of cards were in the 40-50,000 range.

Spanning the 1960s to the 1990s roughly. The index was donated in 2003, so there were certainly no

Exact dating on the cards may give a better range, particularly if the text can be searched or if there's a database that can be sorted by date.

Via https://hypothes.is/a/UbW8nERrEe6xjEseEEEy1w we can use the rough dates: 1955-2002 which are the bookends of her career.

This gives us a rough estimate of:<br /> 2002-1955 = 48 years (inclusive) or 17,520 days (at 365 days per year ignoring leap years)

52,569/17520 days gives 3.000513698630137 or almost exactly 3 cards (jokes) per day.

Going further if she was getting 12 laughs (jokes) per minute (her record, see: https://hypothes.is/a/MTLukkRpEe635oPT5lr7qg), then if continuously told, it would have taken her 52,569 jokes/12 jokes/minute = 4,380.75 minutes = 73.0125 hours or 3.0421875 days to tell every joke in her file.

Not only a short description of the broad standard form of cards in Phyllis Diller's gag file, but also an enumeration of some of the non-standard cards, many of which are specified because of the issues which they presented in scanning/digitizing for transcription.

Warburg's zettelkasten does not appear to be a simple bibliographic classification system according to Steiner. He indicates that the books in Warburg's library are arranged according to Warburg's idea of »guten Nachbarschaft« or "good neighborliness" whereby they followed his subjective interests an ordering that is reflected in the labels of his note boxes and various tabs which subsection notes within them.

reply to u/taurusnoises and u/Leander_znsnsj at https://www.reddit.com/r/Zettelkasten/comments/162os2q/how_can_i_use_zettelkasten_as_a_high_school/

I'm generally in the same boat as u/taurusnoises and don't think that a Luhmann-artig ZK is necessarily the right way to go—particularly at the lower levels.

I would suggest that if interested students look closely at the overall set up, they'll find that the literature note portion is almost identical to that of the Cornell note-taking method. The primary differences between them are placing more emphasis on follow-up and review, forcing yourself to answer questions, and doing spaced repetition. (Of course, naturally, there's nothing wrong with doing all your Cornell Notes on index cards despite every version I've ever seen recommending sheets of paper!)

If you do ultimately choose to go with the expanded zettelkasten workflow, I would recommend you spend more time focusing on your own thoughts on the facts and ideas as they relate to the the Cornell portion. Focus more on the area of your major (or particular interests if you're still unsure of your major) in which you're most likely to need to create writing or other particular outputs. One or two good main cards a day with a full class load is a solid start.

Keep in mind that as you enter new areas, you will likely make lots of basic, factual, low level notes while you're learning. Don't worry about this (and don't ignore it either) as working with these ideas will help you to scaffold your knowledge and understand it better. You may not have lots of high quality main notes which will usually come as you get deeper into the nuances of your subject. You should still expect to find and generate insights though and these may be highly valuable as you need to execute projects or write papers.

Good luck!

https://www.dtsheffler.com/blog/2015-08-05-one-thought-per-note/ archive version: https://web.archive.org/web/20220124223433/https://www.dtsheffler.com/blog/2015-08-05-one-thought-per-note/

ᔥ[[abramdemski]] in The Zettelkasten Method (accessed:: 2023-08-25 12:00:07)

https://www.dtsheffler.com/blog/2014-07-21-two-goals-of-note-taking/ archive version: https://web.archive.org/web/20220528093415/https://www.dtsheffler.com/blog/2014-07-21-two-goals-of-note-taking/

ᔥ[[abramdemski]] in The Zettelkasten Method (accessed:: 2023-08-25 12:00:07)

A statement of the common "one idea per card" (or per note). He doesn't state it, but links to an article whose title is "One Thought Per Note".

Who else has use this or similar phrasing in the historical record? - Beatrice Webb certainly came pretty close. - Others?

This looks like the sort of structure note I might often make as I am a day or two into a literature review for a new area. It definitely helps to scaffold new ideas and identify specific areas which I may want to delve into more specifically. It's definitely been useful for me to begin linking things into other portions of my ZK to find areas of overlap with these new areas, so it's great to see you doing that with your Prometheus note already.

Coming from the science area you may want to look at cells or animals with autofluorescence or areas like green fluorescent protein (GFP) if that is of interest in the area of creatures which produce their own light.

—David Sedaris

https://www.nytimes.com/2012/04/15/books/review/the-author-of-squirrel-seeks-chipmunk-would-like-to-go-back-in-time-and-collect-kindling-for-flannery-oconnor.html#:~:text=Notewise%2C%20whenever%20I%20read%20a,learn%20what%20excellence%20feels%20like.

Quelle belle fin, c'est émouvant ! La fin est clairement moralisante, la leçon est claire : faire le bien, peu importe ce qui arrive ; prendre soin des gens pour le simple fait de faire le bien.

Encore et encore ! Fuite de l'être soigné

Encore une fois, le soin de l'autre permet d'égayer ces gens morts sans cela.

Un moineau

Traitement différent : en apparence, plus la force du soin ! Mais bien sûr, ils changent d'avis très rapidement.

Retour de l'animal en besoin de soin : ici l'oiseau...

Encore une fois, le temps c'est de l'argent dans ce livre

Encore l'analogie : morte, mais différement

Quel passage puissant, quel contraste !

Importance de la famille, de la génération, des aïeux : la fête mentionnée plus haut doit avoir rapport ici

Manon a totalement remplacé de but des frères, a pris la place de la famille (revenir sur le passage de l'incipit parlant de cet endroit comme familial, lieu générationnel, ici vendu, même si la soeur a accepté de leur laisser)...