Sadly, he doesn't define "good style" here and only a paragraph after saying to avoid the style of Carlyle and Macaulay.

This paragraph is one of the several of the type that would more appropriately appear in a syllabus than in a published journal article on this particular topic. Thus the style is here is part journal article on writing, but also format which could be subsumed into syllabi by others.

One can't help but notice that Dutcher's essay, laid out like it is in a numbered fashion with one or two paragraphs each may stem from the fact of his using his own note taking method.

Each section seems to have it's own headword followed by pre-written notes in much the same way he indicates one should take notes in part 18.

It could be illustrative to count the number of paragraphs in each numbered section. Skimming, most are just a paragraph or two at most while a few do go as high as 5 or 6 though these are rarer. A preponderance of shorter one or two paragraphs that fill a single 3x5" card would tend to more directly support the claim. Though it is also the case that one could have multiple attached cards on a single idea. In Dutcher's case it's possible that these were paperclipped or stapled together (does he mention using one side of the slip only, which is somewhat common in this area of literature on note making?). It seems reasonably obvious that he's not doing more complex numbering or ordering the way Luhmann did, but he does seem to be actively using it to create and guide his output directly in a way (and even publishing it as such) that supports his method.

Is this then evidence for his own practice? He does actively mention in several places links to section numbers where he also cross references ideas in one card to ideas in another, thereby creating a network of related ideas even within the subject heading of his overall essay title.

Here it would be very valuable to see his note collection directly or be able to compare this 1927 version to an earlier 1908 version which he mentions.

https://scottscheper.com/letter/36/

Clemens Luhmann, Niklas' son, has a copy of a book written in German in 1932 and given to his father by Friedrich Rudolf Hohl which ostensibly is where Luhmann learned his zettelkasten technique. It contains a 34 page chapter titled Die Kartei (the Card Index) which has the details.

Worth looking into this. The idea of the Pennebaker method goes back to a paper of his in 1986 that details the health benefits (including mental) of expressive writing. Sounds a lot like the underlying idea of morning pages, though that has the connotation of clearing one's head versus health related benefits.

Compare/contrast the two methods.

Is there research underpinning morning pages?

See also: Expressive Writing in Psychological Science https://journals.sagepub.com/doi/full/10.1177/1745691617707315<br /> appears to be a recap article of some history and meta studies since his original work.

Different modes/approaches to writing when using a zettelkasten:<br /> - directive: let the zettelkasten direct the writing project - supportive: one has a particular writing project in mind and uses their zettelkasten collection to support their thinking and writing for that.

Are there other potential methods in addition to these two?

Thanks u/taurusnoises, your spectacular recent video "Using the Zettelkasten (and Obsidian) to Write an Essay https://www.youtube.com/watch?v=9OUn2-h6oVc is about as close to the sort of public example of output creation I had been looking for!

I'm sure that there are other methods and workflows out there which vary by person, method, and modality (analog/digital) and it would be interesting to see what those practices look like as examples for others to use, follow, and potentially improve upon.

I particularly appreciate that your visual starting perspective of the graph view in Obsidian fairly closely mimics what an analog zettelkasten user might be doing and seeing within that modality.

I'm still collecting extant examples and doing some related research, but perhaps I'll have some time later in the year to do some interviews with particular people about how they're actively doing this as you suggested.

On a tangential note, I'm also piqued by some of the specific ideas you mention in your notes in the video as they relate to some work on orality and memory I've been exploring over the past several years. If you do finish that essay, I'd love to read the finished piece.

Thanks again for this video!

Writing is a three-way dialog

First, it is a conversation between an author, a reader, and the material. It is also an exploration of your research, your reaction to the material, and what you—as the author—is trying to communicate to the reader. Keeping each component of these triplets in mind as the writing (and likely reviewing of the writing) happens makes for engaging reading.

The author took time over a period of 5 months to put this essay together. That's impressive, in terms of effort put in and in terms of tenacity. How much of this time is to 'hold questions' as Johnnie Moore would say, to develop your thoughts iteratively. Could it have been done in index cards, under the radar, with the essay then a smaller effort, reduced to collating those index cards?

What is it that was tiring about the practice? Did they do it properly, or was the focus placed on tremendous output driving the feeling of a need for commensurate tremendous input on a daily basis? Most lifetime productive users only made a few cards a day, but I get the feeling that many who start, think they should be creating 20 cards a day and that is definitely a road to burn out. This feeling is compounded by digital tools that make it easier to quickly capture ideas by quoting or cut and pasting, but which don't really facilitate the ownership of ideas (internalization) by the note taker. The work of writing helps to facilitate this. Apparently the framing of literature note vs. permanent note also was a hurdle in the collection of ideas moving toward the filtering down and refining of one's ideas. These naming ideas seem to be a general hurdle for many people, particularly if they're working without particular goals in mind.

Only practicing zettelkasten for a month is certainly no way to build real insight or to truly begin developing anything useful. Even at two cards a day and a minimum of 500-1000 total cards to see some serendipity and creativity emerge, one would need to be practicing for just over a year to begin seeing interesting results.

comment on: https://www.youtube.com/watch?v=9OUn2-h6oVc

I'm having trouble parsing this.

https://thoughtcatalog.com/ryan-holiday/2013/08/how-and-why-to-keep-a-commonplace-book/

An early essay from Ryan Holiday about commonplace books including how, why, and their general value.

Notice that the essay almost reads as if he's copying out cards from his own system. This is highlighted by the fact that he adds dashes in front 23 of his paragraphs/points.

https://danallosso.substack.com/p/announcing-how-to-make-notes-and

Congratulations @danallosso!

For those curious about the idea of what students might do with the notes and annotations they're making in the margins of their texts using Hypothes.is, I would submit that Dan Allosso's OER handbook How to Make Notes and Write (Minnesota State Pressbooks, 2022) may be a very useful place to turn. https://minnstate.pressbooks.pub/write/

It provides some concrete advice on the topic of once you've highlighted and annotated various texts for a course, how might you then turn your new understanding, ideas, and extant thinking work into a blogpost, essay, term paper or thesis.

For a similar, but alternative take, the book How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking by Sönke Ahrens (Create Space, 2017) may also be helpful as well. This text however requires purchase via Amazon and doesn't carry the Creative Commons Attribution NonCommercial ShareAlike (by-nc-sa 4.0) license that Dr. Allosso's does.

In addition to the online copy of the book, there's an annotatable .pdf copy available here: http://docdrop.org/pdf/How-to-Make-Notes-and-Write---Allosso-Dan-jzdq8.pdf/ though one can download .epub and .pdf copies directly from the Pressbooks site.

Writing and refining one's note about an idea can be key to helping one's basic understanding of that idea, but this understanding is dramatically increased by linking it into the rest of one's framework of understanding of that idea. A useful side benefit of creating this basic understanding and extending it is that one can also reuse one's (better understood) ideas to create new papers for expanding other's reading and subsequent understanding.

Or framed differently:

The art in writing is knowing that it is really a craft.

Similar to Beatrice Webb's definition of synthetic notes in My Apprentice (1926), thought this also includes movement into actually drafting writing.

What year was this written?

The idea here seems to be less discrete in the steps of the writing process and subsumes multiple things instead of breaking them into discrete conceptual parts. Has this been some of what has caused issues in the note taking to creation process in the last century?

One of the best methods for technical reading is to create progressive summarizations of what one has read.

https://medium.com/@paulorrj/the-robert-greene-method-of-writing-books-e175ade04897

meh...

flashcards?!?!! A commonplace book done in index cards is NOT based on "flashcards". 🤮

Someone here is missing the point...

Winnie later goes on to point out that this is much like gardening: it is a slow process, and the process has its seasons which wax and wane, expanding and contracting. You sow. You seed. You water. You fertilize. You wait. You pick weeds. You water. Pick some more weeds. You might prune. You flick off the japanese beetles. And because of the cyclical nature of the planet we inhabit, we also have periods where nothing grows, and the soil lies dormant. Waiting. Resting. This, too, can be embraced as we carve out our little corners of the web, and really all aspects of our lives. I know I'm nearly as tender to myself as I should be.

Write labels / dates

I've mentioned this elsewhere, but I'm skeptical of this popularly recurring take that says writing is thinking, or that thinking without writing really isn't thinking. If writing helps you think, it's better for you to know that than the alternative. But thinking is thinking, and writing is writing.

I worry with all the insistence around this view of writing as a precondition to real thinking that people who are thinking at or near capacity without writing will believe they're somehow missing something and waste a lot of cycles in frustration as they attempt to write and find that it doesn't do anything for them thoughtwise that they weren't already getting before.

I'm not sure that's the correct diagnosis.

Alternative take: you were not, at that point in your life, equipped to understand that you could be generating new ideas and that you should walk away from that writing course with an appreciation for writing as a vehicle for what you'd like to accomplish with a given subject/format. It's fine that you didn't—many people don't—and your instructors, institution, parents, community, etc. probably could have done a better job at communicating this to you, but it was there, and it was the point all along.

Many people treat their blogging practice as an experimental thought space. They try out new ideas, explore a small space, attempt to come to understanding, connect new ideas to their existing ideas.

Ton Zylstra coins/uses the phrase "metablogging" to think about his blogging practice as an evolving thought space.

How can we better distill down these sorts of longer ideas and use them to create more collisions between ideas to create new an innovative ideas? What forms might this take?

The personal zettelkasten is a more concentrated form of this and blogging is certainly within the space as are the somewhat more nascent digital gardens. What would some intermediary "idea crucible" between these forms look like in public that has a simple but compelling interface. How much storytelling and contextualization is needed or not needed to make such points?

Is there a better space for progressive summarization here so that an idea can be more fully laid out and explored? Then once the actual structure is built, the scaffolding can be pulled down and only the idea remains.

Reminiscences of scaffolding can be helpful for creating context.

Consider the pyramids of Giza and the need to reverse engineer how they were built. Once the scaffolding has been taken down and history forgets the methods, it's not always obvious what the original context for objects were, how they were made, what they were used for. Progressive summarization may potentially fall prey to these effects as well.

How might we create a "contextual medium" which is more permanently attached to ideas or objects to help prevent context collapse?

How would this be applied in reverse to better understand sites like Stonehenge or the hundreds of other stone circles, wood circles, and standing stones we see throughout history.

I think this satisfies the threshold of "minimum viable publication". So write this up and reference it here.

Full impl.:

getLineStart(tokenPosition, anteTerminators = null) {
  if (tokenPosition > this._edge && tokenPosition != this.length) {
    throw new Error("random access too far out"); // XXX
  }

  // NB: Since line terminators can be the multibyte CRLF sequence, care
  // must be taken to ensure we work for calls where `tokenPosition` is some
  // start minus 1, where that "start" is some line start itself.
  for (let i = this._lineTerminators.length - 1; i >= 0; --i) {
    let current = this._lineTerminators[i];
    if (tokenPosition >= current.position + current.content.length) {
      if (anteTerminators) {
        anteTerminators.push(...this._lineTerminators.slice(0, i));
      }
      return current.position + current.content.length;
    }
  }

  return 0;
}

(Inlined for posterity, since this comes from an uncommitted working directory.)

Very similar to Nike's tagline "Just Do It"

https://www.nytimes.com/1985/09/08/magazine/the-michener-phenomenon.html

https://warrenellis.ltd/isles/wrangling-writing-on-wordpress/

A major benefit of working in public is that it invites immediate feedback (hopefully positive, constructive criticism) from anyone who might be reading it including pre-built audiences, whether this is through social media or in a classroom setting utilizing discussion or social annotation methods.

This feedback along the way may help to further find flaws in arguments, additional examples of patterns, or links to ideas one may not have considered by themselves.

Sadly, depending on your reader's context and understanding of your work, there are the attendant dangers of context collapse which may provide or elicit the wrong sorts of feedback, not to mention general abuse.

It's easier to write when you know where you're going. As if to underline this Ernest Hemingway would end his writing sessions when he knew where he was going the following day so that it would be easier to pick up the thread of the story and continue on. (sourcing?)

(Why doesn't Forte have a source for this Hemingway anecdote? Where does it come from? He footnotes or annotates far more obscure pieces, why not this?!)

link to - Stephen Covey quote “begin with the end in mind” (did this prefigure the same common advice in narrative circles including Hollywood?)

A missed opportunity to reference the arts of rhetoric here. This book is a clear indication that popular Western culture seems to have lost the knowledge of it.

As a reminder, in the review be sure to look at and critique the invention, arrangement, style, memory, and delivery of the piece as well as its ethos, pathos, and logos. :)

The way that Tiago Forte overlaps the idea of C.O.D.E. (capture/collect, organize, distill, express) with the divergence/convergence model points out some primary differences of his system and that of some of the more refined methods of maintaining a zettelkasten.

<small>Overlapping ideas of C.O.D.E. and divergence/convergence from Tiago Forte's book Building a Second Brain (Atria Books, 2022) </small>

Forte's focus on organizing is dedicated solely on to putting things into folders, which is a light touch way of indexing them. However it only indexes them on one axis—that of the folder into which they're being placed. This precludes them from being indexed on a variety of other axes from the start to other places where they might also be used in the future. His method requires more additional work and effort to revisit and re-arrange (move them into other folders) or index them later.

Most historical commonplacing and zettelkasten techniques place a heavier emphasis on indexing pieces as they're collected.

Commonplacing creates more work on the user between organizing and distilling because they're more dependent on their memory of the user or depending on the regular re-reading and revisiting of pieces one may have a memory of existence. Most commonplacing methods (particularly the older historic forms of collecting and excerpting sententiae) also doesn't focus or rely on one writing out their own ideas in larger form as one goes along, so generally here there is a larger amount of work at the expression stage.

Zettelkasten techniques as imagined by Luhmann and Ahrens smooth the process between organization and distillation by creating tacit links between ideas. This additional piece of the process makes distillation far easier because the linking work has been done along the way, so one only need edit out ideas that don't add to the overall argument or piece. All that remains is light editing.

Ahrens' instantiation of the method also focuses on writing out and summarizing other's ideas in one's own words for later convenient reuse. This idea is also seen in Bruce Ballenger's The Curious Researcher as a means of both sensemaking and reuse, though none of the organizational indexing or idea linking seem to be found there.

This also fits into the diamond shape that Forte provides as the height along the vertical can stand in as a proxy for the equivalent amount of work that is required during the overall process.

This shape could be reframed for a refined zettelkasten method as an indication of work

Forte's diamond shape provided gives a visual representation of the overall process of the divergence and convergence.

But what if we change that shape to indicate the amount of work that is required along the steps of the process?!

Here, we might expect the diamond to relatively accurately reflect the amounts of work along the path.

If this is the case, then what might the relative workload look like for a refined zettelkasten? First we'll need to move the express portion between capture and organize where it more naturally sits, at least in Ahren's instantiation of the method. While this does take a discrete small amount of work and time for the note taker, it pays off in the long run as one intends from the start to reuse this work. It also pays further dividends as it dramatically increases one's understanding of the material that is being collected, particularly when conjoined to the organization portion which actively links this knowledge into one's broader world view based on their notes. For the moment, we'll neglect the benefits of comparison of conjoined ideas which may reveal flaws in our thinking and reasoning or the benefits of new questions and ideas which may arise from this juxtaposition.

This sketch could be refined a bit, but overall it shows that frontloading the work has the effect of dramatically increasing the efficiency and productivity for a particular piece of work.

Note that when compounded over a lifetime's work, this diagram also neglects the productivity increase over being able to revisit old work and re-using it for multiple different types of work or projects where there is potential overlap, not to mention the combinatorial possibilities.

--

It could be useful to better and more carefully plot out the amounts of time, work/effort for these methods (based on practical experience) and then regraph the resulting power inputs against each other to come up with a better picture of the efficiency gains.

Is some of the reason that people are against zettelkasten methods that they don't see the immediate gains in return for the upfront work, and thus abandon the process? Is this a form of misinterpreted-effort hypothesis at work? It can also be compounded at not being able to see the compounding effects of the upfront work.

What does research indicate about how people are able to predict compounding effects over time in areas like money/finance? What might this indicate here? Humans definitely have issues seeing and reacting to probabilities in this same manner, so one might expect the same intellectual blindness based on system 1 vs. system 2.

Given that indexing things, especially digitally, requires so little work and effort upfront, it should be done at the time of collection.

I'll admit that it only took a moment to read this highlighted sentence and look at the related diagram, but the amount of material I was able to draw out of it by reframing it, thinking about it, having my own thoughts and ideas against it, and then innovating based upon it was incredibly fruitful in terms of better differentiating amongst a variety of note taking and sense making frameworks.

For me, this is a great example of what reading with a pen in hand, rephrasing, extending, and linking to other ideas can accomplish.

Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

By writing down and collecting ideas slowly over time, working on them in small fits and spurts, when one finally comes to do the final work on their writing project or other work, the pieces only need minor shaping to take their final form. This process allows for a much greater level of serendipity, creativity, and potential sustained genius of connecting ideas across time to take shape in a final piece.

How does this relate to diffuse thinking? How can slow diffuse thinking be leveraged into this process?

Writing down fleeting notes while walking around can be valuable as one's ideas brew slowly in the mind (diffuse thinking) in combination with active combinatorial creativity, thus a form of Llullan combinatorial diffusion.

Many business books seem so shallow and often only have one real insight which is repeated multiple times, perhaps to drive the point home or perhaps just to have enough filler to seem being worth the purchase of a book.

Napoleon Hill's Think and Grow Rich is an example of this, though it shows a different form of genius in expanding the idea from a variety of perspectives so that eventually everyone will absorb the broader idea which is distilled to great effect into the title.

To test one's own understanding of a topic one has read about and studied, it can be useful to discuss it or describe one's understanding to friends or colleagues in conversations. This will help you discover where the holes are based on the person's understanding and comprehension of what you've said. Can you fill in all the holes where they have questions? Are their questions your new questions which have exposed holes that need to be filled in your understanding or in the space itself.

I do this regularly in conversations with people. It makes the topics of conversation more varied and interesting and helps out your thinking at the same time. In particular I've been doing this method in Dan Allosso's book club. It's almost like trying on a new idea the way one might try on a piece of clothing to see how it fits or how one likes it for potential purchase. If an idea "fits" then continue refining it and add it to your knowledge base. These conversations also help to better link ideas in my thought space to those of what we're reading. (I wonder if others are doing these same patterns, Dan seems to, but I don't have as good a grasp on this with other participants).

Link to :<br /> - Ahren's idea of writing to expose understanding<br /> - Feynman technique<br /> - Socratic method (this is sort of side or tangential method to this) <- define this better/refine

Example of someone else saying this...

We focus too much on the achievement and the end goal and the work and process doesn't receive its due.

In addition to this as a standalone quote...

If nothing else, one should keep a commonplace book so that they have a treasure house of nifty quotes to use as chapter openers for the books they might write.

https://boingboing.net/2009/01/27/diy-how-to-write-a-b.html

The slipbox and index cards on which Vladimir Nabokov wrote his novel Lolita.

Vladimir Nabokov famously wrote most of his works including Lolita using index cards in a slip box. He ultimately died in 1977 leaving an unfinished manuscript in note card form for the novel The Original of Laura. Penguin later published the incomplete novel with in 2012 with the subtitle A Novel in Fragments. Unlike most manuscripts written or typewritten on larger paper, this one came in the form of 138 index cards. Penguin's published version recreated these cards in full-color reproductions including the smudges, scribbles, scrawlings, strikeouts, and annotations in English, French, and Russian. Perforated, one could tear the cards out of the book and reorganize in any way they saw fit or even potentially add their own cards to finish the novel that Nabokov couldn't.

Index card on which Nabokov collated notes on ages, heights, and measurements for school aged girls as research for his title character Lolita.

More details at: https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html

Finding the red herrings by author itself

Misdirecting Readers with Red herrings - distracting readers

https://examples.yourdictionary.com/red-herring-examples.html

it has to be the the [[Hercule Poirot scene]] and all the Agatha Christie books where he says let me tell you what really happened and and she does it so well that you go like of course that's what happened it's the only way it could have happened why didn't I see it

Make less comfortable during writing

Writing the novel is 90% persipiration (physical and mental routine)

This quote from Twyla Tharp seems like another instantiation of Napoleon Hill's mantra "Think and Grow Rich", but is more concrete and literate: "Write and Grow Rich" (or successful, at least.)

A card index can be a massive boon to a writer as a well-indexed one, in particular, will save massive amounts of time which might otherwise be spent searching for quotes or ideas that they know they know, but can't easily recreate.

https://danallosso.substack.com/p/note-cards?s=r

Outline of one of Dan's experiments writing a handbook about reading, thinking, and writing. He's taking a zettelkasten-like approach, but doing it as a stand-alone project with little indexing and crosslinking of ideas or creating card addresses.

This sounds more akin to the processes of Vladimir Nabokov and Ryan Holiday/Robert Greene.

Barzun suggests using a rubber duck debugging approach to writing as motivation for getting started.

Rather than using his notes as the actual writing, Barzun suggests writing "from memory" and only occasionally using prompting from one's notes.

This is wholly opposed to the idea of reusing the writing of one's notes in more advanced zettelkasten methods.

When you've got motivation, write away as fast as you can and don't stop.

Interesting to see Barzun quote Arthur Conan Doyle here. Not surprising given his penchant for mystery novels however.

Barzun, Jacques. Simple and Direct : A Rhetoric for Writers. Revised edition. University of Chicago Press, 1985.

Nice turn of phrase.

This was tired the second time it occurred in this piece. Three times is def. too much.

Thinking a lot about permanency on the web - there is so much amazing work that exists on the web, and so much of it is already lost because it was written and saved on websites that have come and gone. IndieWeb.org attempts to address this with its principles: https://indieweb.org/principles

Luhmann indicates that aspiring academics came to visit to see his card collection in potentially planning their own.

1. Ralf Klassen, “Bezaubernde Jeannie oder Liebe ist nur ein Zeitvertreib,” in Wir Fernsehkinder. Eine Generation ohne Programm, ed. Walter Wüllenweber (Berlin: Rowohlt Berlin Verlag, 1994), 81 – 97, at 84.

An active reader finishes an author's book by writing in its margins.

Umberto Eco's book How to Write a Thesis (MIT Press, 2015, #) can broadly be thought of as a zettelkasten system, but it advises a separate system for each project or writing assignment. This is generally good advice, and potentially excellent for students on a one-time basis, but it prevents one from benefitting from the work over multiple projects or even a lifetime.

In some sense, a more traditional approach, and one seen used in Niklas Luhmann's example is to keep different sections separated by broad topics.

Niklas Luhmann's zettelkasten #1 had 108 broad topics (along with a bibliography and a subject index), and zettelkasten #2 had 11 broad topics. (Cross reference: https://niklas-luhmann-archiv.de/bestand/zettelkasten/inhaltsuebersicht)

The zettelkasten structure allowed a familiar "folder" like top level structure, but the bibliographic and subject indices allowed them to interlink ideas from one space to the next for longer term work on multiple projects simultaneously.

Based on my preliminary reading of Tiago Forte's forthcoming book, this seems broadly true.

fossils

"I'd want to learn a lot from Professor Zimmerman so that I may obtain as much information as possible and use it in reality. It's not about the work."

This is why I like using bullet points

I also tend to write to my old self

Writing is a great learning method

https://fieldnotesbrand.com/apparel/remember-it-now-tee

Field Notes, a manufacturer of notebooks, uses the credo "I'm not writing it down to remember it later, I'm writing it down to remember it now." This is an fun restatement of the idea behind the power of the Feynman technique.

Link to Ahrens' version of this idea.

2 great examples of clean commits: * https://github.com/spring-projects/spring-boot/commits/master * https://github.com/tpope/vim-pathogen/commits/master

Historical note taking practices can tell us many things aside from just the ways in which textual information was managed. They can also tell us about how people lived, how they thought, how they used memory and writing and how these things were understood culturally.

We do however need to be careful in how we interpret these documents historically. We need to attempt to view them exegetically and not eisegetically. We also need to be careful to look at them from a "large world" perspective and not presume that small things had large and heavy influence on things to come in the future.

Some florilegia were used as handbooks to teach composition. Those with poetic excerpts were used to teach prosody while others specialized in prose.

Examples of these sorts of florilegia include Micon Centulensis' Opus prosodiacum from the mid-ninth century and a Collectanea by Heiric who wrote under dictation from Lupus of Ferrières, ca. 859–62.

-Chuck Grimmett

Sönke Ahrens outlines this broad idea of how one practices the Feynman technique for understanding using one's notes in How to Take Smart Notes, but he doesn't use the name Feynman technique. Certainly the idea of writing things down to test one's understanding predated Feynman, does anyone know of historical examples of this pattern/technique prior to Feynman? Does it have other names in the literature?

is flexible, but I am rather particular about my instruments: lined Bristol cards and well sharpened, not too hard, pencils capped with erasers.

Nabokov on his system of writing.

The Nabokov interview originally appeared in

Gold, Herbert. “Vladimir Nabokov, The Art of Fiction No. 40.” The Paris Review, 1967. https://www.theparisreview.org/interviews/4310/the-art-of-fiction-no-40-vladimir-nabokov.

Vladimir Nabokov's general writing method consisted of composing his material on index cards so that he could shuffle them as he worked as he didn't write in consecutive order. He rewrote and edited cards many times and when the work was completed with the cards in their final order, Nabokov dictated them to his wife Vera who would type them up in triplicate.

http://boffosockobooks.com/books/authors/henry-james-korn/the-pontoon-manifesto/

link to: - https://hypothes.is/a/peuV1MBBEeyz03uCkPkBqA

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.

link to: https://hypothes.is/a/3SOmoMcMEey8n9dSUWhPJw

https://warrenellis.ltd/jot/morning-routine-and-work-day-spring-2022/

<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>

<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>

https://winnielim.org/notes/peeking-into-peoples-routines/

The internet has made defensive writers of us all

https://www.newyorker.com/books/page-turner/barthess-hand

Interesting use of a card index as a diary.

Cross reference: Review of Mourning Diaries: Wallowing in Grief Over Maman by Dwight Garner, New York Times, Oct. 14, 2010 https://www.nytimes.com/2010/10/15/books/15book.html

Hill and Wang published Mourning Diary by Roland Barthes on October 12, 2010. It is a collection of 330 entries which he wrote following the death of his mother Henriette in 1977.

Kristina Budelis indicates that she saw them in person and reproduced four of them as index card-like notes in The New Yorker (September 2010).

Bonniot quoted in Michel Leiris, La Règle du jeu (Paris: Gallimard, 2003), p. 1658.

Stéphane Mallarmé's son in law Dr. Bonniot indicates that "Mallarmé, as we know, used to jot down his first ideas, the first outlines of his work on eighths of half-sheets of school notebook size—notes he would keep in big wooden boxes of China tea.”

Given that Mallarmé lived from 1842 to 1898, his life predated the general rise and mass manufacture of the index card, but like many of his generation and several before, he relied on self-made note tools like standard sized sheets of paper cut in eighths which he kept in somewhat standard sized boxes.

I published them as an appendix in the Pléiade edition of La Règle du jeu (Paris: Gallimard, 2003), pp. 1155–1265

Michael Leiris wrote La Règle du jeu on 399 cards which he kept in a box.

The simple card index can serve a number of functions including as an archive, a mnemonic device, a teacher, an organizational tool, a composition device, a creativity engine, and an authorship tool.

Rowan Wilken admits that Cornelia Vismann's use of files for transmission, storage, cancellation, manipulation, and destruction are remarkable, but that the key feature of the card index as a file type is its use for creative production.

Does the fact that Barthes uses a card index in his composition and organization influence the overall theme of his final works which could be described as "non-totalizable fragments"?

Barthes used his card index as an organizational tool as well as a problem-solving tool.

Louis-Jean Calvet explains that in writing Michelet, Barthes used his notes on index cards to try out various combinations of cards to both organize them as well as "to find correspondences between them."

In an interview with Le Monde in 1973, Barthes indicated that while his note taking practice was somewhat akin to that of a commonplace book where one might collect interesting passages, or quotations, he was also specifically writing down ideas which came to him, but doing so in "in the rhythm of a sentence, so that from that moment on, things are already taking on an existence as writing." This indicates that he's already preparing for future publications in which he might use those very ideas and putting them into a more finished form than most might think of when considering shorter fleeting notes used simply as a reminder. By having the work already done, he can easily put his own ideas directly into longer works.

Was there any evidence that his notes were crosslinked or indexed in a way so that he could more rapidly rearrange his ideas and pre-written thoughts to more easily copy them into longer articles or books?

Venmurasu philosophical writing style

Venmurasu Prelude

Iris Murdoch about our morale ethics ideology perspective in writing

• [?] In the name of unfiltered transparent expression of thoughts in my writing, am i exposing immature ideology of my life outlook in writing

unselfing|unlearning

• [∆] i do get an idea of unselfing my mood

Niklas Luhmann analogized his zettelkasten to a septic tank. You put in a lot of material, a lot of seemingly waste, and it allows a process of settling and filtering to allow the waste to be separated and distill into something useful.

https://herbertlui.net/8-lessons-from-800-note-cards-in-the-zettelkasten

A writer with over 800 note cards positively describes some of his experience in using the zettelkasten note taking system.

To a great extent, Hypothes.is has such a small footprint of users (in comparison to massive platforms like Twitter, Facebook, etc.) that it's never been a performative platform for me. As a design choice they have specifically kept their social media functionalities very sparse, so one also doesn't generally encounter the toxic elements that are rampant in other locations. This helps immensely. I might likely change my tune if it were ever to hit larger scales or experienced the Eternal September effect.

Beyond this, I mostly endeavor to write things for later re-use. As a result I'm trying to write as clearly as possible in full sentences and explain things as best I can so that my future self doesn't need to do heavy work or lifting to recreate the context or do heavy editing. Writing notes in public and knowing that others might read these ideas does hold my feet to the fire in this respect. Half-formed thoughts are often shaky and unclear both to me and to others and really do no one any good. In personal experience they also tend not to be revisited and revised or revised as well as I would have done the first time around (in public or otherwise).

Occasionally I'll be in a rush reading something and not have time for more detailed notes in which case I'll do my best to get the broad gist knowing that later in the day or at least within the week, I'll revisit the notes in my own spaces and heavily elaborate on them. I've been endeavoring to stay away from this bad habit though as it's just kicking the can down the road and not getting the work done that I ultimately want to have. Usually when I'm being fast/lazy, my notes will revert to highlighting and tagging sections of material that are straightforward facts that I'll only be reframing into my own words at a later date for reuse. If it's an original though or comment or link to something important, I'll go all in and put in the actual work right now. Doing it later has generally been a recipe for disaster in my experience.

There have been a few instances where a half-formed thought does get seen and called out. Or it's a thought which I have significantly more personal context for and that is only reflected in the body of my other notes, but isn't apparent in the public version. Usually these provide some additional insight which I hadn't had that makes the overall enterprise more interesting. Here's a recent example, albeit on a private document, but which I think still has enough context to be reasonably clear: https://hypothes.is/a/vmmw4KPmEeyvf7NWphRiMw

There may also be infrequent articles online which are heavily annotated and which I'm excerpting ideas to be reused later. In these cases I may highlight and rewrite them in my own words for later use in a piece, but I'll make them private or put them in a private group as they don't add any value to the original article or potential conversation though they do add significant value to my collection as "literature notes" for immediate reuse somewhere in the future. On broadly unannotated documents, I'll leave these literature notes public as a means of modeling the practice for others, though without the suggestion of how they would be (re-)used for.

All this being said, I will very rarely annotate things privately or in a private group if they're of a very sensitive cultural nature or personal in manner. My current set up with Hypothesidian still allows me to import these notes into Obsidian with my API key. In practice these tend to be incredibly rare for me and may only occur a handful of times in a year.

Generally my intention is that ultimately all of my notes get published in something in a final form somewhere, so I'm really only frontloading the work into the notes now to make the writing/editing process easier later.

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Colin Marshall</span> in The Notecards on Which Vladimir Nabokov Wrote Lolita: A Look Inside the Author's Creative Process | Open Culture (<time class='dt-published'>04/10/2022 12:18:34</time>)</cite></small>

While note cards have a certain portability about them for writing almost anywhere, aren't notebooks just as easily portable? In fact, with a notebook, one doesn't need to worry about spilling and unordering the entire enterprise.

There are, however, other benefits. By using small atomic pieces on note cards, one can be far more focused on the idea and words immediately at hand. It's also far easier in a creative and editorial process to move pieces around experimentally.

Similarly, when facing Hemmingway's White Bull, the size and space of an index card is fall smaller. This may have the effect that Twitter's short status updates have for writers who aren't faced with the seemingly insurmountable burden of writing a long blog post or essay in other software. They can write 280 characters and stop. Of if they feel motivated, they can continue on by adding to the prior parts of a growing thread. Sadly, Twitter doesn't allow either editing or rearrangements, so the endeavor and analogy are lost beyond here.

Vladimir Nabokov died in 1977 leaving an unfinished manuscript in note card form for the novel The Original of Laura. Penguin later published the incomplete novel with in 2012 with the subtitle A Novel in Fragments. Unlike most manuscripts written or typewritten on larger paper, this one came in the form of 138 index cards. Penguin's published version recreated these cards in full-color reproductions including the smudges, scribbles, scrawlings, strikeouts, and annotations in English, French, and Russian. Perforated, one could tear the cards out of the book and reorganize in any way they saw fit or even potentially add their own cards to finish the novel that Nabokov couldn't.

Link to the idea behind Cain’s Jawbone by Edward Powys Mathers which had a different conceit, but a similar publishing form.

https://en.wikipedia.org/wiki/Georges_Perec

Georges Perec (born George Peretz) (French: [peʁɛk, pɛʁɛk];[1] 7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist, and essayist. He was a member of the Oulipo group. His father died as a soldier early in the Second World War and his mother was murdered in the Holocaust, and many of his works deal with absence, loss, and identity, often through word play.

I am starting to think the Zettelkasten is impossible for most people. Luhmann worked on his manically, as do I. That isn't sustainable or the goal for most, increased magical efficiency is, and is does not seem that technology has been able to make it more accessible.

Still though, I cannot believe that their note taking practice produced no value. Even if it failed to write the dissertation, where would they have been without it? I guess that they wish they had spent their time on something different, but what would that have been and would if have inspired them like their professor's note archive?

I think the distinction between Folgezettel and direct links isn't useful. The real distinction is between connections that are defined relationships, and connections that are undefined.

Netflix-like autoplay but for binge reading...

Although it is productive: Incremental Writing

I both agree and disagree. Filling your notes up with only surface level or tangentially related notes will make using your web harder, but actively recalling notes that are even a little related is part of the reason we use this method. Sometimes I will just link five or ten notes without thinking about it, and then I will go and revise those connections down to the most relevant ones.

For overall understanding and creating new writing output from it, the immediate focus shouldn't be about revealing new information or simple facts so much as it's about being able to place that new information into your own context. Once this has been done then the focus can shift to later being able to potentially use that new knowledge and understanding in other novel and enlightening contexts to create new insights.

A writer's collective trying to gather writers using the bait that they've managed to crack the problem of "paying writers what they're worth" seems to be a lot of hype.

This seems to put the already extant fear into a writer's mind that they're not being paid enough. Doesn't the broader economics of a capitalistic system already solve this issue? Where are the inequalities? What about paying the website designers and developers? What about the advertising and other marketing people?

Truth bending

Truth bending

Truth bending

Truth bending

Using personal narratives to strengthen story, some truth bending

truth bending, expanding on fate

Truth bending

Bending the truth, fate as a tool

Political consequences, using fate as a tool instead an end in itself.

Punished by gods because of political reasons

Visual depiction of Persian defeat, like a war movie.

Bending the truth to make point.

Changing history to fit point

False description of total devastation of Persia

Depicts Athens as 'murdering' the Persian empire.

Although the Persian empire actually flourished in other ways after the attempted invasion of Athens, Aeschylus bends the truth in order to strengthen his point and make the play more 'marketable', like a modern day war movie. EoG, on the other hand, is based more in general historical beliefs at the time that were commonly accepted (eg: the flood).