—Georg Christoph Lichtenberg, Notebook E, #46, 1775–1776

In this single paragraph quote Lichtenberg, using the model of Italian bookkeepers of the 18th century, broadly outlines almost all of the note taking technique suggested by Sönke Ahrens in How to Take Smart Notes. He's got writing down and keeping fleeting notes as well as literature notes. (Keeping academic references would have been commonplace by this time.) He follows up with rewriting and expanding on the original note to create additional "explanations" and even "connections" (links) to create what Ahrens describes as permanent notes or which some would call evergreen notes.

Lichtenberg's version calls for the permanent notes to be "separated and ordered" and while he may have kept them in book format himself, it's easy to see from Konrad Gessner's suggestion at the use of slips centuries before, that one could easily put their permanent notes on index cards ("separated") and then number and index or categorize them ("ordered"). The only serious missing piece of Luhmann's version of a zettelkasten then are the ideas of placing related ideas nearby each other, though the idea of creating connections between notes is immediately adjacent to this, and his numbering system, which was broadly based on the popularity of Melvil Dewey's decimal system.

It may bear noticing that John Locke's indexing system for commonplace books was suggested, originally in French in 1685, and later in English in 1706. Given it's popularity, it's not unlikely that Lichtenberg would have been aware of it.

Given Lichtenberg's very popular waste books were known to have influenced Leo Tolstoy, Albert Einstein, Andre Breton, Friedrich Nietzsche, and Ludwig Wittgenstein. (Reference: Lichtenberg, Georg Christoph (2000). The Waste Books. New York: New York Review Books Classics. ISBN 978-0940322509.) It would not be hard to imagine that Niklas Luhmann would have also been aware of them.

Open questions: <br /> - did Lichtenberg number the entries in his own waste books? This would be early evidence toward the practice of numbering notes for future reference. Based on this text, it's obvious that the editor numbered the translated notes for this edition, were they Lichtenberg's numbering? - Is there evidence that Lichtenberg knew of Locke's indexing system? Did his waste books have an index?

Keeping one's fleeting notes separate from their permanent notes can be useful for managing the idea of clutter.

Luhmann generally did this by keeping things in different boxes. Modern academics may use different digital applications (Zotero/Obsidian, Hypothes.is/Zettlr, etc.as examples) for each as long as there is some reasonable dovetail between the two for data transfer when necessary.

https://web.archive.org/web/20140707053048/http://www.getfrictionless.com/products/capture-cards-red

Simple index cards, but sold with a purpose in mind: capturing notes!

One is reminded here of waste books and fleeting notes.

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I would love to know more about what this actually looks like...how does one use their fleeting notes to turn Literature Notes into Permanent Notes?

For example, in Roam, does one have linked references for fleeting notes open in the sidebar and then filtered linked references for literature notes in the main window? And then you are looking for a connection or spark between a fleeting note and a literature note on one of the topics you are looking at?

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.

While one can certainly capture a lot of cruft that isn't actionable or easily reusable, it's a fable that the best ideas will come back around. All too often the really brilliant ideas can be quickly lost to the wind if not captured immediately.

First gut reactions can be highly valuable and should be noted because it's incredibly difficult to remember what it was like before you knew a thing. It's hard to revisit a thing with beginner's eyes and those reactions can help one to improve and refine a thing.

Beethoven kept a variation of a waste book in that he kept a pocket notebook for quick capture of ideas. Later, instead of copying them over into a permanent place, he'd translate and amplify on the idea in a second notebook. Later on, he might pick up the idea again in a third notebook with further improvements.

By doing this me might also use the initial ideas as building blocks for more than one individual piece. This is very clever, particularly in musical development where various snippets of music might be morphed into various different forms in ways that written ideas generally can't be so used.

This literally allowed him to re-use his "notes" at two different levels (the written ones as well as the musical ones.)

Do not omit these last- they will not come back at will, even when you return to the item that gave

When reading, it's important to sketch out your own novel ideas and thoughts as you go as they will be difficult or impossible to recover them.

He's using his Field Notes notebooks as waste books and transcribing the important pieces into other places as necessary.

He also indicates that he's taking brief, reminder notes (or fleeting notes) contemporaneously and then expanding upon them later as necessary.

Collecting fleeting notes and not processing them into something more useful and permanent will eventually end in abject failure.

An example can be seen in the note taking of Joachim Jungius in 1657. He compiled approximately 150,000 slips (also known as scraps) with excerpts and ideas without any sort of order, arrangement, index or reference system. Following his death his students and heirs could make nothing of the massive "scrap heap". As a result, Vincent Placcius in De Arte Excerpendi (1689) specifically warns against this practice (p. 72).

(cross reference from : https://hypothes.is/a/SyenKlO2Eeys0esqwOgjUw)

Some of the value of notes being done and readable in public means that one typically puts a bit more effort into them at the start. This can make them much more useful and valuable later on. It also means that they usually have more substance and context for use by others in collaboration or other reuses.

Short notes are often called fleeting notes which may or may not be processed into something more substantive. The ones that do become more substantive can more easily be reused in other future settings.

Sonke Ahrens' book How to Take Smart Notes is one of the better arguments for the why and how of note taking.