808 Matching Annotations
- Apr 2023
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www.artidstandard.org www.artidstandard.org
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www.centrepompidou.fr www.centrepompidou.fr
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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www.atelier-lumieres.com www.atelier-lumieres.com
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<video controls> <source src="https://www.atelier-lumieres.com/sites/lum/files/kandinskyadl2022_nu15mo.mp4"> </video> 
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www.centrepompidou.fr www.centrepompidou.fr
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This is an American form,and it sent me straight into the arms of Thomas Jefferson at Monticello. And
Sets the historical context of Hamilton's work.
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docs.google.com docs.google.com
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www.kanopy.com www.kanopy.com
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Aby Warburg: Metamorphosis and Memory. Documentary, Biography, 2016. https://www.kanopy.com/en/lapl/video/5913764.
Written, Directed and Produced by Judith Wechsler<br /> Wechsler2016
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51:20 - [Aby] Not until art history can show51:22 that it sees the work of art51:23 in a few more dimensions than it has done so far51:27 will our activity again attract the interest of scholars51:31 and of the general public.51:36 Every serious scholar51:37 who has to venture on a problem of cultural history51:40 reads over the entrance to his workshop Goethe's lines:51:43 "What you call the spirit of the age51:46 "is really no more51:47 "than the spirit of the worthy historian51:49 "in which the age is reflected."51:57 In my role as psycho-historian,51:59 I tried to diagnose52:00 the schizophrenia of Western civilization52:02 from its images in an autobiographical reflex.52:10 May the history of art and the study of religion,52:13 between which lies nothing at present52:15 but wasteland overgrown with verbiage,52:18 meet together one day in learned and lucid minds,52:22 and may they share a workbench in the laboratory52:24 of the iconological science of civilization.
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12:03 - For art is not only something which is aesthetic relevant,12:07 but it's relevant in so many other dimensions too,12:11 partially, and intellectually,12:15 and there's a lot of knowledge enclosed within the artworks.
For art is not only something which is aesthetic relevant, but it's relevant in so many other dimensions too, partially, and intellectually, and there's a lot of knowledge enclosed within the artworks. —Michael Diers [00:12:03], art historian in Aby Warburg: Metamorphosis and Memory
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06:57 The entire range of emotional stirrings,06:59 aggression, defense, sacrifice, mourning,07:03 melancholia, ecstasy, triumph, et cetera, is expressed07:06 through the revival of movements, gestures, and postures,07:11 that is pathosformel:07:12 the expressive formulas of emotion07:15 either taken from ancient modes07:16 or reappearing as mnemonic traces in successive works.
The entire range of emotional stirrings, aggression, defense, sacrifice, mourning, melancholia, ecstasy, triumph, et cetera, is expressed through the revival of movements, gestures, and postures, that is pathosformel: the expressive formulas of emotion either taken from ancient modes or reappearing as mnemonic traces in successive works.
Original source for this? (Likely in German as original.)
Warburg is talking about the expression of current art through the lens of the classical arts and there is a throughline of "mnemonic traces" through out time.
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forum.artofmemory.com forum.artofmemory.com
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I just watched the documentary Aby Warburg: Metamorphosis and Memory (Wechsler, 2016) via Kanopy (for free using my local library's gateway) and thought that others here interested in the ideas of memory in culture, history, and art history may appreciate it. While a broad biography of a seminal figure in the development of art history in the early 20th century, there are some interesting bits relating to art and memory as well as a mention of Frances A. Yates whose research on memory was influenced by Warburg's library.
Also of "note" is the fact that Aby Warburg had a significant zettelkasten-based note taking practice and portions of his collection (both written as well as images) are featured within the hour long documentary.
Researchers interested in images, art, dance, and gesture as they relate to memory may appreciate this short film as an entrance into some of Aby Warburg's more specialized research which includes some cultural anthropology research into American Hopi indigenous peoples. cc: @LynneKelly
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www.youtube.com www.youtube.com
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Also I really want to see the someone using their zettlekasten for managing knowledge about stuff not zettlekasten related. Mine mainly revolves about artistic appretiation, creativity and art fundamentals. I've been wanting to make a video series about it, just havent find the time. Your videos serve much as inspiration and as example of how may I go about it.
reply to Sara Martínez at https://www.youtube.com/watch?v=wQPvrcksjUA&lc=UgzbdJ1cdxkjnN0DBOl4AaABAg
Sara, here are some creative/art-related examples that might help:<br /> Dancer/Choreographer Twyla Tharp used a slightly modified slip box method that included much more than notes on cards for her dance-related work. She describes the process well in chapter 6 of her book "The Creative Habit: Learn It and Use It for Life".
If you're into art and image-based work, Aby Warburg had a zettelkasten with images. Search for details on his "Mnemosyne Atlas" at The Warburg Institute at the School of Advanced Study University of London which has some material you may appreciate.
Product designer khimtan has a visual zettelkasten practice you can find examples of on Reddit in the "Antinet" sub.
A variety of comedians like Phyllis Diller, Joan Rivers, Bob Hope, and George Carlin had zettelkasten practices for their comedy work.
Eminem has a fantastic, but tremendously simple zettelkasten for songwriting. Taylor Swift has a somewhat similar digital version which she has talked about using, though she doesn't use the word zettelkasten to describe it.
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www.nytimes.com www.nytimes.com
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By the 1960s, Mr. Lorayne was best known for holding audiences rapt with feats of memory that bordered on the elephantine. Such feats were born, he explained in interviews and in his many books, of a system of learned associations — call them surrealist visual puns — that seemed equal parts Ivan Pavlov and Salvador Dalí.
"surrealist visual puns"
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linked.art linked.art
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mediation.centrepompidou.fr mediation.centrepompidou.fr
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www.centrepompidou.fr www.centrepompidou.fr
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www.lido-schema.org www.lido-schema.org
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www.wikidata.org www.wikidata.org
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www.offi.fr www.offi.fr
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philharmoniedeparis.fr philharmoniedeparis.fr
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www.dalekeiger.net www.dalekeiger.net
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The sound of one hand packing by Dale Keiger
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Art is thought that produces a thing. Art is muscle memory that produces a thing. Art is a search that produces a thing. Art is a practice that produces a thing.Art is work that produces a thing.
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www.cnap.fr www.cnap.fr
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www.musee-orangerie.fr www.musee-orangerie.fr
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<div class="field__items"> <div class="field__item"> <article data-history-node-id="51550" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/reflets-darbres-196309" class="node node--type-artwork node--promoted"> <figure role="figure" class="main-image"> <picture> 
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Reflets d'arbres
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<article data-history-node-id="50888" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/les-nuages-196302" class="node node--type-artwork node--promoted">
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Les Nuages
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<article data-history-node-id="51455" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/le-matin-clair-aux-saules-196308" class="node node--type-artwork node--promoted">
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Le Matin clair aux saules
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<article data-history-node-id="51265" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/les-deux-saules-196306" class="node node--type-artwork node--promoted">
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Les Deux Saules
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<article data-history-node-id="51172" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/soleil-couchant-196305" class="node node--type-artwork node--promoted">
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Soleil couchant
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<article data-history-node-id="51078" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/reflets-verts-196304" class="node node--type-artwork node--promoted">
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Reflets verts
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<article data-history-node-id="50983" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/matin-196303" class="node node--type-artwork node--promoted">
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Matin
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<article data-history-node-id="51361" role="article" about="https://www.musee-orangerie.fr/fr/oeuvres/le-matin-aux-saules-196307" class="node node--type-artwork node--promoted">
<figure role="figure" class="main-image">
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Le Matin aux saules
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fondation-monet.com fondation-monet.com
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fr.slideshare.net fr.slideshare.net
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www.slideshare.net www.slideshare.net
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www.slideshare.net www.slideshare.net
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www.learniiif.org www.learniiif.org
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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zenodo.org zenodo.org
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www.youtube.com www.youtube.com
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tanc-ahrc.github.io tanc-ahrc.github.io
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arks.org arks.org
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www.getty.edu www.getty.edu
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vocab.getty.edu vocab.getty.edu
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- sparql
- wikipedia:en=Getty_Thesaurus_of_Geographic_Names
- wikipedia:en=Getty_Vocabulary_Program
- culture
- wikipedia:en=Art_&_Architecture_Thesaurus
- wikipedia:en=Union_List_of_Artist_Names
- wikipedia:en=Cultural_Objects_Name_Authority
- art
- getty
- rdf
- wikipedia:en=Categories_for_the_Description_of_Works_of_Art
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www.getty.edu www.getty.edu
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vocab.getty.edu vocab.getty.edu
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linked.art linked.artModel1
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linked.art linked.art
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linked.art linked.art
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icom.museum icom.museum
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www.thefizzcollection.co.uk www.thefizzcollection.co.uk
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www.newyorker.com www.newyorker.com
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you wrote a bad story don delilo. it is boring. and stupid.
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beiner.substack.com beiner.substack.com
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So what does a conscious universe have to do with AI and existential risk? It all comes back to whether our primary orientation is around quantity, or around quality. An understanding of reality that recognises consciousness as fundamental views the quality of your experience as equal to, or greater than, what can be quantified.Orienting toward quality, toward the experience of being alive, can radically change how we build technology, how we approach complex problems, and how we treat one another.
Key finding Paraphrase - So what does a conscious universe have to do with AI and existential risk? - It all comes back to whether our primary orientation is around - quantity, or around - quality. - An understanding of reality - that recognises consciousness as fundamental - views the quality of your experience as - equal to, - or greater than, - what can be quantified.
- Orienting toward quality,
- toward the experience of being alive,
- can radically change
- how we build technology,
- how we approach complex problems,
- and how we treat one another.
Quote - metaphysics of quality - would open the door for ways of knowing made secondary by physicalism
Author - Robert Persig - Zen and the Art of Motorcycle Maintenance // - When we elevate the quality of each our experience - we elevate the life of each individual - and recognize each individual life as sacred - we each matter - The measurable is also the limited - whilst the immeasurable and directly felt is the infinite - Our finite world that all technology is built upon - is itself built on the raw material of the infinite
//
- Orienting toward quality,
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- Mar 2023
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www.nytimes.com www.nytimes.com
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“The hardest thing I’ve learned over the years is that I’m getting paid a lot of money to produce a movie, but sometimes the best thing to do is nothing,” he told The New York Times in 1992, when he was making “Hoffa.” “I don’t need to impose myself.”Nonetheless, he knew he played a vital role.“It’s the creative urge that makes me work,” he told American Film magazine for a 1988 article. “The pleasure is, to some extent, vicarious, but it’s no less creative for that. It is creating a world by bringing together creative financing with creative filmmakers. In a sense, producing can be compared to conceptual art.”
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collections.louvre.fr collections.louvre.fr
- Feb 2023
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all the data about how people how much 00:30:19 people ask for the values become creates a ranking of values according to the culture to the people so if you're from korea from taiwan from uk 00:30:32 from from italy uh it's different and so this is a periodic table of values where the values are organized in a hierarchy based on how people collect them 00:30:44 and and and then the values become of course words and this is a calligraphy of values that result from the process of using eeg
- values from different culture are displayed via eeg
-Comment - this display would make an excellent BEing journey to explore perspectival knowing, situatedness and the misunderstandings that emerge from different ways of seeing the world, different meanings attached to the same words, and different saliencies and priorities
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in korea during uh idea 2019 and at the end of the process what you 00:29:00 have designed the 3d model uh you you get you get a qr code and you cannot have it on a wallet and it's registered on the blockchain and so you can start trading 00:29:12 so just imagine that you trade happiness you trade love anarchy art autonomy peace purity you trade them as values becoming value 00:29:24 having a value and so people can decide by battering swapping them if you want if you want peace and love for power
- in Korea in 2019, Maurice installed as display using QR codes and Blockchain to explore transactions of values
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the public is invited to use eeg headband and this is a show in a in taipei mocha taipei and they have to give 00:28:08 shape to human abstractions and even to human values so to give shape is not giving shape by designing but giving shape by assessing the shape 00:28:20 so is the appreciation of the shape according to a concept a human concept
- another of Maurice's installation uses = EEG headbands
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to give shapes to concepts
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Comment
- this is quite literally neuroart
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i'll ask now maurice to tell us a bit about his work
- = Maurice Benayoun
- describes his extensive history of cognitive science infused art installations:
- cognitive art,
- VR art,
- AR art and
- art infused by AI (long before the AI artbots became trendy)
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title = What can cognitive science bring to art and museums?
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Comment = Maurice Benayoun has applied cognitive science, VR and AR too many at installations throughout his life.
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we start 00:15:48 two new big projects sponsored um with a lot of money to study art in the real world here in vienna
- two projects sponsored that studies art in the real world in vienna:
- small at installations on the streets
- written text in everyday Life
- two projects sponsored that studies art in the real world in vienna:
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to guide you through this 00:06:24 model very quickly was first published in 2004 it's a lot cited in the field of empirical aesthetics it tries to explain how we process artworks by claiming that there are perceptual analyzers followed by 00:06:38 implicit memory integrations or familiarity aspects then explicit classifications where the perceiver in his perception perceives the style or the content 00:06:51 and then followed by later stages that we called cognitive mastering
- Cognitive science model of what happens in the brain of a perceiver of art
- The model was first published in 2004 it's cited often in the field of empirical aesthetics
- it tries to explain how we process artworks by claiming that:
- there are perceptual analyzers followed by
- implicit memory integrations or familiarity aspects then
- explicit classifications where the perceiver in his perception perceives the style or the content
- followed by later stages that we called cognitive mastering
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cognitive scientists can also provide museums and artists with a specific understanding of how the interaction between artworks and viewers can operate 00:02:34 so to discuss potential applications of cognitive sciences to museums and art
- cognitive science can provide museums and artists with a specific understanding
- of how the interaction between artworks and viewers can operate
- this meeting explores potential applications of cognitive sciences to museums and art
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dl.acm.org dl.acm.org
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Döring, Tanja, and Steffi Beckhaus. “The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History.” In Proceedings of the 1st International Conference on Tangible and Embedded Interaction, 87–90. TEI ’07. New York, NY, USA: Association for Computing Machinery, 2007. https://doi.org/10.1145/1226969.1226986.
This looks fascinating with respect to note taking and subsequent arranging, outlining, and use of notes in human computer interaction space for creating usable user interfaces.
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Local file Local file
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Simultaneously, it showcases how little actually has changed with therise of digital platforms, where some scholars have sought to build software edifices toemulate card index systems or speak of ‘paper-based tangible interfaces’ for research(Do ̈ring and Beckhaus, 2007; Lu ̈decke, 2015).
Döring, T. and Beckhaus, S. (2007) ‘The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History’. Proceedings of the First International Conference on Tangible and Embedded Interaction, Baton Rouge, Louisiana, February 15-17, 2007. New York, ACM, pp. 87–90.
Did they have a working system the way Ludeke did?
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www.cyberneticforests.com www.cyberneticforests.com
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https://www.cyberneticforests.com/ai-images
Critical Topics: AI Images is an undergraduate class delivered for Bradley University in Spring 2023. It is meant to provide an overview of the context of AI art making tools and connects media studies, new media art, and data ethics with current events and debates in AI and generative art. Students will learn to think critically about these tools by using them: understand what they are by making work that reflects the context and histories of the tools.
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www.kunsthalle-bielefeld.de www.kunsthalle-bielefeld.de
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ᔥ[[Andreas Fasel]] in Niklas Luhmann: Ein Zettelkasten als zweites Gehirn at 2015-06-28<br /> (accessed:: 2023-02-13 11:45:39)
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Local file Local file
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Logging some keywords here for later cross referencing.
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The linocut medium is especially prevalent in the Torres Strait,where a handful of pioneering artists have mastered the art of printmaking (Robinson2001)
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Art is often focused on aesthetic, but more importantly, it is avisual embodiment of knowledge.
link to: Eddington quote https://hypothes.is/a/TNV2WqfpEe2Z24NgnWsZCg
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And yes, it is also very pretty.
understated quote of the day
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Hamacher, Duane W. “The Art of Star Knowledge.” In 65,000 Years: A Short History of Australian Art, edited by Judith Ryan and Marcia Langton. Melbourne, Australia: University of Melbourne Press, 2023. https://www.academia.edu/96537139/The_Art_of_Star_Knowledge.
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- Indigenous astronomy
- Brian Robinson
- linocut
- Alick Tipoti
- art
- Djulpan (Seven Sisters)
- cultural anthropology
- quotes
- Kek (April Star)
- Garnkiny
- Zugubals
- Kuki (monsoon season)
- printmaking
- references
- Indigenous art
- indigenous knowledge
- Dawool
- Nyapanyapa Yunupiŋu
- Zogo Le (Spiritual Man)
- Duane Hamacher
- orality
- aesthetics
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storage.courtlistener.com storage.courtlistener.com
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COMPLAINT filed with Jury Demand against Stability AI, Inc. Getty Images (US), Inc. v. Stability AI, Inc. (1:23-cv-00135) District Court, D. Delaware
https://www.courtlistener.com/docket/66788385/getty-images-us-inc-v-stability-ai-inc/
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arstechnica.com arstechnica.com
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Dall-E is actually a combination of a few different AI models. A transformer translates between that latent representation language and English, taking English phrases and creating “pictures” in the latent space. A latent representation model then translates between that lower-dimensional “language” in the latent space and actual images. Finally, there’s a model called CLIP that goes in the opposite direction; it takes images and ranks them according to how close they are to the English phrase.
How Dall-E works
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- Jan 2023
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[Cicero], and Harry Caplan (1896-1980). Ad C. Herennium de Ratione Dicendi (Rhetorica Ad Herennium). Loeb Classical Library, 403. Harvard University Press, 1964.
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One might call pirate legends, then, the most importantform of poetic expression produced by that emerging North Atlanticproletariat whose exploitation laid the ground for the industrialrevolution.
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static1.squarespace.com static1.squarespace.com
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there is a subject watching an object.
this is reminding me of the cave allegory
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www.reddit.com www.reddit.com
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I also have printed photos in my architecture and uniform section. And one or two memes that illustrate points very well 👀
Example of someone who reports printed photos and even memes in their zettelkasten.
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static1.squarespace.com static1.squarespace.com
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humans know more about the surface of Mars than the ocean floor.
Is this why we have more art that alludes to space than the deep sea? If so, why are we more willing to travel via sea rather than space?
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When I think about the blue goo, I think about how wonderful it is that we share some ancientancestor yet found ourselves on such divergent evolutionary paths. It’s funny that we call thesecreatures aliens; we know about them only because they exist on this planet, alongside us — ourfutures entangled together.Imbler 4
In reading this piece from Imbler and the overarching tone and movement of her article, I couldn't help but think of a discourse in the series Ted Lasso (Jason Suedeikis, AppleTV). Over a game of darts, Lasso talks about the need to "be curious, not judgmental." A simple suggestion, not dissimilar to the one put forth by Imbler, but one that points towards a deeper, more intentional engagement with the beings that we are confronted with.
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web.archive.org web.archive.org
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forum.zettelkasten.de forum.zettelkasten.de
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Zettelkasten for studying art?
Sometimes having examples of others' work can be helpful. In your case, perhaps perusing some zettelkasten work by previous users within the art/image space? In this respect some of the work by Aby Warburg may be interesting to you. I might suggest starting with his archive here: https://warburg.sas.ac.uk/archive/archive-collections/verknüpfungszwang-exhibition/mnemosyne-materials
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Then, once a model generates content, it will need to be evaluated and edited carefully by a human. Alternative prompt outputs may be combined into a single document. Image generation may require substantial manipulation.
After generation, results need evaluation
Is this also a role of the prompt engineer? In the digital photography example, the artist spent 80 hours and created 900 versions as the prompts were fine-tuned.
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hcommons.social hcommons.social
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Ryan Randall @ryanrandall@hcommons.socialEarnest but still solidifying #pkm take:The ever-rising popularity of personal knowledge management tools indexes the need for liberal arts approaches. Particularly, but not exclusively, in STEM education.When people widely reinvent the concept/practice of commonplace books without building on centuries of prior knowledge (currently institutionalized in fields like library & information studies, English, rhetoric & composition, or media & communication studies), that's not "innovation."Instead, we're seeing some unfortunate combination of lost knowledge, missed opportunities, and capitalism selectively forgetting in order to manufacture a market.
https://hcommons.social/@ryanrandall/109677171177320098
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www.cambridge.org www.cambridge.org
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Bacon, Bennett, Azadeh Khatiri, James Palmer, Tony Freeth, Paul Pettitt, and Robert Kentridge. “An Upper Palaeolithic Proto-Writing System and Phenological Calendar.” Cambridge Archaeological Journal, January 5, 2023, 1–19. https://doi.org/10.1017/S0959774322000415.
There may be questions as to whether or not this represents written language, but, if true, this certainly represents one of the oldest examples of annotation in human history!
cc: @remikalir
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We believe that we have demonstrated the use of abstract marks to convey meaning about the behaviour of the animals with which they are associated, on European Upper Palaeolithic material culture spanning the period from ~37,000 to ~13,000 bp. In our reading, the animals integral to our analytical modules do not depict a specific individual animal, but all animals of that species, at least as experienced by the images’ creators. This synthesis of image, mathematical syntax (the ordinal/linear sequences) and signs functioning as words formed an efficient means of recording and communicating information that has at its heart the core intellectual achievement of abstraction.
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We believe that the numeric notational marks associated with the animals constituted a calendar, and given that it references natural behaviour in terms of seasons relative to a fixed point in time, we may refer to it as a phenological calendar, with a meteorological basis.
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These may occur on rock walls, but were commonly engraved onto robust bones since at least the beginning of the European Upper Palaeolithic and African Late Stone Age, where it is obvious they served as artificial memory systems (AMS) or external memory systems (EMS) to coin the terms used in Palaeolithic archaeology and cognitive science respectively, exosomatic devices in which number sense is clearly evident (for definitions see d’Errico Reference d'Errico1989; Reference d'Errico1995a,Reference d'Erricob; d'Errico & Cacho Reference d'Errico and Cacho1994; d'Errico et al. Reference d'Errico, Doyon and Colage2017; Hayden Reference Hayden2021).
Abstract marks have appeared on rock walls and engraved into robust bones as artificial memory systems (AMS) and external memory systems (EMS).
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We also demonstrate that the <Y> sign, one of the most frequently occurring signs in Palaeolithic non-figurative art, has the meaning <To Give Birth>. The position of the <Y> within a sequence of marks denotes month of parturition, an ordinal representation of number in contrast to the cardinal representation used in tallies.
parturition<br /> the action of giving birth to young
<Y> potentially one of the first written "words"
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Using a database of images spanning the European Upper Palaeolithic, we suggest how three of the most frequently occurring signs—the line <|>, the dot <•>, and the <Y>—functioned as units of communication.
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- archaeology
- meteorological calendars
- material culture
- creativity
- data visualizations
- phenological calendars
- non-figurative art
- art
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- cultural anthropology
- absract marks on bones
- upper palaeolithic
- calendars
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- archaeoastronomy
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- Dec 2022
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www.reddit.com www.reddit.com
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I'm a multi-media artist, so I have many ideas about fashion pieces, artworks, music, etc. that i'd want to make. Would I plug in these ideas as 'fleeting notes' until they're more cemented? would you recommend I keep separate my 'original' ideas and the ZK note-taking system?
I gave some examples of uses in arts/media a while back that you might find interesting for your use case: https://www.reddit.com/r/antinet/comments/xdrb0k/comment/iofo5vv/?utm_source=reddit&utm_medium=web2x&context=3
In particular, a more commonplace book approach or something along the lines of Chapter 6 of Twyla Tharpe's book may be more useful or productive for your use case.
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en.wikipedia.org en.wikipedia.org
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Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.[1][2] Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms.
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www.newyorker.com www.newyorker.com
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“I have a trick that I used in my studio, because I have these twenty-eight-hundred-odd pieces of unreleased music, and I have them all stored in iTunes,” Eno said during his talk at Red Bull. “When I’m cleaning up the studio, which I do quite often—and it’s quite a big studio—I just have it playing on random shuffle. And so, suddenly, I hear something and often I can’t even remember doing it. Or I have a very vague memory of it, because a lot of these pieces, they’re just something I started at half past eight one evening and then finished at quarter past ten, gave some kind of funny name to that doesn’t describe anything, and then completely forgot about, and then, years later, on the random shuffle, this thing comes up, and I think, Wow, I didn’t hear it when I was doing it. And I think that often happens—we don’t actually hear what we’re doing. . . . I often find pieces and I think, This is genius. Which me did that? Who was the me that did that?”
Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.
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Eno’s strategies don’t always appeal to the musicians he works with. In Geeta Dayal’s book about the album, also titled “Another Green World,” the bassist Percy Jones recalls, “There was this one time when he gave everybody a piece of paper, and he said write down 1 to 100 or something like that, and then he gave us notes to play against specific numbers.” Phil Collins, who played drums on the album, reacted to these instructions by throwing beer cans across the room. “I think we got up to about 24 and then we gave up and did something else,” Jones said.
Example of Brian Eno using combinatorial creativity using cards to generate music.
This sounds similar to a process used by Austin Kleon which I've noted before.
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“I thought that art schools should just be places where you thought about creative behavior, whereas they thought an art school was a place where you made painters,” he said later.
We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.
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At Ipswich, he studied under the unorthodox artist and theorist Roy Ascott, who taught him the power of what Ascott called “process not product.”
"process not product"
Zettelkasten-based note taking methods, and particularly that followed by Luhmann, seem to focus on process and not product.
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Behind Eno stand John Cage, Marcel Duchamp, and Erik Satie, but those guys didn’t make pop records.
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- John Cage
- Phil Collins
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- Percy Jones
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- Brian Eno
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paris-bise-art.blogspot.com paris-bise-art.blogspot.com
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meso.tzyl.nl meso.tzyl.nl
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www.dalekeiger.net www.dalekeiger.net
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https://www.dalekeiger.net/untitled/
Dale Keiger is tap dancing his way into a definition for the underlying traits for encouraging and expanding on creativity. There's definitely something here worth pursuing further and giving a specific name to.
Some it is very akin to the ideas behind combinatorial creativity of working (dancing in Kelly's case) on the mundane with precision and drive and perhaps at least a soupçon of obsessiveness, but openness to the new.
How can we sharpen this set of ideas to settle on the right list of "ingredients"? Is there a way to hone in on this sort of creation of flow within a certain creative area while simultaneously not getting bored? Is it the small string of creative breakthroughs in the process of practice which open up new avenues and help create the flow to prevent boredom?
How might relate to Anders Ericsson's work on on deliberate practice or plateau principle coming into play, particularly to prevent boredom to encourage one to continue on with their practice?
I haven't put my finger on it but there were hints in it from a Yo-Yo Ma ad for Masterclass I saw the other day (https://www.youtube.com/watch?v=dbjgHkj-syM)..
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- Nov 2022
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www.eyemagazine.com www.eyemagazine.com
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www.dalekeiger.net www.dalekeiger.net
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But Dr Essai has observed time and again how the finest artists are the ones whose idea of fun is spending hour after hour, day after day doing the same thing over and over and over and over. And then some more.
This seems to fit in with Malcolm Gladwell's observation about Paul Simon see: https://hypothes.is/a/Kd7X4lvPEe250Gvn57Pbdg
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en.wikipedia.org en.wikipedia.org
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Donations
To add some other intermediary services:
- ko-fi (site for contribution)
- GitHub sponsors (for GitPages)
- itch.io (for games)
- Gumroad (for sites and repositories)
- Patreon (for fan interaction)
To add a service for groups:
To add a service that enables fans to support the creators directly and anonymously via microdonations or small donations by pre-charging their Coil account to spend on content streaming or tipping the creators' wallets via a layer containing JS script following the Interledger Protocol proposed to W3C:
If you want to know more, head to Web Monetization or Community or Explainer
Disclaimer: I am a recipient of a grant from the Interledger Foundation, so there would be a Conflict of Interest if I edited directly. Plus, sharing on Hypothesis allows other users to chime in.
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- community
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www.space-invaders.com www.space-invaders.com
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/Oblique_Strategies
So much to unpack here.
Similar to experiments I've seen by Henry James Korn (esp. The Pontoon Manifesto), John Irwin, etc.
Similarities to means of forcing Llullan combinatorial creativity, but in alternate form.
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en.wikipedia.org en.wikipedia.org
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In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice.
Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.
Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.
We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.
In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.
see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/
Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).
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benfry.com benfry.com
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What a spectacular visualization of Darwin's On the Origin of Species.
Richard Carter will love this if he's not seen it.
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www.jeremycherfas.net www.jeremycherfas.net
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delong.typepad.com delong.typepad.com
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And this is the art-the skill or craftthat we are talking about here.
We don't talk about the art of reading or the art of note making often enough as a goal to which students might aspire. It's too often framed as a set of rules and an mechanical process rather than a road to producing interesting, inspiring, or insightful content that can change humanity.
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www.google.com www.google.com
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Blake, Vernon. Relation in Art: Being a Suggested Scheme of Art Criticism, with Which Is Incorporated a Sketch of a Hypothetic Philosophy of Relation. Oxford University Press, H. Milford, 1925. https://www.google.com/books/edition/Relation_in_Art/BcAgAAAAMAAJ?hl=en
Suggested by
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>"Relation in Art" by Vernon Blake (1925), because it put art criticism on a quasi-scientific footing, articulated what was great about the art of all epochs (including the Greeks), and intelligently criticised the decline of art in the 20th century.
— Codex OS (@codexeditor) November 5, 2022
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- Oct 2022
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detsyntetiskeparti.wordpress.com detsyntetiskeparti.wordpress.com
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The synthetic party, a Danish political party with an AI generated program from all Danish fringe party programs since the 70s. Aimed at the 20% non-voting Danes. 'Leder Lars' is leading the party, which is a chatbot residing on a Discord server where you can interact with it. An art project.
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benwerd.substack.com benwerd.substack.com
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Congratulations (I guess?) on finding my semi-secret Substack: a place away from my main site to discuss my journey from technologist (a pompous term that really just means I do computers) to writer (a pompous term that really just means I do computers but now it’s art).
This quote is art... :)
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www.gutenberg.org www.gutenberg.org
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Les murs du cabinet de travail, le plancher, le plafond même portaient des liasses débordantes, des cartons démesurément gonflés, des boîtes où se pressait une multitude innombrable de fiches, et je contemplai avec une admiration mêlée de terreur les cataractes de l'érudition prêtes à se rompre. —Maître, fis-je d'une voix émue, j'ai recours à votre bonté et à votre savoir, tous deux inépuisables. Ne consentiriez-vous pas à me guider dans mes recherches ardues sur les origines de l'art pingouin? —Monsieur, me répondit le maître, je possède tout l'art, vous m'entendez, tout l'art sur fiches classées alphabétiquement et par ordre de matières. Je me fais un devoir de mettre à votre disposition ce qui s'y rapporte aux Pingouins. Montez à cette échelle et tirez cette boîte que vous voyez là-haut. Vous y trouverez tout ce dont vous avez besoin. J'obéis en tremblant. Mais à peine avais-je ouvert la fatale boîte que des fiches bleues s'en échappèrent et, glissant entre mes doigts, commencèrent à pleuvoir. Presque aussitôt, par sympathie, les boîtes voisines s'ouvrirent et il en coula des ruisseaux de fiches roses, vertes et blanches, et de proche en proche, de toutes les boîtes les fiches diversement colorées se répandirent en murmurant comme, en avril, les cascades sur le flanc des montagnes. En une minute elles couvrirent le plancher d'une couche épaisse de papier. Jaillissant de leurs inépuisables réservoirs avec un mugissement sans cesse grossi, elles précipitaient de seconde en seconde leur chute torrentielle. Baigné jusqu'aux genoux, Fulgence Tapir, d'un nez attentif, observait le cataclysme; il en reconnut la cause et pâlit d'épouvante. —Que d'art! s'écria-t-il. Je l'appelai, je me penchai pour l'aider à gravir l'échelle qui pliait sous l'averse. Il était trop tard. Maintenant, accablé, désespéré, lamentable, ayant perdu sa calotte de velours et ses lunettes d'or, il opposait en vain ses bras courts au flot qui lui montait jusqu'aux aisselles. Soudain une trombe effroyable de fiches s'éleva, l'enveloppant d'un tourbillon gigantesque. Je vis durant l'espace d'une seconde dans le gouffre le crâne poli du savant et ses petites mains grasses, puis l'abîme se referma, et le déluge se répandit sur le silence et l'immobilité. Menacé moi-même d'être englouti avec mon échelle, je m'enfuis à travers le plus haut carreau de la croisée.
France, Anatole. L’Île Des Pingouins. Project Gutenberg 8524. 1908. Reprint, Project Gutenberg, 2005. https://www.gutenberg.org/cache/epub/8524/pg8524.html
Death by Zettelkasten!!
(Coming soon to a theater near you...)
In the preface to the novel Penguin Island (L'Île des Pingouins. Calmann-Lévy, 1908) by Nobel prize laureate Anatole France, a scholar is drowned by an avalanche of index cards which formed a gigantic whirlpool streaming out of his card index (Zettelkasten).
Link to: Historian Keith Thomas has indicated that he finds it hard to take using index cards for excerpting and research seriously as a result of reading this passage in the satire Penguin Island.<br /> https://hypothes.is/a/rKAvtlQCEe2jtzP3LmPlsA
Translation via: France, Anatole. Penguin Island. Translated by Arthur William Evans. 8th ed. 1908. Reprint, New York, NY, USA: Dodd, Mead & Co., 1922. https://www.google.com/books/edition/Penguin_Island/6UpWAvkPQaEC?hl=en&gbpv=0
Small changes in the translation by me, comprising only adding the word "index" in front of the occurrences of card to better represent the historical idea of fiches used by scholars in the late 1800s and early 1900s, are indicated in brackets.
The walls of the study, the floor, and even the ceiling were loaded with overflowing bundles, paste board boxes swollen beyond measure, boxes in which were compressed an innumerable multitude of small [index] cards covered with writing. I beheld in admiration mingled with terror the cataracts of erudition that threatened to burst forth.
“Master,” said I in feeling tones, “I throw myself upon your kindness and your knowledge, both of which are inexhaustible. Would you consent to guide me in my arduous researches into the origins of Penguin art?"
“Sir," answered the Master, “I possess all art, you understand me, all art, on [index] cards classed alphabetically and in order of subjects. I consider it my duty to place at your disposal all that relates to the Penguins. Get on that ladder and take out that box you see above. You will find in it everything you require.”
I tremblingly obeyed. But scarcely had I opened the fatal box than some blue [index] cards escaped from it, and slipping through my fingers, began to rain down.
Almost immediately, acting in sympathy, the neighbouring boxes opened, and there flowed streams of pink, green, and white [index] cards, and by degrees, from all the boxes, differently coloured [index] cards were poured out murmuring like a waterfall on a mountain-side in April. In a minute they covered the floor with a thick layer of paper. Issuing from their in exhaustible reservoirs with a roar that continually grew in force, each second increased the vehemence of their torrential fall. Swamped up to the knees in cards, Fulgence Tapir observed the cataclysm with attentive nose. He recognised its cause and grew pale with fright.
“ What a mass of art! ” he exclaimed.
I called to him and leaned forward to help him mount the ladder which bent under the shower. It was too late. Overwhelmed, desperate, pitiable, his velvet smoking-cap and his gold-mounted spectacles having fallen from him, he vainly opposed his short arms to the flood which had now mounted to his arm-pits . Suddenly a terrible spurt of [index] cards arose and enveloped him in a gigantic whirlpool. During the space of a second I could see in the gulf the shining skull and little fat hands of the scholar; then it closed up and the deluge kept on pouring over what was silence and immobility. In dread lest I in my turn should be swallowed up ladder and all I made my escape through the topmost pane of the window.
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henrikaufman.typepad.com henrikaufman.typepad.com
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www.flickr.com www.flickr.comMissTic1
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www.aaa.si.edu www.aaa.si.edu
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Card File by Robert Morris, 1961 Russell, Walter, photographer
https://www.aaa.si.edu/collections/items/detail/card-file-robert-morris-11090
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www.artsy.net www.artsy.net
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Card File, 1962Metal, wood, paper26 5/8 × 10 5/8 × 1 9/16 in67.6 × 27 × 4 cmNational Gallery of Art, Washington, D.C.
https://www.artsy.net/artwork/robert-morris-1931-2018-card-file
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Local file Local file
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Built and assembled without anyparticular significance or any value, Walter de Maria's Boxes for MeaninglessWork could also be an echo of Duchamp's sound strategies. In aparallel project, Robert Morris realized Card File (1962-3), a series ofcards on which a series of hazy concepts are written and laid out alphabetically on a vertical support. Through this initial process, Morriscreated a description of the necessary stages required to achieve thework. The terms used in this file include such things as accidents,alphabets, cards, categories, conception, criticism, or decisions, dissatisfactions, durations, forms, future, interruptions, names, numbers,possibilities, prices, purchases, owners, and signature. As a result, thework had no content other than the circumstances of its execution.Through this piece, Morris also asserted that if one wished to understand and penetrate all subtleties of the work, one would have toconsider all the methods used in bringing it forth. The status of thework of art is immediately called into question, because the range ofcards can undergo a change:In a broad sense art has always been on object, static and final, eventhough structurally it may have been a depiction or existed as afragment. What is being attacked, however, is something more thanart as icon. Under attack is the rationalistic notion that art is a formof work that results in a finished product. Duchamp, of course,attacked the Marxist notion that labor was an index of value, butReadymades are traditionally iconic art objects. What art now has inits hand ismutable stuffwhich need not arrive at the point of beingfinalized with respect to either time or space. The notion thatworkis an irreversible process ending in a static icon-object no longer hasmuch relevance.25Marcel Duchamp's musical and "Dismountable approximation" illustrate this process perfectly. John Cage recalled that "for his final opus,Given: 1. The Waterfall, 2. The Illuminating Gas, exhibited in Philadelphia, [Duchamp] wrote a book [the "Dismountable approximation"]that provided a blueprint for dismantling the work and rebuilding it.26It also provided information on how to proceed, as well as the only definition of the musical notation, isn't that so? So it is a musical work ofart; because when you follow the instructions you produce sounds."27But Given: 1. The Waterfall, 2. The Illuminating Gas was never createdas a musical piece, even though it is entirely "possible to do it. . . .Andif one takes it like a musical piece, one gets the piece [that Duchamp]This content downloaded from 194.27.18.18 on Fri, 18 Dec 2015 12:35:27 UTCAll use subject to JSTOR Terms and Conditions
card file as art!
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Sophie Stévance and Catrina Flint de Médicis. “Marcel Duchamp’s Musical Secret Boxed in the Tradition of the Real: A New Instrumental Paradigm.” Perspectives of New Music, vol. 45, no. 2, 2007, pp. 150–70. https://www.jstor.org/stable/25164661
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www.jstor.org www.jstor.org
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Teatr Maly - Kartoteka - Rozewicz (The Card File by Rozewicz, Maly Theater)Creatordesigner: Maciej Urbaniec (Polish, 1925-2004)
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- Sep 2022
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news.artnet.com news.artnet.com
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“I think it’s such a fascinating story,” Martin said. He also appreciated collecting in an area where there wasn’t a huge amount of established scholarship. “It’s fun to have something to study, to try to understand, to apply your critical eye to without any outside pressure,” he added. “There’s not a lot of promotion about [these] artists. You just have to find it out yourself.”
Reading and studying it all without any regard to the Indigenous culture. Steve Martin is using Western perspectives to attempt to understand non-Western art which has a different basis.
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https://news.artnet.com/art-world/steve-martin-indigenous-art-national-arts-club-2180438
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bykvu.com bykvu.com
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Ukrainian artist Lubov Panchenko became famous in the 1960s with her pictures full of folk motifs. She was persecuted by the Soviet authorities for her works that revived Ukrainian culture.
one of my favorite artists!
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www.reddit.com www.reddit.com
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Posted byu/piloteris16 hours agoCreative output examples .t3_xdrb0k._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } I am curious about examples, if any, of how an anti net can be useful for creative or artistic output, as opposed to more strictly intellectual articles, writing, etc. Does anyone here use an antinet as input for the “creative well” ? I’d love examples of the types of cards, etc
They may not necessarily specifically include Luhmann-esque linking, numbering, and indexing, but some broad interesting examples within the tradition include: Comedians: (see https://en.wikipedia.org/wiki/Zettelkasten for references/articles) - Phyllis Diller - Joan Rivers - Bob Hope - George Carlin
Musicians: - Eminem https://boffosocko.com/2021/08/10/55794555/ - Taylor Swift: https://hypothes.is/a/SdYxONsREeyuDQOG4K8D_Q
Dance: - Twyla Tharpe https://www.amazon.com/gp/product/B000SEOWBG/ (Chapter 6)
Art/Visual - Aby Warburg's Mnemosyne Atlas: https://warburg.sas.ac.uk/archive/archive-collections/verkn%C3%BCpfungszwang-exhibition/mnemosyne-materials
Creative writing (as opposed to academic): - Vladimir Nabokov https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html - Jean Paul - https://www.tandfonline.com/doi/abs/10.1080/00168890.2018.1479240 - https://journals.co.za/doi/abs/10.10520/EJC34721 (German) - Michael Ende https://www.amazon.com/Michael-Endes-Zettelkasten-Skizzen-Notizen/dp/352271380X
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warburg.sas.ac.uk warburg.sas.ac.uk
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Knowing about Aby Warburg's zettelkasten use, I'd noticed that the Mnemosyne Atlas looked suspiciously like a visual version of a zettelkasten, but with images instead of index cards or slips. Apparently I'm not the first...
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www.klitsa-antoniou.com www.klitsa-antoniou.com
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This space that remained empty for decades now becomes a place; a distinction between space and place, where spaces gain authority not from space appreciated mathematically but place appreciated through human experience. The whole of the interior is painted in black a symbolic act of obliterating the signs of the past and then it is lit up with Black lights in a bold gesture of re- evoking urban memory. The interior building’s structure is re-traced by lines which eventually turns into Mais’ own words glowing in black light, re-animating his workshop and turning it into a beacon of light. This urban structure is torn out of the dust of oblivion for all to see, remember, read and be animated by; a subjective dialogue on social conditions between people and their changing society is created rising from the ground and lighting- up from within.
I wonder if any of the zettelkasten fans might blow their slips up and decorate their walls with them? Zettelhaus anyone?
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art109textbook.wordpress.com art109textbook.wordpress.com
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Art
Tracy and I would've been more interested in seeing more depictions of the negative aspects of religion which weren't addressed enough. A good example of this would've been possibly the Salem Witch Trials and the Last Judgement.
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- Aug 2022
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www.npr.org www.npr.org
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At the time he was selling, Jay-Z was also coming up with rhymes. He normally wrote down his material in a green notebook he carried around with him — but he never took the notebook with him on the streets, he says. "I would run into the corner store, the bodega, and just grab a paper bag or buy juice — anything just to get a paper bag," he says. "And I'd write the words on the paper bag and stuff these ideas in my pocket until I got back. Then I would transfer them into the notebook. As I got further and further away from home and my notebook, I had to memorize these rhymes — longer and longer and longer. ... By the time I got to record my first album, I was 26, I didn't need pen or paper — my memory had been trained just to listen to a song, think of the words, and lay them to tape." Since his first album, he says, he's never written down any of his lyrics. "I've lost plenty of material," he says. "It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material. ... Think about when you can't remember a word and it drives you crazy. So imagine forgetting an entire rhyme. 'What's that? I said I was the greatest something?' "
In his youth, while selling drugs on the side, Jay-Z would write down material for lyrics into a green notebook. He never took the notebook around with him on the streets, but instead would buy anything at a corner store just for the paper bags as writing material. He would write the words onto these paper bags and stuff them into his pockets (wearable Zettelkasten anyone? or maybe Zetteltasche?) When he got home, in long standing waste book tradition, he would transfer the words to his notebook.
Jay-Z has said he hasn't written down any lyrics since his first album, but warns, "I've lost plenty of material. It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material."
https://ondemand.npr.org/anon.npr-mp3/npr/fa/2010/11/20101116_fa_01.mp3
Link to: https://hypothes.is/a/T3Z38uDUEeuFcPu2U_w_zA (Jonathan Edwards' zettelmantle)
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news.artnet.com news.artnet.com
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Phenomena can be so familiar that wereally do not see them at all, a matter that has been much discussed by literarytheorists and philosophers. For example, Viktor Shklovskij in the early 1920sdeveloped the idea that the function of poetic art is that of “making strange”the object depicted. “People living at the seashore grow so accustomed to themurmur of the waves that they never hear it. By the same token, we scarcelyever hear the words which we utter . . . We look at each other, but we do not seeeach other any more. Our perception of the world has withered away; what hasremained is mere recognition.”
Fish in water effect
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prezi.com prezi.com
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esta apresentação sobre pintura zen é muito interessante
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www.luannudell.com www.luannudell.com
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via Jon Udell
Perhaps an artist to commission for constructing interesting mnemonic devices?
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artbase.rhizome.org artbase.rhizome.org
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queers in love at the end of the world is a hypertext game built on the Twine platform in which the player experiences fleeting intimacy in a ten-second narrative. In the upper left of the browser window, a timer counting down the seconds prompts the reader to move quickly, advancing the narrative by clicking highlighted action words with little time to deliberate or savor the moments chosen before "Everything is wiped away.
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www.flavorwire.com www.flavorwire.com
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dys4ia and a lot of the games loosely grouped with it were all made on Twine, a programming language for making hypertext games that was created in 2009 by Chris Klimas and intended for writers looking to experiment with literature. Skeptics argue that these creations are too simplistic and linear to be considered “games.”
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www.reddit.com www.reddit.com
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I just frowned at my cardboard boxes.I’m aiming to build something similar out of wood soon. But I also had an idea to build a bookshelf with drawers incorporated, a row of vertical draws on both sides of the shelf and/or one down the middle. Ideally creating book cubbies between the drawers where I could organize related books next to appropriate zettles. Not sure how attached to that idea I am though, seems like something I will like for the moment and find very novel in the future (pun certainly intended).
reply to GnauticalGnorman
Don't frown at cardboard. Everyone starts their journey with a single card and a humble box. Filling up a first box is an accomplishment that gives you time to dream about the box you want to have.
Of potential interest, the cost of index cards to fill these files will be almost the investment in the box itself. Is this similar to the rule of thumb in the art world that the price of the frame should reflect the investment in the artwork?
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Systematische Anleitung zur Theorie und Praxis der Mnemonik : nebst den Grundlinien zur Geschichte u. Kritik dieser Wissenschaft : mit 3 Kupfertaf. by Johann Christoph Aretin( Book )18 editions published in 1810 in 3 languages and held by 52 WorldCat member libraries worldwide
Google translation:<br /> Systematic instructions for the theory and practice of mnemonics: together with the basic lines for the history and criticism of this science: with 3 copper plates.
First published in 1810 in German
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ConradCeltes, a German poet of some renown,‘born in 1459, made the great discoverythat the alphabet could be substituted in
Mnemonics for the places or pictures used by his predecessors. The historians of Mnemonics, especially Aretin, Reventlow, and the learned and famous bibliographer, Edward Marie Oettinger, in Leipzic, to whom I owe the above-mentioned and some of the following details on the history of Mnemonics, give a dozen other names of authors on Mnemonics belonging to this epoch.*
Edward Pick mentions Conrad Celtes in passing for having "made the great discovery that the alphabet could be substituted in Mnemonics for the places and pictures used by his predecessors. He doesn't provide a textual source for the information.
Pick indicates that his primary sources were Edward Marie Oettinger, (Johann Christoph Freiherr von) Aretin, and (Carl Otto) Reventlow who may have more detail on Celte's potential influence on the major system as well as potential alternate names from that era.
see also: - https://en.wikipedia.org/wiki/Eduard_Maria_Oettinger<br /> - History of Mnemonics by J. Ch, Baron von Aretin
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- Jul 2022
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www.jwz.org www.jwz.org
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Feels like Tales From The Loop-y era Simon Stålenhag. Previously.
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docdrop.org docdrop.org
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Writing is a craft for most of us, not an art.
Or framed differently:
The art in writing is knowing that it is really a craft.
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gist.github.com gist.github.com
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3.3 Appreciate the art of thoughtful disagreement.
3.3 Appreciate the art of thoughtful disagreement.
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www.npr.org www.npr.org
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Vinzenz Brinkmann, Head of the Department of Antiquity at the Liebieghaus Sculpture Collection in Frankfurt am Main, said when he first started researching polychromy 40 years ago, "no one had interest in this for years, no one collected the clearly visible evidence. Except for me. I collected the evidence like a stamp collection."
Ancient statuary wasn't white as we often see now in museums, but was brightly colored. Statuary that was outside would have been sun bleached over time as well as subject to other weathering to mute or entirely remove color.
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www.liberation.fr www.liberation.fr
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Le white cube a tendance à réverbérer le son et j’ai annulé ma participation à pas mal d’expos trop fournies en pièces sonores, au point qu’elles se parasitaient. Il faut aussi se battre pour que la pièce ne soit pas présentée pendant un vernissage.
Le probleme du son dans les white cubes
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Violaine Lochu qui tient à faire entendre, dans ses performances parlées ou ses installations, «les voix minoritaires, qui n’ont pas ou peu ou mal, accès à l’écriture» et demeurent à peine audibles. Il y a un an, à Vallauris, au musée Picasso, elle faisait ainsi entendre ce que la population locale, des femmes en situation précaire aux anciens combattants de la guerre d’Algérie, avait sur le cœur.
Rendre visibles les invisibles
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Moi, je suis du côté du contemporain.
L'oralite dans l'oeuvre d'Anne Le Troter et son rapport aux premieres luttes de la poesie sonore.
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news.artnet.com news.artnet.com
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During the seventeenth century, this associative view vanished and was replaced by more literallydescriptive views simply of the thing as it exists in itself.
The associative emblematic worldview prevalent prior to the seventeenth century began to disappear within Western culture as the rise of the early modern period and the beginning of the scientific revolution began to focus on more descriptive modes of thought and representation.
Have any researchers done specific work on this shift from emblematic to the descriptive? What examples do they show which support this shift? Any particular heavy influences?
This section cites:<br /> William B. Ashworth, Jr. “Natural History and the Emblematic World View,” in Reappraisals of the Scientific Revolution, David C. Lindberg and Robert S. Westfall, eds #books/wanttoread<br /> which could be a place to start.
Note that this same shift from associative and emblematic to descriptive and pedantic coincides not only with the rise of the scientific revolution but also with the effects of rising information overload in a post-Gutenberg world as well as the education reforms of Ramus (late 1500s) et al. as well as the beginning of the move away from scholasticism.
Is there any evidence to support claims that this worldview stemmed from pagan traditions and cultures and not solely the art of memory traditions from ancient Greece? Could it have been pagan traditions which held onto these and they were supplemented and reinforced by ecclesiastical forces which used the Greek traditions?
Examples of emblematic worldview: - particular colors of flowers meant specific things (red = love, yellow = friendship, etc.) We still have these or remants - Saints had their associative animals and objects - anniversary gifts had associative meanings (paper, silver, gold, etc.) We still have remnants of these things, though most are associated with wealth (gold, silver, platinum anniversaries). When did this tradition actually start? - what were the associative meanings of rabbits, turtles, and other animals which appear frequently in manuscript marginalia? (We have the example of the bee (Latin: apes) which where frequently used this way as being associated with the idea of imitation.) - other broad categories?
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drive.google.com drive.google.com
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Unfortunately, many corporate software programsaim to level or standardise the differences betweenindividual workers. In supporting knowledgeworkers, we should be careful to provide tools whichenable diversification of individuals’ outputs.Word-processors satisfi this criterion; tools whichembed a model of a knowledge worker’s task in thesoftware do not.
Tools which allow for flexibility and creativity are better for knowledge workers than those which attempt to crystalize their tasks into ruts. This may tend to force the outputs in a programmatic way and thereby dramatically decrease the potential for innovative outputs. If the tools force the automation of thought without a concurrent increase in creativity then one may as well rely on manual labor for their thinking.
This may be one of the major flaws of tools for thought in the educational technology space. They often attempt to facilitate the delivery of education in an automated way which dramatically decreases the creativity of the students and the value of the overall outputs. While attempting to automate education may suit the needs of institutions which are delivering the education, particularly with respect to the overall cost of delivery, the automation itself is dramatically at odds with the desire to expand upon ideas and continue innovation for all participants involved. Students also require diverse modes of input (seen/heard) as well as internal processing followed by subsequent outputs (written/drawn/sculpted/painted, spoken/sung, movement/dance). Many teachers don't excel at providing all of these neurodiverse modes and most educational technology tools are even less flexible, thus requiring an even larger panoply of them (often not interoperable because of corporate siloing for competitive reasons) to provide reasonable replacements. Given their ultimate costs, providing a variety of these tools may only serve to increase the overall costs of delivering education or risk diminishing the overall quality. Educators and institutions not watching out for these traps will tend to serve only a small portion of their intended audiences, and even those may be served poorly as they only receive a limited variety of modalities of inputs and outputs. As an example Western cultures' overreliance on primary literacy modes is their Achilles' heel.
Tools for thought should actively attempt to increase the potential solution spaces available to their users, while later still allowing for focusing of attention. How can we better allow for the divergence of ideas and later convergence? Better, how might we allow for regular and repeated cycles of divergence and convergence? Advanced zettelkasten note taking techniques (which also allow for drawing, visual, auditory and other modalities beyond just basic literacy) seem to allow for this sort of practice over long periods of time, particularly when coupled with outputs which are then published for public consumption and divergence/convergence cycles by others.
This may also point out some of the stagnation allowed by social media whose primary modes is neither convergence nor divergence. While they allow for the transmission/communication portion, they primarily don't actively encourage their users to closely evaluate the transmitted ideas, internalize them, or ultimately expand upon them. Their primary mode is for maximizing on time of attention (including base emotions including excitement and fear) and the lowest levels of interaction and engagement (likes, retweets, short gut reaction commentary).
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- Jun 2022
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As powerful and necessary as divergence is, if all we ever do isdiverge, then we never arrive anywhere.
Tiago Forte frames the creative process in the framing of divergence (brainstorming) and convergence (connecting ideas, editing, refining) which emerged out of the Stanford Design School and popularized by IDEO in the 1980s and 1990s.
But this is just what the more refined practices of maintaining a zettelkasten entail. It's the creation of profligate divergence forced by promiscuously following one's interests and collecting ideas along the way interspersed with active and pointed connection of ideas slowly creating convergence of these ideas over time. The ultimate act of creation finally becomes simple as pulling one's favorite idea of many out of the box (along with all the things connected to it) and editing out any unnecessary pieces and then smoothing the whole into something cohesive.
This is far less taxing than sculpting marble where one needs to start with an idea of where one is going and then needs the actual skill to get there. Doing this well requires thousands of hours of practice at the skill, working with smaller models, and eventually (hopefully) arriving at art. It's much easier if one has the broad shapes of the entirety of Rodin, Michelangelo, and Donatello's works in their repository and they can simply pull out one that feels interesting and polish it up a bit. Some of the time necessary for work and practice are still there, but the ultimate results are closer to guaranteed art in one domain than the other.
Commonplacing or slipboxing allows us to take the ability to imitate, which humans are exceptionally good at (Annie Murphy Paul, link tk), and combine those imitations in a way to actively explore and then create new innovative ideas.
Commonplacing can be thought of as lifelong and consistent practice of brainstorming where one captures all the ideas for later use.
Link to - practice makes perfect
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This standardized routine is known as the creative process, and itoperates according to timeless principles that can be foundthroughout history.
If the creative process has timeless principles found throughout history, why aren't they written down and practiced religiously withing our culture that is so enamored of creativity and innovation?
As an example of how this isn't true, we've managed to lose our commonplace tradition and haven't really replaced it with anything useful. Even the evolved practice of the zettelkasten has been created and generally discarded (pun intended) without replacement.
How much of our creative process is reliant on simple imitation, which is a basic human trait? It's typically more often that imitation juxtaposed with other experiences which is the crucible of innovation. How often, if ever, is true innovation in an entirely different domain created? By this I mean innovation outside of the adjacent possible domains from which it stems? Are there any examples of this?
Even my own note taking practice is a mélange of broad imitation of what I read combined with the combinatorial juxtaposition of other ideas in an attempt to create new ideas.
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Wayne LacsonForte: On My Way To Me
https://fortelabs.co/blog/wayne-lacson-forte-on-my-way-to-me/
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Tharp calls her approach “the box.”
In The Creative Habit, dancer and choreographer Twyla Tharp has creative inspiration and note taking practice which she calls "the box" in which she organizes “notebooks, news clippings, CDs, videotapes of me working alone in my studio, videos of the dancers rehearsing, books and photographs and pieces of art that may have inspired me”. She also calls her linking of ideas within her box method "the art of scratching" (chapter 6).
related: combinatorial creativity triangle thinking
[[Twyla Tharp]] [[The Creative Habit]] #books/wanttoread
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Dance might seem like the creative medium that could leastbenefit from “organizing.”
I really appreciate that he's actively using examples from across a variety of domains to indicate the depth and breadth of areas which can benefit from commonplacing and note taking domains.
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- Tiago Forte
- commonplace books
- want to read
- art of imitation
- Wayne Forte
- creativity
- adjacent possible
- triangle thinking
- art
- Twyla Tharp
- sculpture
- Michelangelo
- painting
- imitation > innovation
- note taking
- brainstorming
- tools for creativity
- divergence
- zettelkasten
- Auguste Rodin
- dance
- analogies
- art of scratching
- combinatorial creativity
- imitation for innovation
- innovation
- convergence
- diversity
- Donatello
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hybridpedagogy.org hybridpedagogy.org
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Groups in arts education rail against the loss of music, dance, and art in schools and indicate that it's important to a balanced education.
Why has no one embedded these learning tools, for yes they can be just that, into other spaces within classrooms? Indigenous educators over the millennia have done just this in passing on their societal and cultural knowledge. Why have we lost these teaching methods? Why don't we reintroduce them? How can classrooms and the tools within them become mnemonic media to assist both teachers and learners?
Perhaps we need to bring back examples of how to do these things at the higher levels? I've seen excercises in my daughter's grade school classrooms that bring art and manipulatives into the classroom as a base level, but are they being done specifically for these mnemonic reasons?
Michael Nielsen and Andy Matuschak have been working at creating a mnemonic medium for areas like quantum mechanics relying in part on spaced repetition. Why don't they go further and add in dance, movement, art, and music to aid in the process. This can be particularly useful for creating better neurodiverse outcomes as well. Education should be more multi-modal, more oral, and cease it's unending reliance on only literacy as it's sole tool.
How and where can we create a set of example exercises at various grade levels (similar to rites of knowledge initiation in Indigenous cultures, for lack of specific Western language) that embed all of these methods
Link to: - Ideas in The Extended Brain about movement, space, etc. - Nielsen/Matuschak mnemonic media work
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Sometimes the goal is nothing more than a personal mantra such as “keep itsimple” or “something perfect” or “economy” to remind me of what I was thinkingat the beginning if and when I lose my way. I write it down on a slip of paper and it’sthe first thing that goes into the box.
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The second was “makedance pay for the dancers.” I’ve always been resentful of the fact that some of theso-called elite art forms can’t survive on their own without sponsorship andsubsidies. It bothers me that dance companies around the world are not-for-profitorganizations and that dancers, who are as devoted and disciplined as any NFL orNBA superstar, are at the low end of the entertainment industry’s income scale. Iwanted this Broadway-bound project not only to elevate serious dance in thecommercial arena but also to pay the dancers well. So I wrote my goals for theproject, “tell a story” and “make dance pay,” on two blue index cards and watchedthem float to the bottom of the Joel box.
Given the importance of dance in oral cultures, what, why, and how has dance moved to be one of the seemingly lowest and least well paid art forms in modern society?
How might modern dance regain its teaching and mnemonic status in our culture?
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Maurice Sendak has a room that’s theequivalent of my boxes, a working studio that contains a huge unit with flat pulloutdrawers in which he keeps sketches, reference materials, notes, articles. He works onseveral projects at a time, and he likes to keep the overlapping materials out of sightwhen he’s tackling any one of them.
In her experience with Maurice Sendak, Twyla Tharp indicates that he has a room that works as the equivalent of her project boxes. His version is a working studio that contains a huge unit with flat pullout drawers where he keeps sketches, reference materials, notes, and articles. His system allows him to keep all the ideas ready at hand, but also easily out of the way so he can focus on a particular idea and project at a time.
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www.newyorker.com www.newyorker.com
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Barzun has observed that “the vulgarity of mankind,” in the sense of the common man’s intense awareness of life—life with all its brief pleasures and bruising shocks—“is not only a source of art but the ultimate one.”
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en.wikipedia.org en.wikipedia.org
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www.garnkinynotgranite.com www.garnkinynotgranite.com
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sinistershady.tumblr.com sinistershady.tumblr.com
- May 2022
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www.uni-bielefeld.de www.uni-bielefeld.de
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The pixel portrait of Niklas Luhmann was created by Sebastian Zimmer (CCeH) using the software AndreaMosaic from the image of 1271 slips of paper from the 'Zettelkasten'.
© Alexander Kluge/ Universität Bielefeld*
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behavioralscientist.org behavioralscientist.org
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hina’s most famous painting is “Along the River during the Qingming Festival.” Often referred to as “China’s Mona Lisa” (more for its fame and mysterious history than for any likeness to da Vinci’s portrait), the painting dates from the early 1100s and stretches over 17 feet.
- .> famous italy and french paintings are individual and religious oriented. But this painting is community (livelihood) oriented. I think they always accept the living of co-existence and mutual interests (united we stand; divided we fall)
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missticinparis.com missticinparis.com
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In §§ 4–5, I examine the socio-evolutionary circumstances under which a closed combinatory, such as the one triggered by the Llullian art, was replaced by an open-ended combinatory, such as the one triggered by a card index based on removable entries. In early modernity, improvement in abstraction compelled scholars to abandon the idea that the order of knowledge should mirror the order of nature. This development also implied giving up the use of space as a type of externalization and as the main rule for checking consis-tency.
F*ck! I've been scooped!
Apparently I'm not the only one who has noticed this, though I notice that he doesn't cite Frances A. Yates, which would have certainly been the place for having come up with this historical background (at least that's where I found it.)
The Llullian arts can be more easily practiced with ideas placed on moveable index cards than they might be with ideas stored in one's own memory. Thus the index card as a tool significantly decreases the overhead and provides an easier user interface for permuting one's ideas and combining them. This decrease in mental work appearing at a time of information overload also puts specific pressure on the older use of the art of memory to put it out of fashion.
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www.parismuseescollections.paris.fr www.parismuseescollections.paris.fr
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www.programmableweb.com www.programmableweb.com
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collections.louvre.fr collections.louvre.fr
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"Art is in fact but a later and more sublimated form of ritual" (p. 225) and, as I shall demonstrate, the Foretelling ceremony in LHD presents not only a re-enactment of primitive ritual, but also a description of the process of creation experienced by a contemporary mythic artist.
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Your mind is for having ideas, not holding them.—David Allen, author of Getting Things Done
David Allen has apparently not acquainted himself with any of the arts of memory.
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A*$#M981'$'&$+"#$\ff\$#4'+'-&$-.$+"#$)*+,+%-."/01"&2314"**1+"Y$1&$]1)+^$H1*$=&4#)*+--4$+-$7#$]1$*,*+#C$-.$)=8#*$*#)('&2$+-$.10'8'+1+#$+"#$9#).-)C1&0#$-.$0#)+1'&$10+'-&*V^g
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+#@##9'&2$H1*$1&$1)+Y$1$9#).-)C1&0#Y$+"1+$+--@$9810#$-&Y$1)-=&4Y$1&4$10)-**$919#)V
... notekeeping was an art, a performance, that took place on, around, and across paper. —Matthew Daniel Eddy
I'm also reminded of this in the framing of lack of performance as students I didn't know regularly asked me in college why I didn't take notes.
Only years on now do I realize it was because they and I had been taking the wrong types of notes.
Odd that this .pdf is garbling the highlighted text...
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roscosmoe.org roscosmoe.org
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Roscosmoe Gofe Maya Minder
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www.omerkaracay.com www.omerkaracay.com
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Not: Blog görselinde yer alan, Pablo Picasso tarafından 1937’de yapılan Guernica isimli tablo, İspanya İç Savaşı sırasında Nazi Almanyası’na ait 28 bombardıman uçağının 26 Nisan 1937’de İspanya’daki Guernica şehrini bombalamasını anlatır.
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- Apr 2022
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www.otherlife.co www.otherlife.co
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hey can be aesthetic, perhaps. In which case, that corroborates my theory. You’re not accumulating knowledge and insight—you’re drawing pretty pictures.
I think there's definitely an aesthetic enjoyment factor, but that doesn't mean it's bad -- if anything it might be the opposite?
You could imagine describing a knowledge graph as 'pleasant' -- or even 'beautiful'. You can see them as "pretty pictures" -- or you can see them as (generative?) art.
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www.themarginalian.org www.themarginalian.org
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https://www.themarginalian.org/2011/06/20/inside-notebooks/
There are a number of books which feature the sketchbooks and notebooks of famous writers, researchers and artists. However, most of their work is presented as art in and of itself. Rarely are the messiest and ugliest pages pictured. Most of the layouts in these books are laid out as art. Frequently missing are the structural parts and interviews with the original authors talking about their process. How do they actually use these notebooks in practice? How do ideas move from their heads into the notebooks and from there into their practical work? The notebooks only capture raw ideas as a scaffolding for extending the user's brain and thinking, but it doesn't capture the intangible ideas and portions of process which are still trapped within their brains. To be able to evaluate these portions, the author needs to talk or write about those missing portions of the process otherwise the way they create genius is wholly missing. A viewer of such notebooks would be no closer to creating genius for themselves by attempting to follow the same patterns without these additional structures. It's like the indigenous peoples who talk with rocks as part of their cultural practice—so much of what is happening is missing from the description of "talking with rocks" that most people wouldn't even know where to begin, but for the initiated, the process would be imminently crystal clear.
Which of these books actually delves into the process and does interviews as well?
This article actually lays out the notebooks as their own form of art rather than centering the idea of creative process as a means of helping others to follow these same patterns. We need the book that does for the art and design area what Sönke Ahrens' book How to Take Smart Notes does for the note taking space. It's interesting to see Niklas Luhmann's collection of 90,000 index cards, but without knowing how he used them and what purpose they served, the enterprise is lost. Similarly the depiction of Roland Barthes' index cards in Roland Barthes has a similar function. Showing them is not equivalent to actually understanding them.
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It is notinsignificant either that among the illustrations of the Roland Barthes par RolandBarthes there are a series of facsimile reproductions of the author’s handwriting,analogic reproductions of linguistic graphemes, pieces of writing silenced,abstracted from the universe of discourse by their photographic reproduction. Inparticular, as we have seen, the three index cards are reproduced not for the sakeof their content, not for their signified, but for a reality-effect value for which ourexpanding taste, says Barthes, encompasses the fashion of diaries, of testimonials,of historical documents, and, most of all, the massive development of photogra-
phy. In that sense, the reproduction of these three slips ironically resonates, if on a different scale, with the world tour of the mask of Tutankhamen. It refers, if not to the magic silence of a relic, at least to the ghostly parergonal quality of what French language calls a reliquat.
Hollier argues that Barthes' reproduced cards are not only completely divorced from their original context and use, but that they are reproduced for the sheen of reality and artistic fashion they convey to the reader. So much thought, value, and culture is lost in the worship of these items in this setting compared to their original context.
This is closely linked to the same sort of context collapse highlighted by the photo of Chief William Berens seated beside the living stones of his elders in Tim Ingold's Why Anthropology Matters. There we only appreciate the sense of antiquity, curiosity, and exoticness of an elder of a culture that is not ours. These rocks, by very direct analogy, are the index cards of the zettelkasten of an oral culture.
Chief William Berens seated beside the living stones of his elders; a picture taken by A. Irving Hallowell in 1930, between Grand Rapids and Pikangikum, Ontario, Canada. (American Philosophical Society) -
It will, here again, find amplematerial in the short circuits of Duchamp’s antiart objects: “Metaphor ‘taken atthe letter’: a geometry book suspended by a thread (‘geometry in space’),” not tomention “the ‘Paris air’ ampule.” 10
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winnielim.org winnielim.org
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art by @launshae
I really love this watercolor artwork to represent the idea of a digital garden.
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www.masoncurrey.com www.masoncurrey.com
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<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Winnie Lim</span> in peeking into people’s routines (<time class='dt-published'>04/24/2022 02:40:01</time>)</cite></small>
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tru.uni-sz.bg tru.uni-sz.bg
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digitalizationprocess is also reflected as an importantcomponent in the innovation development
digitalization as innovation in business/political strategies
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journals.plos.org journals.plos.org
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Such methodologicalconcepts might improve the art experience [22], [23], [24
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www.toutfait.com www.toutfait.com
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In 1934, Marcel Duchamp announced the publication of his Green Box (edition of 320 copies) in a subscription bulletin — an enormous undertaking since each box contains 94 individual items mostly supposed “facsimiles” (Duchamp’s word) of notes first written between 1911 and 1915, each printed and torn upon templates to match the borders of the scribbled originals for a total of 30,080 scraps and pages.
Marcel Duchamp announced his project the Green Box in 1934 as an edition of 320 copies of a box of 94 items. Most of the items were supposed "facsimiles" as described by Duchamp, of notes he wrote from 1911 to 1915.
How is or isn't this like a zettelkasten or card index, admittedly a small collection?
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/Open_text
Within the field of semiotic analysis, an open text is one that can be interpreted by readers in a variety of ways. By way of contrast, a closed text prompts the reader to only one interpretation.
Given the definition of an open text (opera aperta), in practice, the Bible may be one of the most open texts ever written despite its more likely original intention of it being a strictly closed text.
What does a spectrum of open to closed look like? Can it be applied to other physical forms that could potentially be open to interpretation? Consider art, for example, which by general nature is far more open to interpretation (an open "text") and rarely are there artworks which are completely closed to a single interpretation.
How does time and changing audiences/publics affect a work? The Bible may have been meant as a closed text in its original historical context, but time and politics have shown it to be one of the most spectacularly open texts ever written.
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Every work of art can be read, according to Eco, in three distinct ways: the moral, the allegorical and the anagogical.
Umberto Eco indicates that every work of art can be read in one of three ways: - moral, - allegorical - anagogical
Compare this to early Christianities which had various different readings of the scriptures.
Relate this also to the idea of Heraclitus and the not stepping into the same river twice as a viewer can view a work multiple times in different physical and personal contexts which will change their mood and interpretation of the work.
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/L.H.O.O.Q.
L.H.O.O.Q. is a Marcel Duchamp readymade artwork conceived in 1919. The work consists of a cheap postcard reproduction of Da Vinci's Mona Lisa (the found object or objet trouvé), "improved" by Duchamp with the addition of a penciled in moustache and a goatee with the title drawn in large capital letters underneath.
L.H.O.O.Q. is a pun whose letters pronounced one at a time in French sound like "Elle a chaud au cul". This translates variously as "She is hot in the arse" or "She has a hot ass". "Avoir chaud au cul" is a vulgar expression implying that a woman has sexual restlessness. Duchamp, in an interview, gave a loose translation of L.H.O.O.Q. as "there is fire down below". (Schwarz 203)
Was the the original artistic source for the long string of childhood pranks in which children were often seen marking up and defacing pictures in books and magazines? Were there others prior?
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docdrop.org docdrop.org
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QuotingFriedrich Kittler, Thorn explains that the aim of such an all-encompassing approach to media is to focus on the ‘networks oftechnologies and institutions that allow a given culture to select,store, and process relevant data’ (cited in Thorn, 2008: 7).
Has media studies looked at primary orality and the ideas of space repetition, art, dance, and mnemonics as base layers of media by which cultures created networks of knowledge and culture that they might use to select, store, process, copy, and pass along their knowledge?
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One of his last works, the Aurifodina, “The Mine of All Arts and Sci-ences, or the Habit of Excerpting,” was printed in 1638 (in 2,000 copies) andin another fourteen editions down to 1695 and spawned abridgments in Latin(1658), German (1684), and English.
Simply the word abridgement here leads me to wonder:
Was the continual abridgement of texts and excerpting small pieces for later use the partial cause of the loss of the arts of memory? Ars excerpendi ad infinitum? It's possible that this, with the growth of note taking practices, continual information overload, and other pressures for educational reform swamped the prior practices.
For evidence, take a look at William Engel's work following the arts of memory in England and Europe to see if we can track the slow demise by attrition of the descriptions and practices. What would such a study show? How might we assign values to the various pressures at play? Which was the most responsible?
Could it have also been the slow, inexorable death of many of these classical means of taking notes as well? How did we loose the practices of excerpting for creating new ideas? Where did the commonplace books go? Where did the zettelkasten disappear to?
One author, with a carefully honed practice and the extant context of their life writes some brief notes which get passed along to their students or which are put into a new book that misses a lot of their existing context with respect to the new readers. These readers then don't know about the attrition happening and slowly, but surely the knowledge goes missing amidst a wash of information overload. Over time the ideas and practices slowly erode and are replaced with newer techniques which may not have been well tested or stood the test of time. One day the world wakes up and the common practices are no longer of use.
This is potentially all the more likely because of the extremely basic ideas underpinning some of memory and note taking. They seem like such basic knowledge we're also prone to take them for granted and not teach them as thoroughly as we ought.
How does one juxtapose this with the idea of humanist scholars excerpting, copying, and using classical texts with a specific eye toward preventing the loss of these very classical texts?
Is this potentially the idea of having one's eye on a particular target and losing sight of other creeping effects?
It's also difficult to remember what it was like when we ourselves didn't know something and once that is lost, it can be harder and harder to teach newcomers.
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