The Engelbart story is also a wonderful case study in collaborative innovation, and the strange tendency of certain places at certain moments in time to produce a disproportionate number of new ideas:A few decades ago, the musician and artist Brian Eno coined a term to describe the collective IQ of creative hubs at their peak: Florence in the 1500s, Harlem in the 1920s. He called that group creativity “scenius”.

the thing is about vision, same with the ear, you can only see a few at a time in detail, but you can be aware of 100 things at once. So one of the things we're really bad about is, because of our eyes, you can't get the visual point of view we want. Our eyes have a visual point of view of like 160 degrees. But what I've got here is about 25, and on a cellphone it's pathetic. So this is completely wrong. 100% wrong. Wrong in a really big way. If you look at the first description that Engelbart ever wrote about what he wanted, it was a display that was three feet on its side, built into a desk, because what is it that you design on? If anybody's ever looked at a drafting table, which they may not have for a long time, you need room to design, because there's all this bullshit that you do wrong, right?

The essay is most famous for its description of a hypothetical information-retrieval system, the Memex, a kind of mechanical Evernote, in which a person's every "book, record, or communication" was microfilmed and cataloged.

Imagine you could take those Lego pieces and put them in any place you wanted: in emails, in chats, in other apps,

The individual does not use this information and this processing to grapple directly with the sort of complex situation in which we seek to give him help. He uses his innate capabilities in a rather more indirect fashion, since the situation is generally too complex to yield directly to his motor actions, and always too complex to yield comprehensions and solutions from direct sensory inspection and use of basic cognitive capabilities.