https://zettelkasten.de/posts/introduction-antinet-zettelkasten/

Scheper seems to indicate that it is the addressing system alone which provides the "personality" of a zettelkasten, whereby he's actively providing personification of a paper and pencil system by way of literacy. We need to look more closely, however at the idea of what communication truly is to discern this. A person might be able to read an individual card and have a conversation with just it, but this conversation will be wholly one sided, and stops at the level of that single card. We also need the links between that individual card and multiple others to fill in the rest of the resulting potential conversation. Or we will rely on the reader of the card extending the idea or linking it to others of their ideas (and that of the zettelkasten), to grow the system and thereby its "personality".

Thus the personality is part that of the collection of cards using their addresses and the links between them. This personality, however, isn't immediate. It might grow over time reaching some upper limit at the length of time of the user's life, but much of its personality is contingent upon the knowledge of the missing context of the system that is contained in or by its creator. Few zettelkasten will be so well composed as to provide full context. (cross reference: https://hyp.is/5gWedOs7Eeyrg2cTFW4iCg/niklas-luhmann-archiv.de/bestand/Zettelkasten/zettel/ZK_2_NB_9-8_V).

The question we might want to look at: Is there a limiting upper bound (a la a Shannon Limit) to the amount of information that a zettelkasten might contain or transmit, even beyond the life of an initial creator? Could it converse with itself without the assistance of an outside actor of some sort? What pieces are missing that might help us to define communication or even life itself?

There's some magical thinking involved here. While the system has some arbitrary internal branching, the surprises come from the system's perfect memory that the human user doesn't have. This makes it appear that the system creates its own creativity, but it is really the combinatorics of the perfect memory system with use over time.

Link to: serendipity of systems based on auto-complete

Is there evidence that Luhmann's system aimed to create anything from the start in a sort of autopoietic sense? Or is it (more likely) the case that Luhmann saw this sort of "alter ego" emerging over time and described it after-the-fact?

Based on his experiences and note takers and zettelkasten users might expect this outcome now.

Are there examples of prior commonplace book users or note takers seeing or describing this sort of experience in the historical record?

Related to this is the idea that a reader might have a conversation with another author by reading and writing their own notes from a particular text.

The only real difference here is that one's notes and the ability to link them to other ideas or topical headings in a commonplace book or zettelkasten means that the reader/writer has an infinitely growable perfect memory.

The four principles Niklas Luhmann used to build his notebox system are:

1. Analog
2. Numeric-alpha
3. Tree
4. Index

The first letters of those four principles (A, N, T, I) are what comprise an Antinet. An Antinet Zettelkasten is a network of these four principles.

Even the long running (2013) zettelkasten.de website credits Niklas Luhmann as being the "original creator" of the zettelkasten.

sigh

We really need to track down the origin of linking one idea to another. Obviously writers, and especially novelists, would have had some sort of at least linear order in their writing due to narrative needs in using such a system. What does this tradition look like on the non-fiction side?

Certainly some of the puzzle stems from the commonplace book tradition, but this is more likely to have relied on natural memory as well as searching and finding via index methods.

Perhaps looking more closely at Hans Blumenberg's instantiation would be more helpful. Similarly looking at the work of Claude Lévi-Strauss and his predecessors like Marcel Mauss may provide at least an attack on this problem.

My working hypothesis is that given the history of the Viennese numbering system, it may have stemmed from the late 1700s and this certainly wasn't an innovation by Luhmann.

link to: https://hyp.is/hLy7NNtqEeuWQIP1UDkM6g/web.archive.org/web/20130916081433/https://christiantietze.de/posts/2013/06/zettelkasten-improves-thinking-writing/ for evidence of start of zettelkasten.de

Niklas Luhmann thought of the zettelkasten as a cybernetic system.

He considers a precondition of its creation is that it ought to waive any "fixed order", allow for search, and the asking of questions.

There are only the outlines of brief and scant thoughts here however, which would have required significant amounts of additional context not contained on the card. As a result one would require additional underpinning to understand what Luhmann means here as the card definitively couldn't have been directly or easily reused for future writing beyond the basic sketch outline he provides. What proportion of cards have brief thought sketches like this versus more fully thought out and directly reusable ideas within his system? Does Schmidt provide any guidance here without reading portions of the larger corpus? How does this differ from the guidance of Ahrens?

(Translation from German to English via Google)

https://www.reddit.com/r/antinet/comments/v08b1i/do_you_like_the_antinet_name/

People's opinions on the name antinet (zettelkasten).

https://www.youtube.com/watch?v=MrjUg4toZqw

antinet 1. Analog 2. Numeric/alpha 3. Tree Index 4. Network

Perhaps the more intriguing question isn't one of process, but of content? What do florilegia and commonplaces have to do with zettelkasten?!? 😉

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

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

While this excerpt doesn't indicate the index card origin of the published book, it does indicate that it has descriptions of more than 5,000 novel-length mysteries, detective stories, etc. which includes annotations and critical judgements of each.

One can thus draw the conclusion that this shared index card collection of details was used to publish a subsequent book.

Though if we roughly estimate this collection at 1000 cards per box with roughly 76 boxes potentially present, the 76,000 cards are still shy of Luhmann's collection. It'll take some hunting thigs down, but as Adler suggests that people write their notes in their books, which he would have likely done, then this collection isn't necessarily his own. I suspect, but don't yet have definitive proof, that it was created as a group effort for the 54-volume Great Books of the Western World and its two-volume index of great ideas, the Syntopicon.

Jacques Barzun had a card index for cataloging mystery/suspense books which he maintained on 3x5" cards with his friend Wendell Hertig Taylor.

Did he keep a card index for his ideas as well?

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

Some of the basic outline of this looks like OER (Open Educational Resources) and its "five Rs": Retain, Reuse, Revise, Remix and/or Redistribute content. (To which I've already suggested the sixth: Request update (or revision control).

Some of this is similar to:

The Read Write Web is no longer sufficient. I want the Read Fork Write Merge Web. #osb11 lunch table. #diso #indieweb [Tantek Çelik](http://tantek.com/2011/174/t1/read-fork-write-merge-web-osb110

Idea of collections of learning as collections or "playlists" or "readlists". Similar to the old tool Readlist which bundled articles into books relatively easily. See also: https://boffosocko.com/2022/03/26/indieweb-readlists-tools-and-brainstorming/

Use of Wiki version histories

Some of this has the form of a Wiki but with smaller nuggets of information (sort of like Tiddlywiki perhaps, which also allows for creating custom orderings of things which had specific URLs for displaying and sharing them.) The Zettelkasten idea has some of this embedded into it. Shared zettelkasten could be an interesting thing.

Data is the new soil. A way to reframe "data is the new oil" but as a part of the commons. This fits well into the gardens and streams metaphor.

Jerry, have you seen Matt Ridley's work on Ideas Have Sex? https://www.ted.com/talks/matt_ridley_when_ideas_have_sex Of course you have: https://app.thebrain.com/brains/3d80058c-14d8-5361-0b61-a061f89baf87/thoughts/3e2c5c75-fc49-0688-f455-6de58e4487f1/attachments/8aab91d4-5fc8-93fe-7850-d6fa828c10a9

I've heard Jerry mention the idea of "crystallization of knowledge" before. How can we concretely link this version with Cesar Hidalgo's work, esp. Why Information Grows.

Cross reference Jerry's Brain: https://app.thebrain.com/brains/3d80058c-14d8-5361-0b61-a061f89baf87/thoughts/4bfe6526-9884-4b6d-9548-23659da7811e/notes

Another example of an unsourced reference to Niklas Luhmann creating the zettelkasten.

Perhaps it may be helpful to dramatically reframe the question of how to keep a zettelkasten? One page blog posts from people who've only recently seen the idea and are synopsizing it without a year or more practice themselves are highly confusing at best. Can I write something we don't see enough of in spaces relating to zettelkasten? Perhaps we should briefly consider the intellectual predecessor of the slip box?

Start out by forgetting zettelkasten exist. Instead read about what a commonplace book is and how that (simpler) form of note taking works. This short article outlined as a class assignment is a fascinating way to start and has some illustrative examples: https://www.academia.edu/35101285/Creating_a_Commonplace_Book_CPB_. If you're a writer, researcher, or journalist, perhaps Steven Johnson's perspective may be interesting to you instead: https://stevenberlinjohnson.com/the-glass-box-and-the-commonplace-book-639b16c4f3bb

Collect interesting passages, quotes, and ideas as you read. Keep them in a notebook and call it your commonplace book. If you like call these your "fleeting notes" as some do.

As you do this, start building an index of subject headings for your ideas, perhaps using John Locke's method (see: https://publicdomainreview.org/collection/john-lockes-method-for-common-place-books-1685).

Once you've got this, you've really mastered the majority of what a zettelkasten is and have a powerful tool at your disposal. If you feel it's useful, you can add a few more tools and variations to your set up.

Next instead of keeping the ideas in a notebook, put them on index cards so that they're easier to sort through, move around, and re-arrange. This particularly useful if you want to use them to create an outline of your ideas for writing something with them.

Next, maybe keep some index cards that have the references and bibliographies from which your excerpting and note taking comes from. Link these bibliographical cards to the cards with your content.

As you go through your notes, ideas, and excerpts, maybe you want to further refine them? Write them out in your own words. Improve their clarity, so that when you go to re-use them, you can simply "excerpt" material you've already written for yourself and you're not plagiarizing others. You can call these improved notes, as some do either "permanent notes" or "evergreen notes".

Perhaps you're looking for more creativity, serendipity, and organic surprise in your system? Next you can link individual notes together. In a paper system you can do this by following one note with another or writing addresses on each card and using that addressing system to link them, but in a digital environment you can link one note to many multiple others that are related. If you're not sure where to start here, look back to your subject headings and pull out cards related to broad categories. Some things will obviously fit more closely than others, so be more selective and only link ideas that are more intimately connected than just the subject heading you've used.

Now when you want to write or create something new on a particular topic, ask your slip box a question and attempt to answer it by consulting your index. Find cards related to the topic, pull out those and place them in a useful order to create an outline perhaps using the cross links that already exist. (You've done that linking work as you went, so why not use it to make things easier now?) Copy the contents into a document and begin editing.

Beyond the first few steps, you're really just creating additional complexity to a system to increase the combinatorial complexity of juxtaposed ideas that you could potentially pull back out of your system for writing more interesting text and generating new ideas. Some people may neither want nor need this sort of complexity in their working lives. If you don't need it, then just keep a simple commonplace book (or commonplace card file) to remind you of the interesting ideas and inspirations you've seen and could potentially reuse throughout your life.

The benefit of this method is that beyond creating your index, you'll always have something useful even if you abandon things later on and quit refining it. If you do go all the way, concentrate on writing out just two short solid ideas every day (Luhmann averaged about 6 per day and Roland Barthes averaged 1 and change). Do it until you have between 500 and 1000 cards (based on some surveys and anecdotal evidence), and you should begin seeing some serendipitous and intriguing results as you use your system for your writing.

We should acknowledge that that (visual) artists and musicians might also keep commonplaces and zettelkasten. As an example, Eminem keeps a zettelkasten, but it is so minimal that it is literally just a box and slips of paper with no apparent organization beyond this. If this fits your style and you don't get any value out of having cards with locators like 3a4b/65m1, then don't do that useless work. Make sure your system is working for you and you're not working for your system.

Sadly, it's generally difficult to find a single blog post that can accurately define what a zettelkasten is, how it's structured, how it works, and why one would want one much less what one should expect from it. Sonke Ahrens does a reasonably good job, but his explanation is an entire book. Hopefully this distillation will get you moving in a positive direction for having a useful daily practice, but without an excessive amount of work. Once you've been at it a while, then start looking at Ahrens and others to refine things for your personal preferences and creative needs.

The addressing system that many digital note taking systems offer is reminiscent of Luhmann's paper system where it served a particular use. Many might ask themselves if they really need this functionality in digital contexts where text search and other affordances can be more directly useful.

Frequently missed by many, perhaps because they're befuddled by the complex branching numbering system which gets more publicity, Luhmann's paper-based system had a highly useful and simple subject heading index (see: https://niklas-luhmann-archiv.de/bestand/zettelkasten/zettel/ZK_2_SW1_001_V, for example) which can be replicated using either #tags or [[wikilinks]] within tools like Obsidian. Of course having an index doesn't preclude the incredible usefulness of directly linking one idea to potentially multiple others in some branching tree-like or network structure.

Note that one highly valuable feature of Luhmann's paper version was that the totality of cards were linked to a minimum of at least one other card by the default that they were placed into the file itself. Those putting notes into Obsidian often place them into their system as singlet, un-linked notes as a default, and this can lead to problems down the road. However this can be mitigated by utilizing topical or subject headings on individual cards which allows for searching on a heading and then cross-linking individual ideas as appropriate.

As an example, because two cards may be tagged with "archaeology" doesn't necessarily mean they're closely related as ideas. This tends to decrease in likelihood if one is an archaeologist and a large proportion of cards might contain that tag, but will simultaneously create more value over time as generic tags increase in number but the specific ideas cross link in small numbers. Similarly as one delves more deeply into archaeology, one will also come up with more granular and useful sub-tags (like Zooarcheology, Paleobotany, Archeopedology, Forensic Archeology, Archeoastronomy, Geoarcheology, etc.) as their knowledge in sub areas increases.

Concretely, one might expect that the subject heading "sociology" would be nearly useless to Luhmann as that was the overarching topic of both of his zettelkästen (I & II), whereas "Autonomie" was much more specific and useful for cross linking a smaller handful of potentially related ideas in the future.

Looking beyond Luhmann can be highly helpful in designing and using one's own system. I'd recommend taking a look at John Locke's work on indexing (1685) (https://publicdomainreview.org/collection/john-lockes-method-for-common-place-books-1685 is an interesting source, though you're obviously applying it to (digital) cards and not a notebook) or Ross Ashby's hybrid notebook/index card system which is also available online (http://www.rossashby.info/journal/index.html) as an example.

Another helpful tip some are sure to appreciate in systems that have an auto-complete function is simply starting to write a wikilink with various related subject heading words that may appear within your system. You'll then be presented with potential options of things to link to serendipitously that you may not have otherwise considered. Within a digital zettelkasten, the popularly used DYAC (Damn You Auto Complete) may turn into Bless You Auto Complete.

Are there examples of people using The Brain in public as more extensive commonplace books or zettelkasten?

https://www.reddit.com/r/antinet/comments/v48una/randomly_found_out_a_friend_of_mine_uses_note/

Example of a card index note taking method in the wild. Sounds a bit more like a commonplace book rather than a highly organized zettelkasten.

https://www.youtube.com/watch?v=Qf4caUoi5bo

Scott Scheper shows how he uses his paper zettelkasten for planning six week sprints. Only a very rough outline of what this looks like, though he does show using his index to cross reference the card with the actual details.

https://blogs.uni-bielefeld.de/blog/soziologie/entry/luhmanns_zettelkasten_online_edition_des2

Collecting ideas and creating links between them in a zettelkasten can seemingly solve this problem with "little" work. :)

For someone like Feynman who worked in areas beyond theoretical physics, tacitly practicing the Llullan combinatorial arts will allow them to apply their knowledge in a more cross-disciplinary way.

But why apply this sort of thinking to just one person? Abstract it up a few levels. What if multiple people can apply this technique simultaneously?

Currently it's happening in academic circles with people collaborating across disciplines, but it's more likely happening by oral transmission by holding conversations about the work at hand and combinatorial brainstorming being the engine. What if they were keeping a collective zettelkasten to encourage their work? This presents the issue of the histories of separate knowledge bases and potential context collapse. They still need to have some sort of intervening interface (typically personal presence for memory/reference) to encourage it as search may not be as useful or much more time consuming.

How might anagora.org act as a potential model for brining these ideas into fruition?

link directly to portions of https://hypothes.is/a/GZ5kkuAyEeyfDx9azj0VAw

I'm sort of surprised that Forte hasn't trademarked this "method". Immediately on it's face it looks a lot like the general steps of note taking for a zettelkasten, or let's be honest, almost any note taking method. Nice to see that he's reminding people to do some distillation and expression using their notes however as this is where most people lose the thread.

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?

Zettelkasten existed prior to Niklas Luhmann, who neither invented them nor coined their name.

The earliest concept of a digital garden stems from Mark Bernstein's essay Hypertext Gardens: Delightful Vistas in 1998.

Anne-Laure Le Cunff's first mention of "digital garden" was on April 21, 2020

Progress on my digital garden / evergreen notebook inspired by @andy_matuschak🌱<br><br>Super grateful for @alyssaxuu who's been literally handholding me through the whole thing — thank you! pic.twitter.com/ErzvEsdAUj

— Anne-Laure Le Cunff (@anthilemoon) April 22, 2020

Which occurred after Maggie Appleton's mention on 2020-04-15 https://twitter.com/Mappletons/status/1250532315459194880

Nerding hard on digital gardens, personal wikis, and experimental knowledge systems with @_jonesian today.<br><br>We have an epic collection going, check these out...<br><br>1. @tomcritchlow's Wikifolders: https://t.co/QnXw0vzbMG pic.twitter.com/9ri6g9hD93

— Maggie Appleton 🧭 (@Mappletons) April 15, 2020

And several days after Justin Tadlock on 2020-04-17 https://wptavern.com/on- digital-gardens-blogs-personal-spaces-and-the-future

Before this there was Joel Hooks by at least 2020-02-04 https://web.archive.org/web/20200204180025/https://joelhooks.com/digital-garden, though he had been thinking about it in late 2019: https://github.com/joelhooks/joelhooks-com/blob/36c21b34f02ade14d4e67915ff412462030282cd/content/blog/2019-12-08--on-writing-more~~qG38AKqxq/index.mdx

He was predated by Tom Critchlow on 2018-10-18 https://tomcritchlow.com/blogchains/digital-gardens/ who quotes Mike Caulfield's article from 2015-10-17 as an influence https://hapgood.us/2015/10/17/the-garden-and-the-stream-a-technopastoral/amp/

Archive.org has versions going back into the early 2000's: https://web.archive.org/web/*/%22digital%20garden%22

I've been collecting some feedback on folks who've introduced this to students. I'm curious how your experiment ultimately went? Did they take to it? Do you feel like some are still using or even experimenting with the methods?

Some excellent questions that nudge one into an "orthodox" zettelkasten practice.

A referent to Hegel's note taking system.

Interesting that Markus Krajewski continually refers to Luhmann's zettelkasten as Bielefeld 1951ff.

Hegel's slip box was in a handy enough luggage format that he was able to easily take it with him on journeys or on moves.

1. Amid his wandering, he always kept these incunabula of his education. They lie partly in portfolios, partly in cases, on the backs of which a label was glued for orientation. Rosenkranz, Georg Wilhelm Friedrich Hegels Leben , 12.

1. Luhmann, Archimedes und wir , 145.

Luhmann indicated that his note taking system made it difficult for him to be a linear thinker. Instead he felt that each chapter he wrote "must reappear in every other."

This seems quite similar to Carl Linnaeus' work which he regularly recycled into future works.

For Luhmann's time, the librarian recommendation for substrate was either cardboard or strong paper as the carrier for information, but he eschewed this recommendation in favor of plain typewriter paper because it took up less space. This came at the cost of deterioration of many of his cards through regular use however.

Luhmann's zettelkasten collection of cards was in octavo format, aka DIN A5 (148mm x 210mm or 5.8" x 8.3").

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.

Niklas Luhmann created his slip box in 1951 after the model of Hegel rather than using the method of loose sheets into portfolios as Goethe had done.

1. See Ernst Robert Curtius, “ Goethes Aktenf ü hrung,” in Kritische Essays zur europäischen Literatur (Bern: Francke, 1954), 57 – 69.

Johann Wolfgang von Goethe (28 August 1749 – 22 March 1832)

"To be sure, one will initially produce mostly waste." -Niklas Luhmann

How true!!! I see many people with this initial problem and not an insignificant few give up entirely because of this.

Markus Krajewski indicates here that Georg Wilhelm Friedrich Hegel (27 August 1770 – 14 November 1831) kept a zettelkasten, though from the sound of it, his sheets, organized by head words have more of a ring of commonplace book.

Starting here...

https://www.youtube.com/watch?v=_sdp0jo2Fe4

https://github.com/fossmo/awesome-zettelkasten

A curated list of zettelkasten resources

Scott, I'll spend some more in-depth time with it shortly, but in a quick skim of topics I pleasantly notice a few citations of my own work. Perhaps I've done a poor job communicating about wikis, but from what I've seen from your work thus far I take much the same view of zettelkasten as you do. Somehow though I find that you're quoting me in opposition to your views? While you're broadly distinguishing against the well-known Wikipedia, and rightly so, I also broadly consider (unpublished) and include examples of small personal wikis and those within Ward Cunningham's FedWiki space, though I don't focus on them in that particular piece. In broad generalities most of these smaller wikis are closer to the commonplace and zettelkasten traditions, though as you point out they have some structural functional differences. You also quote me as someone in "information theory" in a way that that indicates context collapse. Note that my distinctions and work in information theory relate primarily to theoretical areas in electrical engineering, physics, complexity theory, and mathematics as it relates to Claude Shannon's work. It very specifically does not relate to my more humanities focused work within intellectual history, note taking, commonplaces, rhetoric, orality, or memory. In these areas, I'm better read than most, but have no professional title(s). Can't wait to read the entire piece more thoroughly...

Sascha Fast analogizes the writing process using a zettelkasten to Henry Ford's assembly line for building cars. Each worker on the assembly line has a limited bit of knowledge for their individual part of the process, but most of the knowledge and value is built into the overarching process itself. This makes the overall system quicker and more efficient.

Similarly with note taking, each individual portion of the process is simple and self-contained, but it allows the writer to create a much more creative and complex piece in the end. Here an individual can accomplish all of the individual steps in a self-contained way while focusing on individual steps without becoming lost in the subsequent steps which would otherwise require a tremendous additional amount of energy.

Niklas Luhmann used his zettelkasten to develop an organic theory to understand an organic subject in an autopoetic way.

Keeping a manual zettelkasten using pen/pencil and paper may be beneficial to some as it will tend to remove the easy functionality of cut and paste in the digital space and force the user to think a bit more deeply about what they're working on and expand on it. Those with paper zettelkasten aren't as likely to spend time collecting simple facts as a result of this. This will make the content going into the system much more solid and reusable in the future.

Scott P. Scheper left off of notebooks and started using note cards in 2006.

Sascha Fast started his zettelkasten in 2008 or 2009 and went to plain text around 2010.

There are likely far more people talking about zettelkasten and writing short, simple blogposts and articles about it than those who are actually practicing it and seeing benefit from it.

Finding public examples of people practicing and showing their work in the zettelkasten space are few and far between.

This effect likely increases the availability bias of Niklas Luhmann's zettelkasten which is frequently spoken of, but it also has the benefit of being online, even if it's primarily written in German.

Sounds that like me, Sascha Fast thinks many are talking about zettelkasten, but not actually practicing it properly.

Ahrens uses the phrase permanent notes and never uses the words evergreen notes. Evergreen notes stems from Andy Matuschak's reading of Ahrens, likely with a side reference to the idea of evergreen articles which is a closely related commonplace idea in journalism.

The difference between the permanent(evergreen) and fleeting comes from where one chooses to put the actual work into their system. One can collect thousands of fleeting notes in their system, but it's more likely that it will eventually collapse on itself and do the author no good. Better is to put as much work in up front to get to a good permanent note that is reusable in potentially many contexts.

Much of this stems back at least as far as Vincentius Placcius in De Arte Excerpendi: Of Scholarly Book Organization (1689) where he offers a contemporary set of instructions on excerpting knowledge from books as well as a history of the subject of note taking. In the book, he warns specifically against the practice exhibited by Joachim Jungius (1585-1657) who left behind approximately 150,000 slips (or scraps) of paper (zettels). Because there was no index to it or links between the notes Jungius' collection was ostensibly useless following his death. His scraps were literally a "scrap heap".

This sort of recombination is also seen in the work of Raymond Llull, though there he did it in a specific combinatorial way and implemented it in his memory rather than on paper.

https://person-al.github.io/%F0%9F%8C%B3/2022/05/08/how-i-publish-my-zettelkasten.html

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>@person72443</span> in person: "Today on the blog...how I publish my #zettelkaste…" - Mastodon (<time class='dt-published'>05/17/2022 22:12:40</time>)</cite></small>

https://www.reddit.com/r/commonplacebook/comments/ugqnle/whats_your_opinion_on_the_note_card_system_do_you/

For commonplace items, I've found notebooks with good indices more valuable. Note cards are better if you're taking atomic notes that you plan on actively reusing in your writing work which is more of a zettelkasten feature/functionality cards are easier to move around, re-arrange, and create outlines for your writing when you get to that point. Historically it was the ability to re-arrange and reuse one's commonplace items that helped to spawn and popularize the idea of zettelkasten, which are often more frequently used by writers, researchers, and academics for creating new content. Historically it was the ability to re-arrange and reuse one's commonplace items that helped to spawn and popularize the idea of zettelkasten, which are often more frequently used by writers, researchers, and academics for creating new content.

Some of the difference can be personal choice, practicality, ease-of-use, and the functionality you hope to get out of one method or the other. Honestly there's no reason you couldn't do both if you chose, but it may help to have a common index which will allow you to search for and find things you need. A set of useful historical examples can be found in the mid-twentieth century comedians including Bob Hope (pages he kept in files), Phyllis Diller (index cards), Joan Rivers (index cards), and actor/politician Ronald Reagan who maintained what some might call a commonplace book of quotes which he kept on index cards, but held in a notebook-like binder similar to a photo album with pages that he could place the cards in, but still allow him to move them around (both from slot to slot, or move whole pages at a time). The loosest system I've yet seen is that of Eminem who kept ideas and lyrics written on hotel stationery or random slips of paper which he kept wholly unorganized and unindexed in a cardboard box in a method he called "stacking ammo." Do what you think will work best for you and try it out for a while. You can always change methods later on if your needs change.

9/8j In the slip box is a slip containing the argument that refutes the claims on all the other slips.

But this slip disappears as soon as you open the slip box.

Ie he assumes a different number, disguises himself and then cannot be found.

A joker.

An example of a jokerzettel.

Link this to the Claude Shannon's useless machine (based on an idea of Marvin Minsky) of a useless machine whose only function is to switch itself off. see also https://en.wikipedia.org/wiki/Useless_machine https://www.youtube.com/watch?v=gNa9v8Z7Rac

Niklas Luhmann kept a portion of his note taking system (ZK II Note 9/8j) specifically for joke related slips. It has been referred to as his jokerzettel.

This would seem to be in keeping with other examples kept in America by Bob Hope, Phyllis Diller, Joan Rivers, George Carlin, and a wide variety of comics like Adam Sandler et al. who have moved to using notebooks.

This is the first time I've seen the word/phrase jokerzettel in print.

I do scan them, though in a somewhat different workflow than the batch processing that some might imagine. The broad outline and some of the specific details can be found here: Handwriting my Website with a Digital Amanuensis. The comments section of that post has some useful tips for folks on other platforms.

I tend to take a much narrower view of the use and function of a zettelkasten for the reuse of atomic ideas. As a result, from experience I'd recommend these sorts of details are probably better suited for future search in your blog, a personal wiki, or even a commonplace book format than for use in your zettelkasten. I've outlined some of the broad idea for this in an article: Zettelkasten Overreach. On the other hand, if an outline form of these things is imminently abstractable for future very active reuse in other programming environments, then perhaps it's worthwhile, but then you'd need to reach the appropriate level of abstraction for this reuse and you may have lost the more specific details for direct recreation needed as reminders for your future self.

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

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

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

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

https://www.otherlife.co/pkm/

The PKM space has gotten crazy, but mostly through bad practice, lack of history, and hype. There are a few valid points I see mirrored here, but on the whole this piece is broadly off base due to a lack of proper experience, practice and study. I definitely would recommend he take a paid course to fix the issue, but delve more deeply into recommended historical practices.

I have tongue-in-cheek posted a massive graph indicating that it was only a "few days work" to see what sort of reaction it would get. No one batted an eyelash, which makes me think that too many are "collectors" and aren't actually building something or using their system correctly.

There is a dearth of solid examples of these systems online for people to look at and evaluate critically. This is killing the space slowly.

I will agree that there are far too many "influencers" and "gurus" out there selling something in the note taking space. Almost none of them know what the hell they're talking about.

In watching the space and seeing the sorts of conversations and questions I see online in Twitter, Reddit, and other fora, I too often see people talking about the system(s) and not actually using the systems. Very few get to a critical mass of well written notes, which I estimate to be about 500 to 1000 before they give up. Most aren't taking good notes and are imposing far more structure on them as if they're writing wiki articles instead of taking notes. Too many things go wrong in their processes before they're giving up and moving on. This has the effect of making the enterprise appear to be a failure.

I suspect that the author of this piece is in this last group and instead of thinking about why they're failing, they're lashing out about the hype in the space. Certainly there is way too much hype, and that isn't necessarily a good thing. But there's also not nearly enough practice and that is far worse.

There is a heavy availability heuristic at play here. Most people in the recent/modern PKM space are enamored with the idea of zettelkasten and no one (or very few) have delved in more deeply to the history to uncover more than Luhmann. There definitely are many, many more. If we expand the circle to include looser forms like the commonplace book then we find that nearly every major thinker since the Renaissance kept some sort of note taking system and it's highly likely that their work was heavily influenced by their notes, notebooks, and commonplace books.

Hell, Newton invented the calculus in his waste book, a form of pre-commonplace book from which he apparently never got his temporary notes out into a more personal permanent form.

A short trip to even the scant references on the Wikipedia pages for commonplace book and zettelkasten will reveal a fraction of the extant examples.

https://sashinexists.com/vault/

Behind a paywall, but described by the maintainer as an online zettelkasten.

https://www.reddit.com/r/Zettelkasten/comments/unopml/finished_1st_draft_of_book_but_need_your_advice/

Someone considering re-creating Tiago Forte's Building a Second Brain business, but with pen and paper.

Example of an article that incorrectly credits Niklas Luhmann with creation of the Zettelkasten.

Another example of someone misattributing the invention of the zettelkasten to Niklas Luhmann. At least Soren Bjornstad modifies the attribution to say modern form, but I suspect that this is more of a verbal hedge more than being backed up with actual evidence, though perhaps the video will bear out more detail?

The availability heuristic is so strong in Luhmann's case, that he is attributed the invention. I find that few people can point to or ever mention any others who used the method.

Here Ahrens doesn't say that Luhmann invented the zettelkasten, but he comes pretty close and is heavily implying it rather than delving into the ways which Luhmann may have been taught this practice.

This is all too correct. Sadly the older methods for writing, note taking, thinking, and memory have fallen by the wayside, so most literate moderns don't have the tradition most of (elite educated) Western culture has had for the past 2000+ years. The long tradition of commonplace books and their related versions including waste books, florilegium, sudelbücher, scholia, glossae, notebooks, anthologies, sylvae, table books, vade mecum, memoranda books, diaries, miscellanies, pocket books, thesauruses, etc. underlines your thesis well. The Zettelkasten, exactly like almost all of these others, is simply an iteration of the commonplace book instantiated into index card form. One of the reasons that Umberto Eco's advice on writing seems so similar to the zettelkasten method is that he was a medievalist scholar who was aware of these long traditions of writing, note taking, and memory and leveraged these for himself, though likely in a slightly different manner. Would anyone suggest that he didn't have a voluminous output or an outsized impact on society and culture? If one really wants to go crazy on the idea of backlinks and the ideas of creativity and invention, perhaps they ought to brush up on their Catalan and read some Ramon Llull? He was an 11th century philosopher and polymath who spent a lot of time not only memorizing much of his personal knowledge, but who invented combinatorial creative methods for juxtaposing his volumes of information to actively create new ideas. I guarantee no backlinking system held a match to his associative methods. Now if someone wanted to mix some mysticism into the fray, then perhaps there might be a competition... Many who are now writing so positively about Zettelkasten or backlinks are doing so in much the same way that humanist scholars like Desiderius Erasmus, Rodolphus Agricola, and Philip Melanchthon did when writing about and re-popularizing commonplace books in the 1500s. The primary difference being that the chance that they leave as lasting a legacy is much smaller. Worse many of them are crediting Luhmann for the actual invention of the Zettelkasten when his is but one instantiation on a long evolution of many note taking devices over literal millennia. I'm still waiting for folks to spend more time talking about Carl Linnaeus' revolutionary invention and use of the index card. Or John Locke's system for creating a new indexing system for commonplace books. Generally we don't talk about these innovations because their users spent more of their time using their systems to get other more important things done for their legacies. In the end, the message seems clear, anyone can be incredibly productive; most of it boils down to having some sort of system of reading, thinking, note taking, and new production and sticking with it for a while. Have a system; use your system; evolve it slowly to work well for you and the way you think and work.

This is fun marketing, but Niklas Luhmann did not invent the idea of the zettelkasten

https://wordpress.org/plugins/slippy/

This WordPress plugin looks like it's a solid custom post type for creating a digital zettelkasten. Looks like it relies on tags/categories for linking, though has a custom link function. This in combination with Webmention could be a useful bi-directional link set up.

See also: https://hypothes.is/a/dN4iQHyFEeyOQtNdg7aedw and related notes.

Note the phrase "Card Index" in the title of this article in lieu of the more common German zettelkasten.

There are lots of people writing/saying they've got a digital zettelkasten online, but few actually are in the mold you're actively looking for. Most are wikis, digital gardens, commonplace books, or simply webpages or more blog-like in form.

This IndieWeb wiki page has some of the few useful digital examples I'm aware of: https://indieweb.org/Zettelk%C3%A4sten

I've got the start of a potential online site with some sample cards, though they're not all properly interlinked, online at https://notes.boffosocko.com. My Hypothes.is account is relatively zettelkasten-like in many of the ways you might be considering, though individual notes aren't heavily interlinked in the way one would like, though they are reasonably well indexed with keywords: https://hypothes.is/users/chrisaldrich. Many notes may be more fleeting in nature, so look for the journal articles/books that have 10 or more annotations versus documents with under 5. Generally these all get moved into a digital system where they're further refined and interlinked.

https://www.reddit.com/r/Zettelkasten/comments/ug2efy/how_to_create_useful_links_with_zettelkasten/

Article that focuses on how important it is to create links between atomic ideas in a zettelkasten.

https://www.youtube.com/watch?v=mRnfSs6Hu3k

Jason Kleinberg takes basic tunes and then has a list of variations of practice styles which he runs through with each one (eg. single-finger, octave double stops scale, old-time, polkafy, blues, etc.) and he plays those tunes in these modified styles not only to practice, but to take these "musical conversations" and translate them into his own words. This is a clever way of generating new music and potentially even new styles by mixing those which have come before. To a great sense, he's having a musical conversation with prior composers and musicians in the same way that an annotator will have a conversation in the margins with an author. It's also an example of the sort of combinatorial creativity suggested by Raymond Llull's work.

https://blog.sjm.codes/202204231657

Nothing new or earth shattering to me, but I did manage to squeeze out a few literature notes that may be useful later.

The creation of literature notes for one's zettelkasten are atomic instances of the use of the Feynman technique to test one's understanding.

Not exactly my specific framing, but I've noted this correspondence before. Glad to see others have the same perception.

http://ratfactor.com/cards/

Dave Gauer has nascent digital zettelkasten on his website though he calls them a virtual box of cards "(as opposed to 'zettelkasten' or 'wiki' or 'notes')".

Given it's limited extent, the collection presents in a more wiki like fashion with such limited functionality (on the front end) that it appears more like a loose collection of web pages.

What are the generally accepted distinctions between all these forms?

I personally and always recommend people keep separate folders for zettelkasten and wiki like patterns primarily because you could and should be using each of them in dramatically different ways. If you're putting your zettelkasten notes into a wiki setting, then you're starting to actively place those notes into a final written form (Ahrens calls these "projects" in his book How to Take Smart Notes as a catchall for articles, chapters, books, or other long form writing.)

Luhmann is not an outlier, he's just the only example known in English social media and the blogosphere over the past couple of years. Try searching for "card index" (English), "fichier boîte" (French), or even "commonplace book" (a simplified version of and predecessor of the zettelkasten) and you'll find lots of examples. Over the past year or so I've been working at improving the number of examples available. See: https://en.wikipedia.org/wiki/Zettelkasten. Recently I've just uncovered Roland Barthes (12,250+ index cards) and Vladimir Nabokov (author of Lolita fame: https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html).

Some of the common things I see people doing wrong are not putting in the work and particularly not creating links between their cards. Others don't have a clear reason why they're actually doing the practice. Based on anecdotal evidence from people who are well practiced at it and have done it a while, it can take from 500 to 1000 cards to see the sort of fun serendipity and value in having a zettelkasten. Having something specific or even an area in which you actively want to write as an end goal can be very helpful. If you're writing even 1-3 solid cards a day, that is the leverage in productivity. Barthes averaged about 1 and change compared to Luhmann's 6 cards a day. Once you have lots of cards that are all linked together, pick your favorite up with all the ones that go with it and you've got a solid article or even the start of a book.

French theorist, philosopher, and writer [[Roland Barthes]] (1915 – 1980) kept a ''fichier boîte'' or card index file beginning in 1943 until his death. Curator Nathalie Léger has indicated that there are 12,250 slips in Roland Barthes' bequest at the [[Institute for Contemporary Publishing Archives|Institut Mémoires de l’édition contemporaine (IMEC)]].<ref name="Hollier">{{cite journal |last1=Hollier |first1=Denis |title=Notes (On the Index Card). |journal=October |date=2005 |volume=112 |issue=Spring |pages=35–44 |url=https://www.jstor.org/stable/3397642 |access-date=23 April 2022}}</ref><ref>{{cite book |last1=Krapp |first1=Peter |editor1-last=Chun |editor1-first=W. H. K. |editor2-last=Keenan |editor2-first=T |title=New Media, Old Theory: A History and Theory Reader |date=2006 |publisher=Routledge |location=New York |pages=359-373 |chapter=Hypertext Avant La Lettre}}</ref> [[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."<ref name="Rowan">{{cite journal |last1=Wilken |first1=Rowan |title=The card index as creativity machine |journal=Culture Machine |date=2010 |volume=11 |pages=7–30 |url=https://www.semanticscholar.org/paper/The-card-index-as-creativity-machine-Wilken/ffeae0931cc269da047d0844a6bef7e1c7424b46 |access-date=23 April 2022}}</ref><ref>{{cite book |last1=Calvet |first1=Louis-Jean |title=Roland Barthes: A Biography |date=1994 |publisher=Indiana University Press |location=Bloomington, IN}}</ref> 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.<ref name="Rowan"></ref> In his autobiographical ''Roland Barthes par (by) Roland Barthes'', Barthes reproduces three of his index cards in facsimile.<ref>{{cite book |last1=Barthes |first1=Roland |title=Roland Barthes |date=1977 |publisher=Macmillan |isbn=978-1-349-03520-5 |page=75}}</ref> Published posthumously in 2010, Barthes' ''Mourning Diary'' was created from a collection of 330 of his index cards focusing on his mourning following the death of his mother. The book jacket of the book prominently features one of his index cards from the collection.<ref>{{cite book |last1=Barthes |first1=Roland |title=Mourning Diary |date=2010 |publisher=Macmillan |url=https://us.macmillan.com/books/9780374533113/mourningdiary}}</ref> In a well known photo of Barthes in his office taken by [[Henri Cartier-Bresson]] in 1963, the author is pictured with his card indexes on the shelf behind him.<ref>{{cite book |last1=Yacavone |first1=Kathrin |title=Interdisciplinary Barthes |date=2020 |publisher=Oxford University Press |isbn=978-0-19-726667-0 |pages=97–117 |url=https://doi.org/10.5871/bacad/9780197266670.003.0007 |chapter=Picturing Barthes: The Photographic Construction of Authorship}}</ref><ref name="Hollier"></ref>

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

It's worth look looking into the structure of Walter Benjamin's Arcade Project as the numbering system that he used on his zettels is very similar to that of both Niklas Luhmann's zettelkasten as well as the street numbers of 1770 Vienna.

link to - https://hypothes.is/a/4jtT0FqsEeyXFzP-AuDIAA - https://hypothes.is/a/lvGHJlNHEeyZnV-8psRNrA

Marcel Duchamp announced his project the Green Box in 1934 as an edition of 320 copies of a box of 94 items. Most of the items were supposed "facsimiles" as described by Duchamp, of notes he wrote from 1911 to 1915.

How is or isn't this like a zettelkasten or card index, admittedly a small collection?

Is physics open or closed?

Could a play, made in a zettelkasten-like structure, be performed in a way so as to keep a consistent authorial voice?

What potential applications does the idea of opera aperta have for artificial intelligence? Can it be created in such a way as to give an artificial brain a consistent "authorial voice"?

If Umberto Eco makes a distinction between the works which are open in interpretation and works like music which are open in their structural sense, what would he have made of viewing a work like a zettelkasten which could potentially be open in both respects?

link to: https://hyp.is/dBTiCsDWEeyyn7dYEp3oUA/en.wikipedia.org/wiki/Open_text

Is the zettelkasten potentially an example of one of the most open texts one can create?

I believe Umberto Eco kept one or had a note taking system similar to it.

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?

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?

particularly:

but rather the game in and of itself, the constant shifting around of pawns, the circulation of cards, everything that contributes to the fact that the game--as opposed to a work of art--never stands still.

This reminds me of some of the mnemonic devices (cowrie shells) that Lynne Kelly describes in combinatorial mnemonic practice. These are like games or stories that change through time. And these are fairly similar to the statistical thermodynamics of life and our multitude of paths through it. Or stories which change over time.

Is life just a game?

there's a kernel of something interesting here, we'll just need to tie it all together.

Think also of combining various notes together in a zettelkasten.

Were these indigenous tribes doing combinatorial work in a more rigorous mathematical fashion?

I have never expanded my digital literacy via any curriculum process. In the classroom I have taught students how to raise and answer research questions with both digital and analog tools. I don't feel the need to have a separate curriculum for the tools. For example, I use Zotero as my digital database. It helps me seek, make sense of, and share answers to questions, but I could do quite the same with 3X5 cards just like Niklas Luhmann did with his zettelkasten method. Because there are so many glaring inequalities in digital spaces, I always teach analog and community processes first and digital literacies second. You never know when the electrons will fail.

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?

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

Walter Benjamin used a zettelkasten like note taking technique.

Ludwig Wittgenstein had a box, which he apparently called his 'Zettel' in which he kept over 700 text fragments or scraps and other loose pages.

Double check this reference for a translation error from German as Zettel is the 'slip' and kasten is the 'box', 'crate', or 'container'.

Peter Krapp created a list of thinkers including Locke, Leibniz, Hegel, Wittgenstein, Barthes, Michel Leiris, Georges Perec, and Lévi-Strauss who used index cards in his essay Hypertext Avant La Lettre on the precursors of hypertext.

see also: Krapp, P. (2006) ‘Hypertext Avant La Lettre’, in W. H. K. Chun & T. Keenan (eds), New Media, Old Theory: A History and Theory Reader. New York: Routledge: 359-373.

Notice that Krapp was the translator of Paper Machines About Cards & Catalogs, 1548 – 1929 (MIT Press, 2011) by Marcus Krajewski. Which was writing about hypertext and index cards first? Or did they simply influence each other?

Includes some research on the use Roland Barthes made of index cards for note taking to create his output.

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

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

Could this be a zettelkasten or similar sort of note keeping device?!

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

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

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

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

https://web.archive.org/web/20180217082313/http://takingnotenow.blogspot.com/2018/02/an-ordinary-zettlkasten.html

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

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

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

The linking of one zettel to another can be a lot of work, but it is also the thing which improves the creativity and serendipity of the enterprise.

ugh...

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.

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

Some basic information about Vladimir Nabokov's card file which he was using to write The Origin of Laura and a tangent on cards relating to Lolita.

An alternate view of Roland Barthes, likely taken in his 1963 session with Henri Cartier-Bresson. Index card boxes can be seen on the shelf behind him.

via https://newrepublic.com/article/144518/laurent-binet-case-dead-author-seventh-function-language-novel-whodunit-french-intellectuals

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

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

link to journal article notes on:

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

Do all these sentences in this paragraph have any cohesion? The author seems to be rambling a bit to put all of these ideas together. Makes me wonder at what their note collection looks like and how they're using it. This paragraph is a particularly awkward stringing together of what might be disparate, but vaguely related zettels. ("You can see where one card ends and the next begins...)

Simply the word abridgement here leads me to wonder:

Was the continual abridgement of texts and excerpting small pieces for later use the partial cause of the loss of the arts of memory? Ars excerpendi ad infinitum? It's possible that this, with the growth of note taking practices, continual information overload, and other pressures for educational reform swamped the prior practices.

For evidence, take a look at William Engel's work following the arts of memory in England and Europe to see if we can track the slow demise by attrition of the descriptions and practices. What would such a study show? How might we assign values to the various pressures at play? Which was the most responsible?

Could it have also been the slow, inexorable death of many of these classical means of taking notes as well? How did we loose the practices of excerpting for creating new ideas? Where did the commonplace books go? Where did the zettelkasten disappear to?

One author, with a carefully honed practice and the extant context of their life writes some brief notes which get passed along to their students or which are put into a new book that misses a lot of their existing context with respect to the new readers. These readers then don't know about the attrition happening and slowly, but surely the knowledge goes missing amidst a wash of information overload. Over time the ideas and practices slowly erode and are replaced with newer techniques which may not have been well tested or stood the test of time. One day the world wakes up and the common practices are no longer of use.

This is potentially all the more likely because of the extremely basic ideas underpinning some of memory and note taking. They seem like such basic knowledge we're also prone to take them for granted and not teach them as thoroughly as we ought.

How does one juxtapose this with the idea of humanist scholars excerpting, copying, and using classical texts with a specific eye toward preventing the loss of these very classical texts?

Is this potentially the idea of having one's eye on a particular target and losing sight of other creeping effects?

It's also difficult to remember what it was like when we ourselves didn't know something and once that is lost, it can be harder and harder to teach newcomers.

Zedelmaier argues that scholarly methods of informa- tion management inspired bureaucratic information management; see Zedelmaier (2004), 203.

Go digging around here for links to the history of index cards, zettelkasten, and business/accounting.

Summary tk

Modern note taking has seen a reversion to pre-Renaissance practices in which they're much more temporary tools. Relatively few students take notes with an aim for reusing them past their immediate classroom settings or current term of study.

The revitalization of the idea of the zettelkasten in the late 2010s seems to be helping to reverse this idea. However, there aren't enough online versions of these sorts of notes which allow them to be used with other publics or even to be used and shared with other collaborators. There are some growing spaces seen in the social media note taking space like the anagora.org or the digital gardens space where this seems to have some potential to take off. There's also a small community on Hypothes.is which seems to be practicing this as well, though direct links between various collections of notes is not commonplace.

This makes me wonder if it would be a useful product to have a highly linked note collection to sell to others in a modern context? It could be done entirely in text files for compatibility with Roam Research, Obsidian, Logseq, et al. Ideally it would be done in a more commonplace way with quotes and interlinked and could be expanded upon by the purchaser.

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

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

Folgezettel required finding the place where a thought fits, which is quite a bit of work and can be meaningful.

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

For those who want to match Luhmann's productivity they need match his work ethic

Would maintaining a multi-user, potentially public zettelkasten have positive outcomes? Would it face the issue of becoming a scrap heap for those who don't work with it regularly? There might be an issue of trust for individual assertions which aren't properly cited our sourced.

Tummelling and solid design would probably be necessary to prevent toxicity as seen in many areas of social media.

Some discussion of doing research on zettelkasten methods and workflows.

What do note taking methods and processes look like for individual people?

What questions would one ask for this sort of research in an interview setting (compared to how one would look at extant physical examples in document-based research)? #openquestions

Link this to the work of Earle Havens on commonplace books through portions of history.

Using a zettelkasten is a bit about unlearning how you used to do things, but most importantly it requires the work input and following the process to get the "magical" outputs.

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

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.

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

Even Sönke Ahrens has indirectly attributed the idea of the zettelkasten directly to Niklas Luhmann.

2022-03-24

https://www.youtube.com/watch?v=MO7-wEc5dnc

Quit watching at around 1:40:00 where it devolved into a love fest for the club itself.

How much history is covered here?

Will mnemotechniques be covered here? Spaced repetition? Note taking methods in the commonplace book or zettelkasten traditions?

How does one equitably and logically build a communally shared knowledge base for a for-profit space?

How might a communal zettelkasten work? A solid index for creating links between pieces is incredibly important here, but who does this work? How is it valued?

Example of someone thinking about the differences between their wiki, a zettelkasten, and a website.

Questions to ask after making a zettel

characters of zettel

Zettels should be Atomic

Content card is your bottom layer