992 Matching Annotations
  1. Apr 2022
    1. But there were for Leiris earlierassociations of Mallarmé’s work with more literal containers. In his preface to his1925 first edition of Igitur, a text to which Leiris refers on a variety of occasions,Dr. Bonniot, the son-in-law of the poet, had written: “Mallarmé, as we know, usedto jot down his first ideas, the first outlines of his work on eighths of half-sheets ofschool notebook size—notes he would keep in big wooden boxes of China tea.” 15

      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.

    2. The 1931–33 Dakar-Djibouti anthropologicalexpedition had been for him an intensive training ground for the systematic tech-nique of note-card filing. While in the process of becoming a professionalethnographer and of setting the stage for the dual exploration of autobiographyand ethnography that will inform his further work for more than fifty years, thisalmost-manual (artisanal) aspect of his professional training will soon lead him toopen a sort of autobiographical account, a kind of safe into which he will depositentries cut out (i.e., copied out) from his diary, before drawing from this frequentlyreshuffled and augmented portfolio of memories, anecdotes, ideas, and feelings,small and big, to feed his continuous self-portrait. 13 The result is a secondary, indi-rect autobiography, originating not from the subject’s innermost self, but from thestack of index cards (the autobiographical shards) in the little box on the author’sdesk. A self built on stilts, on “pilotis,” relying not on direct, live memories (as inProust’s involuntary memory), but on archival documentation, on paper work, aself that relates to himself indirectly, by means of quotation, of self-compilation.

      I like the idea here that a collection of index card notes combined and recombined might create an autobiography.

      Link to Henry Korn's cards.

    3. according to Nathalie Léger, one of thecurators of the Barthes exhibit at the Centre Pompidou in 2002, there are 12,250 slipsin Roland Barthes’s bequest at Institut Mémoires de l’édition contemporaine (IMEC).2

      Nathalie Léger, “Immensément et en détail,” in R/B Roland Barthes, exh. cat. (Paris: Seuil, Centre Pompidou, IMEC, 2002), p. 91.

      Nathalie Léger has indicated that there are 12,250 slips in Roland Barthes' bequest at the Institut Mémoires de l’édition contemporaine (IMEC).

    1. the index card. This is despite the fact that itfunctions as such in a variety of different ways in relation to textualorganisation, composition and authorship. In the space that remains,I wish to tease out this idea of the index card as a creative agent inknowledge production by returning to reconsider the issue of theindex card as an archival or ‘mnemotechnical’ device.

      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.

    2. 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?

    3. All of the major books that were to follow – Sade /Fourier / Loyola (1997), The Pleasure of the Text (1975), RolandBarthes by Roland Barthes (1977), A Lover’s Discourse (1990), andCamera Lucida (1993) – are texts that are ‘plural’ and ‘broken’, andwhich are ‘constructed from non-totalizable fragments and fromexuberantly proliferating “details”’ (Bensmaïa, 1987: xxvii-xxxviii).In all of the above cases the fragment becomes the key unit ofcomposition, with each text structured around the arrangement ofmultiple (but non-totalisable) textual fragments.

      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"?

    4. According to Krapp, admissions like this, along with Barthes’inclusion of facsimiles of his cards in Roland Barthes by RolandBarthes, are all part of Barthes ‘outing’ his card catalogue as ‘co-author of his texts’ (Krapp, 2006: 363). The precise wording of thisformulation – designating the card index as ‘co-author’ – and theagency it ascribes to these index cards are significant in that theysuggest a usage that extends beyond mere memory aid to formsomething that is instrumental to the very organisation of Barthes’ideas and the published representations of these ideas.
    5. As Calvetexplains, in thinking through the organisation of Michelet, Barthes‘tried out different combinations of cards, as in playing a game ofpatience, in order to work out a way of organising them and to findcorrespondences between them’ (113).

      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."

    6. published under the title‘An Almost Obsessive Relation to Writing Instruments’, which firstappeared in Le Monde in 1973

      There is apparently an English translation by Linda Coverdale of this interview was published posthumously by University of California Press in The Grain of The Voice

      There's also another edition The Grain of the Voice: Interviews 1962-1980 by Roland Barthes; Translated by Linda Coverdale; Northwestern University Press, 384 Pages, 5.50 x 8.50 in, 8 b-w Paperback, ISBN: 9780810126404; Published: December 2009, https://nupress.northwestern.edu/9780810126404/the-grain-of-the-voice/

      Is there anything else worthwhile in this interview about note taking?

    7. published under the title‘An Almost Obsessive Relation to Writing Instruments’, which firstappeared in Le Monde in 1973, Barthes describes the method thatguides his use of index cards:I’m content to read the text in question, in a ratherfetishistic way: writing down certain passages,moments, even words which have the power tomove me. As I go along, I use my cards to writedown quotations, or ideas which come to me, asthey do so, curiously, already in the rhythm of asentence, so that from that moment on, things arealready taking on an existence as writing. (1991:181)

      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?

    8. By the early 1970s, Barthes’ long-standing use of index cards wasrevealed through reproduction of sample cards in Roland Barthes byRoland Barthes (see Barthes, 1977b: 75). These reproductions,Hollier (2005: 43) argues, have little to do with their content andare included primarily for reality-effect value, as evidence of anexpanding taste for historical documents

      While the three index cards of Barthes that were reproduced in the 1977 edition of Roland Barthes by Roland Barthes may have been "primarily for reality-effect value as evidence of an expanding taste for historical documents" as argued by Hollier, it does indicate the value of the collection to Barthes himself as part of an autobiographical work.

      I've noticed that one of the cards is very visibly about homosexuality in a time where public discussion of the term was still largely taboo. It would be interesting to have a full translation of the three cards to verify Hollier's claim, as at least this one does indicate the public consumption of the beginning of changing attitudes on previously taboo subject matter, even for a primarily English speaking audience which may not have been able to read or understand them, but would have at least been able to guess the topic.

      At least some small subset of the general public might have grown up with an index-card-based note taking practice and guessed at what their value may have been though largely at that point index card note systems were generally on their way out.

    9. Much of Barthes’ intellectual and pedagogical work was producedusing his cards, not just his published texts. For example, Barthes’Collège de France seminar on the topic of the Neutral, thepenultimate course he would take prior to his death, consisted offour bundles of about 800 cards on which was recorded everythingfrom ‘bibliographic indications, some summaries, notes, andprojects on abandoned figures’ (Clerc, 2005: xxi-xxii).

      In addition to using his card index for producing his published works, Barthes also used his note taking system for teaching as well. His final course on the topic of the Neutral, which he taught as a seminar at Collège de France, was contained in four bundles consisting of 800 cards which contained everything from notes, summaries, figures, and bibliographic entries.


      Given this and the easy portability of index cards, should we instead of recommending notebooks, laptops, or systems like Cornell notes, recommend students take notes directly on their note cards and revise them from there? The physicality of the medium may also have other benefits in terms of touch, smell, use of colors on them, etc. for memory and easy regular use. They could also be used physically for spaced repetition relatively quickly.

      Teachers using their index cards of notes physically in class or in discussions has the benefit of modeling the sort of note taking behaviors we might ask of our students. Imagine a classroom that has access to a teacher's public notes (electronic perhaps) which could be searched and cross linked by the students in real-time. This would also allow students to go beyond the immediate topic at hand, but see how that topic may dovetail with the teachers' other research work and interests. This also gives greater meaning to introductory coursework to allow students to see how it underpins other related and advanced intellectual endeavors and invites the student into those spaces as well. This sort of practice could bring to bear the full weight of the literacy space which we center in Western culture, for compare this with the primarily oral interactions that most teachers have with students. It's only in a small subset of suggested or required readings that students can use for leveraging the knowledge of their teachers while all the remainder of the interactions focus on conversation with the instructor and questions that they might put to them. With access to a teacher's card index, they would have so much more as they might also query that separately without making demands of time and attention to their professors. Even if answers aren't immediately forthcoming from the file, then there might at least be bibliographic entries that could be useful.

      I recently had the experience of asking a colleague for some basic references about the history and culture of the ancient Near East. Knowing that he had some significant expertise in the space, it would have been easier to query his proverbial card index for the lived experience and references than to bother him with the burden of doing work to pull them up.

      What sorts of digital systems could help to center these practices? Hypothes.is quickly comes to mind, though many teachers and even students will prefer to keep their notes private and not public where they're searchable.

      Another potential pathway here are systems like FedWiki or anagora.org which provide shared and interlinked note spaces. Have any educators attempted to use these for coursework? The closest I've seen recently are public groups using shared Roam Research or Obsidian-based collections for book clubs.

    10. The filing cards or slipsthat Barthes inserted into his index-card system adhered to a ‘strictformat’: they had to be precisely one quarter the size of his usualsheet of writing paper. Barthes (1991: 180) records that this systemchanged when standards were readjusted as part of moves towardsEuropean unification. Within the collection there was considerable‘interior mobility’ (Hollier, 2005: 40), with cards constantlyreordered. There were also multiple layerings of text on each card,with original text frequently annotated and altered.

      Barthes kept his system to a 'strict format' of cards which were one quarter the size of his usual sheet of writing paper, though he did adjust the size over time as paper sizes standardized within Europe. Hollier indicates that the collection had considerable 'interior mobility' and the cards were constantly reordered with use. Barthes also apparently frequently annotated and altered his notes on cards, so they were also changing with use over time.


      Did he make his own cards or purchase them? The sizing of his paper with respect to his cards might indicate that he made his own as it would have been relatively easy to fold his own paper in half twice and cut it up.

      Were his cards numbered or marked so as to be able to put them into some sort of standard order? There's a mention of 'interior mobility' and if this was the case were they just floating around internally or were they somehow indexed and tethered (linked) together?

      The fact that they were regularly used, revise, and easily reordered means that they could definitely have been used to elicit creativity in the same manner as Raymond Llull's combinatorial art, though done externally rather than within one's own mind.

    11. Barthes’ use of these cards goes back tohis first readin g of Michelet in 1943, which, as Hollier (2005: 40)notes, is more or less also the time of his very first articles. By 1945,Barthes had already amassed over 1,000 index cards on Michelet’swork alone, which he reportedly transported with him everywhere,from Romania to Egypt (Calvet, 1994: 113).

      Note the idea here about how easily portable a 1,000 card index must have been or alternately how important it must have been that Barthes traveled with it.

    12. I am speaking here of what appear to be Barthes’ fichier boîte or indexcard boxes which are visible on the shelf above and behind his head.

      First time I've run across the French term fichier boîte (literally 'file box') for index card boxes or files.


      As someone looking into note taking practices and aware of the idea of the zettelkasten, the suspense is building for me. I'm hoping this paper will have the payoff I'm looking for: a description of Roland Barthes' note taking methods!

    1. https://www.youtube.com/watch?v=2Wp6q5hUdtA

      Nice example of someone building their own paper-based zettelkasten an how they use it.

      Seemingly missing here is any sort of indexing system which means one is more reliant on the threads from one card to the next. Also missing are any other examples of links to other cards beyond the one this particular card is placed behind.

      Scott Scheper is using the word antinet, presumably to focus on non-digital versions of zettelkasten. Sounds more like a marketing word that essentially means paper zettelkasten or card index.

    1. 2. What influence does annotating with an audience have on how you annotate? My annotations and notes generally are fragile things, tentative formulations, or shortened formulations that have meaning because of what they point to (in my network of notes and thoughts), not so much because of their wording. Likewise my notes and notions read differently than my blog posts. Because my blog posts have an audience, my notes/notions are half of the internal dialogue with myself. Were I to annotate in the knowledge that it would be public, I would write very differently, it would be more a performance, less probing forwards in my thoughts. I remember that publicly shared bookmarks with notes in Delicious already had that effect for me. Do you annotate differently in public view, self censoring or self editing?

      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.

    1. Mr. Nabokov’s writing method is to compose his stories and novels on index cards,shuffling them as the work progresses since he does not write in consecutive order.Every card is rewritten many times. When the work is completed,the cards in final order, Nabokov dictates from them to his wifewho types it up in triplicate.

      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.

    1. Reviewing The Original of Laura, Alexander Theroux describes the cards as a “portable strategy that allowed [Nabokov] to compose in the car while his wife drove the devoted lepidopterist on butterfly expeditions.”

      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.

    2. Having died in 1977, Nabokov never completed the book, and so all Penguin had to publish decades later came to, as the subtitle indicates, A Novel in Fragments. These “fragments” he wrote on 138 cards, and the book as published includes full-color reproductions that you can actually tear out and organize — and re-organize — for yourself, “complete with smudges, cross-outs, words scrawled out in Russian and French (he was trilingual) and annotated notes to himself about titles of chapters and key points he wants to make about his characters.”

      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.

    1. Henri Cartier-Bresson, Roland Barthes, 1963. © PAR79520 Henri CartierBresson/Magnum Photos.

      A photo of Roland Barthes from 1963 featured in Picturing Barthes: The Photographic Construction of Authorship (Oxford University Press, 2020) DOI: 10.5871/bacad/9780197266670.003.0007

      There appears to be in index card file behind him in the photo, which he may have used for note taking in the mode of a zettelkasten.

      link to journal article notes on:

      Wilken, Rowan. “The Card Index as Creativity Machine.” Culture Machine 11 (2010): 7–30. https://culturemachine.net/creative-media/

  2. Feb 2022
    1. Chapter 3: The First Card Index?

      Markus Krajewski outlines some of the history of the creation of the first library card catalog and structures it in such a way as to create parallels between its structure and that of the structure of a modern day computer.

      He covers the creation of catalogs at the court of Vienna, the Vienna University Library, an an attempted but failed national cataloging effort in France called the Bureau de Bibliographie at the Louvre. By 1974 the French effort had at least 1.2 million cards for 3 million volumes.

    2. In preparing these instructions, Gaspard-Michel LeBlond, one of their authors, urges the use of uniform media for registering titles, suggesting that “ catalog materials are not diffi cult to assemble; it is suffi cient to use playing cards [. . .] Whether one writes lengthwise or across the backs of cards, one should pick one way and stick with it to preserve uniformity. ” 110 Presumably LeBlond was familiar with the work of Abb é Rozier fi fteen years earlier; it is unknown whether precisely cut cards had been used before Rozier. The activity of cutting up pages is often mentioned in prior descrip-tions.

      In published instructions issued on May 8, 1791 in France, Gaspard-Michel LeBlond by way of standardization for library catalogs suggests using playing cards either vertically or horizontally but admonishing catalogers to pick one orientation and stick with it. He was likely familiar with the use of playing cards for this purpose by Abbé Rozier fifteen years earlier.

    3. 4. What follows is the compilation of the basic catalog; that is, all book titles are copied on a piece of paper (whose pagina aversa must remain blank) according to a specifi c order, so that together with the title of every book and the name of the author, the place, year, and format of the printing, the volume, and the place of the same in the library is marked.

      Benedictine abbot Franz Stephan Rautenstrauch (1734 – 1785) in creating the Catalogo Topographico for the Vienna University Library created a nine point instruction set for cataloging, describing, and ordering books which included using paper slips.


      Interesting to note that the admonishment to leave the backs of the slips (pagina aversa), in the 1780's seems to make its way into 20th century practice by Luhmann and others.

    4. Indeed, the Jose-phinian card index owes its continued use to the failure to achieve a bound

      catalog, until a successor card catalog comes along in 1848. Only the<br /> absence of a bound repertory allows the paper slip aggregate to answer all inquiries about a book ’ s whereabouts after 1781. Thus, a failed undertaking tacitly turns into a success story.

      The Josephinian card index was created, in part on the ideas of Konrad Gessner's slip method, by accumulating slips which could be rearranged and then copied down permanently. While there was the chance that the original cards could be disordered, the fact that the approximately 300,000 cards in 205 small boxes were estimated to fill 50 to 60 folio volumes with time and expense to print it dissuaded the creation of a long desired compiled book of books. These problems along with the fact that new books being added later was sure to only compound problems of having a single reference. This failure to have a bound catalog of books unwittingly resulted in the success of the index card catalog.

    5. The undertaking that begins on May 22, 1780, later to be called the Jose-phinian catalog , is extant in “ 205 small boxes ” in an airtight locker in the

      Austrian National Library; it is widely, and often proudly, considered the first card catalog in library history.

      The first card catalogue in library history, later known as the Josephinian catalog, began on May 22, 1780 in the Austrian National Library.

    6. Rozier chances upon the labor-saving idea of producing catalogs according to Gessner ’ s procedures — that is, transferring titles onto one side of a piece of paper before copying them into tabular form. Yet he optimizes this process by dint of a small refi nement, with regard to the paper itself: instead of copying data onto specially cut octavo sheets, he uses uniformly and precisely cut paper whose ordinary purpose obeys the contingent pleasure of being shuffl ed, ordered, and exchanged: “ cartes à jouer. ” 35 In sticking strictly to the playing card sizes available in prerevolutionary France (either 83 × 43 mm or 70 × 43 mm), Rozier cast his bibliographical specifi cations into a standardized and therefore easily handled format.

      Abbé François Rozier cleverly transferred book titles onto the blank side of French playing cards instead of cut octavo sheets as a means of indexing after being appointed in 1775 to index the holdings of the Académie des Sciences in Paris.

  3. Jan 2022
    1. but uses the much more open HTTP for its transport business where the data payload is serialized in JSON.

      但是对外传输业务使用更开放的HTTP, 数据载荷使用反序列化的JSON

    2. impressive

      Especially the various levels of sophistications for implementing MBeans, starting with dead simple Standard MBeans and ending in very flexible Open MBeans and MXBeans, are impressive. 令人影响深刻

    1. Christoph Meinel, ‘Enzyklopädie der Welt und Verzettelung des Wissens: Aporien der Empirie bei Joachim Jungius’, in Enzyklopädien der frühen Neuzeit. Beiträge zu ihrer Er-forschung, ed. Franz M. Eybl (Tübingen, 1995), 162–87; Richard Yeo, ‘Loose Notes and Ca-pacious Memory: Robert Boyle’s Note-Taking and its Rationale’, Intellectual History Review 20 (2010), 335–54; Alberto Cevolini, ‘The Art of trascegliere e notare in Early Modern Ital-ian Culture’, Intellectual History Review 29 (2019), forthcoming.
    1. The essay is most famous for its description of a hypothetical information-retrieval system, the Memex, a kind of mechanical Evernote, in which a person's every "book, record, or communication" was microfilmed and cataloged.

      It really kills me that there's so much hero worship of all this, particularly given the information processing power of index card systems at the time. I don't really think it took such a leap to image automating such a system given the technological bent of the time.

      Of course actually doing it is another thing, but conceptualizing the idea at the time would have be de rigueur.

  4. Dec 2021
    1. Through an inner structure of recursive links and semantic pointers, a card index achieves a proper autonomy; it behaves as a ‘communication partner’ who can recommend unexpected associations among different ideas. I suggest that in this respect pre-adaptive advances took root in early modern Europe, and that this basic requisite for information pro-cessing machines was formulated largely by the keyword ‘order’.

      aliases for "topical headings": headwords keywords tags categories

    1. From 1676 onward, he follows an excerpting practice that directly refers to Jungius (via one of his students). Regarding Leibniz ’ s Excerpt Cabinet He wrote on slips of paper whatever occurred to him — in part when perusing books, in part during meditation or travel or out on walks — yet he did not let the paper slips (particularly the excerpts) cover each other in a mess; it was his habit to sort through them every now and then.

      According to one of his students, Leibniz used his note cabinet both for excerpts that he took from his reading as well as notes an ideas he came up separately from his reading.

      Most of the commonplace book tradition consisted of excerpting, but when did note taking practice begin to aggregate de novo notes with commonplaces?

    2. Leibniz ’ s propos-als for an indispensable library guide that mark the beginning of his activity in Wolfenb ü ttel in December 1690 include ideas on the form of cataloging: “ paper slips of all books, sorted pro materia et autoribus. ” 57 The plan antici-pates registering every book merely once, precisely on a slip of paper, so that the slip only has to be placed in the right order for any catalog organized alphabetically, by subject, or in any other way. Theoretically, this procedure could have successfully made numerous catalogs with the same data set. However, the plan is never carried out. In fact, the librarians supervised by Leibniz manage merely to assemble an alphabetical catalog; all the other plans fail for lack of employees and funding

      Leibnitz created a plan for creating a library card catalog for Wolfenbüttel in December 1690, which would have been similar in form to 20th century card catalogs, but the idea was never carried out for lack of employees and funding.

    3. The processing of excerpts follows the simplest algorithm: 1. When reading, everything of importance and whatever appears useful should be copied onto a good sheet of paper. 2. A new line should be used for every idea. 3. “ Finally, cut out everything you have copied with a pair of scissors; arrange the slips as you desire, fi rst into larger clusters which can then be subdivided again as often as necessary. ” 21 4. As soon as the desired order is produced, arranged, and sorted on tables or in small boxes, it should be fi xed or copied directly. 22

      This algorithm described in Gessner, 1548 fol. 19-20 is precisely that of a zettelkasten, though effectuated with slips of paper either glued or held by thread rails into a book.

      The last point number 4, even takes it so far as to arrange the individual notes into a logical order and copy them into something fixed, which one could readily view as an article.

      Gessner, Konrad. 1548. Pandectarum sive Partitionum Universalium. Zurich: Christoph Froschauer.

    4. the United States has its own home-grown technique. In 1817, William Croswell ’ s

      unfortunate project of devising a comprehensive catalog for the Harvard College Library marks the birth of the American card index—out of a spirit of sloth.

      William Croswell's work at creating a comprehensive catalog for the Harvard College Library results in the first card index in America.

    5. the box of paper slips reaches the East Coast of the United States through librarians who study in Europe and then apply the practice to the cataloging of their growing collections in the course of the nineteenth century.

      In the 19th century, the box of paper slips (zettelkasten) as a technology reaches the east coast of the United states by way of librarians who study in Europe and then apply the practice of cataloguing their own collections.

    6. Here, I also briefl y digress and examine two coinciding addressing logics: In the same decade and in the same town, the origin of the card index cooccurs with the invention of the house number. This establishes the possibility of abstract representation of (and controlled access to) both texts and inhabitants.

      Curiously, and possibly coincidently, the idea of the index card and the invention of the house number co-occur in the same decade and the same town. This creates the potential of abstracting the representation of information and people into numbers for easier access and linking.

    7. This comparison is not to claim that the index catalog is already a Turing machine. Comparisons, transfers, and analogies are not that simple. If the elements of a universal discrete machine are present, they still lack the computational logic of an operating system, the development of which constitutes Turing ’ s foundational achievement. What is described here is merely the fact that the card catalog is liter-ally a paper machine, similar to a nontrivial Turing machine only in having similar components — no more, no less.

      I felt some of this missing piece and so included the idea of human interaction as part of the process to make up the balance.

    8. What differs here from other data storage (as in the medium of the codex book) is a simple and obvious principle: information is available on separate, uniform, and mobile carriers and can be further arranged and processed according to strict systems of order.

      The primary value of the card catalogue and index cards as tools for thought is that it is a self-contained, uniform and mobile carrier that can be arranged and processed based on strict systems of order. Books have many of these properties, but the information isn't as atomic or as easily re-ordered.

    9. s Alan Turing proved only years later, these machines merely need (1) a (theoretically infi nite) partitioned paper tape, (2) a writing and reading head, and (3) an exact

      procedure for the writing and reading head to move over the paper segments. This book seeks to map the three basic logical components of every computer onto the card catalog as a “ paper machine,” analyzing its data processing and interfaces that may justify the claim, “Card catalogs can do anything!”

      Purpose of the book.

      A card catalog of index cards used by a human meets all the basic criteria of a Turing machine, or abstract computer, as defined by Alan Turing.

  5. Nov 2021
    1. on advocate for the index card in the early twentieth century called for animitation of “accountants of the modern schoolY”1

      Paul Chavigny, Organisation du travail intellectuel: Recettes pratiques a` l’usage des e ́tudiants de toutes les faculte ́s et de tous les travailleurs (Paris, 1920)

      Chavigny was an advocate for the index card in note taking in imitation of "accountants of the modern school". We know that the rise of the index card was hastened by the innovation of Melvil Dewey's company using index cards as part of their internal accounting system, which they actively exported to other companies as a product.

  6. Oct 2021
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  7. Sep 2021
  8. Aug 2021
  9. Jul 2021
    1. Claudia: I see. Did you like school? What did you get up to in the States?Yosell: In the States I finished my high school out there, and I was actually studying a little bit of college, but after the dumb Trump kind of thing came in place, I was just like, "Eh." And my mom had cancer at the time—she was fighting her cancer. So I ended up just saying, "I'm going back out to Mexico to live this time and actually live out here." I ended up just coming back, and just forgetting about college over there, and came back here to Mexico to actually live. And of course I was actually helping my mom with the cancer thing.Claudia: What did you do in the States? What did you like to do for fun?Yosell: Out in the States?Claudia: Yeah.Yosell: I actually had a sponsor for snowboarding and surfing.Claudia: Holy shit, that's awesome.Yosell: That's basically what I did. I just got paid to do that. And when I wasn't working with that, I would travel a lot with my dad. My dad would work with construction. I would just be with my dad or do my thing, and that's it, basically.Claudia: What did you like about snowboarding and surfing?Yosell: Let's see, snowboarding. I would always go back out to Utah, to Salt Lake, cause I loved snowboarding there and plus we'd always get free gear out there from the sponsor. The best part I probably like out there was camping out in the mountains. I really like camping a lot, I don't know why, it's just something I always did like. [Chuckle]. And from surfing, I don't know, it was always really into water.Yosell: I can remember when I was just a little kid, my dad would actually take me out to San Francisco and Venice Beach and all those kinds of beaches to just kick it. And I would see a bunch of my cousins surfing, so I think that's where it came on. I think I like almost any other sport, really, it's just like something that my dad put us into. He would take me, and I have two little brothers, out dirt biking a lot.Claudia: When you say you had a sponsorship, does that mean that you competed?Yosell: Yeah. It usually would take us out, and my dad would actually come with me, since I was still a minor, and it would just get a couple of videos into it, just do my stuff basically. That's all I would do.Claudia: Did you ever see yourself doing that when you were older?Yosell: I actually used to get paid for that out there, but just since I did end up just coming out to Mexico, I talked to my sponsor—which his name was called Jones, he was my manager out there—and I told him, "Hey, you know what? I'm going out to Mexico." And I got to say thanks and that's it. And he actually tried—when I got out to Mexico, I had contact with him a lot—he's telling me, "Hey, I want to see if we can get you a green card or something." I kind of didn't want to go back out to the States. I kind of just wanted to stay here. I really didn't even know Mexico, so that was part of it. I surfed a couple of times here in Mexico, but it's expensive out here to do something. You can't really do much.

      Time in the US, Jobs/employment/work, Careers, Athlete, Family, Friends, Hanging out;

    1. In 1780, two years after Linnaeus’s death, Vienna’s Court Library introduced a card catalog, the first of its kind. Describing all the books on the library’s shelves in one ordered system, it relied on a simple, flexible tool: paper slips. Around the same time that the library catalog appeared, says Krajewski, Europeans adopted banknotes as a universal medium of exchange. He believes this wasn’t a historical coincidence. Banknotes, like bibliographical slips of paper and the books they referred to, were material, representational, and mobile. Perhaps Linnaeus took the same mental leap from “free-floating banknotes” to “little paper slips” (or vice versa).

      I've read about the Vienna Court Library and their card catalogue. Perhaps worth reading Krajewski for more specifics to link these things together?

      Worth exploring the idea of paper money as a source of inspiration here too.

    1. Der Josephinische Katalog enthielt am Ende inklusive eines ausgefeilten Verweissystems ca. 300.000 Zettel. Dass er aber als erster Zettelkatalog Bibliotheksgeschichte schrieb, lag eher an einem Fehler im Programm. Eigentlich hätten nämlich nach van Swietens Vorstellungen am Ende des Vorgangs alle bibliographischen Angaben von den Zetteln in einen Bandkatalog übertragen werden sollen. Der Grund für diesen Programmierfehler bestand in ökonomischem Kalkül: Der geplante Katalog hätte gut und gerne 50 bis 60 Folio-Bände umfasst und wäre doch kurz nach Fertigstellung schon wieder veraltet gewesen. Darum wurden die Wiener Zettelkästen zur ersten relationalen Suchmaschine mit Erweiterungsfunktion.

      At the end of the Josephine catalog, including a sophisticated system of references, it contained around 300,000 pieces of paper. The fact that he was the first card catalog to write library history was more due to a bug in the program. Actually, according to [Gottfried Freiherr] van Swieten's ideas, at the end of the process all bibliographical information should have been transferred from the slips of paper to a volume catalog. The reason for this programming error was an economic calculation: the planned catalog would have easily comprised 50 to 60 folio volumes and would have been out of date shortly after completion. That is why the Vienna Zettelkästen became the first relational search engine with an expansion function.

      Description of the invention of the first library card catalog?

  10. Jun 2021
    1. The European Union has strong programs to invest in scientific research. Researchers Abraham García and Pierre Mohnen demonstrate that firms who received support from the Austrian government actually increased their research intensity and had more sales. Governments can support scientific research and technical training that helps to create and spread new technologies. Governments can also provide a legal environment that protects the ability of inventors to profit from their inventions.

      From OS

    1. image

      Caption: "Figure 7.6 Physical Capital per Worker in the United States The value of the physical capital, measured by plant and equipment, used by the average worker in the U.S. economy has risen over the decades. The increase may have leveled off a bit in the 1970s and 1980s, which were, not coincidentally, times of slower-than-usual growth in worker productivity. We see a renewed increase in physical capital per worker in the late 1990s, followed by a flattening in the early 2000s. (Source: Center for International Comparisons of Production, Income and Prices, University of Pennsylvania)"

    2. image

      Caption: "Figure 7.5 Human Capital Deepening in the U.S. Rising levels of education for persons 25 and older show the deepening of human capital in the U.S. economy. Even today, under one-third of U.S. adults have completed a four-year college degree. There is clearly room for additional deepening of human capital to occur. (Source: US Department of Education, National Center for Education Statistics)"

    1. image

      Figure 7.7 Capital Deepening and New Technology Imagine that the economy starts at point R, with the level of physical and human capital C1 and the output per capita at G1. If the economy relies only on capital deepening, while remaining at the technology level shown by the Technology 1 line, then it would face diminishing marginal returns as it moved from point R to point U to point W. However, now imagine that capital deepening is combined with improvements in technology. Then, as capital deepens from C1 to C2, technology improves from Technology 1 to Technology 2, and the economy moves from R to S. Similarly, as capital deepens from C2 to C3, technology increases from Technology 2 to Technology 3, and the economy moves from S to T. With improvements in technology, there is no longer any reason that economic growth must necessarily slow down.

  11. May 2021
    1. The great library of Alexandria, which began around 300 B.C.E., created a cataloguing system called Pinakes to manage the estimated 500,000 books in the collection of the Ptolemaic pharaohs. The Pinakes were sophisticated bibliographical lists containing title, incipit (the first few lines of each text), the number of lines for each work, and a subject and author index.

      Pinakes!

  12. Apr 2021
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  13. Feb 2021
  14. Nov 2020
  15. Oct 2020
    1. Introducing the notecard<picture><source type='image/webp' srcset="https://d33wubrfki0l68.cloudfront.net/1c9fc6f4219b130b82a6f7727ee74acecbe8b7a4/b4243/static/8ead8f249b03bd5814d09faec76a0d92/9e195/cardannotated.webp 200w, https://d33wubrfki0l68.cloudfront.net/f66b657967d2e34e758cb77fc59714a285319279/7a3d6/static/8ead8f249b03bd5814d09faec76a0d92/40a1d/cardannotated.webp 400w, https://d33wubrfki0l68.cloudfront.net/47d622ef46121005ad91293c7ee458a90d04b4fa/7fe2f/static/8ead8f249b03bd5814d09faec76a0d92/b0751/cardannotated.webp 800w, https://d33wubrfki0l68.cloudfront.net/6504d2ec44fb8a647fe5b79334af8ec4952253f7/8e755/static/8ead8f249b03bd5814d09faec76a0d92/a7c53/cardannotated.webp 1200w, https://d33wubrfki0l68.cloudfront.net/f69c4512b7a44c58464b2aef88aa47bf6a0bb66f/5c714/static/8ead8f249b03bd5814d09faec76a0d92/009c1/cardannotated.webp 1500w" sizes="(max-width: 800px) 100vw, 800px" /><source srcset="https://d33wubrfki0l68.cloudfront.net/d8560f7fcbf605ba3971dd25a26be6d61cc4cd0e/f1b18/static/8ead8f249b03bd5814d09faec76a0d92/4fa6c/cardannotated.jpg 200w, https://d33wubrfki0l68.cloudfront.net/eed5c3fa61adc2053cdbf49591157f1aaafcb163/00ee5/static/8ead8f249b03bd5814d09faec76a0d92/64b17/cardannotated.jpg 400w, https://d33wubrfki0l68.cloudfront.net/0a571025bfd13a5d0047fe36963562de5f20bd00/a556c/static/8ead8f249b03bd5814d09faec76a0d92/a1eb1/cardannotated.jpg 800w, https://d33wubrfki0l68.cloudfront.net/167359409657f272c354c8550a2c2e7f53ddd34a/27ba4/static/8ead8f249b03bd5814d09faec76a0d92/a6c62/cardannotated.jpg 1200w, https://d33wubrfki0l68.cloudfront.net/5250e9e013f951c51b8e0e5e41da294776ec9f35/e54ea/static/8ead8f249b03bd5814d09faec76a0d92/08276/cardannotated.jpg 1500w" sizes="(max-width: 800px) 100vw, 800px" /><img loading="lazy" sizes="(max-width: 800px) 100vw, 800px" srcset="https://d33wubrfki0l68.cloudfront.net/d8560f7fcbf605ba3971dd25a26be6d61cc4cd0e/f1b18/static/8ead8f249b03bd5814d09faec76a0d92/4fa6c/cardannotated.jpg 200w, https://d33wubrfki0l68.cloudfront.net/eed5c3fa61adc2053cdbf49591157f1aaafcb163/00ee5/static/8ead8f249b03bd5814d09faec76a0d92/64b17/cardannotated.jpg 400w, https://d33wubrfki0l68.cloudfront.net/0a571025bfd13a5d0047fe36963562de5f20bd00/a556c/static/8ead8f249b03bd5814d09faec76a0d92/a1eb1/cardannotated.jpg 800w, https://d33wubrfki0l68.cloudfront.net/167359409657f272c354c8550a2c2e7f53ddd34a/27ba4/static/8ead8f249b03bd5814d09faec76a0d92/a6c62/cardannotated.jpg 1200w, https://d33wubrfki0l68.cloudfront.net/5250e9e013f951c51b8e0e5e41da294776ec9f35/e54ea/static/8ead8f249b03bd5814d09faec76a0d92/08276/cardannotated.jpg 1500w" src="https://d33wubrfki0l68.cloudfront.net/0a571025bfd13a5d0047fe36963562de5f20bd00/a556c/static/8ead8f249b03bd5814d09faec76a0d92/a1eb1/cardannotated.jpg" alt="Introducing the notecard" title="Introducing the notecard" style="position:absolute;top:0;left:0;opacity:1;width:100%;height:100%;object-fit:cover;object-position:center"/></picture>No more bloated files for taking notes. Create simple yet powerful digital note-cards with rich and varied content, like math equations, tables, images, checklists, and emojis.
    1. Later in the thread just cited, John Meador quoted another text, 1594, attesting to something more astounding: ...two especial uses, I have often exercised this art for the better help of my own memory, and the same as yet has never failed me. Although I have heard some of Master Dickson, his schollers, that have prooved such cunning Cardplayers hereby, that they could tell the course of all the Cards and what every gamester had in his hand. So ready we are to turn an honest and commendable invention into craft and cousenage." -Hugh Platt: The Jewell House of Art and Nature 1594 This art, or at least its claims, goes somewhat beyond remembering what cards have been played: they actually can use it to know what the other players have in their hand, before playing the cards. Platt considers this a kind of cheating (usually "cozenage", from "cozen", first use 1573, probably from the Italian cozzone, horse trader, per http://www.merriam-webster.com/dictionary/cozen).
  16. Aug 2020
  17. Jun 2020
  18. Feb 2020
  19. Dec 2019
    1. In a nutshell, the King's Keys deck started as an experiment to see what card games would be like if you rebuilt playing cards from the ground up. Instead of using ranks and suits, each card has a number (from one to four), one of four items, and one of four colors. The result is what I call a 4x4x4 deck where 64 playing cards each have a unique combination of these three parts.
  20. Aug 2019
  21. Jul 2017
  22. Dec 2016
    1. The Viet Nam era draft card is also known by its legal description, the status card. The draft card was an aspect of the Selective Service Act, the federal legislation that legalized the conscription of eligible males into the American armed services during the Viet Nam war (1962–1973).

      Vietnam Card Burning (PRIMARY PICTURES)

  23. May 2016