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  1. Last 7 days
    1. Holiday’s is project-based, or bucket-based.

      Ryan Holiday's system is a more traditional commonplace book approach with broad headings which can feel project-based or bucket-based and thus not as flexible or useful to some users.

    2. A lot of the literature and shorter articles out there treat many of these systems as recent or "new inventions". Many reference "innovators" like Ryan Holiday or Niklas Luhmann. They patently are not. They've grown out of the Western commonplace book tradition which were traditionally written into books underneath thematic headings (tags/categories in modern digital parlance) until it became cheap enough to mass manufacture Carl Linnaeus' earlier innovation of the index cards in the early 1900s. Then one could more easily rerarrange their ideas with these cards. Luhmann allowed uniquely addressing his cards which made things easier to link. Now there are about thirty different groups working on creating digital tools to do this work, some under the heading of creating "digital gardens".

      Often I think it may be easier to go back to some of the books of Erasmus, Melanchthon, or Agricola in the 1500s which described these systems for use in education. Sadly Western culture seems to have lost these traditions and we now find ourselves spending an inordinate amount of time reinventing them.

      I'd love to hear your experience in re-introducing it to students in modern educational settings.

    3. I’ve been trying for the last year and a half to implement Ryan Holiday’s great index-card filing system for keeping ideas in place.

      I don't like the common framing I see in posts like this that want to credit a particular person for "inventing" a pattern like these that goes back centuries. The fact that we've lost these patterns is a terrible travesty.

    4. I’m not going to post them at this point in this post, because I want to save you from my experience: I spent three hours one day watching videos and reading links and posting on message boards and reading the replies, and that doesn’t include the year and a half I spent half-heartedly trying to understand the system. I’ll also only post the links that really made sense to me.

      It shouldn't take people hours a day with multiple posts, message boards, reading replies, and excessive research to implement a commonplace book. Herein lies a major problem with these systems. They require a reasonable user manual.

      One of the reasons I like the idea of public digital gardens is that one can see directly how others are using the space in a more direct and active way. You can see a system in active use and figure out which parts do or don't work or resonate with you.

    5. Weirdly, in the master of fine arts classes I’ve taught so far, there’s never been a single class on how to store and access your research.

      The fact that there generally aren't courses in high school or college about how to better store and access one's research is a travesty. I feel like there are study skills classes, but they seem to be geared toward strategies and not implemented solutions.

    1. What I'm interested in is doing this with visual artefacts as source material. What does visual pkm look like? Journaling, scrapbooking, collecting and the like. The most obvious tool is the sketchbook. How does a sketchbook work?

      It builds on many of these traditions, but there is a rather sizeable movement in the physical world as well as lots online of sketchnotes which might fit the bill for you Roy.

      The canonical book/textbook for the space seems to be Sketchnote Handbook, The: the illustrated guide to visual note taking by Mike Rohde.

      For a solid overview of the idea in about 30 minutes, I found this to be a useful video: https://www.youtube.com/watch?v=evLCAYlx4Kw

  2. Oct 2021
  3. www.hylo.com www.hylo.com
    1. Ministry for the Future

      The Amazon product page for the book, Ministry for the Future, quotes Ezra Klein.

      If I could get policymakers, and citizens, everywhere to read just one book this year, it would be Kim Stanley Robinson’s The Ministry for the Future.

    1. First, set clear goals and prioritize among conflicting goals (for instance, price to maximize revenue but ensure a 10 percent profit increase).Second, pick one of the three types of pricing strategies: maximization, skimming, or penetration.Third, set price-setting principles that define the rules of your monetization models, price differentiation, price endings, price floors, and price increases.Finally, define your promotional and competitive reaction principles to avoid knee-jerk price reactions.

      Il documento di [[Strategia di monetizzazione]] dovrebbe essere costruito su 4 blocchi:

      • Avere obiettivi chiari e messi in priorità tra loro, specialmente tra gli obiettivi in conflitto;
      • Prendere una decisione riguardo una delle strategie di prezzo tra: massimizzazione, skimming o penetrazione;
      • Stabilire dei principi che determinino le regole riguardo i modelli di monetizzazione, la differenziazione di prezzo ecc;
      • Definire pattern di prezzo in reazione ai competitor e di promozione, per evitare di fare errori;
    2. A pricing strategy is your short- and long-term monetization plan. The best companies document their pricing strategies and make it a living and breathing document.

      È importante delineare una #[[Strategia di monetizzazione]] che sia a breve termine, come a lungo termine. Tale documento raccoglie le diverse strategie di pricing e deve essere costantemente aggiornato e monitorato.

    3. What monetization model do we envision for our new product? Why is it the right one, and how did we choose it?Which models did we not pick, and why?What are the most important trends in our industry? How do they affect our choice of a monetization model? How do we plan to monetize our product if customer usage varies significantly? Which price structures have we considered and why?Do we have the right capabilities and infrastructure to execute the chosen monetization model and price structure?

      Queste sono domande che il CEO dovrebbe porsi riguardo la scelta del modello di #pricing

    4. To have a chance at converting free customers to paid customers, you need to test what benefits they will pay for and ensure a functional free experience. You also need to know exactly how many customers will actually be willing to pay. What’s more, you must avoid giving the farm away for free because it will leave your premium offering with very little value.

      Nel caso del #pricing #freemium è importante considerare che l'obiettivo è quello di convertire le persone free in persone paganti. Per farlo è necessario però capire quali sono i benefici per cui queste persone sono disposte a pagare, bisogna anche evitare di dare via tutto gratis togliendo valore alla nostra offerta premium.

    5. Customers pay when they use or benefit from the product. This can be exceptionally successful if you can align the metric directly to how customers perceive value. This can be effective if you are adept at predicting future trends. The alternative pricing model makes sense when your innovation creates significant value to end customers but you cannot capture a fair share of that value using traditional monetization models.

      Il modello di pricing del #[[alternate metric]] si applica quando i clienti pagano se usano effettivamente il prodotto. Questo tipo di modello ha senso solo se il tuo prodotto genera un'innovazione tale che non riesci a trovare un modello di #pricing adatto

    6. Auctions — competition based pricing for goods and services. Google AdWords, eBay, and other two-sided marketplaces use auctions. Market determines price. If you can control inventory for an in demand product, you should consider this model.

      Il modello delle #aste è un modello in cui il mercato determina il prezzo di un bene. Se si è in controllo di un prodotto per cui c'è tanta richiesta, allora bisogna considerare questo modello.

    7. Dynamic pricing — airline industries, Uber offer dynamic pricing for peak demand times. Dynamic pricing boosts the monetization of fixed and constrained capacity. Complex model requiring extensive data analytics.

      Il modello del #[[pricing dinamico]] è il modello tipico di Uber e delle linee aeree. Questo modello migliora le vendite di disponibilità limitate e fisse. Si tratta di un modello complesso, richiede tanti dati ed analisi.

    8. Subscription —recurring revenue increases customer lifetime revenue, revenue predictability, cross-sell and upselling opportunities. Works well in online and offline services where the product is used continually, in competitive industries, and where it can reduce barriers to entry through large upfront payments.

      In che casi ha senso utilizzare un modello di pricing basato su #abbonamento ?

      Quando si sceglie questa opzione ci si ritrova in una situazione in cui gli acquisti ricorrenti aumentano il #[[lifetime value]] dei clienti, inoltre è possibile stimare delle previsioni di vendita proprio a causa dei pagamenti ricorrenti, ci sono tante opportunità di #cros-sell e di #upsell.

      È un sistema adatto sia ai servizi online che offline ma la condizione è che il prodotto venga usato continuamente ed inoltre è ottimale nelle situazioni in cui riduce le barriere all'entrata tramite un grande pagamento in anticipo.

    9. What are the product configuration/bundles we plan to offer? Why did we pick these offers? Do they align with our key segments? If not, why not?What are the leader, filler, and killer features for the new product or service our company is developing? How did we find out?Have we explored a good/better/best approach to product configuration and bundling? What do we expect sales to be for each product configuration? Is the share of the basic product configuration lower than 50 percent? If not, why not?Have we explored bundling our new product with existing products? What would be the benefits for us and the customers?Have we considered unbundling as an opportunity? What would be the benefits to customers and our business (if any)?

      Queste sono le domande che un CEO dovrebbe porsi riguardo i bundle di prodotto:

      • Quali sono i bundle che abbiamo deciso di offrire? A che prezzo? Queste offerte si allineano con i segmenti individuati?
      • Quali sono le caratteristiche leader, filler e killer di questo bundle? Come le abbiamo scoperte?
      • Quali sono le opzioni bene/meglio e top per questo bundle? Quali ci aspettiamo siano le vendite per ogni bundle? La condivisione della configurazione base del prodotto è al di sotto del 50%? Se no, perché?
      • Abbiamo ipotizzato di creare bundle di prodotto con altri prodotti? Quali sarebbero i benefici nostri e dei clienti?
      • Abbiamo considerato l'ipotesi di smantellare il bundle? Quali sarebbero i vantaggi per noi e per i clienti?
    10. Align offers with segmentsDon’t go beyond nine benefits or four productsCreate win-win bundles for you and the customerDon’t give away too much in the entry-level product. Look at customer distribution by product and upsell percentage to qualify a problemHard bundles might not work and an a la carte bundle may be betterPer product pricing needs to be higher than bundled pricingMessaging and communicating the value of the bundle is a sales opportunity depending on what product or feature they are afterBundle an integrated experience and charge a premium instead of a discountDon’t bundle for the sake of bundlingLook for inverse correlations and exploit both by including the nice to have inverse.

      Questi sono alcuni dei consigli che bisogna considerare nella creazione di configurazioni di prodotto diverse.

      • Allineare l'offerta ai segmenti;
      • Non andare oltre i 9 benefits o i 4 prodotti;
      • Crea bundle che siano vittoria per te e per i consumatori;
      • Non dare troppo valore nel prodotto di entrata, guarda la distribuzione dei clienti per prodotto e fai upsell in percentuale, così da qualificare il problema;
      • I bundle fissi potrebbero non funzionare, quelli personalizzati invece si;
      • Il prezzo per singolo prodotto deve essere più alto di quello in bundle;
      • Comunicare il valore del bundle può essere una opportunità di vendita a seconda di quale prodotto si sta cercando di vendere;
      • Crea un'esperienza premium riguardo il tuo prodotto e dalle un prezzo premium, invece che un prezzo scontato;
      • Non creare bundle semplicemente per lo sfizio;
      • Cerca correlazioni inverse includendo l'opposto delle feature nice to have;
    11. Establishing which features are leaders (must-haves), fillers (nice-to-haves), and killers (features that are deal killers), andCreating good/better/best options.

      Due sono gli aspetti principali di una configurazione di prodotto efficace:

      • Bisogna stabilire le caratteristiche leader (must have), filler (nice to have) e killer
      • Bisogna creare delle opzioni di prodotto che siano buone, migliori, top
    12. Product configuration and bundling are your key building blocks for designing the right products for the right segments at the right price points. Product configuration is about putting the appropriate features and functionality — those customers need, value, and are willing to pay for — into the product; this process has to be done for each identified segment. Systematic product configuration prevents you from loading too many features into a product and producing a feature shock.

      Un prodotto deve essere creato configurando le giuste caratteristiche in dei bundle che rispettino i determinati segmenti che abbiamo individuato. Ogni configurazione di prodotto deve rispettare i determinati bisogni, valori e WTP dei segmenti.

    13. Does our product development team have serious pricing discussions with customers in the early stages of the new product’s development process? If not, why not?What data do we have to show there’s a viable market that can and will pay for our new product?Do we know our market’s WTP range for our product concept? Do we know what price range the market considers acceptable? What’s considered expensive? How did we find out?Do we know what features customers truly value and are willing to pay for, and which ones they don’t and won’t? And have we killed or added to the features as a consequence of this data? If not, why not?What are our product’s differentiating features versus competitors’ features? How much do customers value our features over the competition’s features?

      Queste sono valutazioni che deve fare il CEO riguardo il #pricing del prodotto da lui creato.

      Tra le valutazioni e domande da porsi ci sono:

      • Il team rivolto al prodotto ha avuto una seria discussione riguardo il #pricing? Se no, perché non è accaduto?
      • Quali dati abbiamo che indicano che c'è un mercato che può e vuole pagare per questo prodotto?
      • Conosciamo il range di #WTP del nostro concetto di prodotto? Sappiamo il nostro target quali prezzi ritiene accettabili, esagerati ed immotivati? Come lo abbiamo scoperto?
      • Sappiamo quali caratteristiche del prodotto hanno maggiore valore agli occhi dei consumatori, quali sono disposti a pagare e quali invece non hanno alcun valore? Se no, perché?
      • Quali sono le caratteristiche del nostro prodotto che sono elemento di #differenziazione rispetto ai prodotti dei nostri competitor? Quanto valore hanno queste caratteristiche agli occhi dei consumatori?
    14. Did we segment before we designed the product? If not, why not?What were the segments? How did we get to these? Which ones would we serve initially? Do they represent a sizable market?What criteria were they based on? How different are these segments in their WTP? Can we respond differently to each segment? If so, how?How did we describe the segments? What observable criteria do we have in these descriptions? Do our descriptions and observable criteria on each segment pass our sales team’s sniff test?How many segmentation schemes do we have in our company? Can we consolidate to one segmentation across product, marketing, and sales?Who in our company is responsible for segmentation? At what point in the innovation cycle does this person (or people) get involved?

      Queste sono le domande che un CEO dovrebbe porsi riguardo la segmentazione per la creazione di un prodotto.

      • Abbiamo fatto una segmentazione prima di creare il prodotto? Se no perché?
      • Quali sono i segmenti che abbiamo individuato, in che modo ci siamo arrivati, quale abbiamo deciso di servire inizialmente, rappresentano un mercato sostenibile?
      • In funzione di quale criterio sono distinti i segmenti? In che modo cambia la #WTF dei differenti segmenti? Possiamo rispondere diversamente ad ogni segmento?
      • In che modo descriviamo i segmenti? Quali sono i criteri osservabili che abbiamo in queste descrizioni?
      • Quanti schemi di segmentazione abbiamo? Riusciamo a consolidare su un solo segmento tutte le nostre energie aziendali?
      • Chi è il responsabile della segmentazione? In che momento interviene?
    15. Do Segmentation Right:Begin with WTP data — By clustering individuals according to their WTP, value, and needs data, you will discover your segments — groups of people whose needs, value, and willingness to pay differ.Use common sense — Practicality and common sense are as important as statistical indicators.Create fewer segments, not more — Serving each new segment adds significant complexity for sales, marketing, product and service development, and other functions. Smart companies start with a few segments — three to four — and then expand gradually until they reach the optimal number.Don’t try to serve every segment — The products and services you develop should match your company’s overall financial and commercial goals. A segment must deliver enough customers — and enough money — to make the investment worthwhile.Describe segments in detail in order to address them — Investigate whether each segment has observable criteria for customizing your sales and marketing messages to them.

      Come si può segmentare in maniera efficace?

      1. Si comincia con i dati emersi dall'analisi sul #WTP, si creano cluster di individui in funzione di WTP, valori e bisogni, così emergono dei segmenti;
      2. Punta a pochi segmenti, non molti, ogni segmento porta con sé entropia che deve essere gestita, il numero ideale di segmenti è 3-4 e poi ci si espande in maniera graduale fino a raggiungere il numero ottimale;
      3. Non devi servire ogni segmento, il prodotto che crei dovrebbe essere coerente con gli obiettivi generali ed economici della tua azienda. Un segmento deve essere visto come un investimento;
      4. Descrivi ogni segmento in dettaglio e cerca criteri evidenti nel comportamento del segmento per poter customizzare il più possibile;
    16. The message here is clear: You need to create segments in order to design highly attractive products for each segment. And you must base your segmentation on customers’ needs, value, and WTP. This way, segmentation becomes a driver of product design and development, not an afterthought.

      Quale è il modo migliore per definire le caratteristiche migliori di un prodotto?

      Bisogna analizzare il mercato e segmentare i bisogni, valori e WTP dei consumatori. In questo modo la segmentazione diventa la guida della creazione del prodotto.

    17. New products fail for many reasons. But the root of all innovation evil is the failure to put the customer’s willingness to pay for a new product at the very core of product design.

      Quale è una delle prime cose che si deve valutare nell'elaborazione di un prezzo per un prodotto?

      Una dele prime cose da valutare è la volontà di pagare per il nuovo prodotto in questione da parte dei consumatori, questa deve essere messa al centro del processo di creazione del nuovo prodotto.

    18. Startup companies are much more likely to possess Feature Shock and Undead pricing problems. However, some product launches are treated as Minivations and startup companies with Hidden Gem technology may not see the need for a pivot. Regardless of the problem you may encounter, there are certain things you can do to find the solution.

      Quelli mostrati nella tabella sono i 4 tipi di problemi in termini di #pricing che si possono incontrare nella creazione di un prodotto.

      Tra i problemi che si verificano più di frequente nelle startup abbiamo il fenomeno del #featureshock oppure dell' #undead

    19. Feature shocks happen when you try to cram too many features into one product, creating a confusing and often expensive mess. In a sincere effort to have it be “all things to all people,” you launch a product that pleases few. The result is the product’s value is less than the sum of the parts. Due to its multitude of features — none of them a standout — these products are costly to make, overengineered, hard to explain, and usually overpriced.

      Si ha un problema di #featureshock nel momento in cui si cerca di inserire troppe funzioni all'interno di un prodotto.

      Così facendo si incorre nella situazione in cui cercando una soluzione "unica per tutti" si crea una soluzione che accontenta nessuno ed il cui valore è inferiore al valore delle sue singole parti. In questo modo tutte le caratteristiche si annullano tra loro e ci si ritrova con un prodotto che inoltre è nella maggior parte dei casi:

      • costoso da creare;
      • complicato da creare;
      • difficile da spiegare;
      • troppo costoso da acquistare
    20. No one wants to sell his or her idea short. Minivations are products that tap neither a product concept’s full market potential nor its full price potential. Companies that fall into the minivation trap underexploit the market opportunity and the price they could have charged, thereby robbing themselves of profits. Minivations go down as undermonetized products cursed with a “what might have been” tag.

      Il caso del problema di #minivation è quello in cui il prodotto non raggiunge né il massimo del potenziale di mercato né il massimo del potenziale di prezzo. Le aziende che cadono in questa trappola sono aziende che danno al proprio prodotto un prezzo più basso di quanto sia effettivamente il suo valore ed in questo modo rinunciano a dei guadagni.

    21. With a hidden gem product, a company has a brilliant, even revolutionary idea but fails to both recognize it and quantify the product’s value to customers. Or the company decides it lacks the capabilities to bring the unusual idea to market. Hidden gems often end up in limbo, neither launched nor killed. They often don’t make it to market, but if they do, they arrive undervalued, as freebies or deal sweeteners.

      Ci si ritrova in un caso di #hiddengem quando si ha un'idea innovativa, addirittura rivoluzionaria, ma non si riesce a riconoscere sia la portata di impatto dell'idea sia a darle il giusto valore.

      In questo modo ci si ritrova con trascurare l'idea non riuscendo mai a portarla sul mercato, oppure si decide in maniera volontaria di non farla evolvere mai.

    22. Applied to monetizing innovation, an undead product is one that still exists in the marketplace, but demand is virtually nonexistent. The product, for all intents and purposes, is dead, yet it continues to “walk around” like a zombie.

      Un prodotto #undead è semplicemente un prodotto che ancora infesta il mercato ma che ha una richiesta quasi inesistente.

    23. When an undead is in the making, you become delusional and detest any evidence that goes against your beliefs. You resist objectivity and keep investing time, feeling you have come too far. Once the product is in the market, your sales teams can’t sell it, and it causes them to miss their targets — by a lot.

      In che modo si può capire se ci si ritrova a lavorare con un prodotto #undead ?

      Si può capire che ci si ritrova con un prodotto di questo tipo se si diviene sempre più illusi riguardo il prodotto e si odia e disprezza ogni prova che vada contro le proprie convinzioni.

      Si cerca di resistere all'oggettività e si continua ad investire tempo, emozioni ed altre risorse. Una volta che il prodotto è poi sul mercato il team sales e marketing non riescono a piazzarlo né farci alcuna vendita, spesso sbagliando il target.

    24. Myth #1: If you simply build a great new product, customers will pay fair value for it. “Build it, and they will come” is the mantra. Why we believe it: because Star Wars, FedEx, Harry Potter were all rejected by directors, businessmen, and editors and were wild successes. But they are the exceptions not the rule.Myth #2: The new product or service must be controlled entirely by the innovation team working in isolation. Why we believe it: because Henry Ford said that customers would have wanted a faster horse. Indeed, the Innovators Dilemma, Different, Play Bigger, etc. put a premium on this as well. The fine line that must be walked is that of being different in a way that we are confident will resonate with customers. Confident because you have talked, consulted, argued, and shown the product to customers and more importantly, gauged their willingness to pay.Myth #3: High failure rate of innovation is normal and is even necessary. Why we believe it: sports analogies.Myth #4: Customers must experience a new product before they can say how much they’ll pay for it. Why we believe it: because its safe.Myth #5: Until the business knows precisely what it’s building, it cannot possibly assess what it is worth. Why we believe it: a cost-plus mindset that ties willingness to pay with what it cost us to build.

      Ci sono alcuni miti riguardo l'elaborazione del #pricing.

    25. The most important aspect of moving to a “design the product around the price” innovation process is finding out as early as you can whether customers value your innovation and would pay for it. You can only determine customers’ WTP by actually asking them — not by imagining what they will say.Two pieces of information are important in this phase: customers’ overall WTP for a product (the price range they have in mind) and their WTP for each feature (so you know which features matter most and which features don’t matter at all).Five types of research questions will help you get these answers. Best practices in having these discussions include positioning them as “value talks” (not as pricing discussions), expecting key insights to come from the simplest questions, mixing structured with unstructured questions, and not relying solely on quantitative data.

      La valutazione della volontà di pagamento da parte dei clienti è una delle valutazioni più importanti da fare quando si decide il prezzo di un prodotto. Ci riferiamo ad essa con #WTP.

      Dei 4 problemi di #pricing discussi in questo libro, una #WTP effettuata nelle fasi iniziali del progetto è determinante e capace di evitare il manifestarsi di TUTTI I PROBLEMI DI PREZZO.

      Per poter capire questa #WTP è essenzialmente necessario se effettivamente i consumatori danno valore al tuo prodotto oppure no, un valore economico, si intende.

    26. Direct, purchase probability: “what do you think could be an acceptable price?” “What do you think would be an expensive price?” “What do you think would be a prohibitively expensive price?” “Would you buy this product at $?”Purchase probability questions: “On a scale of 1 to 5, where 1 is, I would never buy this product and 5 is, I would most definitely buy this prdouct, how would you rate this product?” 4 or 5 you stop. Less than 3 lower the price and try again.Most–least: create a subset of your features and ask them to rank the features from most valuable to least. Change the subset for 5 different sets. You will end up with rich feature by feature feedback.Build-your-own: give them a list of features and ask them to build their “ideal product.” As they add features, the price increases. See where they stop with features and price.Purchase simulations: A.K.A Conjoint analysis. This is where you test the pricing of certain bundles of features. Changing bundles and prices. Definitely the most complex option and usually requires software and/or a consultant to manage. As expected, however, the results can be game changing.

      Questo è un framework che si può utilizzare per stabilire la #WTP riguardo un prodotto.

      1. Fare domande di questo tipo, volte a verificare la probabilità di acquisto in maniera diretta:
      • Quanto pensi possa essere un prezzo accettabile per questo prodotto?
      • Quanto pensi possa essere un prezzo esagerato per questo prodotto?
      • Quanto pensi possa essere un prezzo proibitivo per questo prodotto?
      • Compreresti questo prodotto alla cifra di..?
      1. Domande volte a verificare la probabilità di acquisto in maniera indiretta:
      • Su una scala da 1 a 5, dove 1 è "Non comprerei mai questo prodotto" e 5 è "Lo comprerei sicuramente" che voto daresti a questo prodotto? Se il voto è <= di 3 abbassa il prezzo e riprova;
      1. Crea un gruppo di feature del prodotto e chiedi alle persone di metterle in ordine dalla più valida alla meno valida, usa 5 gruppi di caratteristiche;
      2. Dai una lista delle caratteristiche alle persone e chiedigli di creare il loro "prodotto ideale" con le caratteristiche che gli hai fornito, ad ogni caratteristica aggiunta aumenta il prezzo, vedi dove si fermano nel processo di aggiunta;
      3. Testa diverse configurazioni di caratteristiche, cambiando configurazione e prezzo, di solito questo test richiede software o consulenti per poter essere effettuato, i risultati però sono validissimi.
    1. https://www.youtube.com/watch?v=zjZAdPX6ek0

      Osculatory targets or plaques were created on pages to give priests

      Most modern people don't touch or kiss their books this way and we're often taught not to touch or write in our texts. Digital screen culture is giving us a new tactile touching with our digital texts that we haven't had since the time of the manuscript.

  4. Sep 2021
    1. I think it’s valuable to add some initial thinking and reflection when I bookmark an article or finish reading a book, but haven’t yet figured out a process for revisiting recent notes to find connections and turn that into longer or more complex thought.

      This is definitely the harder part of the practice, but daily, weekly, monthly, quarterly, and annual reviews can definitely help.

      To start I primarily focused on 3-5 broader sub-topics of things I felt were most important to me and always did those first. This helps to begin aggregating things and making a bigger difference. The rest of my smaller "fleeting" notes I didn't worry so much about and left to either come back to later or just allow them to sit there.

      I think Sonke Ahrens' book How to Take Smart Notes was fairly helpful in laying this out.

      Incidentally the spaced repetition of review is also good for your memory of the things you find important.

    1. I love this outline/syllabus for creating a commonplace book (as a potential replacement for a term paper).

      I'd be curious to see those who are using Hypothes.is as a communal reading tool in coursework utilize this outline (or similar ones) in combination with their annotation practices.

      Curating one's annotations and placing them into a commonplace book or zettelkasten would be a fantastic rhetorical exercise to extend the value of one's notes and ideas.

    2. For example, I will be keeping my own Commonplace Book this semester, and because of my particular research interests I may include headings such as “Cosmetics,” “Perfume,” “Odors,” and “Cannibalism.”

      Based on these headings, I think it would be quite interesting to read her commonplace, but I suspect the heading Cannibalism is a sly side-reference to Montaigne's own "Des cannibales".

    3. I will be looking for your conscious choice in your entry selections, dedicated organizational patterns and curation techniques, self-reflection and thoughtful responses in your short writing exercises, and as a whole, your engagement with and understanding of our various texts.

      Focus on some of the conscious choices, organization and curation are pieces missing from modern digital note taking space in talking about digital gardens and zettelkasten.

    4. Please include only quotations, and a brief bibliographic reference. Do not add commentary explaining why you like or chose a particular quotation. (e.g. Hieronimo in The Spanish Tragedy 3.2.1-15, or Kyd, The Spanish Tragedy 3.2.1-15,or evenas simple asThe Spanish Tragedy 3.2.1-15).

      She's a bit over-prescriptive here in terms of the form a commonplace book should contain. In particular, she seems to be holding to the form up to the 17th Century. Personally in a classroom exercise, I wouldn't include this particular limitation.

    5. ☞An index(the final pages of the Commonplace Book) of at least 20 words. The index will be listed alphabetically (or thematically, then alphabetically) by your commonplace book headings with page numbers. You may decide to also add cross-references to authors, other frequently appearing terms that were not heading chapters, etc. (Figure 9)

      One might also suggest the use of John Locke's method here: See: https://publicdomainreview.org/collection/john-lockes-method-for-common-place-books-1685

    6. ☞(excerpts) Beal, Peter. Dictionary of English Manuscript Terminology: 1450 to 2000.Oxford, GB: OUP Oxford, 2007. ProQuest ebrary. Web. 19 December 2016.☞Lesser, Zachary and Peter Stallybrass. “The First Literary Hamlet and the Commonplacing of Professional Plays.” Shakespeare Quarterly, (2008), 371–420.☞Smyth, Adam. “Commonplace Book Culture: A List of Sixteen Traits.” Women and Writing, c.1340-c.1650: The Domestication of Print Culture. Manuscript Culture in the British Isles. Eds. Lawrence-Mathers, A. and Hardman, P. Rochester, U.S.: Boydell and Brewer, 90-110.☞Summers, David. “—the proverb is something musty: The Commonplace and Epistemic Crisis in Hamlet.”Hamlet Studies 20.1-2(1998): 9-34.

      sources to add to my reading list, if not already there

    7. Each class session on the syllabus in whichwe discussQ1 Hamlet(WEEKS 2-3), please cometo each class with two index cards withquotations of yourchoosing, andwith possible headings for such a quotation. On certain class sessions, I may give you more of a prompt, such as: to choose a line or phrase that is part of our everyday speech that youencounteredin Hamlet; orto cite a line from the major avengersof the scenes we discuss that day; etc. I will also be writing lines on index cards;we will share these in class, I will collect the cards, and returnthem the following class session.

      An example of a teacher using index cards as a "low stakes" commonplace. The added benefit is that they can be passed around and shared as well.

    8. We may think of Pinterest as a visual form of commonplacing, as people choose and curate images (and very often inspirational quotations) that they find motivating, educational, or idealistic(Figure 6). Whenever we choose a passage to cite while sharing an article on Facebook or Twitter, we are creating a very public commonplace book on social media. Every time wepost favorite lyrics from a song or movie to social media or ablog, weare nearing the concept of Renaissance commonplace book culture.

      I'm not the only one who's thought this. Pinterest, Facebook, twitter, (and other social media and bookmarking software) can be considered a form of commonplace.

    1. Some interesting finds Josh.

      Related to some of the bullet journal (aka BuJo) and journaling space you will eventually come across the idea of "morning pages" which is a technique where you spend a block of time (usually in the morning, but ideally just before you want to do your creative thinking work) where you write for a set amount of time or number of pages. The goal of this method (and to some extent bullet journaling) is to clear the cruft and extraneous details out of your head to be able to better prioritize and focus on your creative work. There's a relatively large group of people doing this as a technique, so even knowing the phrase can help one to find the literature.

      Tangentially related to this and memory (via our old friend rhetoric), I've been doing some significant research into the commonplace book tradition and general note taking with an eye towards knowledge acquisition, creation, and spaced repetition systems. This has led into research into the areas of the zettelkasten, digital note taking, digital gardens and the like. All fascinating areas which overlap memory via rhetoric. I suspect that many mnemonists in the Renaissance used commonplace books as physical written memory palaces, though I've yet to find anything in my research that directly links them other than the relationship they have in the long tradition of rhetoric in Western culture. Since you mention music and writing lyrics, I recently noted that Eminem has a commonplace technique which he calls "stacking ammo" by which he compiles ideas for his lyrics. His method is certainly less structured than a traditional commonplace book, but the overall form traces back to our friends Aristotle, Cicero, and Quintilian.

      If you delve into some of the Bullet Journal and journaling literature you'll find a subculture of people (YouTube has hundreds of people with entire channels dedicated to the topic) who write into their daily/weekly planners and decorate them with stickers, washi tape, photos, calligraphy, drawings, etc. I've called some of this "productivity porn" before, but if you search commonplace book on Instagram or Pinterest you'll find examples of people whose journals and notes are becoming physical memory palaces where the visuals are likely helping them remember portions of their lives or what they're writing. The stickers and images to some extent are serving the purpose of drolleries seen in Medieval manuscripts as mnemonic devices.

      And finally, tangentially related to all of this is another interesting sub-genre of memory and note taking called sketchnotes which combines active listening, writing, and drawing into a mnemonic related note taking activity. I'm actually a bit surprised to find so little on the technique here on the forum. Searching for sketchnotes on social media will provide lots of examples and there are many "What are sketchnotes" short videos on YouTube that will give you an idea of what's going on. Many of these talk about a memory component, but not being mired into the sub-topic of rhetoric, they're usually not using the same framings we would (here on the forum), though the effects one might expect are the same.

      Some related richer resources for these areas, to help people from going down the rabbit hole within the performative social media spaces:

      • How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking–for Students, Academics and Nonfiction Book Writers by Sönke Ahrens
        • This touches on note taking within a zettelkasten framing, but is also applicable to the commonplace book tradition
      • Sketchnote Handbook, The: the illustrated guide to visual note taking by Mike Rohde
        • This is one of the bibles in the space and gives a solid overview of what, why, how, etc.
      • A Brief History & Ethos of the Digital Garden by Maggie Appleton
    1. Ebooks Are an Abomination: If you hate them, it’s not your fault. by Ian Bogost in The Atlantic https://www.theatlantic.com/books/archive/2021/09/why-are-ebooks-so-terrible/620068/

      Ian Bogost has a nice look at the UI affordances and areas for growth in the e-reading space.

    2. Skimming through pages, the foremost feature of the codex, remains impossible in digital books.

      This is related to an idea that Tom Critchlow was trying to get at a bit the other day. It would definitely be interesting in this sort of setting.

      Has anyone built a generalizable text zoom JavaScript library that let's you progressively summarize an article as you zoom in and out?<br><br>(Why yes I am procrastinating my to-do list. You?)

      — Tom Critchlow (@tomcritchlow) September 17, 2021
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

    3. So do all manner of other peculiarities of form, including notations of editions on the verso (the flip side) of the full title page and the running headers all throughout that rename the book you are already reading.

      I do dislike the running headers of digital copies of books as most annotation tools want to capture those headers in the annotation.

      It would be nice if they were marked up in an Aria-like method so that annotation software would semantically know to ignore them.

    4. Ebook devices are extremely compatible with an idea of bookiness that values holding and carrying a potentially large number of books at once; that prefers direct flow from start to finish over random access; that reads for the meaning and force of the words as text first, if not primarily; and that isn’t concerned with the use of books as stores of reader-added information or as memory palaces.

      Intriguing reference of a book as a memory palace here.

      The verso/recto and top/middle/bottom is a piece of digital books that I do miss from the physical versions as it serves as a mnemonic journey for me to be able to remember what was where.

      I wonder if Ian Bogost uses the method of loci?

    5. The iPad’s larger screen also scales down PDF pages to fit, making the results smaller than they would be in print. It also displays simulated print margins inside the bezel margin of the device itself, a kind of mise en abyme that still can’t actually be used for the things margins are used for, such as notes or dog-ears.

      It would be quite nice if a digital reader would allow actual writing in the margins, or even overlaying the text itself and then allowing the looking at the two separately.

      I do quite like the infinite annotation space that Hypothes.is gives me on a laptop. I wish there were UI for it on a Kindle in a more usable and forgiving way. The digital keyboard on Kindle Paperwhite is miserable. I've noticed that I generally prefer reading and annotating on desktop in a browser now for general ease-of-use.

      Also, I don't see enough use of mise en abyme. This is a good one.

      In Western art history, mise en abyme (French pronunciation: ​[miz ɑ̃n‿abim]; also mise en abîme) is a formal technique of placing a copy of an image within itself, often in a way that suggests an infinitely recurring sequence. In film theory and literary theory, it refers to the technique of inserting a story within a story. The term is derived from heraldry and literally means "placed into abyss". It was first appropriated for modern criticism by the French author André Gide.

    6. The weird way you tap or push a whole image of a page to the side—it’s the uncanny valley of page turning, not a simulation or replacement of it.

      This may be the first time I've seen uncanny valley applied to a topic other than recognizing people versus robots or related simulacra.

    7. If you have a high-quality hardbound book nearby, pick it up and look at the top and bottom edges of the binding, near the spine, with the book closed. The little stripey tubes you see are called head and tail bands (one at the top, one at the bottom). They were originally invented to reinforce stitched binding, to prevent the cover from coming apart from the leaves. Today’s mass-produced hardcover books are glued rather than sewn, which makes head and tail bands purely ornamental. And yet for those who might notice, a book feels naked without such details.

      It is an odd circumstance that tail bands are still used on modern books that don't need them. From a manufacturing standpoint, the decrease in cost would dictate they disappear, however they must add some level of bookiness that they're worth that cost.

    8. In other words, as far as technologies go, the book endures for very good reason. Books work.

      Aside from reading words to put ideas into my brain, one of the reasons I like to read digital words is that the bigger value proposition for me is an easier method to add annotations to what I'm reading and then to be able to manipulate those notes after-the-fact. I've transcended books and the manual methods of note taking. Until I come up with a better word for it, digital commonplacing seems to be a useful shorthand for this new pattern of reading.

    9. The ancient Romans sometimes connected wax tablets with leather or cords, suggesting a prototype of binding. Replacing the wax with leaves allowed many pages to be stacked atop one another, then sewn or otherwise bound together.

      early book prototypes

    1. ethodists, the Evangelicals took up the theme. Hannah More contributed her own imperishable lines on "Early Rising": Thou silent murderer, Sloth, no more My mind imprison'd keep; Nor let me waste another hour With thee, thou felon Sleep.10

      The number of quotes and passages here makes me wonder what his sources were and how he came to them?

      Did he keep a commonplace book and collect references on time? Find them via other's or from published collections? The number and types of them, particularly in the non-technical literature he's citing makes me think that something like a commonplace pattern is being leveraged here.

    1. As the title of a research paper that the Vallée-Tourangeaus wrote with Lisa G. Guthrie puts it, “Moves in the World Are Faster Than Moves in the Head.”

      Perhaps this is some of the value behind the ability to resort index cards within a zettelkasten over the prior staticness of the commonplace tradition? The ideas aren't anchored to the page, but can be moved around, rearranged.

  5. www.library.upenn.edu www.library.upenn.edu
    1. How have chance survivals shaped literary and linguistic canons? How might the topography of the field appear differently had certain prized unica not survived? What are the ways in which authors, compilers, scribes, and scholars have dealt with lacunary exemplaria? How do longstanding and emergent methodologies and disciplines—analysis of catalogs of dispersed libraries, reverse engineering of ur-texts and lost prototypes, digital reconstructions of codices dispersi, digital humanities. and cultural heritage preservation, and trauma studies to name a few,—serve to reveal the extent of disappearance? How can ideologically-driven biblioclasm or the destruction wrought by armed conflicts -- sometimes occurring within living memory -- be assessed objectively yet serve as the basis for protection of cultural heritage in the present? In all cases, losses are not solely material: they can be psychological, social, digital, linguistic, spiritual, professional. Is mournful resignation the only response to these gaps, or can such sentiments be harnessed to further knowledge, understanding, and preservation moving forward?
    1. https://via.hypothes.is/https://finiteeyes.net/pedagogy/extending-the-mind/

      A well written review of Annie Murphy Paul's The Extended Mind. Matthew Cheney has distilled a lot out of the book from his notes with particular application to improving pedagogy.

      I definitely want to read this with relation to not only using it to improve teaching, but with respect to mnemotechniques and the methods oral and indigenous societies may have either had things right or wrong and what Western culture may have lost as a result. I'm also particularly interested in it for its applications to the use of commonplace books and zettelkasten as methods of extending the mind and tools for thought.

    2. Encourage imitation. By seeing imitation as intellectually empty and even fraudulent, we neglect one of the most powerful learning tools we have. How might we build imitation more deliberately into our pedagogy? How might we use an intentionally-designed apprenticeship model for more types of learning?

      The history of rhetoric is littered with suggestions to imitate. Early commonplace book handbooks encouraged it heavily.

      Cross reference: https://hyp.is/mCsl9voQEeuP3t8jNOyAvw/maggieappleton.com/echo-narcissus

    3. To use your brain well, get out of your brain. Paul calls this offloading. To think well, she says, “we should offload information, externalize it, move it out of our heads and into the world” (243).

      This is certainly what is happening in the commonplace book tradition and even more explicitly in the zettelkasten tradition.

      What other methods of offloading exist besides writing and speaking? Hand gestures? Dance? What hidden modalities of offloading might indigenous societies use that Western culture might not be cognizant of?

      Often journaling or writing in a diary is a often a means of offloading the psychological cruft of one's day to be able to start afresh.

      This is some of the philosophy behind creating so-called "morning pages".

    1. In this episode I discuss my experience with the niche and extremely powerful note-taking system known as the Zettelkasten.

      The word "niche" here provides a window into how much of our cultural history we've really lost.

    1. Book review (and cultural commentary) on Alex Beam's A Great Idea at the Time, (Public Affairs, 2008).

    2. Soon enough the Great Books were synonymous with boosterism, Babbittry, and H. L. Mencken’s benighted boobocracy. They were everything that was wrong, unchic and middlebrow about middle America.”

      what a lovely sentence

    3. When asked for his views on which classic works to include among the Great Books, the science historian George Sarton pronounced the exercise futile: “Newton’s achievement and personality are immortal; his book is dead except from the archaeological point of view.”

      How does one keep the spirit of these older books alive? Is it only by subsuming into and expanding upon a larger body of common knowledge?

      What do they still have to teach us?

    4. In “A Great Idea at the Time,” Alex Beam presents Hutchins and Adler as a double act

      Just the title "A Great Idea at the Time" makes me wonder if this project didn't help speed along the creation of the dullness of the humanities and thereby attempt to kill it?

      What might they have done differently to better highlight the joy and fun of these works to have better encouraged it.

      Too often reformers reform all the joy out of things.

    5. In a postwar world in which educational self-improvement seemed within everyone’s reach, the Great Books could be presented as an item of intellectual furniture, rather like their prototype, the Encyclopedia Britannica (which also backed the project).

      the phrase "intellectual furniture" is sort of painful here...

    1. ... @ChrisAldrich Have you read Montaigne? Regarding: I love this outline/syllabus for creating a commonplace book (as a potential replacement for a term paper). I’d be curious to see those who are using http://Hypothes.is as a social ...

      Certainement... I wish I had a commonplace ceiling!

  6. neilcommonplacebook.wordpress.com neilcommonplacebook.wordpress.com
    1. Mine is a 21st century commonplace book, no more and no less. No other purpose. Just a voice, a collection, a series of letters to whom they may concern. What more do you want? I have started a new blog because I want to recapture that simple purpose.

      Example of a blogger using WordPress to create a digital commonplace book: https://neilcommonplacebook.wordpress.com/about-2/

  7. Aug 2021
    1. there are very few medieval scenes in which someone is reading but not writing—where books are present but pens are not. In part, this has to do with medieval study practices. Readers would usually have a pen nearby even when they were just reading. After all, remarks and critiques needed to be added to the margin at the spur of the moment. “Penless” images, while rare, often show a crowded desktop.

      Images of Medieval reading practices generally pictured pens along with books. In the rare cases where pens were not included, the desks pictured were messy and thus covered up the pens involved.

    1. Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication.
    1. Let us take down one of those old notebooks which we have all, at one time or another, had a passion for beginning. Most of the pages are blank, it is true; but at the beginning we shall find a certain number very beautifully covered with a strikingly legible handwriting….here we have copied out fine passages from the classics;…here, most interesting of all, lists of books that have actually been read, as the reader testifies with some youthful vanity by a dash of red ink. ~ Virginia Woolf, “Hours in a Library”
    1. commonplace tabulae effectively functioned as memory aids to beused in conjunction with other texts and the direct observation of objects.

      The commonplace tabulae created by Linnaeus used spatial layout which also served as memory aids.

    2. Although the popularity of Linnaeus’s works are sometimes attributedto genius of his system, such economic and practical advantages of his topically arrangedPhilosophiasuggest that the success of his book also may be linked to the fact that his readersfound his commonplace practices familiar and, hence, memorable.
    3. commonplacing was both a spatial and concep-tual method of categorization that he used to order and reorder various sources of informationinto lists, tables and indices inscribed on, and in relation to, a multiplicity of objects.
    4. It seems, however, that he did add an innovative twist to the commonplace arcaconceptwhen he coupled the tradition with the spatial arrangement of plants in his botanical garden

      Carl Linnaeus didn't completely invent the commonplace cabinet (arcae), but did expand it with his spatial arrangement of plants within his botanical garden.

      Garberson's Libraries, Memory and the Space of Knowledge has more on prior examples apparently.

    5. For several examples of how commonplacing gave rise to filing systems during the sixteenth and seventeenth centuries,see Malcolm, ‘Thomas Harrison and his “Ark of Studies”’.
    6. The impactof such practices upon eighteenth-century visual and material culture is recounted in te Heesen, The World in a Box.

      This reference appears to show some of the historical link between the method of loci in rhetoric with that of commonplacing ideas within books. The fact that the word box may suggest some relational link between commonplacing and zettelkasten.

    7. This connection between the topical space of book pages andcabinet interiors was reinforced by the very word, loculus, which Linnaeus generally used to referto cabinet compartments. This term was diminutive of locus, that is, the word employed by clas-sical orators to denote a ‘place’ in the mind reserved for related ideas or concepts. Early modernhumanists drew direct analogies between the label assigned to such places in the mind and theheads that they used to gloss the content of quotations and personal observations. This relationshipbetween the ‘space’ of the mind and space on the page facilitated the logic of commonplacing all

      the way through the eighteenth century.

      Direct linguistic analogies for commonplacing one's notes and the placing of ideas into the memory via the word locus.

    8. Although it is difficult at present to know the precise impact of such filing systems, it is clear thatLinnaeus’s design mirrored the ways in which he arranged heads in his notes and books. The inte-rior space of his cabinet was divided into two open-faced columns, which meant that it was a phys-ical instantiation of a bilateral table.

      The design of Carl Linnaeus' specimen cabinets mirrored that of the bilateral tables and the ways he arranged his heads in his notes and books.

    9. Lauren-tius Normann (Lars Norman), the professor of logic and metaphysics at the University ofUppsala, used a kind of commonplace cabinet a full three decades before Linnaeus matriculatedthere as a student.

      Laurentius Normann (Lars Norman) had a commonplace cabinet that predated Carl Linnaeus.

    10. Like the spatial hierarchies presented in the Philosophia botanica, he wanted asimple form of linear order that allowed him to access his sheets quickly. Such a desire led himto reject the spatial divisions featured in many contemporary curiosity and medical cabinets, thatis, closed drawers that were stacked in multiple columns. This rejection was probably linked tothe fact that he had already seen a better way forward in the form of filing systems that werephysical instantiations of commonplace divisions used so often in books.

      Linnaeus used the logic of topical headings in commonplace books as an intellectual framework for designing a better filing system for his physical plant specimens. This was in marked contrast to the sorts of contemporary curiosity and medical cabinets that others were using at the time.

    11. In contrast to the sheets used by other contemporary natural-ists, he refrained from binding his into a proper book and this allowed him to stack them in abespoke cabinet (arca) in a manner that allowed him to insert, remove and reorder them as he sawfit (Figure 9).64 It was for this reason that the Philosophia botanica gave explicit instructions onhow to build the cabinet and how to organize the specimen sheets within it. He recommended thatthe internal space be split into two columns with shelves that were collectively divided intotwenty-four sections, each of which was assigned a numerical head that represented a class withinhis system.65Each class section was filled with select specimen sheets divided by bands intogenera. In his words: If the folding doors are marked with the numbers and names of the genera, with the space on the shelvescorresponding exactly, and linden bands are kept between the spaces, enclosing the same genera andthemselves marked with the number of the genera, then any plant can be pulled out and produced with-out delay.66

      Note here the idea of being able to file things away, reorder them, and find them quickly. Search was a likely motivator.

      He's essentially created an early form of zettelkasten, but for plants.

    12. C. Linnaeus, Örtabok(1725/1727). This was a student notebook now housed at Växjö. It is available online at http://www.vaxjo.se/ortaboken/.

      This could be a cool online resource.

      I'm curious what the UI looks like and what additional digital affordances were made for it.

      Update: the link 404's. May have to search elsewhere for it.

    13. In Ong’s words: ‘The ageof topical logics is the age in which the titles of books become, typically, nouns in the nominativecase, and, specifically, nouns which are not merely expressive of the form of discourse but whichdirectly “stand for” the book’s “contents.”
    14. In other words, the chapter titles of the Fundamenta botanicawere effectively titularheads which were transferable from one book to another and which served as labels for textualunits that could be moved through the space of the page in a manner that split books into chap-ters and chapters into books.

      In much the way one might move around portions of ideas under heads in a commonplace book, Carl Linnaeus was moving around bigger ideas/chapters within books and moving from one book to another.

    15. Müller-Wille and Scharf ‘Indexing Nature’, also points out that Linnaeus interleaved blanksheets into his texts so that he could take notes. Cooper points out that this had been a common practice in natural historysince at least the late seventeenth century (Cooper, Inventing the Indigenous, 74–5).

      Apparently interleaving blank sheets into texts was a more common practice than I had known! I've seen it in the context of Jonathan Edwards (1703-1758) using the practice to take notes in his Bible, but not in others.

    16. Like so manynaturalists of the Enlightenment, he was familiar with a wide variety of textual techniques, manyof which were direct descendants of the compositional and pedagogical tools used to harness themnemonic utility of words inscribed on the clean spaces of erasable surfaces such as librellos dememoria and chalk boards, or upon more permanent forms of print such as commonplace books(adversaria), cabinet labels, marginaliaand printed books.

      Some interesting concepts to explore here.

    17. when he laid out the early form of his classification method in a pamphletentitled Methodus(1736), he used heads to order the text.16

      Carl Linnaeus' classification method in Systema Naturae, his famous nomenclature system, was informed by the traditional topical headings of commonplace books.

      [16] The content of Methodus and the nature of the heads is addressed in S. Müller-Wille, ‘Introduction’, in C.Linnaeus, Musa Cliffortiana: Clifford’s Banana Plant, translated by S. Freer (Liechtenstein: A.R.G. Gantner VerlagK.G., 2007), 33

    18. First, what were the economies of attention thatguided his commonplacing techniques? Second, what type of impact did his note-taking skillshave upon the way that he arranged information in texts?

      The two questions addressed in this article.

    19. The foregoing studies suggest two strands of commonplacing circa 1700. The first was thecollection of authoritative knowledge, usually in the form of quotations. The second was thecollection of personal or natural knowledge, with Francis Bacon’s lists, desiderata and apho-risms serving as early examples. While Moss has shown that the first strand was losing popular-ity by the 1680s, recent scholarship has shown that the second retained momentum through theeighteenth century,9especially in scientific dictionaries,10instructional cards,11catalogues,12

      loose-leaf manuscripts,13syllabi14and, most especially, notebooks.15

      There are two strands of commonplacing around 1700: one is the traditional collection of authoritative knowledge while the second was an emergent collection of more personal knowledge and exploration.

    20. In recent decades there have been a number of stud-ies that have shown how humanist approaches to commonplacing not only evolved in tandemwith attempts to coherently arrange naturaliain studioli, wunderkammernand museums, butalso facilitated the conceptual development of natural history. Key works that led up to this rein-terpretation were Walter Ong’s work on Ramus, Frances Yates’s history of the art of memory,Tony Grafton’s defence of humanistic textual practices and, crucially, Paolo Rossi’s argumentthat Francis Bacon used topical logic to organize his lists and tables.7Once the topical box wasopened, a number of seminal studies on commonplacing natural knowledge followed. Keyentries in this canon are works written by Ann Blair, Ann Moss, Jonathan Spence and HowardHotson.8

      Lots of references to add or read here.

    21. Eddy, Mathew Daniel, Tools for Reordering: Commonplacing and the Space of Words in Linnaeus's Philosophia Botanica, Intellectual History Review, 20 (2010), 227-252

    1. Media and the Mind: Art, Science and Notebooks as Paper Machines, 1700-1830 (Chicago: University of Chicago Press, 2022), 550 pp + 60 figures.

      I can't wait to read Media and the Mind: Art, Science and Notebooks as Paper Machines, 1700-1830 (Chicago: University of Chicago Press, 2022)!

      I see some bits on annotation hiding in here that may be of interest to @RemiKalir and @anterobot.

      If you need some additional eyeballs on it prior to publication, I'm happy to mark it up in exchange for the early look.

    1. This now brings diversity to the table. It is deliberately interdisciplinary. Notes from poets interact with notes from scientists and notes from wise elders.

      This is the closest phrase I've seen in the zettelkasten space that ties back directly into the commonplace book tradition of sententiae.

      Kudos to the author for this.

      I like the fact that he highlights the diversity of thought he's getting by plumbing the depths of a variety of types of writers and creators. Very reminiscent of another early commonplace book tradition of the bee analogy.

    1. Fleeting notes while reading is your way of having a conversation with the author. It may not eventuate to anything but the process instantly places agency back in your hands.

      The idea of taking notes here as a conversation both with onesself as well as the author is essentially the old idea of making annotations in the margins of a book.

      He's repackaging it in the framing of a zettelkasten, but it's the same sort of conversation that @remikalir talks about, though in that case Remi is usually talking about class-wide group conversations with a text.

      Cross-reference this with Luhmann's paper Communicating with Slip-boxes which is a portion of the story from the zettelkasten perspective.

      Certainly someone in the commonplace or annotation traditions mentioned the idea of a conversation? Either with themselves, with the author, or with the text itself? Was this ever tacitly acknowledged before Luhmann?

    2. The Zettelkasten methodology was developed by German Social Scientist Niklas Luhmann.

      Here again is another example indicating that Niklas Luhmann developed the idea instead of it having evolved over several hundred years from the commonplace book and becoming more specific with the wide adoption of index cards in society once mass manufacture was more easily available.

    1. Aaron linkt in zijn blogpost aan meer bronnen die ik zeker eens verder wil onderzoeken voor mijn eigen Frankopedia.

      I love that Frank calls his personal wiki / digital garden / online commonplace book "Frankopedia".

      I should come up with a more clever name for mine.

    1. https://kimberlyhirsh.com/2019/04/01/dissertating-in-the.html

      A description of some of Kimiberly Hirsh's workflow in keeping a public research notebook (or commonplace book).

      I'd be curious to know what type of readership and response she's gotten from this work in the past. For some it'll bet it's possibly too niche for a lot of direct feedback, but some pieces may be more interesting than others.

      Did it help her organize her thoughts and reuse the material later on?

    1. Sketchnoting forces students to take ideas from a lesson and turn them into their own ideas. It also forces modality shifts.

      Reviewing over a lecture after the fact to create sketchnotes is incredibly similar to some of the point and purpose of Cornell Notes.

      While watching: https://www.youtube.com/watch?v=UOHcWhdguIY

    1. This essay has some good points. I still like Clean Code and SOLID things for OO code. As usual we need to think about all of this and not only following advices/practices without context

    1. Eminem shows Anderson Cooper his form of commonplace book in a 60 Minutes interview.

      Instead of calling it "commonplacing", he uses the phrase "stacking ammo".

      Cooper analogizes the collection as the scrawlings of a crazy person. In some sense, this may be because there is no order or indexing system with what otherwise looks like a box of random pages.

      <small><cite class='h-cite via'> <span class='p-author h-card'>u/sorrybabyxo</span> in Eminem has his own version of commonplace system containing words that rhyme. : commonplacebook (<time class='dt-published'>08/10/2021 09:45:39</time>)</cite></small>

    1. https://www.reddit.com/r/commonplacebook/comments/jb8x3d/what_does_your_indexing_system_look_like/

      Brief discussion of indexing systems for commonplace books. Locke's system is mentioned. Another person uses a clunky system at the bottom of pages to create threaded links.

      Intriguingly, one person mentions visiting theirs often enough that they remember where things are. (spaced repetition with a bit of method of loci going on here)

    1. In her book Parti-colored Blocks for a Quilt, writer Marge Piercy described how she used needle cards instead of a notebook: .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}I keep neither a journal nor a notebook. I have a memory annex which serves my purposes. It uses edge-notched cards. Edge-notched cards are cards which have holes around the borders as opposed to machine punch cards which are punched through the body. The cards are sorted with knitting needles. I have a nice sophisticated system which I call the "General Practitioner."[12]

      Interesting to see that Marge Piercy used an edge-notched card system for personal use in the manner of a commonplace book.

      See reference: Piercy, Marge (1982). Parti-colored blocks for a quilt. Ann Arbor: University of Michigan Press. pp. 27–28. doi:10.3998/mpub.7442. ISBN 0472063383. OCLC 8476006.

    1. Digital garden design can often use the gardening metaphor to focus attention on an active tending and care of one’s personal knowledge base and building toward new knowledge or creations.

      I wonder where outliners fit within this discussion? Are they a flavour or digital gardening? It has been interesting seeing some of Dave Winer's engagements with Roam Research

    1. The first step in translating experience, either of other men's writing, or of your own life, into the intellectual sphere, is to give it form. Merely to name an item of experience often invites you to explain it; the mere taking of a note from a book is often a prod to reflection. At the same time, of course, the taking of a note is a great aid in comprehending what you are reading.

      on the purpose of taking notes, annotating one's reading, or commonplacing

      highlight is a quote from

      C. Wright Mills' profound "Appendix: On Intellectual Craftsmanship," as found in his book on The Sociological Imagination.[16]

    1. Beatrice Webb, the famous sociologist and political activist, reported in 1926: "'Every one agrees nowadays', observe the most noted French writers on the study of history, 'that it is advisable to collect materials on separate cards or slips of paper. . . . The advantages of this artifice are obvious; the detachability of the slips enables us to group them at will in a host of different combinations; if necessary, to change their places; it is easy to bring texts of the same kind together, and to incorporate additions, as they are acquired, in the interior of the groups to which they belong.'" [6]

      footnote:

      Webb 1926, p. 363. The number of scholars who have used the index card method is legion, especially in sociology and anthropology, but also in many other subjects. Claude Lévy-Strauss learned their use from Marcel Mauss and others, Roland Barthes used them, Charles Sanders Peirce relied on them, and William Van Orman Quine wrote his lectures on them, etc.

    2. I accumulated altogether between 5.000 and 6.000 note cards from 1974 to 1985, most of which I still keep for sentimental reasons and sometimes actually still consult.

      Manfred Kuehn's index card commonplace from 1974 - 1985

    3. In writing my dissertation and working on my first book, I used an index card system, characterized by the "one fact, one card" maxim, made popular by Beatrice Webb. [4]

      I've not come across Beatrice Webb before, but I'm curious to see what her system looks like based on this statement.

      From the footnotes:

      She observed in the appendix to her My Apprenticeship of 1926, called The Art of Note-Taking: "It is difficult to persuade the accomplished graduate of Oxford or Cambridge that an indispensable instrument in the technique of sociological enquiry - seeing that without it any of the methods of acquiring facts can seldom be used effectively - is the making of notes" Webb, Beatrice (1926) My Apprenticeship (London: Longmans, Green, and Co.), pp. 426-7.

    1. In 2003, Ross's family gave his journals, papers, and correspondence to the British Library, London. Then, in March 2004, on the last day of the W. Ross Ashby Centenary Conference, they announced the intention to make his journal available on the Internet. Four years later, this website fulfilled that promise, making this previously unpublished work available on-line.

      The journal consists of 7,189 numbered pages in 25 volumes, and over 1,600 index cards. To make it easy to browse purposefully through so many images, extensive cross-linking has been added that is based on the keywords in Ross's original keyword index.

      This definitely sounds like a commonplace book. Also an example of one which has been digitized.

    1. Now, whenever I have a thought worth capturing, I write it on an index card in either marker pen or biro (depending on the length of the thought), and place in the relevant box. I use index cards for books, blogs, conversations I overhear at the club, memories, etc. They’re in my coat pocket when I fetch the kids from school. I leave them handy in the locker at the swimming pool (where I do much of my best thinking). And I run with them. Sound weird? Well, I’m in good company. Ryan Holiday[116], Anne Lamott[117], Robert Greene[118], Oliver Burkeman[119], Ronald Reagan, Vladimir Nabokov[120] and Ludwig Wittgenstein[121] all use (d) the humble index card to catalogue and organise their thoughts. If you’re serious about embarking on this digital journey, buy a hundred-pack of 127 x 76mm ruled index cards for less than a pound, rescue a shoebox from the attic and stick a few marker-penned notecards on their end to act as dividers. Write a “My Digital Box” label on the top of the shoebox, and you’re off.

      apparently a quote from Reset: How to Restart Your Life and Get F.U. Money by David Sawyer FCIPR.

      Notes about users of index card based commonplace books.

  8. edwardbetts.com edwardbetts.com
    1. Edward Betts is using his website as a commonplace book of sorts with a wide variety of topic headings based on his reading.

      He also keeps a separate wiki: https://edwardbetts.com/wiki/

    1. http://www.rossashby.info/origins.html

      This page looks like a zettelkasten card embedded into a commonplace book.He's cross linking ideas using page numbers. I wonder if he's also got headings as well?

    1. I am also interested in the work and method of Ross Ashby. His card index and notebooks have been put online by the British Commputer Society. I am fascinated by his law of requisite variety and how variety relates to complexity and its unfolding in general and in relation to design.

      Sounds like Ross Ashby kept a commonplace book here.

      Could be worth looking into: http://www.rossashby.info/ and digging further.

    1. https://en.wiktionary.org/wiki/adversaria

      Note the use of adversaria also as a book of accounts. This is intriguing and gives a historical linguistic link to the idea of waste books being used in the commonplace tradition. When was this secondary use of adversaria used?

    1. This book consists of ideas, images, & quotations hastily jotted down for possible future use in weird fiction. Very few are actually developed plots—for the most part they are merely suggestions or random impressions designed to set the memory or imagination working. Their sources are various—dreams, things read, casual incidents, idle conceptions, & so on. —H. P. LovecraftPresented to R. H. Barlow, Esq., on May 7, 1934—in exchange for an admirably neat typed copy from his skilled hand.

      Somewhat bizarre that Wired published this in this form without any sort of preamble or description.