27 Matching Annotations
  1. Last 7 days
    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.

  2. Jun 2022
    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

  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.

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

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

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

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

    2. 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. 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.

    3. 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.
    4. 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"?

    5. 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.
    6. 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.
    7. 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.

    8. 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."

    9. Louis-Jean Calvet details the pivotal role played by indexcards in the organisation of Barthes’ Michelet.
    10. 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?

    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. Nabokov’s working notecards for “Lolita.”

      Nabokov used index cards for his research and writing. In one index card for research on Lolita, he creates a "weight-heigh-age table for girls of school age" to be able to specify Lolita's measurements. He also researched the Colt catalog of 1940 to get gun specifications to make those small points realistic in his writing.

      syndication link

    1. When Vladimir Nabokov died in 1977, he left instructions for his heirs to burn the 138 handwritten index cards that made up the rough draft of his final and unfinished novel, The Original of Laura. But Nabokov’s wife, Vera, could not bear to destroy her husband’s last work, and when she died, the fate of the manuscript fell to her son. Dmitri Nabokov, now seventy-five—the Russian novelist’s only surviving heir, and translator of many of his books—has wrestled for three decades with the decision of whether to honor his father’s wish or preserve for posterity the last piece of writing of one of the greatest writers of the twentieth century.

      Nabokov's wishes were that his heirs burn the index cards on which he had handwritten the beginning of his unfinished novel The Original of Laura. His wife Vera, not able to destroy her husband's work, couldn't do it, so the decision fell to their son Dimitri. Having translated many of his father's works previously, Dimitri Nabokov ultimately allowed Penguin the right to publish the unfinished novel.

    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.