1,476 Matching Annotations
  1. Last 7 days
  2. Jan 2023
    1. Note 9/8j says - "There is a note in the Zettelkasten that contains the argument that refutes the claims on every other note. But this note disappears as soon as one opens the Zettelkasten. I.e. it appropriates a different number, changes position (or: disguises itself) and is then not to be found. A joker." Is he talking about some hypothetical note? What did he mean by disappearing? Can someone please shed some light on what he really meant?

      On the Jokerzettel

      9/8j Im Zettelkasten ist ein Zettel, der das Argument enthält, das die Behauptungen auf allen anderen Zetteln widerlegt.

      Aber dieser Zettel verschwindet, sobald man den Zettelkasten aufzieht.

      D.h. er nimmt eine andere Nummer an, verstellt sich und ist dann nicht zu finden.

      Ein Joker.

      —Niklas Luhmann, ZK II: Zettel 9/8j

      Translation:

      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. That is, he assumes a different number, disguises himself and then cannot be found. A joker.

      Many have asked about the meaning of this jokerzettel over the past several years. Here's my slightly extended interpretation, based on my own practice with thousands of cards, about what Luhmann meant:

      Imagine you've spent your life making and collecting notes and ideas and placing them lovingly on index cards. You've made tens of thousands and they're a major part of your daily workflow and support your life's work. They define you and how you think. You agree with Friedrich Nietzsche's concession to Heinrich Köselitz that “You are right — our writing tools take part in the forming of our thoughts.” Your time is alive with McLuhan's idea that "The medium is the message." or in which his friend John Culkin said, "We shape our tools and thereafter they shape us."

      Eventually you're going to worry about accidentally throwing your cards away, people stealing or copying them, fires (oh! the fires), floods, or other natural disasters. You don't have the ability to do digital back ups yet. You ask yourself, can I truly trust my spouse not to destroy them?,What about accidents like dropping them all over the floor and needing to reorganize them or worse, the ghost in the machine should rear its head?

      You'll fear the worst, but the worst only grows logarithmically in proportion to your collection.

      Eventually you pass on opportunities elsewhere because you're worried about moving your ever-growing collection. What if the war should obliterate your work? Maybe you should take them into the war with you, because you can't bear to be apart?

      If you grow up at a time when Schrodinger's cat is in the zeitgeist, you're definitely going to have nightmares that what's written on your cards could horrifyingly change every time you look at them. Worse, knowing about the Heisenberg Uncertainly Principle, you're deathly afraid that there might be cards, like electrons, which are always changing position in ways you'll never be able to know or predict.

      As a systems theorist, you view your own note taking system as a input/output machine. Then you see Claude Shannon's "useless machine" (based on an idea of Marvin Minsky) whose only function is to switch itself off. You become horrified with the idea that the knowledge machine you've painstakingly built and have documented the ways it acts as an independent thought partner may somehow become self-aware and shut itself off!?!

      https://www.youtube.com/watch?v=gNa9v8Z7Rac

      And worst of all, on top of all this, all your hard work, effort, and untold hours of sweat creating thousands of cards will be wiped away by a potential unknowable single bit of information on a lone, malicious card and your only recourse is suicide, the unfortunate victim of dataism.

      Of course, if you somehow manage to overcome the hurdle of suicidal thoughts, and your collection keeps growing without bound, then you're sure to die in a torrential whirlwind avalanche of information and cards, literally done in by information overload.

      But, not wishing to admit any of this, much less all of this, you imagine a simple trickster, a joker, something silly. You write it down on yet another card and you file it away into the box, linked only to the card in front of it, the end of a short line of cards with nothing following it, because what could follow it? Put it out of your mind and hope your fears disappear away with it, lost in your box like the jokerzettel you imagined. You do this with a self-assured confidence that this way of making sense of the world works well for you, and you settle back into the methodical work of reading and writing, intent on making your next thousands of cards.

    1. CollectionCho Chikun Encyclopedia of Life and Death - Elementary (350-499)Difficulty12 Kyu

      bent four is alive unless it bends at 1-1

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    1. ernest becker has made a lot of is offered the same kind of argument which he calls terror management theory um shanti deva rather in the beginning of how to awaken uh how to lead an awakened 00:36:00 life talks about how terrified we are of death how terrified we are of being nothing how terrified we are what's going to happen after death becker doc talks about the same thing and shantideva 00:36:13 argues that in order to save ourselves from that terror what we do is we try to pause it make permanent and self safeguard this self becker does the same thing says we tend to reify ourselves as 00:36:24 a ball work um against terror to somehow manage our terror and but in any case self does seem the self illusion i think i think that idea is quite right by the way that the fear of death which is 00:36:36 deeply wired into us causes us to posit that self causes us to say hey maybe it can live forever maybe it can be reborn life after life after life maybe it can go to heaven things like that 00:36:48 but i also think the idea that affect is deeply related to our sense of self is really there shanti deva makes this point as well as does david hume um shanti deva uh points out that here's when you really decide you've got a self 00:37:02 it's when somebody insults you or hurts you right so somebody says garfield you idiot an and i immediately said wait a minute i'm a whole lot better than that how dare you talk to me like that i don't feel like my body's been 00:37:13 insulted i don't feel like my mind has been insulted i don't feel like my perceptions or sensations have been insulted i feel like i the thing that's got those things has been insulted and i want revenge at that point so that kind 00:37:27 of effect there or if you do something really cool like win the olympic gold medal in 100 meter sprint like i would love to do um with usain bolt's body um then you think when you're really proud of what you've done the pride 00:37:39 attaches not to my body not to my mind but to me so this idea that affect really brings up that sense of self i think is really important uh hume uh makes the same point in his treatise of human nature for those of 00:37:52 you who want to see this done in western philosophy he thinks that it's pride and shame that really bring up the idea of the self you know i mean when i'm ashamed of something that i'm done that i've done i'm not ashamed of my hand 00:38:04 that wrote badly i'm ashamed of me for having bad penmanship if i didn't give to a beggar i'm not ashamed that my mind did something wrong i'm ashamed that i did i was tight-fisted um and so the 00:38:16 idea that these and these aspects bring up the idea of self i think is very powerful and of course anger as i said earlier is another big one all of these involve egocentric attachment so it's when we're attached to things in a way that really fronts 00:38:29 our ego as the possessor then we find that we're positing that self and so this finishes the first of the three things i wanted to do this evening first was to convince you that you really do think yourself to explain what 00:38:42 that self is and to give some idea of why i think that you have why i think that you think that you have a self um no matter how much you might reject that idea on reflection

      !- intrinsic fear of death : strong role in creation of a self illusion -Ernest Becker, David Hume, Shanti Devi all regard death as a major reason we create the self illusion - Becker cliams we reify the self as a bulwark against the terror of death - the fear of death is deeply wired in us - the story of a self allows it to posit a symbolic form of eternal life, hence resulting in immortality projects - we know we have fallen under the spell of the illusion of self when we can be insulted, when we get angry, when we feel shame - it is these affects which establish a self, hence why the self imputation is so strong and difficult to dislodge

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  3. Dec 2022
    1. It’s fairly clear now that the current catalog process is too heavyweight. I hope we can move to a lighter workflow in the future that feels more like editing a wiki.
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      Georg Potzscher, 74

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      Ursula Dietze, 62

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      Georg Hoyer, 68

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      Maria Schüttig

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      Jacob Hermann, 70

      Margaretha Hermann, 62

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      Barbara Hoyer, 74

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      23.04. Georg Winckler

      Die Stephan Andrie

      Die Wenzel Franz

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      Wenzel Franz

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      17.01. Hans Franz

      17.01. Wenzel Franz

      29.08. Die Philip Pazsch

      09.10. Burckhart Furman

  4. Nov 2022
    1. Technology like this, which lets you “talk” to people who’ve died, has been a mainstay of science fiction for decades. It’s an idea that’s been peddled by charlatans and spiritualists for centuries. But now it’s becoming a reality—and an increasingly accessible one, thanks to advances in AI and voice technology. 
  5. Oct 2022
    1. Ik zeg niet dat ik gelijk heb, want wie ben ik, maar ik geef de voorkeur aan mijn benadering.

      i love this!

      in english it would be something like, *I am not saying I am right, because who am I, but I give priority to my approach. *

    1. Les murs du cabinet de travail, le plancher, le plafond même portaient des liasses débordantes, des cartons démesurément gonflés, des boîtes où se pressait une multitude innombrable de fiches, et je contemplai avec une admiration mêlée de terreur les cataractes de l'érudition prêtes à se rompre. —Maître, fis-je d'une voix émue, j'ai recours à votre bonté et à votre savoir, tous deux inépuisables. Ne consentiriez-vous pas à me guider dans mes recherches ardues sur les origines de l'art pingouin? —Monsieur, me répondit le maître, je possède tout l'art, vous m'entendez, tout l'art sur fiches classées alphabétiquement et par ordre de matières. Je me fais un devoir de mettre à votre disposition ce qui s'y rapporte aux Pingouins. Montez à cette échelle et tirez cette boîte que vous voyez là-haut. Vous y trouverez tout ce dont vous avez besoin. J'obéis en tremblant. Mais à peine avais-je ouvert la fatale boîte que des fiches bleues s'en échappèrent et, glissant entre mes doigts, commencèrent à pleuvoir. Presque aussitôt, par sympathie, les boîtes voisines s'ouvrirent et il en coula des ruisseaux de fiches roses, vertes et blanches, et de proche en proche, de toutes les boîtes les fiches diversement colorées se répandirent en murmurant comme, en avril, les cascades sur le flanc des montagnes. En une minute elles couvrirent le plancher d'une couche épaisse de papier. Jaillissant de leurs inépuisables réservoirs avec un mugissement sans cesse grossi, elles précipitaient de seconde en seconde leur chute torrentielle. Baigné jusqu'aux genoux, Fulgence Tapir, d'un nez attentif, observait le cataclysme; il en reconnut la cause et pâlit d'épouvante. —Que d'art! s'écria-t-il. Je l'appelai, je me penchai pour l'aider à gravir l'échelle qui pliait sous l'averse. Il était trop tard. Maintenant, accablé, désespéré, lamentable, ayant perdu sa calotte de velours et ses lunettes d'or, il opposait en vain ses bras courts au flot qui lui montait jusqu'aux aisselles. Soudain une trombe effroyable de fiches s'éleva, l'enveloppant d'un tourbillon gigantesque. Je vis durant l'espace d'une seconde dans le gouffre le crâne poli du savant et ses petites mains grasses, puis l'abîme se referma, et le déluge se répandit sur le silence et l'immobilité. Menacé moi-même d'être englouti avec mon échelle, je m'enfuis à travers le plus haut carreau de la croisée.

      France, Anatole. L’Île Des Pingouins. Project Gutenberg 8524. 1908. Reprint, Project Gutenberg, 2005. https://www.gutenberg.org/cache/epub/8524/pg8524.html

      Death by Zettelkasten!!

      (Coming soon to a theater near you...)

      In the preface to the novel Penguin Island (L'Île des Pingouins. Calmann-Lévy, 1908) by Nobel prize laureate Anatole France, a scholar is drowned by an avalanche of index cards which formed a gigantic whirlpool streaming out of his card index (Zettelkasten).

      Link to: Historian Keith Thomas has indicated that he finds it hard to take using index cards for excerpting and research seriously as a result of reading this passage in the satire Penguin Island.<br /> https://hypothes.is/a/rKAvtlQCEe2jtzP3LmPlsA


      Translation via: France, Anatole. Penguin Island. Translated by Arthur William Evans. 8th ed. 1908. Reprint, New York, NY, USA: Dodd, Mead & Co., 1922. https://www.google.com/books/edition/Penguin_Island/6UpWAvkPQaEC?hl=en&gbpv=0

      Small changes in the translation by me, comprising only adding the word "index" in front of the occurrences of card to better represent the historical idea of fiches used by scholars in the late 1800s and early 1900s, are indicated in brackets.

      The walls of the study, the floor, and even the ceiling were loaded with overflowing bundles, paste board boxes swollen beyond measure, boxes in which were compressed an innumerable multitude of small [index] cards covered with writing. I beheld in admiration mingled with terror the cataracts of erudition that threatened to burst forth.

      “Master,” said I in feeling tones, “I throw myself upon your kindness and your knowledge, both of which are inexhaustible. Would you consent to guide me in my arduous researches into the origins of Penguin art?"

      “Sir," answered the Master, “I possess all art, you understand me, all art, on [index] cards classed alphabetically and in order of subjects. I consider it my duty to place at your disposal all that relates to the Penguins. Get on that ladder and take out that box you see above. You will find in it everything you require.”

      I tremblingly obeyed. But scarcely had I opened the fatal box than some blue [index] cards escaped from it, and slipping through my fingers, began to rain down.

      Almost immediately, acting in sympathy, the neighbouring boxes opened, and there flowed streams of pink, green, and white [index] cards, and by degrees, from all the boxes, differently coloured [index] cards were poured out murmuring like a waterfall on a mountain-side in April. In a minute they covered the floor with a thick layer of paper. Issuing from their in exhaustible reservoirs with a roar that continually grew in force, each second increased the vehemence of their torrential fall. Swamped up to the knees in cards, Fulgence Tapir observed the cataclysm with attentive nose. He recognised its cause and grew pale with fright.

      “ What a mass of art! ” he exclaimed.

      I called to him and leaned forward to help him mount the ladder which bent under the shower. It was too late. Overwhelmed, desperate, pitiable, his velvet smoking-cap and his gold-mounted spectacles having fallen from him, he vainly opposed his short arms to the flood which had now mounted to his arm-pits . Suddenly a terrible spurt of [index] cards arose and enveloped him in a gigantic whirlpool. During the space of a second I could see in the gulf the shining skull and little fat hands of the scholar; then it closed up and the deluge kept on pouring over what was silence and immobility. In dread lest I in my turn should be swallowed up ladder and all I made my escape through the topmost pane of the window.

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      Jacob Götz

  6. Sep 2022
    1. On this road we encounter the psychological obstacles to adoptingnew thinking as recognizable staging posts along the road: denial, anger,bargaining, depression and, finally, acceptance.

      !- similiar to : Mortality Salience - grieving of the loss of a loved one - grieving the future loss of one's own life - Ernest Becker is relevant - Denial of Death, Death Terror !- aligned : Deep Humanity

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  7. Aug 2022