2,711 Matching Annotations
  1. Jul 2022
    1. Thanks for all the fantastic literature tips! Added to the list 😊

      If these are the types of things that are interesting, you might also try a shared bibliography that a handful of readers/researchers share and contribute to: https://www.zotero.org/groups/4676190/tools_for_thought

    1. At the same time, like Harold, I’ve realised that it is important to do things, to keep blogging and writing in this space. Not because of its sheer brilliance, but because most of it will be crap, and brilliance will only occur once in a while. You need to produce lots of stuff to increase the likelihood of hitting on something worthwile. Of course that very much feeds the imposter cycle, but it’s the only way. Getting back into a more intensive blogging habit 18 months ago, has helped me explore more and better. Because most of what I blog here isn’t very meaningful, but needs to be gotten out of the way, or helps build towards, scaffolding towards something with more meaning.

      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.

    1. wicked Colonel

      I think this phrase describing the Colonel will be important throughout the novel. I do we write code to trace this collocation "wicked Colonel"?

    2. superstitio

      I think that "superstition" is a keyword in The Moonstone. How do I write code to track each sentence/phrase in which "superstition" appears?

    1. https://www.youtube.com/watch?v=7s4xx_muNcs

      Don't recommend unless you have 100 hours to follow up on everything here that goes beyond the surface.

      Be aware that this is a gateway for what I'm sure is a relatively sophisticated sales funnel.


      Motivational and a great start, but I wonder how many followed up on these techniques and methods, internalized them and used them every day? I've not read his book, but I suspect it's got the usual mnemonic methods that go back millennia. And yet, these things are still not commonplace. People just don't seem to want to put in the work.

      As a result, they become a sales tool with a get rich quick (get smart quick) hook/scheme. Great for Kwik's pocketbook, but what about actual outcomes for the hundreds who attended or the 34.6k people who've watched this video so far?

      These methods need to be instilled in youth as it's rare for adults to bother.


      Acronyms for remembering things are alright, but not incredibly effective as most people will have issues remembering the acronym itself much less what the letters stand for.


      There seems to be an over-fondness for acronyms for people selling systems like this. (See also Tiago Forte as another example.)

    1. i think there's a lot of latent potential in this coordination mechanisms layer um especially i think there's a bunch of really good ideas around um things like futarki and other struck 00:17:59 i'm not necessarily sure that that particular construction will work but i think we need to a lot of experiments with those kinds of governance structures to see if there could be ways of governing systems algorithmically 00:18:11 and and with a way of aggregating a lot of our perspectives and thoughts and values um in a much more systematic way than sort of like uh very brittle representative democracy that like doesn't really scale to to 00:18:23 millions of people um and i think you know in terms of a lot of the mechanisms and structures that that we want to build um there's a lot more theory that is needed there's a lot more implementations that 00:18:35 are needed there's a lot more rigorous study and assessment of of performance and so on that is needed so um really encourage you to kind of pick out any of these

      Indyweb could be a good option for coordination layer.

    2. i really think this last one the coordination systems how do you get large groups of people to organize much better 00:16:44 that holds some of the most promise

      Indyweb / SRG / Global Boundaries combination for the large scale transformation and coordination framework.

    1. the two questions that we hopefully would uh try to answer with with this r d program is and and one of this i already 00:56:53 mentioned but out of all conceivable designs for societal systems so so so this isn't about capitalism versus socialism or something like that there's like i would think there's an unlimited 00:57:05 potential we're creative we're creative people there would be a million varieties of of societal systems and integrated societal systems that we might come up with 00:57:17 and some of those probably would work very well and some of them probably would work very poorly um so among those what what might be among the best and not the the single best that's not the purpose either it's not just to find one thing that works is 00:57:30 to find like a you know more of a a variety a process of things a mix mishmash of things that community the communities can choose to implement that you know 00:57:43 works well for them and that suits them and that works well for their neighbors and works well forever it works well for the whole really

      Two questions to answer:

      1. out of all the conceivable societal systems possible, which are suited to a community? This is not one size fits all.

      This requires careful consideration. There cannot be complete autonomy, as lack of standards will make things very challenging for any inter-community cooperation.

      Cosmolocal framework (https://clreader.net) as well as Indyweb Interpersonal computing could mediate discussion between different community nodes and emerge common ground

    2. maybe i should say having a having a checkoff list like you know there should be this level of education there should be this level of 00:52:40 [Music] health people should live this long and so we have our fitness and we're gonna uh we've decided in advance even before the system is running we've 00:52:53 now have a list of things we're gonna check off we're gonna score each one we're gonna come up with some kind of integrated fitness score from that and that's how we're going to move forward we're always going to refer to this fit this you know this fitness model and 00:53:07 the fitness vector and these and these kind of hard-coded values for what's good and what's bad so so in the world of artificial intelligence and in the world of active inference you know that 00:53:19 really doesn't go very far that doesn't work that doesn't work very well because what happens is we didn't you didn't think ahead you like you some something happens tomorrow and whoever came up with that list of 00:53:32 uh you know those values or that model didn't really include the fact that maybe spaceships from mars were gonna land and cause a new disruption and then we have to deal with that problem now too before we deal with 00:53:45 anything else so that wasn't in the you know that wasn't in the plan and now what do we do you know so there's right so so this is you know this is really where active inference plays into 00:53:58 that's one way that active inference plays into this is how do you evaluate and act in a world that is full of uncertainties right 00:54:10 the unknown unknown the unknown unknown is the temperature dynamics but you know it's going to be temperature and so how can you plan for what you know it will be in a distributional sense 00:54:23 right and make stabilization on that awesome right right so so yeah so you so you realize you know already you realize maybe that this is not a proposal to build a say like a model of uh of uh you know 00:54:37 like how society makes decisions you know that's that's not that's not it it is what is the process by which society cognates 00:54:50 and you know what kind of what kind of infrastructure and tools and and and you know mechanics can we use that would facilitate that but it's not to build a thing 00:55:01 it's to build it's to realize that we are in we are engaged moment to moment in a cognitive process society as individuals are and how can we 00:55:14 do that together as a society so that we're you know we we balance exploration with exploitation um you know so that we we learn about our environment we grow we learn 00:55:27 we explore we we make good decisions based on available evidence and based on knowledge based on cultural knowledge you know like all those things right so so this is a this is 00:55:39 the the the you know i think organisms are a process they're not a thing anyway right cognition is a process and societal decision making is a process 00:55:54 and really society is a process you know there's there's not too many things in this world there's mostly processes living processes intelligent processes so that's that's the that's the hope 00:56:05 that's where this is trying to go is to like with that in mind with that with that broad understanding or broad concept in mind how do we uh how do we 00:56:16 think about you know how we how we come together as society how we cooperate how we coordinate how we make decisions how we how we learn how we explore what do we what do we monitor what kind 00:56:29 of information do we seek you know what kind of experiments do we do all that kind of stuff great

      Third Proposition:

      The superorganism's efforts to learn, decide and adapt can be interpreted as being driven by its intrinsic pupose.

      This is aligned to the Indyweb philosophy of a system architecture that promotes conversation, knowledge at the edge and high efficacy collective learning.

      Living beings,and groups of living beings are processes and not (static) things - a perspective aligned with SRG and Indyweb. The process quality of being a living human INTERbeing quickly becomes apparent after one starts using the Interpersonal Indyweb computing ecosystem. In particular, the Indyhub allows the Indyvidual to consolidate all their digital and virtual interactions in one place, which allows for the first time, the ability to witness one's own individual learning on a granular level and literally see the process of your own individual learning in realtime.

    1. In this high-speed PCB design guide, we will encapsulate the high-speed PCB layout techniques, high-speed layout guidelines to help designers.

      Would you like to speed up the performance of your product?

      With innovative and fast electric equipment, designers and engineers can speed up the product. Not only this, you need a high speed PCB run faster.

      Read the blog further to understand the rules and challenges of high-speed PCB design.

    1. I recently started building a website that lives at wesleyac.com, and one of the things that made me procrastinate for years on putting it up was not being sure if I was ready to commit to it. I solved that conundrum with a page outlining my thoughts on its stability and permanence:

      It's worth introspecting on why any given person might hesitate to feel that they can commit. This is almost always comes down to "maintainability"—websites are, like many computer-based endeavors, thought of as projects that have to be maintained. This is a failure of the native Web formats to appreciably make inroads as a viable alternative to traditional document formats like PDF and Word's .doc/.docx (or even the ODF black sheep). Many people involved with Web tech have difficulty themselves conceptualizing Web documents in these terms, which is unfortunate.

      If you can be confident that you can, today, bang out something in LibreOffice, optionally export to PDF, and then dump the result at a stable URL, then you should feel similarly confident about HTML. Too many people have mental guardrails preventing them from grappling with the relevant tech in this way.

    1. Beyond the cards mentioned above, you should also capture any hard-to-classify thoughts, questions, and areas for further inquiry on separate cards. Regularly go through these to make sure that you are covering everything and that you don’t forget something.I consider these insurance cards because they won’t get lost in some notebook or scrap of paper, or email to oneself.

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

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

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

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

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


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

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

    1. One of the risks I heard mentioned is that of becoming/ being perceived as an ”arm of the university bureaucracy”, as CTLs become more involved in decision-making on educational issues.

      Interesting problem. Why is the CTL not seen as an "arm of shared governance" in these cases? Or at least a venue of it?

    2. Dilemma: should/ can the CTL be neutral territory (and can it be?)

      Fascinating to see what "neutral" means here. There's the "non-evaluative"/"non-supervisory" sense, where "neutrality" is essentially with respect to office politics, and the "not advancing an argument" sense, which in the strictest sense seems almost impossible to reconcile with any kind of developmental work.

  2. Jun 2022
    1. The trending topics on Twitter can be used as a form of juxtaposition of random ideas which could be brought together to make new and interesting things.

      Here's but one example of someone practicing just this:

      Y’all, imagine Spielberg’s Sailor Moon pic.twitter.com/xZ1DEsbLTy

      — Matty Illustration (@MN_illustration) June 30, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

      cc: https://twitter.com/marshallk

    1. Explore more Thinking Routines at pz.harvard.edu/thinking-routines
    2. Compass Points, a routine for examining propositions.

      via https://pz.harvard.edu/sites/default/files/Compass%20Points_0.pdf

      • E- excited
      • W- worrisome
      • N - need to know
      • S - stance or suggestion for moving forward

      These could be used as a simple set of rules for thumb for evaluating and expanding on ideas in note taking or social annotation settings.

      Compare these with the suggestions of Tiago Forte in his book Building a Second Brain. Which is better? More comprehensive? Are there any ideas missing in a broader conceptualization? Is there a better acronymization or analogy for such a technique?

    1. surveys indicate that screens and e-readers interfere with two other important aspects of navigating texts: serendipity and a sense of control.

      Based on surveys, readers indicate that two important parts of textual navigation are sense of control and serendipity.

      http://books.google.com/books/about/Electronic_journal_literature.html?id=YSFlAAAAMAAJ


      How does the control over a book frame how we read? What does "power over" a book look like compared to "power with"?

      What are the tools for thought affordances that paper books provide over digital books and vice versa?


      I find myself thinking about people publishing books in index card/zettelkasten formats. Perhaps Scott Scheper could do this with his antinet book presented in a linear format, but done in index cards with his numbers, links, etc. as well as his actual cards for his index so that readers could also see the power of the system by holding it in their hands and playing with it.

    1. Giving Your First Brain a New Job

      This entire chapter thus far (to the end of this section at minimum) sounds like it would have been better motivating material.

      It also has a more touchy-feely and less concrete nature which puts in the self-help category and not so much in the tools for thought space.

    2. You might have arrived at this book because you heard about thisnew field called personal knowledge management, or maybe whenyou were trying to find guidance in how to use a cool new notetakingapp. Maybe you were drawn in by the promise of new techniques forenhancing your productivity, or perhaps it was the allure of asystematic approach to creativity.

      The broad audiences for this book.

      This may have been better place in the introduction to draw these people in.

    3. Chefs use mise en place—a philosophy and mindset embodied ina set of practical techniques—as their “external brain.”1 It gives thema way to externalize their thinking into their environment

      Dan Charnas, Work Clean: The Life-Changing Power of Mise-en-Place to Organize Your Life, Work, and Mind (Emmaus, PA: Rodale Books, 2016)

      mise-en-place is an example of a means of thinking externally with one's environment

      link to - similar ideas in Annie Murphy Paul's The Extended Mind

    4. If we overlay the four steps of CODE onto the model ofdivergence and convergence, we arrive at a powerful template forthe creative process in our time.

      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.

      A flattened diamond shape which grows from a point on the left so as to indicate divergence from a point to the diamond's wide middle which then decreases to the right to indicate convergence  to the opposite point. Overlapping this on the right of the diamond are the words "capture" and "organize" while the converging right side is overlaid with "distill" and "express". <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.

      Graphs of commonplace book method (collect, organize, distill, express) versus zettelkasten method (collect, express, organize (index/link), and distill (edit)) with work on the vertical axis and time/methods on the horizontal axis. While there is similar work in collection the graph for the zettelkasten is overall lower and flatter and eventually tails off, the commonplace slowly increases over time.

      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.

    5. As powerful and necessary as divergence is, if all we ever do isdiverge, then we never arrive anywhere.

      Tiago Forte frames the creative process in the framing of divergence (brainstorming) and convergence (connecting ideas, editing, refining) which emerged out of the Stanford Design School and popularized by IDEO in the 1980s and 1990s.

      But this is just what the more refined practices of maintaining a zettelkasten entail. It's the creation of profligate divergence forced by promiscuously following one's interests and collecting ideas along the way interspersed with active and pointed connection of ideas slowly creating convergence of these ideas over time. The ultimate act of creation finally becomes simple as pulling one's favorite idea of many out of the box (along with all the things connected to it) and editing out any unnecessary pieces and then smoothing the whole into something cohesive.

      This is far less taxing than sculpting marble where one needs to start with an idea of where one is going and then needs the actual skill to get there. Doing this well requires thousands of hours of practice at the skill, working with smaller models, and eventually (hopefully) arriving at art. It's much easier if one has the broad shapes of the entirety of Rodin, Michelangelo, and Donatello's works in their repository and they can simply pull out one that feels interesting and polish it up a bit. Some of the time necessary for work and practice are still there, but the ultimate results are closer to guaranteed art in one domain than the other.


      Commonplacing or slipboxing allows us to take the ability to imitate, which humans are exceptionally good at (Annie Murphy Paul, link tk), and combine those imitations in a way to actively explore and then create new innovative ideas.

      Commonplacing can be thought of as lifelong and consistent practice of brainstorming where one captures all the ideas for later use.


      Link to - practice makes perfect

    6. When a few of his friends became interested in thetopic, he took eight minutes to progressively summarize the bestexcerpts before sharing the summarized article with them. The timethat he had spent reading and understanding a complex subject paidoff in time savings for his friends, while also giving them a newinterest to connect over.

      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

    7. Tharp calls her approach “the box.”

      In The Creative Habit, dancer and choreographer Twyla Tharp has creative inspiration and note taking practice which she calls "the box" in which she organizes “notebooks, news clippings, CDs, videotapes of me working alone in my studio, videos of the dancers rehearsing, books and photographs and pieces of art that may have inspired me”. She also calls her linking of ideas within her box method "the art of scratching" (chapter 6).

      related: combinatorial creativity triangle thinking


      [[Twyla Tharp]] [[The Creative Habit]] #books/wanttoread

    1. 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

    1. Tiago's book follows the general method of the commonplace book, but relies more heavily on a folder-based method and places far less emphasis and value on having a solid index. There isn't any real focus on linking ideas other than putting some things together in the same folder. His experience with the history of the space in feels like it only goes back to some early Ryan Holiday blog posts. He erroneously credits Luhmann with inventing the zettelkasten and Anne-Laure Le Cunff created digital gardens. He's already retracted these in sketch errata here: https://www.buildingasecondbrain.com/endnotes.

      I'll give him at least some credit that there is some reasonable evidence that he actually used his system to write his own book, but the number and depth of his references and experience is exceptionally shallow given the number of years he's been in the space, particularly professionally. He also has some interesting anecdotes and examples of various people including and array of artists and writers which aren't frequently mentioned in the note taking space, so I'll give him points for some diversity of players as well. I'm mostly left with the feeling that he wrote the book because of the general adage that "thought leaders in their space should have a published book in their area to have credibility". Whether or not one can call him a thought leader for "re-inventing" something that Rudolphus Agricola and Desiderius Erasmus firmly ensconced into Western culture about 500 years ago is debatable.

      Stylistically, I'd call his prose a bit florid and too often self-help-y. The four letter acronyms become a bit much after a while. It wavers dangerously close to those who are prone to the sirens' call of the #ProductivityPorn space.

      If you've read a handful of the big articles in the note taking, tools for thought, digital gardens, zettelkasten space, Ahren's book, or regularly keep up with r/antinet or r/Zettelkasten, chances are that you'll be sorely disappointed and not find much insight. If you have friends that don't need the horsepower of Ahrens or zettelkasten, then it might be a reasonable substitute, but then it could have been half the length for the reader.

    1. https://www.facultyfocus.com/articles/effective-teaching-strategies/bringing-theories-to-practice-universal-design-principles-and-the-use-of-social-annotation-to-support-neurodivergent-students/

      A very brief primer on UDL and how Hypothes.is and social annotation might fit within its framework. There seems to be a stronger familiarity with Hypothes.is as a tool and a bit less familiarity with UDL, or perhaps they just didn't bind the two together as tightly as they might have.

      I'm definitely curious to look more closely at the UDL framework to see what we might extract from it.

      The title features neurodiversity, but doesn't deliver on the promise.

      An interesting reframing would be that of social annotation with the idea of modality shifts, particularly for neurodiverse students.

    2. Universal Design for Learning (UDL) framework

      Universal Design for Learning framework https://udlguidelines.cast.org/

    1. The main problem of the Linux community is that it is divided. I know this division represents freedom of choice but when your rivals are successful, you must inspect them carefully. And both rivals here (MacOS and Windows) get their power from the "less is more approach".This division in Linux communities make people turn into their communities when they have problems and never be heard as a big, unified voice.When something goes wrong with other OSes, people start complaining in many forums and support sites, some of them writing to multiple places and others support them by saying "yeah, I have that problem, too".In the Linux world, the answers to such forums come as "don't use that shitty distro" or "use that command and circumvent the problem".Long story short" average Linux user doesn't know that they are:still customers and have all the rights to demand from companiesthey can get together and act up louder.Imagine such an organizing that most of the Linux users manage to get together and writing to Netflix. Maybe not all of them use Netflix but the number of the Linux users are greater than Netflix members. What a domination it would be!But instead we turn into our communities and act like a survival tribe who has to solve all their problems themselves .
    2. Big Software companies like Adobe or Netflix do two things that are relevant for us and currently go wrong:They analyse the systems their customers use. They don't see their Linux users because we tend to either not use the product at all under Linux (just boot windows, just use a firertv stick and so one) or we use emulators or other tools that basically hide that we actually run Linux. --> The result is that they don't know how many we actually are. They think we are irrelevant because thats what the statistics tell them (they are completely driven by numbers).They analyze the feature requests and complains they get from their customers. The problem is: Linux users don't complain that much or try to request better linux support. We usually somehow work around the issues. --> The result is that these companies to neither get feature requests for better Linux support nor bug reports from linux users (cause its not expected to work anyways).
    1. you label boxes so you knowwhat’s in them; you arrange your clothes according to color. Eventually you reach apoint where you look around and you’re satisfied. There are no loose ends.Everything is in its place, put away or accounted for or easily accessed. The roomexudes order and harmony. When you look around, you’re happy.

      Interlinking your ideas can help to create a harmony within your collection. There are no loose ends or lost ideas. There is a place for everything and everything is in its proper place, ready to be used and reused.

    2. The box is not a substitute for creating. The box doesn’t compose or write apoem or create a dance step. The box is the raw index of your preparation. It is therepository of your creative potential, but it is not that potential realized.

      Great quote about what a zettelkasten isn't. This is also one of the reasons why I've underlined the amount of work that one must put into the box to get productive material back out the other end.

    3. Maurice Sendak has a room that’s theequivalent of my boxes, a working studio that contains a huge unit with flat pulloutdrawers in which he keeps sketches, reference materials, notes, articles. He works onseveral projects at a time, and he likes to keep the overlapping materials out of sightwhen he’s tackling any one of them.

      In her experience with Maurice Sendak, Twyla Tharp indicates that he has a room that works as the equivalent of her project boxes. His version is a working studio that contains a huge unit with flat pullout drawers where he keeps sketches, reference materials, notes, and articles. His system allows him to keep all the ideas ready at hand, but also easily out of the way so he can focus on a particular idea and project at a time.

  3. danallosso.substack.com danallosso.substack.com
    1. 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.

    1. Although “renewable energy promoters claim that we can replace our current energy needs without fossil fuels,” adds Berman, the truth is this: “The triumph of technology may allow that but it will do little to end the ongoing ecosystem disaster.”

      There are researchers looking at the amount of fossil fuel energy required for the transition. One research group is MIT: https://climate.mit.edu/ask-mit/does-concrete-needed-build-renewable-energy-negate-good

      Other researchers have estimated fossil fuel budgets that need to be reserved for building the initial renewable energy production infrastructure for the transition.

      Research is nonlinear. A recent breakthrough might circularize cement industry:

      ‘If Cambridge Electric Cement lives up to the promise it has shown in early laboratory trials, it could be a turning point in the journey to a safe future climate. Combining steel and cement recycling in a single process powered by renewable electricity, this could secure the supply of the basic materials of construction to support the infrastructure of a zero emissions world and to enable economic development where it is most needed.’ http://www.eng.cam.ac.uk/news/cambridge-engineers-invent-world-s-first-zero-emissions-cement

    1. Harness collective intelligence augmented by digital technology, and unlock exponential innovation. Beyond old hierarchical structures and archaic tools.

      https://twitter.com/augmented_CI

      The words "beyond", "hierarchical", and "archaic" are all designed to marginalize prior thought and tools which all work, and are likely upon which this broader idea is built. This is a potentially toxic means of creating "power over" this prior art rather than a more open spirit of "power with".

    1. Free public projects private projects starting at $9/month per project

      For many tools and apps payment for privacy is becoming the norm.

      Examples: - Kumu.io - Github for private repos - ...

      pros: - helps to encourage putting things into the commons

      cons: - Normalizes the idea of payment for privacy which can be a toxic tool.

      discuss...

  4. May 2022
    1. Sponsorship allows me to focus my efforts on open source software. I also provide professional consulting services.
    1. As for publishing this as an actual gem on rubygems.org...I have enough open source I'm involved in all ready (or too much, as my wife would probably say) and I'm not really interested in maintaining another gem.
    1. However, what if we replace “ human face ” in this decisive quotewith “interface,” that is, the interface between man and apparatus?

      This wording seems quite profound.

      It means that by creating a personification of our tools, we can more easily communicate with them.

      Do people personify their computers? I remember in the late 80s and early 90s computer workstations, especially in university settings, having personified names.

      Link this to the personification of rocks w.r.t. talking rocks and oral traditions.

      link to: https://hypothes.is/a/KosdVt1qEeykU2dTuVZT3Q

    2. In a word thatKleist borrows from Kant: a “midwifery of thought.”45
      1. Immanuel Kant, Metaphysik der Sitten, Zweiter Teil, II. Ethische Methodenlehre, 1st Section, §50: “He is the midwife of his thoughts,” on the teacher-student relationship.
    3. a constellation already described in 1805 by Heinrich von Kleist in his fascinat-ing analysis of the “Midwifery of Thought”: “If you want to know something and cannotfind it through meditation, I advise you, my dear, clever friend, to speak about it withthe next acquaintance who bumps into you.” 43 The positive tension that such a conversa-tion immediately elicits through the expectations of the Other obliges one to producenew thought in the conversation. The idea develops during speech. There, the sheeravailability of such a counterpart, who must do nothing further (i.e., offer additionalstimulus through keen contradiction of the speaker) is already enough; “There is a specialsource of excitement, for him who speaks, in the human face across from him; and agaze which already announces a half-expressed thought to be understood often givesexpression to the entire other half.”44
      1. Heinrich von Kleist, “Ü ber die allm ä hliche Verfertigung der Gedanken beim Reden,” in Sämtliche Werke und Briefe. Zweiter Band, ed. Helmut Sembdner (M ü nchen: dtv, 1805/2001), 319 – 324, at 319.
      2. Ibid., 320.

      in 1805 Heinrich von Kleist noted that one can use conversation with another person, even when that person is silent, to come up with solutions or ideas they may not have done on their own.

      This phenomena is borne out in modern practices like the so-called "rubber duck debugging", where a programmer can talk to any imagined listener, often framed as a rubber duck sitting on their desk, and talk through the problem in their code. Invariably, talking through all the steps of the problem will often result in the person realizing what the problem is and allow them to fix it.

      This method of verbal "conversation" obviously was a tool which indigenous oral cultures frequently used despite the fact that they didn't have literacy as a tool to fall back on.

    4. commenting in an interview: “By the way, many people havecome here to see that.”13 The writing tool became an object of desire, especially foryoung academics seeking to add a carefully planned card index to their carefully plannedcareers: “After all, Fred wants to be a professor.” 1

      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.
    1. One example of a siloed approach to critical infrastructure is the European Programme for Critical Infrastructure Protection’s framework and action plan, which focuses on reducing vulnerability to terror attacks but does not consider integrating climate or environmental dimensions.39       Instead of approaching critical infrastructure protection as another systems maintenance task, the hyper-response takes advantage of ecoinnovation.40 Distributed and localized energy, food, water, and manufacturing solutions mean that the capacity to disrupt the arterials that keep society functioning is reduced. As an example, many citizens and communities rely on one centralized water supply. If these citizens and communities had water tanks and smaller-scale local water supply, this means that if a terror group or other malevolent actor decided to contaminate major national water supplies—or if the hyperthreat itself damaged major central systems—far fewer people would be at risk, and the overall disruption would be less significant. This offers a “security from the ground up” approach, and it applies to other dimensions such as health, food, and energy security.

      The transition of energy and other critical provisioning systems requires inclusive debate so that a harmonized trajectory can be selected that mitigates against stranded assets. The risk of non-inclusive debate is the possibility of many fragmented approaches competing against each other and wasting precious time and resources. Furthermore, system maintenance of antiquated hyperthreat supporting systems as pointed out in Boulton's other research. System maintenance is a good explanatory concept that can help make sense of much of the incumbent financial, energy and government actors to preserve the hyperthreat out of survival motives.

      A template for a compass for guiding energy trajectories is provided in Van Zyl-Bulitta et al. https://www.researchgate.net/publication/333254683_A_compass_to_guide_through_the_myriad_of_sustainable_energy_transition_options_across_the_global_North_South_divide which can also be a model for other provisioning systems.

    2. A creative state refers to the idea that a nation state can transform in an intra-active way in response to new demands presented by the hyperthreat. The creative state can emerge as a far more powerful but just and agile entity, with increased agency to protect its people and natural systems. For democratic nations, the creative state also refers to democratic repair, which includes devolution of greater decision-making, analysis, and resources to local levels.

      One way to affect the creative state is to promote a global campaign to encourage eco-civilizationally and social justice minded women to enter into local political leadership roles. Recent research shows that such system level change can result in far greater impact than ineffective individual scale change.

    1. Creativity depends on acreative process.
    2. There are four essential capabilities that we can rely on a SecondBrain to perform for us:1. Making our ideas concrete.2. Revealing new associations between ideas.3. Incubating our ideas over time.4. Sharpening our unique perspectives.

      Does the system really do each of these? Writing things down for our future selves is the thing that makes ideas concrete, not the system itself. Most notebooks don't reveal new associations, we actively have to do that ourselves via memory or through active search and linking within the system itself. The system may help, but it doesn't automatically create associations nor reveal them. By keeping our ideas in one place they do incubate to some extent, but isn't the real incubation taking place in a diffuse way in our minds to come out later?

    1. This art of method was understood by Ramus and Ramists as its own efficacious art of memory. InScholae in liberales artes, Ramus is explicit about his disdain for the visual mnemonic rules suggested byclassical sources.“The art of memory,”he counters,“consists entirely in division and composition. If weseek then an art which will divide and compose things, we shall find the art of memory”(qtd. in Yates 233).Ramus thus enfolds the fourth canon into his methodical framework, linking memorization of content withits“division and composition,”that is, with its organization.

      Arrangement and organization definitely have their place and can be helpful. However they may also tend to become too rigid to the point that one's thinking begins to lack creativity and invention. Where is the space for the Llullist arts of combinatorial thought here?

    1. In §§ 4–5, I examine the socio-evolutionary circumstances under which a closed combinatory, such as the one triggered by the Llullian art, was replaced by an open-ended combinatory, such as the one triggered by a card index based on removable entries. In early modernity, improvement in abstraction compelled scholars to abandon the idea that the order of knowledge should mirror the order of nature. This development also implied giving up the use of space as a type of externalization and as the main rule for checking consis-tency.

      F*ck! I've been scooped!

      Apparently I'm not the only one who has noticed this, though I notice that he doesn't cite Frances A. Yates, which would have certainly been the place for having come up with this historical background (at least that's where I found it.)


      The Llullian arts can be more easily practiced with ideas placed on moveable index cards than they might be with ideas stored in one's own memory. Thus the index card as a tool significantly decreases the overhead and provides an easier user interface for permuting one's ideas and combining them. This decrease in mental work appearing at a time of information overload also puts specific pressure on the older use of the art of memory to put it out of fashion.

    1. Active reading to the extreme!

      What a clever innovation building on the ideas of the art of memory and Raymond Llull's combinatoric arts!

      Does this hit all of the areas of Bloom's Taxonomy? I suspect that it does.

      How could it be tied more directly into an active reading, annotating, and note taking practice?

    1. Sometime in 1882, Friedrich Nietzsche bought a typewriter—a Malling-Hansen Writing Ball, to be precise. His vision was failing, and keeping his eyes focused on a page had become exhausting and painful, often bringing on crushing headaches. He had been forced to curtail his writing, and he feared that he would soon have to give it up. The typewriter rescued him, at least for a time. Once he had mastered touch-typing, he was able to write with his eyes closed, using only the tips of his fingers. Words could once again flow from his mind to the page. But the machine had a subtler effect on his work. One of Nietzsche’s friends, a composer, noticed a change in the style of his writing. His already terse prose had become even tighter, more telegraphic. “Perhaps you will through this instrument even take to a new idiom,” the friend wrote in a letter, noting that, in his own work, his “‘thoughts’ in music and language often depend on the quality of pen and paper.”“You are right,” Nietzsche replied, “our writing equipment takes part in the forming of our thoughts.” Under the sway of the machine, writes the German media scholar Friedrich A. Kittler , Nietzsche’s prose “changed from arguments to aphorisms, from thoughts to puns, from rhetoric to telegram style.”

      Saving the entire story for context, but primarily for this Marshall McLuhan-esque quote:

      “You are right,” Nietzsche replied, “our writing equipment takes part in the forming of our thoughts.”

      I want to know the source of the quote.

    1. I like how Dr. Pacheco-Vega outlines some of his research process here.

      Sharing it on Twitter is great, and so is storing a copy on his website. I do worry that it looks like the tweets are embedded via a simple URL method and not done individually, which means that if Twitter goes down or disappears, so does all of his work. Better would be to do a full blockquote embed method, so that if Twitter disappears he's got the text at least. Images would also need to be saved separately.

    1. Building and sharing an app should be as easy as creating and sharing a video.

      This is where I think Glitch goes wrong. Why such a focus on apps (and esp. pushing the same practices and overcomplicated architecture as people on GitHub trying to emulate the trendiest devops shovelware)?

      "Web" is a red herring here. Make the Web more accessible for app creation, sure, but what about making it more accessible (and therefore simpler) for sharing simple stuff (like documents comprising the written word), too? Glitch doesn't do well at this at all. It feels less like a place for the uninitiated and more like a place for the cool kids who are already slinging/pushing Modern Best Practices hang out—not unlike societal elites who feign to tether themself to the mast of helping the downtrodden but really use the whole charade as machine for converting attention into prestige and personal wealth. Their prices, for example, reflect that. Where's the "give us, like 20 bucks a year and we'll give you better alternative to emailing Microsoft Office documents around (that isn't Google Sheets)" plan?

    1. therefore the gases should be removed from the condenser. This can be achieved byinstalling vacuum pumps, compressors, or steam ejectors. The condenser heat removalis done either by using a cooling tower or through cold air circulation in the condenser.The condensate forms a small fraction of the cooling water circuit, a large portion ofwhich is then evaporated and dispersed into the atmosphere by the cooling tower. Thecooling water surplus (blow down) is disposed of in shallow injection wells. In singleflash condensation system, the condensate does have direct contact with the coolingwater.
    2. Single flash power plants are classified according to their steam turbines types, i.e., theturbine exit conditions. Two such basic types are the single flash with a condensationsystem and the single flash back pressure system. In the first type, a condenser oper-ating at very low pressure is used to condensate the steam leaving the steam turbine.The condenser should operate at low vacuum pressure to maintain a large enthalpy dif-ference across the expansion process of the steam turbine, hence resulting in a higherpower output. The geothermal fluid usually contains non-condensable gases which arecollected at the condenser. Such a collection of gases may raise the condenser pressure,
    1. Target Questions: 1. Why is there a second modernity? 2. What is second modernity? 3. How does the second modernity relate to Medellin?

      Outline: Your own heading, subheadings, lists of examples, evidence, your own thinking

      1-4 Second Modernity [Time for a Second Modernity] [Defining Second Modernity]

      “…they found that the ‘repture’ theorized in the literature of postmodernism was more a response to the systemetic and sometimes dramatic failures of ‘high modernism’ …” (1)

      What are the failures of post-modernism and high modernism? It seems that architecture proposed temporary solutions that did not consider long-term issues.

      “… there is a growing recognition that widespread disillusionment with ‘the modern project’— the strategies for carrying out the ambitions of modernism – stops short of displacing the underlying ambitions for a more universal human progress.” (2)

      The ‘modern project’ or ‘modernity’ addresses immediate issues rather than foreseeing, resolving, adapting to long-term issues in architecture and the world.

      5-9 Second Modernity [Reflexive Modernism]

      “The common sense understanding of reflexivity comes from its root ‘reflex’ meaning an action performed in response to a stimulus without conscious thought.” (5)

      “… their design and construction should be subjected to intense scrutiny and their ongoing operation should be subject to reflexive mechanism of course correction including systems of checks and balances.” (5)

      “…research at the intersection of architecture, reflexivity, and informality has so far proven more effective at generating such questions than providing satisfactory responses.” (7)

      What is reflexivity? Reflexive architecture is architecture that perhaps responds to previous “modernities” and issues (political, economic, global etc.)

      9-13 Medellin, Colombia [Library Parks]

      “To make Medellin a city of ‘the most educated’ citizens in the nation, Fajardo’s team invited the demobilized soldiers to enroll in short-term informal educational and business development programs based in a series of community centers.” (9)

      “In contrast, Fajardo and his architect’s have earned the right to speak of design as a ‘vehicle’ for conveying basic human dignity or as a ‘catalyst’ for deep social transformation.” (12)

      Library Parks were created in response to the education issues after the war. Library Parks can be classified as second modernity or reflexive modernity as Library Parks take issues in Medellin, such as education, and responds to them by creating possible solutions.

      Takeaway:

      High modernity and post-modernism provided temporary solutions that did not allow for adaptability and resiliency. Reflexive modernism and second modernity are a proposition to create long-term solutions and adaptability to old issues left behind from high modernity and post-modernism.

    1. Projects like the Open Journal System, Manifold or Scalar are based on a distributed model that allow anyone to download and deploy the software (Maxwell et al., 2019), offering an alternative to the commercial entities that dominate the scholarly communication ecosystem.

      Might Hypothes.is also be included with this list? Though it could go a bit further toward packaging and making it more easily available to self-hosters.

    1. "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."

    2. "To summarize, I am prepared to conquer all hurdles in my path to achieving the career of my dreams so that I may contribute to my society. I am a firm believer in the concept of dreams coming true."

    1. Who can integrate bidi links into a larger system, expand in concentric circles, and take them to their logical conclusion — ubiquity across all information surfaces. ... Across Closed Worlds (Chat, Notes, Projects) to Open Worlds (Twitter, Blogs, Feeds) & everything in between The [[wiki link]] is just like #'s and @'s — public-domain innovations in hypertext. But just cause your social app has @'s and #'s doesn't mean people will use it.

      This is a fine sentiment, but a networked version of wikilinks is bound to cause conflicts in folksonomies and issues with sourcing and verifiability. The potential for context collapse is potentially too great to have these scale for this type of knowledge production. One would need to have trusted groups to create usefulness. Search at scale for these is likely to be at issue as well.

      Are the affordances beyond the local scale really any better than current web technologies? What about the potential effects on the commons?

    1. $L(#&$'&$+-41,[*$4'2'+18$081**)--C*Y$*+=4#&+*$=*#$+"#*#$+--8*$+-$8#1)&$"-H$+-$H)'+#Y$4)1HY$1&4$0180=81+#$-&$*"##+*$-.$919#)$+"1+Y$H"#&$08'99#4Y$*+198#4Y$-)$28=#4$+-2#+"#)Y$7#0-C#$1$&-+#7--@V

      What are the differences in the affordances of handwritten notes versus digital notes? Worth making a complete list.

    1. In order to execute an event listener (or any function for that matter) after the user stops typing, we need to know about the two built-in JavaScript methods setTimeout(callback, milliseconds) and clearTimeout(timeout): setTimeout is a JavaScript method that executes a provided function after a specified amount of time (in milliseconds). clearTimeout is a related method that can be used to cancel a timeout that has been queued.

      Step 1. Listen for User Input

      <input type="text" id="my-input" />

      let input = document.querySelector('#my-input'); input.addEventListener('keyup', function (e) { console.log('Value:', input.value); })

      Step2: Debounce Event Handler Function

      let input = document.getElementById('my-input'); let timeout = null;

      input.addEventListener('keyup', function(e) { clearTimeout(timeout);

      timeout = setTimeout(function() { console.llog('Input Value:', textInput.value); }, 1000); })

    1. However when you look UNDERNEATH these cloud services, you get a KERNEL and a SHELL. That is the "timeless API" I'm writing to.

      It's not nearly as timeless as a person might have themselves believe, though. (That's the "predilection" for certain technologies and doing things in a certain way creeping in and exerting its influence over what should otherwise be clear and sober unbiased thought.)

      There's basically one timeless API, and that means written procedures capable of being carried out by a human if/when everything else inevitably fails. The best format that we have for conveying the content comprising those procedures are the formats native to the Web browser—esp. HTML. Really. Nothing else even comes close. (NB: pixel-perfect reproduction à la PDF is out of scope, and PDF makes a bunch of tradeoffs to try to achieve that kind of fidelity which turns out to make it unsuitable/unacceptable in a way that HTML is not, if you're being honest with your criteria, which is something that most people who advocate for PDF's benefits are not—usually having deceived even themselves.)

      Given that Web browsers also expose a programming environment, the next logical step involves making sure these procedures are written to exploit that environment as a means of automation—for doing the drudge work in the here and now (i.e., in the meantime, when things haven't yet fallen apart).

  5. Apr 2022
    1. using rome as a almost a tool to convey information to your future self

      One's note taking is not only a conversation with the text or even the original author, it is also a conversation you're having with your future self. This feature is accelerated when one cross links ideas within their note box with each other and revisits them at regular intervals.


      Example of someone who uses Roam Research and talks about the prevalence of using it as a "conversation with your future self."


      This is very similar to the same patterns that can be seen in the commonplace book tradition, and even in the blogosphere (Cory Doctorow comes to mind), or IndieWeb which often recommends writing on your own website to document how you did things for your future self.

    1. INTERVIEWER: Could you say something of your work habits?Do you write to a preplanned chart? Do you jump from onesection to another, or do you move from the beginning throughto the end?NABOKOV: The pattern of the thing precedes the thing. I fill inthe gaps of the crossword at any spot I happen to choose. Thesebits I write on index cards until the novel is done. My schedule

      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.

    2. Nabokov arises early in the morning and works. He does hiswriting on filing cards, which are gradually copied, expanded, andrearranged until they become his novels.
    3. 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. Connected Papers uses the publicly available corpus compiled by Semantic Scholar — a tool set up in 2015 by the Allen Institute for Artificial Intelligence in Seattle, Washington — amounting to around 200 million articles, including preprints.

      Semantic Scholar is a digital tool created by the Allen Institute for Artificial Intelligence in Seattle, Washington in 2015. It's corpus is publicly available for search and is used by other tools including Connected Papers.

    2. Another visual-mapping tool is Open Knowledge Maps, a service offered by a Vienna-based not-for-profit organization of the same name. It was founded in 2015 by Peter Kraker, a former scholarly-communication researcher at Graz University of Technology in Austria.

      https://openknowledgemaps.org/

      Open Knowledge maps is a visual literature search tool that is based on keywords rather than on a paper's title, author, or DOI. The service was founded in 2015 by Peter Kraker, a former scholarly communication researcher at Graz University of Technology.

    3. In 2019, Smolyansky co-founded Connected Papers, one of a new generation of visual literature-mapping and recommendation tools.

      https://www.connectedpapers.com/

      https://twitter.com/ConnectedPapers


      Something about the name Connected Papers reminds me of the same sort of linking name that Manfred Kuehn gave to his note taking software ConnectedText.

    1. solo thinking isrooted in our lifelong experience of social interaction; linguists and cognitivescientists theorize that the constant patter we carry on in our heads is a kind ofinternalized conversation. Our brains evolved to think with people: to teachthem, to argue with them, to exchange stories with them. Human thought isexquisitely sensitive to context, and one of the most powerful contexts of all isthe presence of other people. As a consequence, when we think socially, wethink differently—and often better—than when we think non-socially.

      People have evolved as social animals and this extends to thinking and interacting. We think better when we think socially (in groups) as opposed to thinking alone.

      This in part may be why solo reading and annotating improves one's thinking because it is a form of social annotation between the lone annotator and the author. Actual social annotation amongst groups may add additonal power to this method.

      I personally annotate alone, though I typically do so in a publicly discoverable fashion within Hypothes.is. While the audience of my annotations may be exceedingly low, there is at least a perceived public for my output. Thus my thinking, though done alone, is accelerated and improved by the potential social context in which it's done. (Hello, dear reader! 🥰) I can artificially take advantage of the social learning effects even if the social circle may mathematically approach the limit of an audience of one (me).

    2. A 2019 study published in the Proceedings of the National Academy ofSciences supports Wieman’s hunch. Tracking the intellectual advancement ofseveral hundred graduate students in the sciences over the course of four years,its authors found that the development of crucial skills such as generatinghypotheses, designing experiments, and analyzing data was closely related to thestudents’ engagement with their peers in the lab, and not to the guidance theyreceived from their faculty mentors.

      Learning has been shown to be linked to engagement with peers in social situations over guidance from faculty mentors.

      Cross reference: David F. Feldon et al., “Postdocs’ Lab Engagement Predicts Trajectories of PhD Students’ Skill Development,” Proceedings of the National Academy of Sciences 116 (October 2019): 20910–16


      Are there areas where this is not the case? Are there areas where this is more the case than not?

      Is it our evolution as social animals that has heightened this effect? How could this be shown? (Link this to prior note about social evolution.)

      Is it the ability to scaffold out questions and answers and find their way by slowly building up experience with each other that facilitates this effect?

      Could this effect be seen in annotating texts as well? If one's annotations become a conversation with the author, is there a learning benefit even when the author can't respond? By trying out writing about one's understanding of a text and seeing where the gaps are and then revisiting the text to fill them in, do we gain this same sort of peer engagement? How can we encourage students to ask questions to the author and/or themselves in the margins? How can we encourage them to further think about and explore these questions? Answer these questions over time?

      A key part of the solution is not just writing the annotations down in the first place, but keeping them, reviewing over them, linking them together, revisiting them and slowly providing answers and building solutions for both themselves and, by writing them down, hopefully for others as well.

    3. instructors and experts must also become more legible models. This can beaccomplished through what philosopher Karsten Stueber calls “re-enactiveempathy”: an appreciation of the challenges confronting the novice that isproduced by reenacting what it was like to have once been a beginner oneself.
    4. As Smith notes, the emulation of model texts was once a standard feature ofinstruction in legal writing; it fell out of favor because of concern that thepractice would fail to foster a capacity for independent thinking. The carefulobservation of how students actually learn, informed by research on the role ofcognitive load, may be bringing models back into fashion.
    5. This act of imitation relieves students of some of theirmental burden, Robinson notes, allowing them to devote the bulk of theircognitive bandwidth to the content of the assignment

      By providing students solid examples of work that is expected of them they can more easily imitate the examples which frees up cognitive bandwidth so that they can focus their time and attention on creating their own content related to particular assignments.

    6. In studies comparing European American children withMayan children from Guatemala, psychologists Maricela Correa-Chávez andBarbara Rogoff asked children from each culture to wait while an adultperformed a demonstration—folding an origami shape—for another childnearby. The Mayan youth paid far more sustained attention to the demonstration—and therefore learned more—than the American kids, who were oftendistracted or inattentive. Correa-Chávez and Rogoff note that in Mayan homes,children are encouraged to carefully observe older family members so that theycan learn how to carry out the tasks of the household, even at very young ages.

      American children aren't encouraged to as attentive imitators as their foreign counterparts and this can effect their learning processes.

    1. 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

    2. I was fortunate enough to see—and now share with you—a handful of these diaries from 1977 in their original, hand-written form. (A collection of more than three hundred entries, entitled “Mourning Diary,” will be published by Hill and Wang next month.)

      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).

    1. A filing system is indefinitely expandable, rhizomatic (at any point of timeor space, one can always insert a new card); in contradistinction with the sequen-tial irreversibility of the pages of the notebook and of the book, its interiormobility allows for permanent reordering (for, even if there is no narrative conclu-sion of a diary, there is a last page of the notebook on which it is written: its pagesare numbered, like days on a calendar).

      Most writing systems and forms force a beginning and an end, they force a particular structure that is both finite and limiting. The card index (zettelkasten) may have a beginning—there's always a first note or card, but it never has to have an end unless one's ownership is so absolute it ends with the life of its author. There are an ever-increasing number of ways to order a card index, though some try to get around this to create some artificial stability by numbering or specifically ordering their cards. New ideas can be accepted into the index at a multitude of places and are always internally mobile and re-orderable.

      link to Luhmann's works on describing this sort of rhizomatic behavior of his zettelkasten


      Within a network model framing for a zettelkasten, one might define thinking as traversing a graph of idea nodes in a particular order. Alternately it might also include randomly juxtaposing cards and creating links between ones which have similarities. Which of these modes of thinking has a higher order? Which creates more value? Which requires more work?

    2. Not unlike Duchamp’s door that is both open and closed at thesame time, the card file resists the syntagmatic closure of the sentence by sustain-ing the openness of the paradigm.

      Resisting syntagmatic closure

      Ideas placed into a card file or zettelkasten resist syntagmatic closure. Even well-formed structures in a card file can accept, expand, and integrate new ideas.

      Is a zettelkasten ever done?

    3. 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.

    4. There are 399 cardsfiled in Leiris’s box for La Règle du jeu1

      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.

    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. As Derrida writes ofthe computer, ‘I don’t feel the interposition of the machine as a sortof progress in transparency, univocity, or easiness. Rather, we areparticipating in a partly new plot’ (2005: 21). H
    3. Furthermore,combinatorial logic dictates that the card index is also the wellspringof creativity insofar as it permits expansive possibilities for futureintellectual endeavours (see Hollier, 2005: 40; cf. Krapp, 2006:367).
    4. The Card Index as Creativity Machine

      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.

    5. it ispossible to view Barthes’ concept of the lexia as an almost literaltranslation of his own use of index cards for recording various ‘unitsof reading’ and other ideas and associations.
    6. 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"?

    7. 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.
    8. As Calvet explains, this consisted of Barthes ‘writing out his cardsevery day, making notes on every possible subject, then classifyingand combining them in different ways until he found a structure or aset of themes’ (1994: 113) which he could proceed to work with.
    9. What is evident from this discussion of Michelet and the earlierinterview excerpt is the way that Barthes used index cards both as anorganisational and as a problem-solving tool

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

    10. the card indexis the quintessential structuralist tool in that it simultaneouslycombines the paradigmatic (selection) with the syntagmatic(combination) in one mechanism.
    11. 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."

    12. Louis-Jean Calvet details the pivotal role played by indexcards in the organisation of Barthes’ Michelet.
    13. 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?

    14. Krapp argues that, despite its ‘respectablelineage’, the card index generally ‘figures only as an anonymous,furtive factor in text generation, acknowledged – all the way into thetwentieth century – merely as a memory crutch’ (361).2 A keyreason for this is due to the fact that the ‘enlightened scholar isexpected to produce innovative thought’ (361); knowledgeproduction, and any prostheses involved in it, ‘became and remaineda private matter’ (361).

      'Memory crutch' implies a physical human failing that needs assistance rather than a phrase like aide-mémoire that doesn't draw that same attention.

    15. 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.

    16. 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.

    1. This comment makes the classic mistake of mixing up the universal quantifier ("for all X") and the existential quantifier ("there exists [at least one] X"), when (although neither are used), the only thing implied is the latter.

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

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

      What the average teen is like doesn't compromise Stallman's position. If one "gamer" (is that a taxonomic class?) follows through, then that's perfectly in line with Stallman's mission and the previously avowed position that "Saying No to unjust computing even once is help".

      https://www.gnu.org/philosophy/saying-no-even-once.html

    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. 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. Many famous antique texts are misunderstood and many others have been completely dismissed, all because the literary style in which they were written is unfamiliar today. So argues Mary Douglas in this controversial study of ring composition, a technique which places the meaning of a text in the middle, framed by a beginning and ending in parallel. To read a ring composition in the modern linear fashion is to misinterpret it, Douglas contends, and today’s scholars must reevaluate important antique texts from around the world.Found in the Bible and in writings from as far afield as Egypt, China, Indonesia, Greece, and Russia, ring composition is too widespread to have come from a single source. Does it perhaps derive from the way the brain works? What is its function in social contexts? The author examines ring composition, its principles and functions, in a cross-cultural way. She focuses on ring composition in Homer’s Iliad, the Bible’s book of Numbers, and, for a challenging modern example, Laurence Sterne’s Tristram Shandy, developing a persuasive argument for reconstruing famous books and rereading neglected ones.

      Mary Douglas has a fascinating looking text on ring composition, a literary style which puts the meaning of the text in the middle and frames it with the beginning and end which are in parallel.

      Texts like the Bible, Homer, and even Tristram Shandy might be looked at from a different perspective with this lens.


      Suggested to me by Ann Bergin within the context of The Extended Mind

    1. Between each run, you will need to delete the bisectNNNN.coverage files, otherwise the report will contain information from those previous runs:

      I'm surprised this operation is not done via some dune task. I'd expect the "plugin" for dune to add high-level commands to reset the test coverage; or to perform the reset automatically at each execution of a test.

    1. However, the great advantage of enumerations over sets is that they are ordered and they force the brain to list them always in the same order. An ordered list of countries contains more information than the set of countries that can be listed in any order. Paradoxically, despite containing more information, enumerations are easier to remember.

      Enumerations are sets with a particular order. The fact that they have an order, in which each item might be associated with the next, makes them easier to remember.

      The greater information in an enumeration provides additional structure which makes the items easier to remember.

  6. Mar 2022
    1. The last note is that when binding commands to keyboard shortcuts it is often necessary to only have one command, not two commands connected with a pipe like we use above. You can accomplish this by invoking your piped command as a command string argumetn to a new shell like this:
    1. Orality is a technology or as a tool for thinking.

    2. but i i think the first couple of hundred notes are more like a collection and you look 00:34:29 for um connections and there are some but you remember them because yes the amount where it's where it doesn't surprise you 00:34:43 uh it's more you know where they are and i think the from 500 on um there's a shift um and then you need to uh figure out how to um 00:34:58 find them again so the index or some kind of system becomes more important and i think a couple of thousand notes and uh you're 00:35:12 automatically turning to your set of custom [Music] as the place where you will likely find some kind of connection

      Q: How many permanent notes did it take before you felt you had a communication partner?


      Sönke Ahrens has indicated that the first couple hundred notes are more of a static collection. Then from five hundred notes onward there is a shift and having an index becomes more important. It's only at about one thousand notes that one begins automatically turning to the zettelkasten to find connections. Perhaps it's at this point that the tool begins to look like a communication partner.


      link this to the few other examples from others.

    3. it is a tool for productivity um but i think it's a technology that forces you to [Music] engage more deeply with 00:29:06 the text you're reading

      The zettelkasten is a tool for thought that forces you to engage more deeply with what you're reading.

  7. citeseerx.ist.psu.edu citeseerx.ist.psu.edu
    1. The complete overlapping of readers’ and authors’ roles are important evolution steps towards a fully writable web, as is the ability of deriving personal versions of other authors’ pages.
    1. https://every.to/letter

      A manifesto about what the Every platform is all about. They're trying to create a new(?) economic model for writers working together.

      I'm not really sure how this is dramatically different from prior efforts or if the economic incentives are actually properly aligned here. Many writers without critically looking at the whole may be led here as much by marketing hype as anything else. It almost sounds like they're recreating The Huffington Post, but giving away some of the value up front instead of leaving all the value in one person's hand for a future sale.

      Who owns the copyright of the created works? Are editors and proofreaders just work for hire here? What about their interests?

    1. For all have perished, all!

      Truth bending

    2. Yea verily—in mighty wreck hath sunk the Persian world!

      Truth bending

    3. Woe falls on Persia’s race, yea, woe again, again!

      Truth bending

    4. Alas, the woe and cost!

      Truth bending

    5. Cry out, and learn the tale of woe! Where are thy comrades? where the band Who stood beside thee, hand in hand, A little while ago? Where now hath Pharandákes gone, Where Psammis, and where Pelagon? Where now is brave Agdabatas, And Susas too, and Datamas? Hath Susiscanes past away, The chieftain of Ecbatana?

      Using personal narratives to strengthen story, some truth bending

    6. With plashing tears our sorrow’s tale, Lamenting for the loved and lost!

      truth bending, expanding on fate

    7. O king and lord! thine Asian land Down, down upon its knee is bent!

      Truth bending

    8. For Persia’s honour, pass’d away, For glory and heroic sway Mown down by Fortune’s hand to-day! Hark, how the kingdom makes its moan,

      Bending the truth, fate as a tool

    9. On Persia’s land what power of Fate Descends, what louring gloom of hate?

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

    10. But now there are none to gainsay that the gods are against us; we lie Subdued in the havoc of wreck, and whelmed by the wrath of the sky!

      Punished by gods because of political reasons

    11. The land is wasted of its men, And down to death are rolled Wreckage of sail and oar, Ships that are ships no more, And bodies of the slain!

      Visual depiction of Persian defeat, like a war movie.

    12. Of Persia’s fallen power, that none can lift nor save!

      Bending the truth to make point.

    13. My son went forth to wreak his great revenge On famous Athens! all too few they seemed, Our men who died upon the Fennel-field!

      Changing history to fit point

    14. Woe on us, woe! disaster’s mighty sea Hath burst on us and all the Persian realm!

      False description of total devastation of Persia

    15. Thou, Athens, art our murderess

      Depicts Athens as 'murdering' the Persian empire.

    16. Yet must I all the tale of death unroll! Hark to me, Persians! Persia’s host lies low.

      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).

    17. Marshals who serve the great king’s word Chieftains of all the mighty horde! Horsemen and bowmen streamed away, Grim in their aspect, fixed to slay, And resolute to face the fray! With troops of horse, careering fast, Masistes, Artembáres passed: Imaeus too, the bowman brave, Sosthánes, Pharandákes, drave— And others the all-nursing wave Of Nilus to the battle gave; Came Susiskánes, warrior wild, And Pegastágon, Egypt’s child: Thee, brave Arsámes! from afar

      More realist description than EoG; great army, uses individual names of soldiers and paints mortals against mortals, such as a large army returning in defeat, compared to EoG (deity consequences for godlike actions)

    1. NVIDIA periodically drops older cards off of its support matrix for NVENC/NVDEC, even if they do have the required hardware. This makes it appear, at first glance to current information sources, that Kepler GPUs do not support NVENC, so we responded as such.
    1. The reason for the new name is that the "dist-upgrade" name was itself extremely confusing for many users: while it was named that because it was something you needed when upgrading between distribution releases, it sounded too much as though it was only for use in that circumstance, whereas in fact it's much more broadly applicable.
    1. A major advance in user interfaces that supports creative exploration would the capacity to go back in time, to review and manipulate the history of actions taken during an entire session. Users will be able to see all the steps in designing an engine and change an early design decision. They will be able to extract sections of the history to replay them or to convert into permanent macros that can be applied in similar situations. Extracting and replaying sections of history is a form of direct man ipulation programming. It enables users to explore every alternative in a decision-making situation, and then chose the one with the most favorable outcomes.

      While being able to view the history of a problem space from the perspective of a creation process is interesting, in reverse, it is also an interesting way to view a potential learning experience.

      I can't help but think about the branching tree networks of knowledge in some math texts providing potential alternate paths through the text to allow learners to go from novice to expert in areas in which they're interested. We need more user interfaces like this.

    2. Powerful tools can support creativity: Innovation can be facilitated by powerful tools that supply templates and support exploratory processes such as brainstorming (offering links to related concepts), state-space expl oration (trying out all permutations), idea combining (systematic pairings), rapid prototyping, and simulation modeling.

      State-space exploration and idea combining (systematic pairings) are just modern reimaginings of ideas going back to Raymond Llull and possibly earlier.

    3. Since any powerful tool, such as a genex, can be used for destructive purposes, the cautions are discussed in Section 5.

      Given the propensity for technologists in the late 90s and early 00s to have rose colored glasses with respect to their technologies, it's nice to see at least some nod to potential misuses and bad actors within the design of future tools.

    4. The design of tools for toolsmiths (Brooks, 1996)

      Brooks, Frederick, Jr., The computer scientist as toolsmith II, Communications of the ACM 39, 3 (March 1996), 61-68.

    1. Hands can be a prompt, a window, a way station—butwhat they ought never have to be is still.

      Missing reference in this chapter on encouraging gestures as a tool for thought: "idle hands are the devil's workshop".

      Could the Bible have been encouraging the use of one's hands for communication??

    2. “It is from the attempt of expressing themselves thatunderstanding evolves, rather than the other way around,” he maintains.

      —Woff-Michael Roth

      Actively attempting to express oneself is one of the best methods of evolving one's understanding.

      Link this to the ideas related to being forced to actively manufacture the answer to a question is one of the best ways to learn.

    3. Research shows that people who are asked to write on complex topics,instead of being allowed to talk and gesture about them, end up reasoning lessastutely and drawing fewer inferences.

      Should active reading, thinking, and annotating also include making gestures as a means of providing more clear reasoning, and drawing better inferences from one's material?

      Would gestural movements with a hand or physical writing be helpful in annotation over digital annotation using typing as an input? Is this related to the anecdotal evidence/research of handwriting being a better method of note taking over typing?

      Could products like Hypothes.is or Diigo benefit from the use of digital pens on screens as a means of improving learning over using a mouse and a keyboard to highlight and annotate?

    1. Mass protests against Russia’s aggression combined with existing political pressure to move more quickly on climate change might lead to new policies to do yet more.

      The time is ripe for a converged march and to launch SRG Tipping Point Festival.

    1. “Noteson paper, or on a computer screen [...] do not make contemporaryphysics or other kinds of intellectual endeavour easier, they make itpossible” is one of the key takeaways in a contemporary handbookof neuroscientists (Levy 2011, 290) Concluding the discussions inthis book, Levy writes: “In any case, no matter how internalprocesses are implemented, insofar as thinkers are genuinelyconcerned with what enables human beings to perform the

      spectacular intellectual feats exhibited in science and other areas of systematic enquiry, as well as in the arts, they need to understand the extent to which the mind is reliant upon external scaffolding.” (Ibid.)

      Does Neil Levy go into anything on orality with respect to this topic? Check: Levy, Neil. 2011. “Neuroethics and the Extended Mind.” In Judy Illes and B. J. Sahakian (Ed.), Oxford Handbook of Neuroethics, 285–94, Oxford University Press

      Link this to P.M. Forni's question about how I think about mathematics and my answer relating to scaffolding or the construction of the Great Pyramid of Giza.

      Link this to the 9/8 zettel quote from Luhmann about writing being thinking.

      Compare the ideas of visual thinking (visualizations) and a visualization of one's thinking being instantiated in writing along with the Feynman quote about the writing being the thinking. What ways are they similar or different? Is there a gradation in which one subsumes the other?

      What does Annie Murphy Paul have to say on this topic in The Extended Mind?

  8. Feb 2022
    1. 9/8g Hinter der Zettelkastentechnik steht dieErfahrung: Ohne zu schreiben kann mannicht denken – jedenfalls nicht in anspruchsvollen,selektiven Zugriff aufs Gedächtnis voraussehendenZusammenhängen. Das heißt auch: ohne Differenzen einzukerben,kann man nicht denken.

      Google translation:

      9/8g The Zettelkasten technique is based on experience: You can't think without writing—at least not in contexts that require selective access to memory.

      That also means: you can't think without notching differences.

      There's something interesting about the translation here of "notching" occurring on an index card about ideas which can be linked to the early computer science version of edge-notched cards. Could this have been a subtle and tangential reference to just this sort of computing?

      The idea isn't new to me, but in the last phrase Luhmann tangentially highlights the value of the zettelkasten for more easily and directly comparing and contrasting the ideas on two different cards which might be either linked or juxtaposed.


      Link to:

      • Graeber and Wengrow ideas of storytelling
      • Shield of Achilles and ekphrasis thesis

      • https://hypothes.is/a/I-VY-HyfEeyjIC_pm7NF7Q With the further context of the full quote including "with selective access to memory" Luhmann seemed to at least to make space (if not give a tacit nod?) to oral traditions which had methods for access to memories in ways that modern literates don't typically give any credit at all. Johannes F.K .Schmidt certainly didn't and actively erased it in Niklas Luhmann’s Card Index: The Fabrication of Serendipity.

    1. Much of the animosity and opprobrium directed at nonbelievers in America comes from the suspicion that those who do not believe in God could not possibly believe in anything else, moral or otherwise.

      Why is America hesitant towards Atheists? Possibly because it has been thought to be that Atheists don't believe in a higher divine being, and therefore lack a belief in all things, including morals and humanity.

    1. There's a common design flaw on many many websites that require an email address to register; most recently I came across this bug on CNet's download.com site: for some reason they don't accept me when I try to register an email address containing a "+", and they then send me back saying my address is invalid. It isn't!
    1. Something about Scrivener elicits a lot of strong feelings from people who have used it, both positive and negative. It has a growing community of writers who swear by it, and a parallel community that is tired of hearing all the Scrivener-heads raving about their magic tool.

      Scrivener and its community are an example of a tool for thought being thought of as a magical tool potentially without people thinking about what the tool is doing that makes things so dramatically different.

      This article is written in 2017 just before the expansion of the zettelkasten craze in various social media spaces.

    2. Two things are worth noting here: the nests and the non-linearity. The different layers are nested in structure. Hunches come together to form ideas which come together to form stories. But sequence only becomes critical in the top layers: stories, arguments, chapters. The different between the two stages is like the difference between the pushpin evidence board from The Wire — a scattered network of clues and potential connections—and a prosecutor’s closing statement in a criminal trial.
    1. For example, immediately after experiencing the death of a loved one, crying may be most helpful to the individual, whereas immersion in work and social activities might be more adaptive several months later.

      nicole

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    Annotators

    1. https://every.to/superorganizers/the-fall-of-roam

      A user talks about why they've stopped using Roam Research.

      I suspect that a lot of people have many of the same issues and to a great extent, it's a result of them not understanding the underlying use cases of the problems they're trying to solve.

      This user is focusing on it solving the problem of where one is placing their data in hopes that it will fix all their problems, but without defining the reason why they're using the tool and what problems they hope for it to solve.

      Note taking is a much broader idea space than many suppose.

    1. Working with the slip-box, therefore, doesn’t mean storinginformation in there instead of in your head, i.e. not learning. On thecontrary, it facilitates real, long-term learning

      The forms of thinking, writing, and elaboration that go into creating permanent notes for a slip box are natural means of facilitating actual, long-term learning.

    2. he best-researched and mostsuccessful learning method is elaboration. It is very similar to whatwe do when we take smart notes and combine them with others,which is the opposite of mere re-viewing (Stein et al. 1984)Elaboration means nothing other than really thinking about themeaning of what we read, how it could inform different questions andtopics and how it could be combined with other knowledge

      Elaboration is thinking deeply about the meaning of what we've read, how it could inform or answer different questions, and how it can be linked or combined with other knowledge. It is one of the best-researched and most successful learning methods. While it seems to have some subtle differences, it sounds broadly similar to the Feynman technique and is related to the idea of writing questions based on one's notes in the Cornell note taking method.

    3. Bjork, Robert A. 2011. “On the Symbiosis of Remembering,Forgetting and Learning.” In Successful Remembering andSuccessful Forgetting: a Festschrift in Honor of Robert A. Bjork,edited by Aaron S. Benjamin, 1–22. New York, NY: PsychologyPress.
    4. While it is obvious that familiarity is not understanding, we have nochance of knowing whether we understand something or just believewe understand something until we test ourselves in some form.

      The Cornell notes practice of writing questions in the empty left column as a means of testing knowledge can be an effective tool after taking notes to ensure that one has actually learned and understood the broad concepts. They can also be used for spaced repetition purposes as well.

      Valuable though they may be as teaching and learning tools, they don't figure directly into the idea of permanent notes from a zettelkasten perspective.

    5. Also, we shouldn’t underestimate the advantages of writing. In oralpresentations, we easily get away with unfounded claims. We candistract from argumentative gaps with confident gestures or drop acasual “you know what I mean” irrespective of whether we knowwhat we meant. In writing, these manoeuvres are a little too obvious.It is easy to check a statement like: “But that is what I said!” Themost important advantage of writing is that it helps us to confrontourselves when we do not understand something as well as wewould like to believe.

      In modern literate contexts, it is easier to establish doubletalk in oral contexts than it is in written contexts as the written is more easily reviewed for clarity and concreteness. Verbal ticks like "you know what I mean", "it's easy to see/show", and other versions of similar hand-waving arguments that indicate gaps in thinking and arguments are far easier to identify in writing than they are in speech where social pressure may cause the audience to agree without actually following the thread of the argument. Writing certainly allows for timeshiting, but it explicitly also expands time frames for grasping and understanding a full argument in a way not commonly seen in oral settings.

      Note that this may not be the case in primarily oral cultures which may take specific steps to mitigate these patterns.

      Link this to the anthropology example from Scott M. Lacy of the (Malian?) tribe that made group decisions by repeating a statement from the lowest to the highest and back again to ensure understanding and agreement.


      This difference in communication between oral and literate is one which leaders can take advantage of in leading their followers astray. An example is Donald Trump who actively eschewed written communication or even reading in general in favor of oral and highly emotional speech. This generally freed him from the need to make coherent and useful arguments.

    6. Separate and Interlocking Tasks

      Chapter 9 of How to Take Smart Notes looks at some of the psychology research involving attention, multitasking, decision making, willpower, concentration, expertise, planning, to highlight the value of the design and structure of the zettelkasten as a positive tool for helping one to be more productive in their thinking and writing work.

    7. The slip-box provides not only a clear structure to work in, but also forces usto shift our attention consciously as we can complete tasks inreasonable time before moving on to the next one.

      Ahrens provides a quick overview of some research on distraction, attention, and multi-tasking to make the point that:

      The simple structure and design of the zettelkasten forces one's focus and attention on small individual tasks that cumulatively build into better thinking and writing.

      (Summary of Section 9.2)

    8. Theseemingly pragmatic and down-to-earth-sounding advice – to decidewhat to write about before you start writing – is therefore eithermisleading or banal.

      Properly framed note taking methods are themselves a hermeneutic circle for thinking and creating.

    9. Every intellectual endeavour starts from an already existingpreconception, which then can be transformed during further inquiresand can serve as a starting point for following endeavours. Basically,that is what Hans-Georg Gadamer called the hermeneutic circle

      (Gadamer 2004).

      All intellectual endeavors start from a preexisting set of ideas. These can then be built upon to create new concepts which then influence the original starting point and may continue ever expanding with further thought.


      Ahrens argues that most writing advice goes against the idea of the hermeneutic circle and pretends as if the writer is starting with a blank page. This can prefigure some of the stress and difficulty Ernest Hemingway spoke of when he compared writing to "facing the white bull which is paper with no words on it."

      While it can be convenient to think of the idea of tabula rasa, in practice it really doesn't exist. As a result the zettelkasten more readily shows its value in the writing process.

    10. Even ifyou decide never to write a single line of a manuscript, you willimprove your reading, thinking and other intellectual skills just bydoing everything as if nothing counts other than writing.

      Is there evidence that this is true?

    1. https://reallifemag.com/rank-and-file/

      An interesting example of someone who fell into the trap of thinking that a particular tool or tools would magically make them smarter or help them do a particular line of work without showing any deep evidence of knowing what they were doing. The discussion here flows over a number of mixed note taking domains with no clear thrust for what they were using it pointedly for. The multiple directions and lack of experience likely doomed them to failure here.

    2. This is a widespread mistake among those who think that a sexy note-taking app like Roam will suddenly free their minds, or that they can train themselves into geniuses with enough spaced repetition, or that they can build a zettelkasten capable of thinking original thoughts for them.

      Thinking that the tool will solve a particular problem without knowing what the tool does or how to use it properly will surely set one up for failure. You can use a screwdriver like a hammer, but your results won't be as good as using a hammer and using it properly.

    1. Amid seemingly intractable problems here on Earth, a vision of the future can resemble a life raft, and in the absence of viable alternatives, substanceless promises of space travel, crypto-utopias, and eternal life in the cloud may become the only things to look forward to.

      Is that a bad thing, to have something to look forward to? It implies that new technological inventions are the only way to make progress, but it is undeniably progress. Not everyone will hold this view, and no one should force it upon you. So why are people constantly criticing "techno-utopia" views instead of creating and moving towards their own visions of the future?

    1. What tabs would be particularly useful for is new music discovery, like an album you’ve been wanting to get around to hearing but haven’t yet had the time. I bump into this problem quite a bit. Adding a new album to my “Liked” songs on Spotify shuffles it in with all of my favorite stuff, and decluttering that playlist later is a hassle. Making a new album a playlist almost assures that it’ll be forgotten about. My decrepit, goldfish memory doesn’t have the space to remember to return to a playlist of an album two weeks later. As my colleague Victoria notes, she’s always “forgetting what I’m supposed to listen to next.” You know what would help with that? Tabs.